Some favs
Posted: February 20, 2015 Filed under: America Since 1945, the California Condition Leave a commentTrips
Posted: February 4, 2015 Filed under: children, the California Condition 8 Comments
from this New Yorker article by Michael Pollan about psilocybin:
Carhart-Harris doesn’t romanticize psychedelics, and he has little patience for the sort of “magical thinking” and “metaphysics” they promote. In his view, the forms of consciousness that psychedelics unleash are regressions to a more “primitive style of cognition.” Following Freud, he says that the mystical experience—whatever its source—returns us to the psychological condition of the infant, who has yet to develop a sense of himself as a bounded individual. The pinnacle of human development is the achievement of the ego, which imposes order on the anarchy of a primitive mind buffeted by magical thinking. (The developmental psychologist Alison Gopnik has speculated that the way young children perceive the world has much in common with the psychedelic experience. As she puts it, “They’re basically tripping all the time.”)
This article gives a lot of ammo to hippies:
He said that the N.I.M.H would need to see “a path to development” and suspects that “it would be very difficult to get a pharmaceutical company interested in developing this drug, since it cannot be patented.” It’s also unlikely that Big Pharma would have any interest in a drug that is administered only once or twice in the course of treatment. “There’s not a lot of money here when you can be cured with one session,” Bossis pointed out.
Interesting talking about psychoactive drugs in medicine: pretty fast you hit the boundaries of science:
PATIENT: What does this drug do?
DOCTOR: Well, medically, nothing, but it might… make you feel like your ego died and you’ve come into harmony with the great spirit of the cosmos?
We’re at the limit of medicine here, crossing over to religion or at least social anthropology.
If you’re taking mushrooms in a lab in a New York hospital, under medical supervision, that’s gonna affect your experience. If you take them after traveling to southern Mexico, in the house of a curandera, and you’re open to the idea that a curandera might have some kind of power, you’re gonna have another kind of experience:
In 1955, after years spent chasing down reports of the clandestine use of magic mushrooms among indigenous Mexicans, Wasson was introduced to them by María Sabina, a curandera—a healer, or shaman—in southern Mexico. Wasson’s awed first-person account of his psychedelic journey during a nocturnal mushroom ceremony inspired several scientists, including Timothy Leary, a well-regarded psychologist doing personality research at Harvard, to take up the study of psilocybin. After trying magic mushrooms in Cuernavaca, in 1960, Leary conceived the Harvard Psilocybin Project, to study the therapeutic potential of hallucinogens. His involvement with LSD came a few years later.
In the wake of Wasson’s research, Albert Hofmann experimented with magic mushrooms in 1957. “Thirty minutes after my taking the mushrooms, the exterior world began to undergo a strange transformation,” he wrote. “Everything assumed a Mexican character.”
(would they have assumed a “Mexican character” if Hofmann thought they came from Cambodia?)
If you get mushrooms from your college buddy, and the point is to clown around in the park, you’re gonna have another kind of experience. If you’re a true hippie open to the idea that mushroom spores traveled to Earth as a kind of message from some distant galaxy, that’s gonna affect your experience.
What about this context?:
In a double-blind experiment, twenty divinity students received a capsule of white powder right before a Good Friday service at Marsh Chapel, on the Boston University campus; ten contained psilocybin, ten an active placebo (nicotinic acid). Eight of the ten students receiving psilocybin reported a mystical experience, while only one in the control group experienced a feeling of “sacredness” and a “sense of peace.” (Telling the subjects apart was not difficult, rendering the double-blind a somewhat hollow conceit: those on the placebo sat sedately in their pews while the others lay down or wandered around the chapel, muttering things like “God is everywhere” and “Oh, the glory!”) Pahnke concluded that the experiences of eight who received the psilocybin were “indistinguishable from, if not identical with,” the classic mystical experiences reported in the literature by William James, Walter Stace, and others.
That ain’t exactly laboratory conditions – there’s lots going on here. I get that there’s a double-blind, but do you measure: who cared more about Good Friday going in? Who was further along on some kind of spiritual journey?
My own thinking on this much affected by ideas of Helytimes favorite Wade Davis. Got more interested re: ayahuasca. It’s one thing to take ayahuasca at a rented house in Malibu. Another thing to go to the Amazon, where your surroundings are halfway a hallucination before you drink a thing. Big difference how you feel here:
Vs. here:
Old advisor at college, a wonderful eccentric woman, used to say she thought all pre-meds should be anthropology majors.
Like some…
Posted: January 27, 2015 Filed under: Texas, the American West, the California Condition, writing Leave a comment
He lives in a room above a courtyard behind a tavern and he comes down at night like some fairybook beast to fight with the sailors. (5)
The sun was just down and to the west lay reefs of bloodred clouds up out of which rose little desert nighthawks like fugitives from some great fire at the earth’s end. (23)
Then he waded out into the river like some wholly wretched baptismal candidate. (29)
The ground where he’d lain was soaked with blood and with urine from the voided bladders of animals and he went forth stained and stinking like some reeking issue of the incarnate dam of war herself. (58)
He found a clay jar of beans and some dried tortillas and he took them to a house at the end of the street where the embers of the roof were still smoldering and he warmed the food in the ashes and ate, squatting there like some deserter scavenging the ruins of a city he’d fled. (63)
Itinerant degenerates bleeding westward like some heliotropic plague. (82)
The judge sat upwind from the fire naked to the waist, himself like some pale deity, and when the black’s eyes reached his he smiled. (97)
He looked like some loutish knight beriddled by a troll. (107)
The nearest man to him was Tobin and when the black stepped out of the darkness bearing the bowieknife in both hands like some instrument of ceremony Tobin started to rise. (112)
They crossed before the sun and vanished one by one and reappeared again and they were black in the sun and they rode out of that vanished sea like burnt phantoms with the legs of the animals kicking up the spume that was not real and they were lost in the sun and lost in the lake and they shimmered and slurred together and separated again and they augmented by planes in lurid avatars and began to coalesce and there began to appear above them in the dawn-broached sky a hellish likeness of their ranks riding huge and inverted and the horses’ legs incredibly elongate trampling down the high thin cirrus and the howling antiwarriors pendant from their mounts immense and chimeric and the high wild cries carrying that flat and barren pan like the cries of souls broke through some misweave in the weft of things into the world below. (115)
Far out on the desert to the north dustspouts rose wobbling and augered the earth and some said they’d heard of pilgrims born aloft like dervishes in those mindless coils to be dropped broken and bleeding upon the desert again and there perhaps to watch the thing that had destroyed them lurch onward like some drunken djinn and resolve itself once more in the elements from which it sprang. (117)
They had but two animals and one of these had been snakebit in the desert and this thing now stood in the compound with its head enormously swollen and grotesque like some fabled equine ideation out of an Attic tragedy. (121)
The squatters stood about the dead boy with their wretched firearms at rest like some tatterdemalion guard of honor. (125)
Like some ignis fatuus belated upon the road behind them which all could see and of which none spoke. (126)
Under a gibbous moon horse and rider spanceled to their shadows on the snowblue ground and in each flare of lightning as the storm advanced those selfsame forms rearing with a terrible redundancy behind them like some third aspect of their presence hammered out black and wild upon the naked grounds. (157-8)
The dead lay awash in the shallows like the victims of some disaster at sea and they were strewn along the salt foreshore in a havoc of blood and entrails. (163)
One of the Delawares passed with a collection of heads like some strange vendor bound for market, the hair twisted about his wrist and the heads dangling and turning together. (163)
Glanton was first to reach the dying man and he knelt with that alien and barbarous head cradled between his thighs like some reeking outland nurse and dared off the savages with his revolver. (165)
All about her the dead lay with their peeled skulls like polyps bluely wet or luminescent melons cooling on some mesa of the moon. (181-2)
They passed along the ruinous walls of the cemetery where the dead were trestled up in niches and the grounds strewn with bones and skulls and broken pots like some more ancient ossuary. (182)
It was raining again and they rose slouched under slickers hacked from greasy iralfcured hides and so cowled in these primitive skins before the gray and driving rain they looked like wardens of some dim sect sent forth to proselytize among the very beasts of the land. (195)
The riders pushed between them and the rock and methodically rode them from the escarpment, the animals dropping silently as martyrs, turning sedately in the empty air and exploding on the rocks below in startling bursts of blood and silver as the flasks broke open and the mercury loomed wobbling in the air in great sheets and lobes and small trembling satellites and all its forms grouping below and racing in the stone arroyos like the imbreachment of some ultimate alchemic work decocted from out the secret dark of the earth’s heart, the fleeing stag of the ancients fugitive on the mountainside and bright and quick in the dry path of the storm channels and shaping out the sockets in the rock and hurrying from ledge to ledge down the slope shimmering and eft as eels. (203)
A mile further and he came upon a strange blackened mass in the trail like a burnt carcass of some ungodly beast. (225)
He too had lost his hat and he rode with a woven wreath of desert scrub about his head like some egregious saltland hard and he looked down upon the refugee with the same smile, as if the world were pleasing to him alone. (228)
The other heads glared blindly out of their wrinkled eyes like fellows of some righteous initiate given up to vows of silence and of death. (230)
The judge was standing on the rise in silhouette like some great balden archirnandrite. (285)
The judge in the floor of the well likewise rose and he adjusted his hat and gripped the valise under his arm like some immense and naked barrister whom the country had crazed. (296)
The idiot squatted on all fours and leaned into the lead like some naked species of lemur. (298)
When he raised his head to look out he saw the expriest stumbling among the bones and holding aloft a cross he’d fashioned out of the shins of a ram and he’d lashed them together with strips of hide and he was holding the thing before him like some mad dowser in the bleak of desert and calling out in a tongue both alien and extinct. (302)
This troubled sect traversed slowly the ground under the bluff where the watcher stood and made their way over the broken scree of a fan washed out of the draw above them and wailing and piping and clanging they passed between the granite walls into the upper valley and disappeared in the coming darkness like heralds of some unspeakable calamity leaving only bloody footprints on the stone. (326)
The candles sputtered and the great hairy mound of the bear dead in its crinoline lay like some monster slain in the commission of unnatural acts. (340)
Been re-reading this in audiobook format, blowing my mind like some mind that’s getting blown. Those page numbers, from Google books, are from the hardcover, not that paperback. (And don’t think I’m braggin’ with all those post-its on my copy — that’s the condition in which the book was returned to me after being loaned to a scholarly friend.)
Don’t miss Mills on the topic. Always worth rewatching:
Coaches
Posted: January 1, 2015 Filed under: America Since 1945, sports, the California Condition 1 Comment
A Chance Encounter With Pete Carroll
One Sunday afternoon, a few years ago, I was drinking in a bar on Hermosa Beach (I believe but am not certain it was The Poop Deck) when I saw USC Trojans head football coach Pete Carroll ride by the front door on a bike.
He was with a handsome woman, his wife I guessed, and as they rode along saw somebody they appeared to know. Pete and his wife stopped to talk to him.
From where I was in the dark of the bar, the sunlight in the doorway framed Coach Carroll perfectly, it was like the last shot of The Searchers.
We couldn’t hear what Coach was saying. But watching him talk was mesmerizing. Engaged, upbeat, demonstrative: I couldn’t look away. The whole scene was compelling. Who was this chilled out beach boardwalk motivator? What was his life?
The Inner Game
Some time after that I found a copy of The Inner Game Of Tennis by Timothy Gallwey at my friend’s house. The only times I’ve ever played tennis I embarrassed myself, but I like “inner games,” and reading about tennis, so I read it.
The book blasted my head open.
Here is a very crude summary of Gallwey’s ideas as I understood them: when you do something like play tennis, sometimes you can split into a self that’s doing the actions, and a self that’s observing, judging, intellectually assessing: critical. That second self can easily slip into becoming abusive. You screw up a shot and you’re like “dammit, so STUPID!”
When that happens, Gallwey asks, who is yelling at who? What’s going on here?
This struck me re: writing. (Or really, any creative work.)
You’ve got your creator self, and your critical self. You need them both: all one and you’ll write stream of consciousness garbage, all the other and you’ll never write anything. But how do you get them to work together?
Gallwey says: we will improve (and have more fun) when we get these two selves aligned. When the critical self isn’t pissed at the performing self, but instead simply, non-brutally observes what is happening.
She instilled in me a great curiosity about how the world works, along with an overall sense of optimism and possibility. She used to say: “Something good is just about to happen.” I still believe that today.
For breakfast, he eats two Little Debbie Oatmeal Creme Pies; for lunch, a salad of iceberg lettuce, turkey, and tomatoes. The regular menu, he says, saves him the time of deciding what to eat each day, and speaks to a broader tendency to habituate his behaviors. Saban comes to this system by instinct rather than by adherence to some productivity guru’s system. When I try to engage him in a discussion of the latest research on habit formation, he hits me with a look his assistants call the bug zapper, for its ability to fry all who encounter it; he has no idea what I’m talking about.
The site of the first Father’s Day on July 5, 1908, originally celebrated in honor of the more than 200 fathers lost in the Monongah Mining disaster several months earlier.
The inability to clear the mine of gases transformed the rescue effort into a recovery effort. Only one man, a Hungarian by the name of John Tomko, was rescued from the mine. The official death toll stood at 362, but it is possible the number is much higher since mining companies at the time did not keep accurate records of their workers.
When they were teenagers, an explosion at the mine where Saban’s grandfather worked killed 78. (His grandfather was spared because he was off-shift.) It was a place where you knew not to complain; someone always had it worse.
Big Nick, the son of Croatian immigrants, also had a sense of fairness unusual for the place and the times. He took heat from some locals for treating black customers the same as whites at his Dairy Queen. And when he learned that an African-American player on the Black Diamonds named Kerry Marbury didn’t have a father around, Big Nick took him in. Marbury, who went on to become a star running back at West Virginia, says he was accepted so completely by the Sabans that he was effectively shielded from racism as a child. “I was very confused when I got out in the world and found out how much prejudice there really was,” he tells me.
Marbury and Saban became close friends as kids, and later, each served as the other’s best man. In the ’80s, after football, Marbury was busted for drugs, and went to prison for two and a half years for probation violation. The day he got out of jail, he said, Saban called and sent money to help him get a fresh start. Marbury went on to get his master’s degree and now serves as an administrator of public safety at a small West Virginia university. “I got where I am all as a result of him caring about me when no one else did.”
Respect for the man. Feel he is underserved by his book.
But maybe: that’s the point. Pete Carroll’s book is compelling because it’s about a guy wondering if there’s another way to do this, if he can adapt himself and his mentality to football success. He’s excited by the idea, he tells how he came up with it, and he pulls it off.
The point of Saban’s book might be: there is no secret. There is no trick. Discipline, hard work, drilling things again and again until you can do them the right way, focusing on doing everything right and not on results — it ain’t easy but it’s simple.
Good to think about.
Apologies if I made any football errors in this post, don’t let me fool you into thinking I know shit about the game compared to serious fans. With that said, here’s my picks for the BCS:
will defeat:
Alabama will then play:
who will defeat
(Oregon coach Mark Helfrich doesn’t seem that interesting, although it’s cool he’s from Oregon. Unless this actually is his memoir I don’t think I’ll read it. Can’t say I’m all that curious about Urban Meyer either, although it is interesting that both he and Saban are Catholic. Also interesting that Urban Meyer is the only of these coaches to be coaching his alma mater.
I did take a look at this Kindle book:
where the fact that Saban and Meyer both seem to “enjoy” coaching football or at least hate not doing it is described under the chapter heading “Hedonism.” I don’t think that’s an appropriate word for these mens’ lives.
I’d love to read Jimbo Fisher’s memoir. If I didn’t mishear, once watched him say Jameis Winston’s ability to not worry at all about how he’d been charged with sexual assault was a testament to his character.
Fisher earned the nickname Slim Jimbo because of his affinity for meat snacks. He has mentioned in numerous interviews that he wishes to launch an organic beef jerky company after he retires from coaching. The company would feature jerky made from animals native to both the Deep South and his native West Virginia, such as alligator, muskrat, and wild boar.)
Then at the national championship game on Jan. 12:
will defeat
Puzzle: given that this is close to a random guess, although I factored in these odds (plus my feeling from reading Saban’s book) what are the odds I picked this right? 12.5%? I could be proven completely wrong in a few hours.)
In the Super Bowl:
Roads by Larry McMurtry
Posted: December 28, 2014 Filed under: America Since 1945, the California Condition, travel, writing Leave a comment
I can’t get enough of these Larry McMurtry non-fiction books, as I’ve discussed before and another time and one other time. In this book, McMurtry drives American highways, writing down anything that occurs to him or seems interesting:
The most interesting thing that ever happened to me in southern Oklahoma happened when I was a boy. My backwoods uncle Jeff Dobbs took me deep in the woods, to the cabin of an aged Choctaw preacher, an old man said to have the power to draw out tumors. In his small cabin there were long rows of Mason jars, each containing a tumor that had been drown out. It was dim in the cabin. I couldn’t see what was in the jars very clearly, but it definitely wasn’t string beans or pickled peaches. I was very impressed and not a little frightened. Uncle Jeff knew a few words of Choctaw — listening to him talk to the old man was when I first realized there were languages other than English.
More than fifty years after I peered at them in the gloom of the old preacher’s cabin, the shelves of tumors reappeared in Pretty Boy Floyd, the first of two novels I wrote with Diana Ossana. This time “the cancers,” as they are referred to, appear as decoration in a backwoods honky-tonk.
He muses on how the great travel writers tend be into only one type of landscape (McMurtry’s is the plains):
Charles Doughty lived almost his whole life in a wet country but wrote his great book about the desert – the same deserts would later draw the best out of Wilfred Thesiger, St. John Philby, T. E. Lawrence, Gertrude Bell, and Freya Stark. Aurel Stein, Sven Hedin, Charles Marvin, Mildred Cable and Francesca French (the nuns of the Gobi), Curzon, and Ney Elias returned again and again to central Asia. Humboldt, Alfred Russell Wallace, and Henry Bates took their genius to the Amazon; while Mr. Darwin looked hard wherever he went. Certainly, when it came to those finches in the Galapagos, he looked every bit as hard as Picasso looked at Matisse.
Charles Doughty
But even the ocean interests McMurtry, an epic reader:
My drives across the American land had taken me far enough that I had begun to feel a vague urge to try a different mode of travel. For the past month or so I had been reading the leisurely, tolerant travel books of the English zoologist F. D. Ommanney, a man who knows a lot about fish, and a lot, also, about the world’s oceans and the people who live beside them – particularly the island peoples of the Indian Ocean and the South Pacific. F. D. Ommanney was a fish finder, a man who, in the years after World War II, puttered around in remote oceans attempting to estimate whether a given stretch of ocean contained fish enough to make commercial fishing profitable. I think, though, that what he cared about was the sea, not the fishing. In books such as A Draught of Fishes, The Shoals of Capricorn, Eastern Windows, and South Latitude, he describes his journeys through the seas and islands so appealingly that a landlocked person such as myself begins to feel that he has really been missing something: that is, the world’s oceans, along whose trade routes – invisible highways – the great ships proceed.
The appeal of F. D. Ommanney’s books – fairly popular in the 1950s but mostly forgotten now – is their intimacy with the sea and its ways, and also with the ways of people whose lives are bound to the sea. Conrad and Melville wrote powerfully of the oceans, but their works don’t exactly bring one into an intimacy with the world of waters. In Conrad and also in Melville the sea is too powerful, too often the environment of crisis, to be merely appealing. Though these great writers see the ocean’s beauty they rarely allow the reader to be unaware that this beauty comes with a threat, moral or physical or both.
Ommanney is not a novelist – he is just a man with a deep interest in the natural world, particularly with the world of the ocean; through many travels he preserves a fond curiosity about the lives of peoples of the islands, people who can scarcely imagine a life apart from the sea.
While driving in Arizona, this occurs to McMurtry:
Near Wilcox there’s a famous tourist stop advertising THE THING – in fact an Anasazi mummy.
(actually this article seems to suggest it’s a fake made by a well-known maker of sideshow artifacts)
McMurtry gets going on the Plains Indians wars, and Ranald Mackenzie:
Mackenzie was a highly effective officer, one of the most skilled and determined to fight on the plains frontier. But he was not a happy man. Juste before he was to marry, in 1883, he went crazy and spent the remaining six years of his life in an insane asylum in New York State. Ranald Mackenzie’s insanity is one of the strange, haunting mysteries thrown up by the frontier conflicts. Many pioneer women went crazy, and it was not hard to see why; the women were not necessarily overdelicate, either. The living conditions were just too bleak, too isolating. But the insanity of Ranald Mackenzie, one of the most disciplined and succesful officers to participate in the campaigns of the plains frontier, is evidence that the price of winning the west was not simple and not low, even for the winners, not when one considers that Ranald Mackenzie, the soldier who took the surrender of Quanah Parker and the Kwahadi Comanches, ended his days in a nuthouse, in 1889, not long before the massacre at Wounded Knee.
Wikipedi tells us: “He bought a Texas ranch and was engaged to be married; however, he began to demonstrate odd behavior which was attributed to a fall from a wagon at Fort Sill, Oklahoma, in which he injured his head. Showing signs of mental instability, he was retired from the Army on March 24, 1884 for “general paresis of the insane”.[5]”
The studio executives I would go and talk to about one project or another were seldom even half my age. Now they were only a little more than a third my age. I was in my sixties, the were in their twenties. SOme of them seemed puzzled that an older person would still be writing screenplays. If I happened to mention, by way of illustration, a movie made as long ago as the 1950s – twenty years before any of them were born – they looked blank and, in some cases, a little disdainful. I might as well have been talking about the Dead Sea scrolls. There is always a listener (the executive) and a note taker at these meetings. If I mentioned Touch of Evil or Roman Holiday the note taker would dutifully take a note.
I don’t know why this age gap surprised me. Hollywood, as I said, has always been about beauty and desire, neither of which is entirely comfortable with age. Garbo was not wrong to retire.
Near Acoma, New Mexico:
Coronado came past these pueblos as he sought the cities of gold, which means that the Indians of this region have experienced an unusually long colonial oppresion. Acoma, the sky city built on top of a 365-foot bluff, revolted in 1599 and killed a party of tax collectors sent by Governor Juan de Onate, who proved to be a revengeful man. He overwhelmed the Acomas, took several hundred prisoners, and cut one foot off any male over twenty years old, probably raking in a lot of seventeen- and eighteen-year old feet in the process…
I’ve been to Acoma many times, where the concessionaires are – to put it mildly – not friendly; and I’ve visited, at one time or another, most of the pueblos near Albuquerque. I’m not comfortable there and am even less comfortable in the communities north of Santa Fe. These are all places where the troubles are old and the troubles are deep. The plains below the Sangre de Christo may be supremely attractive visually, as they were to Miss O’Keefe, but socially they are very uncomfortable – the result of that long oppression. North of Santa Fe is where the toughest of the Indians and of the Spaniards survived. It’s not a good place to have a car break down – not if you’re an Anglo.
Stand up for The Interview (as a movie)
Posted: December 22, 2014 Filed under: film, the California Condition Leave a comment
There’s a strain I’ve noticed in pieces about The Interview of offhandedly dismissing the movie itself.
Here’s Ross Douthat, for example:
But if you care about the movies, then what’s happened to Seth Rogen and James Franco’s comedy is also related to the depressing story that Harris has to tell. Not because a coarse comedy about two idiot celebrities assassinating the North Korean dictator represents some kind of brilliant alternative to the sameness of sequels, but because its fate will become (already has become, in fact) a cautionary tale in an industry that’s already so risk-averse, so fearful of political controversy, so determined to make movies that sell equally well in every overseas market, that the North Koreans themselves were one the last available real-world villains for its blockbusters.
Or Clooney:
This was a dumb comedy that was about to come out. With the First Amendment, you’re never protecting Jefferson; it’s usually protecting some guy who’s burning a flag or doing something stupid. This is a silly comedy, but the truth is, what it now says about us is a whole lot.
I already took this fight to Twitter, vs. The National Review Online’s AJ Delgado:
(source is Box Office Mojo)
I don’t get it.
I have a clear bias here: I have never met but like Franco and Rogen and I like people involved in The Interview. But I don’t think that’s what got me steamed.
The Interview, to me, seems like a bold, interesting movie starring two actors who’ve been making cool, interesting choices for over a decade.
Yeah, it’s easy to make fun of James Franco’s pretentiousness (and what were you like at 22?). But you know what? a) he’s done it better than you and b) fuck you. Here’s a dude who’s using his fame to explore whatever art or avenue engages his curiosity. What do you want from the guy? He’s spending his time and energy experimenting, exploring, and improving himself.
And Rogen? Here is a consistently positive, jolly presence in American public life who’s sharp and self-effacing and honest. Watch him speak bluntly to Letterman about smoking weed:
Are you as open about your habits, crutches, and pleasures?
These guys are both terrific actors, they are smart, and they are entrepreneurial.
They made a bold, risky movie. Yeah, it’s got dumb jokes in it. All successful movie comedies have dumb jokes in them. All comedy that’s worth anything risks being silly.
But these guys are making what they love. Franco and Rogen are unabashed about their love of dumb fun laughs. Along the way, the movie they made also appears to be about fame, global politics, the intersection of news and entertainment, friendship, male insecurity — how many A list actors with the clout to make stuff are consistently picking projects as inventive as these guys?
Look, I haven’t seen the movie. Maybe it’s terrible. Maybe it’s amazing. Probably, like 90% of movies, it’s in between. But I don’t like a knee jerk critical reaction that it’s dumb. (I don’t really like critics at all, to be honest.) If you think The Interview sucks, then you star in one of the best TV shows ever, go on to make cool, fun, talked-about and also wildly profitable comedies, or win an Oscar for single handedly carrying a pretty experimental movie that not only was a huge hit but also cinematically daring and innovative, and build the clout to create your own $44 million projects on the strength of your talent and very perceptive grasp of what stories an audience of millions wants to see.
(I guess Clooney has done all that. OK, Clooney gets a pass.)
But of course, you can’t think The Interview sucks because you haven’t gotten to see it!
What cheesed me off, of course, is that I think all this shows a snobbish, lazy, kneejerk, snarky lack of respect for comedy, and how hard it is to make comedy.
In these distressing times, we should be honoring our comedians. Even if they do make a lot of dick jokes.
Nothing will detect and respond to the reality of fear as swiftly as a market
Posted: December 20, 2014 Filed under: America Since 1945, the California Condition Leave a comment
On The Interview, Stephen Carter’s take worth reading:
Despite all the calls for Sony to stand up to the blackmail in the name of artistic freedom, it seems to me that the criticism is misdirected. Nothing will detect and respond to the reality of fear as swiftly as a market, and here the market has spoken. The relevant market actors are moviegoers. Theater owners are guessing that with “The Interview” in their multiplexes, holiday audiences will stay away in droves. From everything.
I’d like to think the owners are mistaken. I’d like to think that were “The Interview” in the theaters, millions of us would flock to the mutiplex and watch a movie — any movie — as an act of protest, to show the world we aren’t afraid. But I can’t say that in predicting the opposite the theater owners have made a wrong call. And if they’re right, so is Sony.
(ht Andrew Sullivan, where the guest editors are doing a great job imo. Journalistic bias: guy who wrote The Interview Dan Stirling is former co-worker/friend, I root for him to get rich from this funny movie.)
Wild
Posted: December 20, 2014 Filed under: America Since 1945, movies, nature, screenwriting, the California Condition, women, writing Leave a comment
Contains WILD spoilers!
1) This movie has a high degree of difficulty.
I read 2/3s of the book Wild – abandoned it before I finished, but I did the same thing with Eat Pray Love and then years later started over and found it very impressive. Perhaps a similar fate awaits Wild & me.
At least two top-notch women I know swear by Tiny Beautiful Things. I like reading interviews with Cheryl Strayed, she seems like the real deal.
In books you can get into somebody’s head. That is their killer advantage, and why I don’t think books are going anywhere anytime soon. You just can’t do that in a movie. Wild the movie does a pretty good job of this, but it’s sort of just doomed, imo. This is a story about a person’s journey from one mental state to another, with most of the work done internally. Very hard to dramatize.
While there are good tricks towards doing that in this movie, it comes up a little short on the radical innovations needed to tell that story in a movie. Nick Hornby wrote the screenplay: a dude who is good at this kind of thing, his books make excellent movies, but maybe a true writer-director could’ve worked the solutions even tighter?
[One particular note: it seemed to me like all the cutaways should’ve cut a few beats earlier. You’re always like, “ok, here we go, we’re about to cutaway to Cheryl’s childhood.”]
2) The story has a motivation problem.
Cheryl decided to do this, herself. No one made her, asked her, even cares if she accomplishes her goal. So when she faces difficulty or problems, it easy to think “well, you’re the one who decided to hike the PCT, dumdum. Why should I care about this?”
In a story, a person sets out to do something and arrives at a win/lose/draw (thanks to John Gardner for articulating that for me). What would count as a win in this story? Getting to Ashland? No, who cares about Ashland, nothing but hippies in Ashland. The goal of this story is: Cheryl restoring herself (whether or not she knows that’s the goal at the start).
But: that’s an internal goal, how will you show it in a movie? It’s easier to answer these questions in a book, where Cheryl can articulate her reasons and get you with her and make you see that this particular journey is important even if nothing tangible’s at stake.
3) Still, pretty good movie.
Despite all that I thought the ending was pretty satisfying. It’s hard to make a pretty good movie. When Reese Witherspoon yells “FUCK YOU BITCH!” I thought that was good acting.
Sometimes I think all the hugely successful actresses [Reese, Anne Hathaway, etc.] are such intense people that when they act like normal people their instinct is to be way too intense. I would argue Julianne Moore might be the best at not doing this. Think how hard that must be: to act intense but not at your full-bore intense because you somehow intuitively understand that your own “full bore” is too strong for the screen. Acting is crazy hard.
Like all criticism should, let this come with a disclaimer: it’s easy to be a critic hard to make a thing, makers > critics x1000!
4) Interesting sex stuff in this movie.
I do remember in the book being jarred by the period of sexual degradation and heroin, hadn’t realized that was part of the tale. It was new territory, I felt, in exploring a woman’s sexual… could we call it addiction? self-punishment? Cheryl’s not not in control at that point, right? But she also isn’t having a great time. It’s fucked up, she knows it’s fucked up. But it’s not fucked up because she’s a slut, it’s fucked up because she’s not being the woman she wants to be (right?).
Whatever, it made me think/was also slightly titillating/made me feel kind of bad for the husband she was compulsively cheating on. What are the nice guy husbands of America to make of Eat Pray Love and Wild, two biggest women’s memoirs of the last ten years, that both start with a woman leaving her nice guy husband for sexual adventuring?
How often in a movie do you see sex that is intended to be not rape but also not fun?
5) The music in this movie is kind of good but also kind of sucks.
That’s my take anyway. What if I told you that in 2014 we were making an epic movie about a woman’s adventure across America? Would you say that scattered samples of Simon & Garfunkel is the best we could do? Fuck no! Why didn’t they get some awesome woman to make a badass score like Eddie Vedder did for the man-equivalent, Into The Wild?
6) There’s a weird shoutout to REI in this movie.
Where Reese calls them to get new boots and is like “you’re my favorite company ever.” Maybe Cheryl really felt that way. I have a bunch of stuff from REI, but sometimes I think their business model is based on making you think going outdoors is more expensive and complicated than it really is to sell you more junk. Which, weirdly: in the same scene where Cheryl learns about REI’s return policy, the dude is like “you don’t need all this shit.”
Former REI CEO Sally Jewell is Secretary of the Interior.
Strikes me as a very Obama kind of pick: on the one hand, kind of hip and modern and innovative, but on the other hand she was still the CEO of a huge corporation.
7) Wild and Eat Pray Love are in long American literary tradition of spiritual narrative.
If I were a grad student at Yale I’d write my Ph. D. on this, trace it all back through Emerson and Puritan religious narratives and captive narratives of 18th century New England and I’d be the smartest boy in the seminar. Since I’m not in grad school though I can make my point in one sentence which is that things that seem radical and new are often just new versions of an old tradition, we’re not so different from the past or as wildly inventive as we think we are, etc.
8) Is this how women go through life? Constantly having to wonder if a random dude is a rapist?
Damn, that might be the most important aspect of Wild, seeing the world through a woman’s eyes, showing that tension of life. When I walk around at 11pm or so in my neighborhood and I see women walking their dogs it always feels very tense. My instinct to somehow indicate I am not a rapist usually just seems to make the problem worse.
ANYWAY: one reason I was excited to see Wild is I’ve been to many of the settings along the Pacific Crest Trail on fishing trips. Here, for example, is a photo of Kennedy Meadows:
Kennedy Meadows is like a plateau high up in the Sierras. To get there you drive up a crazy 27-mile twisty road up from the 395. If you find yourself there, be sure to stop at The Grumpy Bear:
They’re happy to teach you about jerking meat:
Don’t get it confused with the other Kennedy Meadows up in Sonora.
While I was up there I crossed the PCT and wondered if it would be interesting to film a couple seconds of walking on it:
If you’d like to see Wild, but only have ten seconds, my film gets at similar themes but with more nauseating camerawork.
Friends
Posted: December 16, 2014 Filed under: the California Condition Leave a comment
Credit Suzanne Hanover/Columbia Pictures
Great detail from this NY Times interview with Franco and Rogen:
Did you know you’d be friends right away when you met on “Freaks and Geeks”?
FRANCO I was just writing some poems about it. It sounds silly, but I think they’re actually pretty good. There was a period where Seth, Jason [Segel] and I all went to Jason’s house, and they would sit at one end of the room and smoke weed.
ROGEN He literally would sit in the corner.
More:
Did that camaraderie continue after the show?
FRANCO There was a point where most people on the show didn’t like me, because I took myself too seriously. I thought I was Marlon Brando or something. Then I pushed Busy [Philipps, a co-star] over, by accident. So everybody didn’t like me, I think, except for Seth.
ROGEN When the show ended, I didn’t talk to you for years. We kind of went our separate ways, for a long time.
FRANCO I ran into Judd [Apatow] at this film festival in Austin. He’s like, “Why don’t you come back to the comedy world?” And I was like, “Yes. I need to change something, because I’m miserable.” I was not happy as an actor, and I went and did “Pineapple Express,” and it was like, Oh, it’s Seth, and I know Seth. I could take huge swings. That made all the difference
Bulletproof
Posted: December 15, 2014 Filed under: America Since 1945, food, the California Condition, Tibet Leave a comment
NYTimes article about “Bulletproof,” a fad/product:
The recipe — a riff on the yak butter tea Mr. Asprey found restorative while hiking in Tibet — calls for low-mold coffee beans; at least two tablespoons of unsalted butter (grass-fed, which is higher in Omega 3s and vitamins); and one to two tablespoons of medium-chain triglyceride (MCT) oil, a type of easily digestible fat.
and this sticks out:
Being Bulletproof means never traveling light. After a MacGyver attempt to make coffee in a Chicago hotel room, Brandon Routh, who plays the superhero The Atom on the CW show “Arrow,” now carries ground beans, containers of clarified butter, a silicone squeeze bottle of MCT oil, plus a hand blender and Aeropress filter.
“My energy levels are through the roof compared to what they used to be,” said Mr. Routh, who learned of the drink at a bachelor party, of all places. He added: “My lines just kind of sink in and they’re there when I need them.”
Here’s the thing about my human brain: Routh’s endorsement will end up “counting,” in my brain, certainly sticking way longer, than any carefully researched, cautiously presented bit of scientific evidence.
Already I’m like “well, who’s to argue with Routh? Why would he lie? Am I so arrogant as to not TRY butter coffee?”
(Separate thing: what is with our infatuation with the spiritual powers of Tibet? A strong case could be made that Tibet is a violent, backwards, cruel theocracy historically run by puppet child-monks under control of death-obsessed masters.)
© Joseph F. Rock / National Geographic Image Collection.
Two Videos
Posted: December 3, 2014 Filed under: America Since 1945, the California Condition Leave a commentI always enjoy when friends and houseguests put me on to interesting videos. INSURANCE as these are old.
Ice Cube celebrates the Eames:
And a remix:
Amazing murals
Posted: December 2, 2014 Filed under: the California Condition Leave a commentMy dad, who deserves to be on the cover of Fantastic Man magazine, sends me a link to this Boston Globe story about WPA projects of the ’30s that live on, like this Ross Moffett mural in a Somerville, MA post office:
MATTHEW J. LEE/GLOBE STAFF
My dad’s fav is Coit Tower, in San Francisco, done by a ton of folks:
This map, from The Living New Deal, is awesome.
Me, I’m a murals guy, so that’s what I’m looking at. Orange Pickers, in the Fullerton CA post office by Paul Julian, is the sexiest one I can find:
The Oceanside post office has a good one by the wonderfully named Elise Seeds, here’s a detail:
Man, the coastal post offices of SoCal are truly blessed. In San Pedro, Fletcher Martin depicted “Mail Transportation”:
Down at Dana Middle School in San Pedro is “The Life And Travels Of Richard Henry Dana” by Adrien Machefort:
Let’s leave California for a moment and observe The Two Rivers in the Rome, GA post office by Peter Blume:
Alaskan Landscape in the (old) federal courthouse in Anchorage, AK by Arthur Kerrick:
Point Loma, at Balboa Park, San Diego, CA by Charles Reiffel:
How about the Lost Continents of Atlantis and Mu, at the Aquatic Park bathhouse in San Francisco, by Hilaire Hiler?:
Or Origin And Development of the Name Of California, by Lucile Lloyd?:
Here is the freakin’ motherlode, really: SDSU has a Flickr of the murals in California.
Where does LA tap water come from?
Posted: November 19, 2014 Filed under: the California Condition Leave a comment
Where does LA’s water come from?
Although the exact percentages can change dramatically from one year to the next, generally L.A. gets about half of its water from Northern California and the Colorado River, 10 percent from local groundwater sources, and a third from the Owens Valley
says this helpful post on KCRW’s blog. (Only adds up to 93%, which is worrisome.)
The Owens Valley looks like this:
photo taken at great risk of injury/snakebite by helytimes
That’s the Owens River, and it feeds into Owens Lake. If Owens Lake sounds nice to you, terrific, apparently it was, once. There are accounts of clear water, and great ducks that swam there, ducks exploded in yellow fat when shot. Here’s what Owens Lake looks like now:
Photograph taken on 5 April 2009 by Charles W. Hull and posted on DVInfo.
Here’s another picture of beautiful Owens Lake:
Here it is on my Raven Map of California:
It’s crazy how far away it is from LA:
How did LA get this water?:
Eager to find water for the growing metropolis, Los Angeles had agents pose as farmers and ranchers to buy water and land rights in the valley.
People in the Owens Valley are still pissed about this water thievery. Here is my bud in front of an LA DWP sign sternly claiming this watery spot some 196 miles from downtown LA:
If you can’t read the graffiti it says “Fuck LA and the horse it rode in on.”
But, progress. That quote comes from this LA Times article I happened to pick up.
LA has sucked the Owens Lake so dry that the big problem there now is dust. The old way they used to suppress the dust, was, weirdly, flooding. Now they’re switching to a new method:
It involves using tractors to turn moist lake bed clay into furrows and basketball-sized clods of dirt. The clods will bottle up the dust for years before breaking down, at which point the process will be repeated.
This is way better, apparently:
The new process, which starts in December, is expected to save nearly 3 billion gallons of water its first year, rising to nearly 10 billion gallons three years later. Most of that water will be put back into the aqueduct.
So, good on LA Mayor Eric Garcetti. But the real hero here seems to be Ted Schade, the Great Basin Unified Air Pollution Control District enforcement officer:
City officials singled out Schade for praise Friday. Garcetti described him as “a truly great environmentalist.”
The comments marked a reversal by a city that just a few years ago made him the target of a barrage of DWP lawsuits, including one accusing him of issuing unreasonable and unlawful orders. The city asked to have him barred from presiding over decisions affecting the city.
Ron Nichols, DWP general manager at the time, said in a statement then that “our water consumer will no longer be victimized by an unaccountable regulator.”
Schade was abandoned by many Owens Valley community leaders and environmental activists who feared that standing up in his defense would risk retribution from DWP.
That federal court lawsuit was dismissed a year later.
This week, Schade, 57, stood on a berm in a portion of the dry lake recently tilled to test the effectiveness of the new dust suppression method.
“I’ve been at war with the DWP for 24 years, two months and 15 days,” he said. “The fighting is over, and the path forward is clear. So, I’m resigning in December. My job here is done.”
Ted Schade, enforcement officer for the agency in charge of Owens Valley’s air quality, is a longtime nemesis of the DWP. But L.A. Mayor Eric Garcetti, in announcing the new agreement, praised him as “a truly great environmentalist.” (Don Kelsen / Los Angeles Times)
Cool dude, sounds like.
Owens Lake isn’t even the biggest massive dried up lake in California. That honor (?) belongs to Tulare Lake.
from an 1871 Southern Pacific railroad map in the Historical Atlas Of California.
Tulare Lake was the largest freshwater lake west of the Mississippi River and the second largest freshwater lake entirely in the United States, based upon surface area. The lake dried up after its tributary rivers were diverted for agricultural irrigation and municipal water uses.
That’s way up in the tule country. And don’t even get me started on the Salton Sea, which I guess is the reverse of a shrinking lake.
Here’s another pic from the Owens Valley:
Let’s hope they have snow like that again.
The Great Debates
Posted: October 7, 2014 Filed under: America Since 1945, the California Condition 1 Comment
To HelyTimes readers, the “admirable thousands,”
Let me direct you to something I think you’ll enjoy.
My friend Dave King *, noted Parks & Recreation and Workaholics writer, and I have started a podcast called The Great Debates.
I know what you’re thinking: more podcasts?! But I think we’ve got something worth hearing.
We pick a topic – one of the great issues of the day – and without any preparation we debate it. The debates are moderated by the sonorously voiced Dan Medina.
This podcast is short, each episode is about twelve minutes.
Listeners can then vote – and suggest new debate topics – by emailing greatdebates69@gmail.com.
The podcast is available for download on iTunes or at www.greatdebates69.com.
I’d love it if you reviewed it and rated it highly on iTunes and spread the word.
We have nine episodes in the can and I’d argue they are enjoyable.
Hope you enjoy!
* not to be confused with jazzist Dave King
Polio and Songwriting
Posted: October 3, 2014 Filed under: America Since 1945, music, the California Condition Leave a commentJoni Mitchell and Neil Young
both got polio in the same 1951 epidemic.
More on that here, with specific reference to Ian Dury. Dury was played by Andy Serkis in the film Sex & Drugs & Rock & Roll:
I learned that Mitchell/Young polio fact, and many other interesting things, from this David Samuels article:
His second discovery was that he could encourage the writing of hits by urging songwriters to follow his nine rules of hit songwriting. While Caren’s rules are not comprehensive or exclusive, it is easy to measure their value by a glance at the dozens of gold and platinum records hanging in his office. He is happy to run down his rules for me. “First, it starts with an expression of ‘Hey,’ ‘Oops,’ ‘Excuse me,’” he begins. “Second is a personal statement: ‘I’m a hustler, baby,’ ‘I wanna love you,’ ‘I need you tonight.’ Third is telling you what to do: ‘Put your hands up,’ ‘Give me all your love,’ ‘Jump.’ Fourth is asking a question: ‘Will you love me tomorrow,’ ‘Where have you been all my life,’ ‘Will the real Slim Shady please stand up.’”
He takes a deep breath, and rattles off another four rules. “Five is logic,” he says, “which could be counting, or could be spelling or phonetics: ‘1-2-3-4, let the bodies hit the floor,’ or ‘Ca-li-fornia is comp-li-cated,’ those kind of things. Six would be catchphrases that roll off the tip of your tongue because you know them: ‘Never say never,’ ‘Rain on my parade.’ Seven would be what we call stutter, like, ‘D-d-don’t stop the beat,’ but it could also be repetition: ‘Will the real Slim Shady please stand up, please stand up, please stand up.’ Eight is going back to logic again, like hot or cold, heaven or hell, head to toe, all those kind of things.”
The ninth rule of hit songwriting is silence. Why? Because most people who are listening to music are actually doing something else, he explains. They are driving a car, or working out, or dancing, or flirting. Silence gives you time to catch up with the lyrics if you are drunk or stoned. If you are singing along, silence gives you time to breathe. “Michael Jackson, his quote was ‘Silence is the greatest thing an entertainer has,’” Caren continues. “‘I got a feeling,’ space-space-space, ‘Do you believe in life after love,’ space-space-space-space-space.”
In addition to writing all the music and lyrics for Nirvana, Kurt Cobain designed the band’s T-shirts and album covers and created shot-by-shot scripts for the band’s videos on MTV, as well as edited the bios and other publicity materials that helped shape the band’s narrative in the rock press. It was all part of his art, or inseparable from his art; it’s what he got paid for. “Rock and roll is a commercial art form, it’s not just about the music, it’s about what you look like, it’s about how you connect with an audience, it’s about the photos that appear in the British trades.” Nirvana’s longtime manager, Danny Goldberg, told me this when I met with him in New York, before I left for the Grammys. Even when Cobain was nodding off on rock-star doses of heroin in the MTV editing suite, Goldberg remembers, he could still identify exactly where the camera should come in and when to cut away. “He had a dark side, but he was so nice to me, you know, it was so out of proportion to anything that I did for him,” he remembered. “He was tremendously intellectually curious, incredibly creative, and had a great sense of humor; he was like a leprechaun or an elf. You’d go to wherever he was living, and he lived in a lot of places, and there’d be like reams of drawings and paintings and poems. He was also a great fan of other artists. He’d always be saying, ‘You’ve got to hear Captain America, you’ve got to hear the Jesus Lizard,’ or whatever those bands were.”
Friday Inspiration!
Posted: August 29, 2014 Filed under: the California Condition Leave a commentToday I’m gonna live my life by Pete Carroll’s Win Forever principles:
He or she goes up the next day in another plane
Posted: August 12, 2014 Filed under: America Since 1945, heroes, the California Condition Leave a comment
Williams at the 62nd Academy Awards in 1990 with journalist Yola Czaderska-Hayek (from Wiki)
Public* mourning makes me uncomfortable. In the tradition I’m from, which let’s say is some combination of Irish/Italian/New England Catholicism and New England puritanism, the appropriate reaction to death, as I understood it, was somber quiet.
Mourning for celebrities tends to very quickly veer into something personal and showy — “I met him once…” “he/she meant this to me…” — that make me a tiny bit queasy. My gut reaction is that it’s a little selfish or self-aggrandizing, a strange reaction to something which should be humbling, reductive of the self.
I can see the other side too, people feel pain and loss and it’s natural enough to want to express it, so: whatever.
There’s also the comedy instinct to find the exact grey border country between “wildly inappropriate” and “just wrong enough, just teasing enough of taboo, to be exciting and boldly funny.” [I still laugh when I think about the guy who walked into the room where we were watching CNN after 9/11 and – not having heard about 9/11 – the dude walked into the room with both middle fingers up and said “what’s up bitches?” Only to then learn what the thing was that was on TV. An accidental joke.] If you’re gonna try this, though, you better be darn sure it’s funny. (The one or two stabs at this I saw yesterday were not just failures but were revolting and ugly.)
Anyway. I guess that’s it. I’m sad Robin Williams died, and the circumstances are extra sad. He died in Tiburon, CA.
Separate note: unrelated:
Yesterday I was reading Warren Bennis‘ book On Becoming A Leader. Not a great book, I have to say, it doesn’t capture or have the same impact of what it was like to hear Bennis in person. But I found myself thinking about this bit, hours later, it stuck in my craw:
Think what a great batting average is: .400 — which means a great batter fails to get a hit more than half the time. Most of the rest of us are paralyzed by our failures, large and small. We’re so haunted by them, so afraid that we’re going to goof again, that we become fearful of doing anything. When jockeys are thrown, they get back on the horse, because they know if they don’t, their fear may immobilize them. When an F-14 pilot has to eject, he or she goes up the next day in another plane.
(* I guess in this case I mean specifically “Twitter”)
Granville Redmond
Posted: August 1, 2014 Filed under: the California Condition Leave a comment
Granville Richard Seymour Redmond was born in Philadelphia,Pennsylvania on March 9, 1871 to a hearing family. He contracted Scarlet Fever at around 2½ to the age of 3; when he recovered, he was found to be deaf.
Granville attended the California School for the Deaf in Berkeley from 1879 to 1890 where his artistic talents were recognized and encouraged. There his teacher Theophilus d’Estrella taught him painting, drawing and pantomime.
While living in Los Angeles, he became friends with Charles Chaplin, who admired the natural expressiveness of a deaf person usingAmerican Sign Language. Chaplin asked Redmond to help him develop the techniques Chaplin later used in his silent films. Chaplin, impressed with Redmond’s skill, gave Redmond a studio on the movie lot, collected his paintings, and sponsored him in silent acting roles, including the sculptor in City Lights. Chaplin told a writer for The Silent Worker of a Redmond painting, “I could look at it for hours. It means so many things” and Chaplin’s famous The Dance of the Oceana Rolls was Redmond inspired.
During this time Redmond did not neglect his painting.
Reminds me of Liz’s awesome art. (I believe she too studied pantomime).
Granville lived for awhile in Tiburon, CA:
What’s that, Tiburon Wikipedia page? “See also Blackie The Horse“? If you say so:
Blackie was a swaybacked horse who, for twenty-eight years, was a well-known fixture in Tiburon, California. He not only stood in the same spot in a pasture at the corner of Tiburon Boulevard and Trestle Glen Road, rarely moving, day after day, but he faced in the same direction, becoming the local mascot of several generations.
On October 1, 1938, Blackie made history by swimming across the San Francisco Bay from the Marin County side to San Francisco’s Crissy Field. He swam it in 23 minutes and 15 seconds, winning a $1,000 bet for his then owner, Shorty Roberts.
The LA Natural History Museum
Posted: July 23, 2014 Filed under: the California Condition Leave a commentWorth paying a visit just to see this model of downtown LA as it was in the ’30s:
That great photo from poster “Citizen” at Archinect
While I was down in that part of the city, I saw a most interesting sight: two sports fans, standing outside the gates of the Coliseum, waiting for summer to end and college football season to start:
While there, don’t miss the sculptures of Naked Woman And Man As Athlete:
The Coliseum “served as the site of the field hockey, gymnastics, the show jumping part of the equestrian, and the track and field events along with the opening and closing ceremonies.”
The 1932 Summer Olympics, officially known as the Games of the X Olympiad, was a major world wide multi-athletic event which was celebrated in 1932 in Los Angeles, California, United States. No other cities made a bid to host these Olympics. Held during the worldwide Great Depression, many nations and athletes were unable to pay for the trip to Los Angeles. Fewer than half the participants of the 1928 Summer Olympics in Amsterdam returned to compete in 1932. Even U.S. President Herbert Hoover skipped the event.
The organizing committee put no record of the finances of the Games in their report, though contemporary newspapers reported that the Games had made a profit of US$1,000,000.
No one has ever written this.
Posted: July 2, 2014 Filed under: the California Condition, writing Leave a comment
A baller second sentence to write in your book.
Helytimes 
