Category Archives: Art

Follow up to Dave Itzkoff’s NYT column about his 4 year old and home video, “Yellow Submarine & Me” .


Follow up to Dave Itzkoff’s NYT column about his 4 year old and home video, “Yellow Submarine & Me”  .

(I posted this as a comment on his greeting on Redit. Never been signed up on Redit before. I couldn’t send a message on Twitter and the letters section for the article was closed. I liked what he wrote, I hope he enjoys this additional info.)

Hi Dave, I’m Bill Abbott and I greatly enjoyed your NYT piece about “Yellow Submarine“. My kid, now 22, was also a big fan at that age. Great stuff! Same kid prefers “Help!” to “Hard Day’s Night”. Admittedly, “Help!” has more tigers, and the four attached home front doors leading to one room, with John’s bed below floor level. How I wanted one of those! Same kid offered a Nina Simone song as “what’s going through my mind now” this afternoon. I have no complaints.

Not long after “Yellow Submarine“, we were lucky enough to have another pre-schooler loan us a copy of “My Neighbor Totoro“. We didn’t know the film, didn’t know Miyazaki or Studio Ghibli. But we learned in a hurry! VERY kid friendly, and (spoiler) their mom is in the hospital but gets better! No Hollywood Movie disease! Totoro? You’ll meet the neighbor. You’ll be happy you did.

Then my brother loaned us a VHS of “The Way Things Go“. Its a 31 minuite Rube Goldberg machine made of industrial and consumer junk, in a disused factory setting. One thing knocks into a second, which tips a third, whick pulls a string, which releases a weight that falls on the end of a folded, partially inflated, vinyl boat, which unfolds, starting a tire rolling up (!) a ladder, which hits a second tire, starting it, and then a third, and a forth… you get the idea. Eventually the rhythms of the events , repetitions and variaions become identifyable, and after that, you start seeing the pauses where they had to reload the camera, every 3 minutes to 3:30 or so. I’ve probably seen it 100 times by now. When it ends, the delighted child says, “Again!” So always leave enough time to watch it twice.

Around age 5 or so, the family across the street loaned us a copy of “Spy Kids 2“. There were 3 “Spy Kids” movies, by Robert Rodriguez, and now there’s a fourth. We started with “Spy Kids 2”, because that’s what our neighbors loaned us, and they were right! Like “Night At The Museum 2“, “Spy Kids 2” explains nothing. There are characters. They have relationships. It will be come clear as it goes along. And there aren’t 30 seconds wasted in either film. “Spy Kids 2” has the great cast (Alan Cumming, Teri Hatcher, Cheech Marin, Danny Trejo, Tony Shalhoub.) of the first film, adding Ricardo Montalban and Holland Taylor as the Kids grandparents, on their mother’s side, a second Spy family, mom, dad, sister, brother, and Steve Beucimi as the mad scientist hiding in the volcano on the invisible island because he’s afraid of the creatures he’s created. Half to himself, he wonders “…if God hides in Heaven because He’s Afraid of what He created.”

“Spy Kids” explains everything, how the Kids parents (Antonio Banderas, Carla Gugino) work for the OSS, and the kid’s Uncle Machete built the tree house next to their house. You get more explanation about the Cumming and Shalhoub characters. Then truey odd stuff happens, big adventures, and it winds up ok. Takes a while, but OK. That’s nice but its not the one to start with.

Spy Kids 3” involves video games and Sylvester Stalone, not as successful in my opinion. ßtart with “2”, then watch “1”. Be happy.

If you liked “Totoro” then “Kiki’s Delivery Service” is a good second helping.

If you like “The Way Things Go“, there are two follow-ups, “Rendezvous“, “C’était un rendez-vous”, by Claude LeLouch, offers an 8 and a half minute, completely illegal, drive through Paris starting at about 5:30 am, so a man can meet his wife at Sacré-Cœur Basilica A “rendezvous”. They embrace in the headlights of his car. The whole thing is one shot, from the front of the car. What you see is the streets. The stop lights (they are red, the driver doesn’t even lift their right foot). Pidgeons. An early dog-walker, a trash truck. The route includes the courtyard of the Louve, because you used to be able to drive through it.

A second follow-up to “The Way Things Go” is “Rivers and Tides. Andy Goldsworthy Working With Time“. It starts with Goldsworthy up before the sun, in Newfoundland. He has a little cup of water and some icicles, which he breaks into short pieces with angled ends. He is using the water to glue them to a rock, then build a loop that goes out, curves, and returns to the rock. With one loop in place, he goes to the other end of the rock and makes tne next loop, higher. And back and forth. When he’s done, he steps back to take a photograph, and thats when the sun rises. The whole icicle “sewn” back and forth “through” the rock lights up like a Neon lamp. Like Steve Martin’s gag “arrow through the head”.

I had admired Goldsworthy’s work on exhibit around the Bay Area, and in books like “Hand To Earth”, but in the movie, you see an imperinant, temporal side of what he does. He builds something between the low tide and high tide mark, and the water rises and inundates it. He pins together bracken with thorns, and the little puffs of a light wind wrench it appart. All the rest of the film consists of wathching Goldsworthy go out into the wild world, make something with what he finds, take a picture, and leave it. And film of projects he did in the past. He narrates everything. Not every project succeeds. There’s a pinecone-ish shape he likes to build with stones, and he’s trying on a rocky shingle beach, and he hasn’t figured out how to use the rock. It keeps falling. Be talks about it while he works.

Another project is just jaw dropping. He’s drawn to the meandering shape of an old river on a nearly level plain, big loops that will be come oxbows, etc. He draws one in light snow on a frozen stream. He is offered a  wall in a gallery, and he builds a meander on it, using a soft, porus, material, and soaks it with water. Then he covers the whole wall with mud. So its a uniform, hand-smoothed, wall, entirely made of mud. And he lets it dry. Well, part of it dries quickly, there’s no water source under it. But part dries slowly, stays dark, and when it does, eventually dry, its immediately aparent where the meander is because the mud  that dried quickly has one characteristic set of cracking and the mud that dried slowly has a different looking cracking, and the two couldn’t be clearer in their difference. Although both are dried mud, the same dried mud. You can see the shape he wanted to show. How cool is that?

Duck’s Breath Mystery Theater on-line!


Thanks to my friend Eric Lindberg, I can report that the 45 rpm “The Ballad of Ronald McDonald“, can be found at “https://beta.prx.org/stories/14394“, from 16:00 to 19:15 or so.

and Dr. Science: 20:33 to 21:40 – the Human Brain compared to the Computer.

Also found “Household Appliances“!  https://beta.prx.org/stories/14399 = #2 Behind the Comedy, from 32:50. Sounds like the lp version from “Out of Season“, with acoustic intro, then studio, rock and roll, contents.

Here’s the complete set of Behind the Comedy:

#1  https://beta.prx.org/stories/14394

#2  https://beta.prx.org/stories/14399

#3  https://beta.prx.org/stories/14403

#4  https://beta.prx.org/stories/14405

#5  https://beta.prx.org/stories/14492

The Ballad of Ronald McDonald – Merle Kessler / Duck’s Breath Mystery Theater


Thanks to my friend Eric Lindberg, I can report that the content of the 45 rpm “The Ballad of Ronald McDonald“, can be found at “https://beta.prx.org/stories/14394“, from 16:00 to 19:15 or so.

The Ballad of Ronald McDonald – Merle Kessler

His face painted gayly, young Ronald did ride

All with his soldiers, 2 Shakes and Large Fries

Big Mac he rode with him, and Mayor McCheese

To fight Colonel Sanders, his worst enemy

 

While in the White Castle fair Wendy did stay

She watched all a-tremble her lord ride away

She loved not Lord Ronald, though she was his McBride

Another clown had the franchise on her pride

 

All in the moonlight Jack’s onion rings shone 

To court this fair damsel he’d come all alone

The Taco Bell struck the young lover’s McDoom

As Ronald McDonald stepped into the room.

 

“My burgers are bitter!” young Ronald he cried

as he wiped a McTear from his orange McEye

“I blew-up your boxes, Jack, outsold you too”

“And Wendy, oh Wendy, I did it all for you!”

 

It was not Colonel Mustard in the hall with a knife

That parted the lovers away from their lives

But Ronald McDonald killed them and himself

Crying, “No need to go-o-o anywhere else!”

 

The Burger King found them on the sanitized floor

The blood thick as catsup, it grieved him full sore

He said, “Millions consumed your fast food while they roamed!”

“Now your arches have fallen, we’ll eat burgers at home”

 

This was a single put out by Mr. Kessler but also performed as part of Duck’s Breath Mystery Theatre shows. He was a member of that comedy troupe. I have the 45 rpm disc, autographed, somewhere, I hope. I meant to keep it.

This song was written and performed by Merle Kessler, and he holds the copyright to it. This publication of the lyrics is intended to keep knowledge of the song alive, and provide a reference for discussion. I assert that this is “fair use” under current law.

The rhythm is 10 syllables, 1,2,3; 12, 3; 12, 3; 1; : da da da, da-da  da, da-da  da,  da

It looks like 4 bars, or  6 groups of notes, per line, repeated 4 times per verse.

 

11/9/18 – add *what* struck the McDoom, then follow Eric’s note and get the rest! Thank you!

11/8/18  – add McDoom line & one after

*Fortunate* Motorcyclist survives driving off cliff


http://www.cnn.com/videos/us/2017/08/11/motorcycle-plunges-off-cliff-santa-monica-mountains-california-orig-trnd-lab.cnn/video/playlists/caught-on-camera/

My comments to CNN:

Cliff-diving motorcyclist Matthew Murray, 27, passes a “25 MPH” advisory sign in the 12th second of CNN’s video clip. This is in the 2nd run through of the crash video. In the 15th second he’s going 68 MPH as he starts to lean into the turn. He’s still going more than 50 MPH as he slides off the pavement and onto the dirt. Text on the screen says something to the effect that he “was following the turn when he thinks his steering locked up”. The video shows no such thing. He was going too fast, and could not turn sharply enough to follow the turn. He started at more than 2.5 times the advised speed. He left the pavement at 2 times the advised speed. His speed “locked” his path, not his steering.

Get the an accurate map of the curve, the size and tread pattern of the motorcycle tires and a description of the motorcycle (make, model, horsepower, brakes,weight-as-crashed) and rider (weight). Give to “Mythbusters”. Have them duplicate the failure, during deceleration, then do a binary search for the steady speed at which a motorcycle on those tires, at that weight, could follow that turn. Braking uses traction, does that change maximum speed?. Find the entry speed, before braking, that would allow the bike to make the turn. Put a GoPro on the bike for comparison pictures, and a second one showing where the front tire touches the road.

An example that pleased me: The difference between an abstract class and an interface, in Java:


Here’s the punch line:

In Java, Prussia can extend (“be a”) one of the super-classes, Holy, Roman or  Empire, but only one. Prussia can implement the other two as interfaces, but only with methods and fields uniquely its own. If Prussia is to be Holy, be Roman and be an Empire, the strictly hierarchical relationship of those three super-classes has to be worked out separately and in detail, in advance. I can only imagine Herr von Bismark would approve.

 

And the whole magilla:
1) What is the difference between an interface and an abstract class?

An abstract class defines data (fields) and member functions but may not, itself, be instantiated. Usually, some of the methods of an abstract class are abstract and expected to be supplied by a sub-class, but some of the methods are defined.  Unless they are final, they can be overridden, and they can always be overloaded. Private parts of an abstract super class, for example, data, are not available to a subclass, so access methods (public or protected) must be used by the subclass. An abstract superclass is “extended” by a subclass. A given subclass may only extend one super-class, but a super-class may extend another super-class, in a hierarchy. (This avoids the complexities/difficulties of multiple inheritance in C++)

An interface is a proper subset of an abstract class, but has a different scope and use. An interface has ONLY abstract member functions and static, final, fields, aka constants. Any subclass has to provide all the variable fields and code which implements an interface. The implementing class cannot override the interface’s member signatures – the signatures are what the interface *is*. It is possible to overload an interface’s signatures, adding or subtracting variables, changing return or variable types, but the overloads do not satisfy the requirements of the interface. The implementing class(s) must contain actual member functions to satisfy all of the signatures in the interface, because there is no default, no code in the interface.  As used above, a given class ‘implements’ an interface, it does not ‘extend’ it. These limitations to an interface allow a given class to implement more than one, which retains most of the utility of multiple inheritance without, as it were, opening Plethora’s bag. (grin)

For example: In Java, Prussia can extend (“be a”) one of the super-classes, Holy, Roman or  Empire, but only one. Prussia can implement the other two as interfaces with methods and fields uniquely its own. If Prussia is to be Holy, be Roman and be an Empire, the strictly hierarchical relationship of those three super-classes has to be worked out separately and in detail, in advance. I can only imagine Herr von Bismark would approve.

Colors & materials for Apollo 11 CM, SM & LM. What the hardware looked like. For the Dragon kit.


Thanks to my beloved wife Jean, I got a Dragon Apollo 11 on the Moon kit, for Christmas! 1/72 scale, new tooling (same as their die-cast metal collectable?)

The short form on real, as-flown-in-1969, surfaces and finishes:

Command Module.

The actual Apollo Command module was covered with strips of mirror finish aluminized plastic micrometeoroid shield and thermal insulation, on the visible surfaces. The ablative heat shield, not visible until the CM and SM are separated, is said to have been painted a light gray color. During re-entry to Earth’s atmosphere, the mylar was mostly burned off and a light-gray painted structure under it became visible. Below that paint appears to have been a composite honeycomb material. I think it is unlikely that the actual pressure vessel that the crew lived in touched the outside surface except at the hatch edges.

In pictures of the remaining, unused, Apollo CSM (the emergency rescue vehicle for Skylab), you can see the stripe pattern of the plastic tape on the CM exterior, but in contemporary photographs, it looks like one piece of mirror polished aluminum. Like an American Airline’s jet airliner.

The fold-flat handles on the outside of the CSM, for astronaut Extra-Vehicular Activities (EVAs) were painted a glossy yellow, like the similar hand-rails on the the Hubble Space Telescope.

The docking capture and latch mechanism mounted on the outside of the tunnel, above the front hatch of the CM, is primarily titanium-looking metal, with a chromed, presumably retractable or spring loaded or damped, shaft.  There are darkened metal handles in the mechanism, probably painted or anodized a dark blue dark gray or black.

The inside of the tunnel itself, behind the docking capture mechanism, is light gray with 12 blue-anodized cylinder-topped arms at the top, some black and some other colors of boxes, and wires,

Service module:

The Service module exterior was  painted with an aluminum paint, except for radiator areas fore and aft which were white, two “ram’s horn” antennas that were white or light gray, and 24 narrow stripes (about 25%) on panels under the RCS thrusters. The area under “United States” may or may not have been light gray, and many labels on the exterior appear to be black text on light gray background.

The main engine exhaust bell is complex, but a bluish gray for the biggest, lower, part, outside, and reddish gray for the upper part, outside, is a good start. The top of the bell joins the reddish part at a flange, with bright bare metal fasteners by the dozen. The top of the bell, the last part visible beyond (below) the Inconel heat shield, is wrapped in the mylar and-or “H-film” ( aka “Kapton”) insulation and micrometeoroid shield. The back of the CM is mostly covered by 4 stamped quadrants what looks like thin Inconel nickel-copper high temp metal. The furthest outer edge of the end of the Service Module is painted with aluminum paint just like the sides.

Lunar Module:

The Lunar Module has two very different areas of finish: The descent (lower) stage is primarily wrapped in thermal insulation / micromedeoroid protection, a multilayer collection of  Kapton (“H film”) and Mylar, and other, exotic, things, with metal evaporated/ plated on them for protection. A lot of what looks ‘black’ is actually a black-finished foil or mylar.

The descent engine has a medium gray exterior and nestles in an Inconel-lined cavity in the descent stage.

The ascent (upper) stage of the Lunar Module is about half black-finished and half anodized Aluminum. Yes, the Aluminum looks like its dark, like Titanium, or has a distinct gray-beige-green tone. All true, many have remarked on the hard-to-describe colors. Grumman’s construction documents for the whole thing, facet by facet, are on line, and they specify Phosphoric acid and Sulfuric Acid anodizing of the various aluminum alloy pieces.  Some Mylar or “H film” wrapping is on the the outside of the ascent module. The ascent engine has a semi-gloss white exterior, with a textile-like “wrapped” texture. This may be thermal insulation, similar to the thick batts of insulation wrapped around the F1 engines of the Saturn V first stage.

There are two dish antennae on the ascent stage, Both have white-painted dishes and are generally black otherwise. The antenna directly above the lunar egress hatch and the front windows has black foil everywhere except the inside of the dish. The signal radiator in the center of the dish is white.

The antenna off on the starboard side of the ascent stage has a semi-gloss black mechanism and flat black on the back on the dish. Black, also, on the 4 legs and the forward reflector in front of the dish.

In more detail:

Command Module.

The Reaction Control System (RCS) engine nozzles on the CM have an oxidized copper color in their throats, and a slightly corrugated texture. Photos of post-re-entry CMs show a ring of the same oxidized copper color outside the nozzles, but the aluminized mylar covers these rings up to the edges of the RCS engine bells.

The forward and side windows for the two outside crew stations have black anti-glare finish around the windows, and red-orange silicone seals at every layer of the windows.

Below or behind the port side windows and the crossed RCS nozzles are a pair of drain valves, white 5/8 spheres with gold-toned dots at the outside. A very similar purge valve is installed on the starboard side of the side hatch.

On both sides, below windows, RCS nozzles, etc and the edge of the ablative re-entry shield, there are translucent white dots. Under the Mylar there are black partial circles around these two translucent circles,. On the Service Module, there are matching white partial circles painted on the fairing at the top edge of the SM

A minor (very minor) mystery is what kind of plastic the reflective stuff on the CM is. The expected temperature range in the space environment was wider than NASA was comfortable using Mylar, generally, uncovered, in the thermal insulation blankets covering the LM Descent Stage. Therefore, the outer layer of those blankets is always Kapton (“H film”), which is usable over the expected temperature range.  Of course, a blanket of up to 25 layers of plastic, using microthicknesses of vacuum deposited metal for insulation, is fundamentally different from a pressurized honeycomb structure wrapped with a layer of glued-on plastic tape. Maybe the thermal mass and inertia of the CM (and the slow-rolling passive thermal control regime) kept conditions on the outside of the CM suitable for Mylar, Maybe the CM plastic has the metal side “out”, unlike the majority of LM applications which are generally plastic side out (hence the gold-amber color: its not gold foil, its aluminized Kapton with the metal in and the plastic out.

Service module:

Inside the main engine exhaust bell is complex. At the bottom, inside the bluish gray outside, are 16 dark metal petals with strong textures. Inside the reddish-gray part of the bell are a set of 6 petals and then a solid ring- all a glossy dark color.  Above the dark, solid, ring, is a white metal ring, something like aluminum colored. Above that is an orangey brown and then at the peak of the engine is a light, metallic-finished plate with 5 stamped spokes and a central cap.

Lunar Module:

How I plan to reproduce these colors:

Command Module:

The glued-flat aluminized mylar on the real thing doesn’t look like any paint, even mirror polished aluminum. It looks like mylar, darker than polished aluminum. I have seen photos on-line of Apollo CMs finished in Bare Metal Foil, in the correct striped pattern. But I don’t see the stripes unless I look very closely in the 1960s photos- they’re easy to see in flash photos taken today, on the leftover CSM lifeboat for Skylab that never flew. But not in pictures of Apollo 11, or 15, or any of the other hardware that was flown.

Sooooo: Bare Metal Foil remains possible, or very thin aluminum foil, polished and clear-coated. “Chrome” spray paint would not be a bad choice. Having the kit part polished and then vacuum coated with aluminum would be very close to the real thing. Brush-painting Testor’s Chrome Silver oil-based paint or another similar non-water-based product is also a thought – the occasional brushmark could be said to represent the stripes of the Mylar…

“Chrome” spray paint or Metalizer Buffable Aluminum rattle can are the top two contenders at the moment. I’m going to do a study with each and see which I like more  watch this space.

Service Module:

Polly-scale Reefer White (that’s as in Refrigerator White, the rail-road color) is my call for the white paint on the lower and upper ring radiators, the two ‘tabs’ containing the ram’s horn antennas, and the white areas near the RCS boxes. My own mix for Boeing Aircraft Company #707 Gray is my first choice for the Light Gray RCS boxes, unless they’re white too, have to check again before I commit myself. The Inconel heat shield could be Polly Scale Stainless Steel, maybe with a bit of yellow added to bring out the nickel ‘color’… Inconel is a copper-nickel alloy and its attraction is that it holds its strength at high temperatures, not that its intrinsically tough stuff like titanium. It actually cuts and polishes pretty readily, but the important thing is that its clearly NOT aluminum. Completely different color. Not unlike stainless steel, which is, itself, not like steel OR aluminum.

Lunar Module:

Lego Album Cover Art: More questions than answers!


First, have a look. If you are in the cultural group that recognizes these symbols, you may get a giggle:

href=”http://blog.flickr.net/en/2011/07/02/lego-album-covers/

Second, remember (or remember hearing about) all the tiresome discussions of

whether song lyrics were poetry, or could be;

whether album covers were art, or could be;

whether representations of real things were art, or could be;

whether non-representational collections of colors, textures, objects and lighting effects were art, or could be?

blah blah, blah blah blah, (Don’t forget gender, gender-role, ethnicity, class and other forms of differentiation…)

Well, faghedaboutit, ok? This is fun, not work!

And my hearty thanks to the makers of this work. And what it represents, imperfectly.

Cheers!
Bill