Cisco and Generac in Frisco

“I am somewhat exhausted; I wonder how a battery feels when it pours electricity into a non-conductor?”
― Arthur Conan Doyle, The Adventure Of The Dying Detective

Sculpture by Mac Whitney, Cisco
Emergency Generator by Generac
Frisco, Texas

“One of the saddest lessons of history is this: If we’ve been bamboozled long enough, we tend to reject any evidence of the bamboozle. We’re no longer interested in finding out the truth. The bamboozle has captured us. It’s simply too painful to acknowledge, even to ourselves, that we’ve been taken. Once you give a charlatan power over you, you almost never get it back.”
― Carl Sagan, The Demon-Haunted World: Science as a Candle in the Dark

Cicso, by Mac Whitney, Frisco, Texas

Cicso, by Mac Whitney, Frisco, Texas

“Invention is the most important product of man’s creative brain. The ultimate purpose is the complete mastery of mind over the material world, the harnessing of human nature to human needs.”
― Nikola Tesla, My Inventions

Cisco, by Mac Whitney, Frisco, Texas

Cisco, by Mac Whitney, Frisco, Texas

“Is it a fact – or have I dreamt it – that, by means of electricity, the world of matter has become a great nerve, vibrating thousands of miles in a breathless point of time?”
― Nathaniel Hawthorne

Coloratura

Renée Fleming in the finale of Armida at the Met.

Renée Fleming in the finale of Armida at the Met.

There are few things in life as much fun as falling down a rabbit hole.

Ever since Candy and I went to see Turandot at the Death Star I have been fascinated by the world of Opera and have been learning about it – if only a little bit at a time.

The only problem is that Opera is an expensive rabbit hole and I am broker than broke right now. But there are ways, there are always ways – to be cheap and to find stuff for free. One way to reduce the cost of Opera is to not see it live, but to find simulcast productions. The Met has a series of HD broadcasts and, right now, they are replaying old ones. I was able to score free tickets to a broadcast of Carmen a couple weeks ago, and really enjoyed it.

Before Carmen, they showed previews of upcoming broadcasts and I made note of the wild finale of Rossini’s Armida. Wednesday, after work, even though I was exhausted, I drove up into Plano to watch the repeat broadcast of the opera on a big HD screen at a movie theater there.

The Met’s production, with Renée Fleming and Lawrence Brownlee didn’t get very good reviews (from a Blog, from the New York Times) but it was more than entertaining for my uneducated ears. I especially enjoyed the ballet in the second movement (even with the odd tutu-wearing demons)… maybe that’s another rabbit hole. I enjoyed the singing more than I expected. I even enjoyed the hokey representation of the characters of Love (a young girl) and Vengeance (who looked like he might have been in Metallica) – battling over Armida’s soul.

I did some research into Rossini and Armida, learning that it is a late example of Bel Canto – a term I had heard but never understood before. The florid singing, the coloratura, is what most people, the unwashed masses, make fun of when they think of Opera – but in context it is beautiful and expressive.

I studied the story of Armida and Rinaldo. It’s a classic tale and the basis of many operas and paintings. The bare story of the opera is simple and melodramatic, but there are a few dimensions that I found fascinating. Armida is the classic story of a powerful woman brought down by love, and then jilted. But unlike, say Dido, she is not ultimately defeated. She does not kill herself. Struggling at the end between Love and Vengeance – she chooses the latter.

Rinaldo and Armida, by Francesco Hayez

Rinaldo and Armida, by Francesco Hayez

Slowly I build my knowledge and my repertoire. Oh, and I did buy tickets to the Dallas Opera’s live version of Carmen at the Winspear Opera House in October (the matinee performance on the 27th). The tickets are nosebleed –but I’m excited about actually going to see it live. There will be another broadcast performance on the 25th – in Klyde Warren Park, and I plan on going to see that too.

Doing the research on the styles and history of opera brought back one memory from the spiderwebby recesses in my mind. Prior to, say, 1800, the most prized voices were of the Castrado. In seventh grade (or so) I took a fairly serious (for seventh grade) class in music theory. I still remember studying Jazz and the Blues and having the teacher playing instruments behind our backs and having us figure out what they were (the sound difference between a trumpet and a cornet is hard, but can be done).

We did study a little bit about Opera and its history. The teacher mentioned the Castrado. But she said, and I still remember her exact words, “They had a special operation on their… uhh… throat when they were children that caused them to have high voices. They don’t do that anymore.”

Yeah, right. On their throats. I guess she didn’t have much choice other than to lie to us – those were more innocent times. It didn’t sound right to me, though. Something was wrong, and that’s why, I suppose, I remember her saying that to this day. I knew enough to suspect what the word Castrato meant.

But I couldn’t believe it. She had said “Throat” and that made some sense. Surely, I thought at the time, nobody would cut their kids’ balls off simply to make them sing higher for the rest of their life.

That was too horrible to comprehend.

I didn’t know.

Oblique Sweep

Pray always for all the learned, the oblique, the delicate. Let them not be quite forgotten at the throne of God when the simple come into their kingdom.
—-Evelyn Waugh

John Brough Miller, Oblique Sweep, Frisco, Texas

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Rider

“What he loved in horses was what he loved in men, the blood and the heat of the blood that ran them.”
—-Cormac McCarthy, All the Pretty Horses

Shawnee Trail Sculpture, Central Park, Frisco Texas, bronze by Anita Pauwels

“But there were two things they agreed upon wholly and that were never spoken and that was that God had put horses on earth to work cattle and that other than cattle there was no wealth proper to a man.”
—-Cormac McCarthy, All the Pretty Horses

Shawnee Trail, by Anita Pauwels, Frisco, Texas

Shawnee Trail, by Anita Pauwels, Frisco, Texas

“He found he was breathing in rhythm with the horse as if some part of the horse were within him breathing and then he descended into some deeper collusion for which he had not even a name.”

“…and in his sleep he dreamt of horses and the horses in his dream moved gravely among the tilted stones like horses come upon an antique site where some ordering of the world had failed and if anything had been written on the stones the weathers had taken it away again and the horses were wary and moved with great circumspection carrying in their blood as they did the recollection of this and other places where horses once had been and would be again. Finally what he saw in his dream was that the order in the horse’s heart was more durable for it was written in a place where no rain could erase it.”

“He thought the world’s heart beat at some terrible cost and that the world’s pain and its beauty moved in a relationship of diverging equity and that in this headlong deficit the blood of multitudes might ultimately be exacted for the vision of a single flower.”

—-Cormac McCarthy, All the Pretty Horses

Tuesday Snippet – The Fatted Calf

Prodigal Son, Thomas Hart Benton, Dallas Museum of Art

Prodigal Son, Thomas Hart Benton, Dallas Museum of Art

The Fatted Calf
(First Scene of a Short Story)

It had been a decade since Sam had rented a car. He always had his assistant arrange for a limousine. Those days were gone – long gone.

At the rental counter the first three credit cards were rejected but the fourth went through and after a short, polite argument he was allowed a subcompact car. Red-faced he took the vehicle out onto the old highway – the one he remembered from his childhood – now gone over to cracked asphalt and weeds creeping over the edges. He blared the radio and tore down the rough road with the windows down – looking across the bright green bristles of spring wheat at the lines of huge trucks on the newer Interstate – parallel – a mile distant.

He remembered his mother driving him to the airport twenty years earlier – his small bag packed. His mother teared and resigned – her wet eyes locked on the road ahead. His father was plowing the east forty. Sam could see the cloud of brown dust raised by the steel blades slicing and turning the dry soil. He watched the distant tractor stop – the dust cloud blowing past and leaving the huge machine alone and tiny in the distance. Sam had to imagine his father watching the pickup flying by on the road clear past the end of the field carrying his son away.

The hamlet was closer to the city than Sam had remembered and he drove down the main street before heading out to the family farm. Everything was so familiar – nothing had changed in the two decades – except it all seemed smaller somehow. Smaller and quieter – the streets deserted and more than a few windows boarded up or taped over with paper.

It was like driving through a miniature model of his childhood memories – perfect in detail, yet missing something essential – a soulless reproduction.
This strange living mutation of what he remembered frightened him. He accelerated, squealing his tires in the dust that leaked in thin waves onto the streets, and turned off the paved highway at the edge of town. He drove down the familiar washboarding sanded country lane – the hedgerows on each mile section taller than he remembered or often taken out altogether, leaving a gap like a missing tooth.

As he approached the farm he felt his heart beating like a fluttering bird – his breath coming with some difficulty.

At first he didn’t recognize the place. The weeds had grown high across the yard – once kept cropped short by a small herd of sheep – now gone riot. The familiar barn to the left of the drive was gone. Sam looked closer and saw the expanse of scorched earth where the wood and stored hay must have burned. The encroaching weeds were greener and taller here – fertilized by the ash.

The house – always a clean white wash – was speckled with a gray peeling – revealing the weathered old wood underneath. The windows, which Sam remembered as bright rectangles showing his mother’s colorful handmade curtains were now bare shadow pits adorned only with crystal scythes – shards of shattered windowglass.

Although it was obvious that the place was uninhabitable, for some reason Sam took his suitcase – no larger than the one he had left with two decades ago – out of the trunk after he climbed out of the tiny car.

For a long time, he stood in the remaining bit of sandy road, trying not to touch the invading weeds, with his hand on his jaw, trying to comprehend. Off to the side, behind a few strands of rusted barbed wire, was the skeleton of a cow, now bleached by the sun to a bright white. He wondered if this was the calf he had left behind –the one he had been getting up before dawn to feed. It wasn’t of course – those onerous chores were twenty years in the past – that calf was hamburger long, long ago.

The skeleton seemed to pull Sam out of his reverie and, looking past the house, he saw a structure still intact. It was the old windmill. Green vines climbed the four metal struts that supported the structure, but the zinc-coated blades were still creaking, spinning in the breeze.

Sam pushed his way through the weeds and found the path that ran from the kitchen to the windmill. The well below was too shallow – the water too contaminated and salty for humans to drink, but the cows and sheep seemed to like it fine. A series of troughs, now twisted and junked, ran from the pump attached to the mill to a half dozen watering stations that the farm animals could use.

It had another use, though. The farm was too far out for city utilities, and potable water was precious. Halfway up the tower was a tank that could be filled by the windmill, and underneath that a compartment, about the size and shape of a phone booth, was constructed of galvanized steel. A big old-fashioned shower head hung below the tank like a drooping sunflower.
Sam had hated going out to the windmill and taking his shower before school – especially in the winter. It was humiliating even when it wasn’t brutally uncomfortable.

Staring at the mechanism now, Sam was oddly drawn to it. He reached out and yanked a few stray vines out of the way and then pulled the familiar lever. Sam jumped back when the pump arm let out a huge metallic groan, but it started to move again and he heard rumbling and the telltale splash of water starting to fill the tank. As if on cue, the breeze picked up and the blades began turning faster.

Sam looked around at the vast expanse of nothing, nobody. It was silent except for the clicks and hissing of insects moving through the weeds. The sun was directly overhead and the day had turned hot – Sam felt the streams of sweat trickling across his face.

As the tank filled, Sam pulled off his suit and hung his clothes on the old hooks that ran up the windmill strut. As he waited for the tank to top off he stood naked, leaning back in the sun. As a child, he was always shy and would dash from the house with a towel held firmly, but now he didn’t care. There was nobody within miles anyway.

He reached out and pulled on the rusty handle that opened the valve to the shower head. At first there was only a hiss, then some lumps of old mud-dauber wasp nest tumbled out, followed by little more than a thin rusty trickle. It did not take long for the pipes to clean themselves and the stream gained in strength and clarity. Soon the water was pure and strong, and Sam stepped into the shower, ducking his head into the cold liquid, sparkling in the sunlight.

Christmas Lights, Barbed Wire, and Paint

Near Lee Harvey’s, Cedars, Dallas, Texas

“Information is the oxygen of the modern age. It seeps through the walls topped by barbed wire, it wafts across the electrified borders.”
—-Ronald Reagan

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“All anyone really needs to know about barbed wire is that it can tear the arse out of your trousers, give a cow a good fright, entangle a Yorkshire terrier for life, and is nasty stuff made by greedy men.”
― Billy Connolly

Gateway

I find myself working towards an art which includes a spiritual dimension. I have become increasingly aware of art as a dialogue between matter and spirit. In recent works, I have emphasized myth, symbol and dream to evoke an atmosphere in which the sculpture and its environment speak to the subconscious to make the observer aware of the dreamlike nature of life, of which we all are part.
—-Hans Van de Bovenkamp

Not too far, not very far at all, from the pile of steel boxes I wrote about yesterday, is the Arapaho DART station with another sculpture. This is a good one, by a famous sculptor, Hans Van de Bovenkamp, that you have never seen.

I’ve seen it, though. Richardson’s Central Trail – a hike-and-bike strip of concrete that runs through the city, parallel to the DART tracks and Highway 75, now being extended to the south – goes right by it. Otherwise, commuters on the bus or train never get more than a glimpse. It is exposed to the traffic going by on Greenville Avenue – but everyone is driving too fast to notice.

I didn’t look too hard and didn’t see a label or plaque. This is a public sculpture, though, so there is information on the internet. The sculpture is called Gateway, and, as I’ve said is by Hans Van de Bovenkamp. It’s painted aluminum (begining to fade a bit – might need a recoat) and is a variation of a theme of Bovenkamp – there is a bigger version in Oklahoma City.

The sculpture "Gateway" at the Arapaho DART station, Richardson, Texas.

The sculpture “Gateway” at the Arapaho DART station, Richardson, Texas.

A DART train pulls in. Arapaho Station, Gateway Sculpture

A DART train pulls in. Arapaho Station, Gateway Sculpture

Gateway, by Hans Van de Bovenkamp

Gateway, by Hans Van de Bovenkamp

Gateway, by Hans Van de Bovenkamp, Richardson, Texas

Gateway, by Hans Van de Bovenkamp, Richardson, Texas

Gateway sculpture and commuter bike

Gateway sculpture and commuter bike

Steel Boxes

One of the nice things about being a fan of sculpture is that you run into it all the time – if you are able to keep moving and your eyes open.

On a bike ride the other day, I pulled over for a minute to look at a sculpture I spotted in an unexpected place. It was off of Arapaho Road, not far from the DART station – in a stretch of very unartistic industrial buildings.

The Richardson Factory that belonged to General Packaging Corporation had a steel sculpture (probably welded of Cor-Ten) in a grassy spot next to the main entrance. You would never spot this from a car – but it’s obvious from the cockpit of a bicycle. I turned in (it was a holiday and the place was closed) and took a good look.

I was not able to find a label or plate, so I don’t know the sculpture’s name or artist. The only thing that turned up on a web search is a sculpture called Strange Romance by a sculptor from Taos named Ted Egri (he passed away a couple of years ago). I’m not sure if this is the sculpture – it doesn’t look like a Strange Romance… and the style is a little different from the rest of Ted Egri’s work.

But, the thing was obviously commissioned for the spot – the factory makes cardboard cartons and wooden boxes – the sculpture was made to commemorate the products.

At any rate – for any reason and by any artist – I liked the thing. I sipped from my water bottle and took a rest before riding on. I tipped my helmet to the folks at General Packaging for spending the money and having the thing built and installed in front of their otherwise nondescript factory. They made my day a little more pleasant… for a few minutes at least.

Sculpture at General Packaging.

Sculpture at General Packaging.

200 East Arapaho Road, Richardson, TX

200 East Arapaho Road, Richardson, TX

Sculpture and Commuter Bike. All Steel.

Sculpture and Commuter Bike. All Steel.

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Flying Over the City

Graffiti, Deep Ellum, Dallas, Texas

“The Guide says there is an art to flying”, said Ford, “or rather a knack. The knack lies in learning how to throw yourself at the ground and miss.”
― Douglas Adams, Life, the Universe and Everything

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“When we started the show, ‘Dallas’ was known as the city where JFK was assassinated. By the end it was known as JR’s home town.”
—-Larry Hagman

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“But there is so much more to do for the city we love… a Dallas with roads as strong as our businesses, parks as beautiful as our children, a downtown as tall as our imagination.”
—-Laura Miller

Ladybug in a Flower Pot

“Did I ever tell you my pet peeve?’

No,’ I said.

People who dress up their pets to look like Little Lord Fauntleroys or cowboys, clowns, ballerinas. As if it’s not enough just to be a dog or cat or turtle.”
― Jerry Spinelli, Love, Stargirl

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“i made myself a snowball
As perfect as can be.
I thought I’d keep it as a pet,
And let it sleep with me.
I made it some pajamas
And a pillow for it’s head.
Then last night it ran away,
But first – It wet the bed.”
― Shel Silverstein

Deep Ellum Arts Festival Pet Parade, Dallas, Texas

Deep Ellum, Dallas, Texas

Deep Ellum, Dallas, Texas

“If you are a dog and your owner suggests that you wear a sweater, suggest that he wear a tail.”
― Fran Lebowitz

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“Dogs are the leaders of the planet. If you see two life forms, one of them’s making a poop, the other one’s carrying it for him, who would you assume is in charge.”
― Jerry Seinfeld

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“The strangest thing has happened. I really missed my dog. That’s never happened to me before. You know, on a long tour you do hear people saying they miss their pets. I never have. But last night I started really missing my dog.
It’s very odd, ’cause I don’t have a dog.”
― Bono