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street vibes
so this past weekend me and a few of friends and even a old boss went to street vibes. took hyw 88 through jackson in to tahoe to crarson city to meet up with robert and gary to go to reno to our hotel. the weather was perfect the ride was great. so once in reno running around causing trouble like every one else. well i was racing this mustang off the line light to light. there was thiese two guys on custom choppers that was following the mustang trying to play as well. well i finally let off after the hole shot then two cops passed me and got next to the two guys.scared the shit out of me! don't know where they came from but on thre one cops licence plate fram it sayed (smile i could be behind u. needless to say the cops missaked my bike's noise as the two guys next to me. pissed them off they where talken hella shit.as we road by.got drunk all weekend for free lost $80.00 dollars to the casino. so i broke even because i could drink $80.00 dollars.good times,good friends,and a hole lot of shit to do.
CRAZY day!!!
Okay, so today, I worked in the Pet Resort walking dogs. Was having fun actually. Was feeling better. And it was busy to the point where it wasn't "pull my hair out" busy. So, that's always a good thing.
Well, we have this puppy, a husky, staying with us. Poor puppy had broken his leg a month ago. So, he was in a splint.
It was really dirty, and slipping off his leg, since it had rained last night and we didn't put a bag on his leg because he was the first dog we walked and I didn't realize how bad it was until we got out there.
WELL, I called over to the hospital (which was across the street), and told them I was bringing the puppy over. I drove over, like I had done millions of times before with other dogs.
I lifted the dog out of my car, so he wouldn't have to jump down with his broken leg. Had ahold of the leash. However, when I turned around to shut the door, he saw something and booked it. The leash slid right through my hand. Now, there is no leash, and my job is RIGHT on the busy road. A VERY busy road. He started running towards it.
Slow at first. I sped up, and so did he. I almost had his tail so that I could grab it and then jump on him, but my foot hit the curb wrong and I went HEAD FIRST right into the cement/road. I didn't hit my face, but my arm, elbow, and right leg is messed up pretty badly.
Luckily, a client was walkign his dog and saw me fall. He came to the rescue and the little puppy went to them wanting to play. THANK GOD.
I grabbed the leash and took him inside and collapsed on the floor in the treatment room. After they asked if I was okay and if the dog was okay, they all started bustin' out laughin at the situation.
Crazy day...crazy crazy day...haha.
“Sesame Street Old School” now on DVD Just don’t bring the children.!
Sunny days! The earliest episodes of “Sesame Street”
are available on digital video!
Break out some Keebler products,
fire up the DVD player and prepare for
the exquisite pleasure-pain of top-shelf nostalgia.
Just don’t bring the children.
According to an earnest warning on Volumes 1 and 2,
“Sesame Street: Old School” is adults-only:
“These early ‘Sesame Street’ episodes are
intended for grown-ups, and may not suit
the needs of today’s preschool child.”
Say what?
At a recent all-ages home screening,
a hush fell over the room.
"What the ......did they do to us?"
asked one Gen-X mother of two, finally.
The show rolled, and the sweet trauma
came flooding back.
What they did to us was hard-core.
Man, was that scene rough.
The masonry on the dingy brownstone at 123 Sesame Street,
where the closeted Ernie and Bert shared a dismal
basement apartment, was deteriorating.
Cookie Monster was on a fast track to diabetes.
Oscar’s depression was untreated.
Prozacky Elmo didn’t exist.
Nothing in the children’s entertainment of today,
candy-colored animation hopped up on computer tricks,
can prepare young or old for this frightening glimpse
of simpler times.
Back then — as on the very first episode, which aired
on PBS Nov. 10, 1969 — a pretty, lonely girl like Sally
might find herself befriended by an older male stranger
who held her hand and took her home.
Granted, Gordon just wanted Sally to meet his wife and have
some milk and cookies, but . . . well, he could have wanted
anything. As it was, he fed her milk and cookies.
The milk looks dangerously whole.
Live-action cows also charge the 1969 screen — cows eating
common grass, not grain improved with hormones. Cows are
milked by plain old farmers, who use their unsanitary hands
and fill one bucket at a time.
Elsewhere, two brothers risk concussion while whaling on each
other with allergenic feather pillows. Overweight layabouts,
lacking touch-screen iPods and headphones, jockey for airtime
with their deafening transistor radios. And one of those radios
plays a late-’60s news report — something about a “senior American
official” and “two billion in credit over the next five years” —
that conjures a bleak economic climate, with war debt and
stagflation in the offing.
The old “Sesame Street” is not for the faint of heart,
and certainly not for softies born since 1998, when the
chipper “Elmo’s World” started. Anyone who considers bull
markets normal, extracurricular activities sacrosanct and
New York a tidy, governable place — well, the original
“Sesame Street” might hurt your feelings.
When asked Carol-Lynn Parente, the executive producer of “Sesame Street,”
how exactly the first episodes were unsuitable for toddlers in 2007.
She told about Alistair Cookie and the parody “Monsterpiece Theater.”
Alistair Cookie, played by Cookie Monster, used to appear with a pipe,
which he later gobbled. According to Parente, “That modeled the wrong behavior”
— smoking, eating pipes — “so we reshot those scenes without the pipe,
and then we dropped the parody altogether.”
Which brought Parente to a feature of “Sesame Street” that had not been
reconstructed: the chronically mood-disordered Oscar the Grouch.
On the first episode, Oscar seems irredeemably miserable —
hypersensitive, sarcastic, misanthropic. (Bert, too, is described
as grouchy; none of the characters, in fact, is especially sunshiney
except maybe Ernie, who also seems slow.)
“We might not be able to create a character like Oscar now,” she said.
Snuffleupagus is visible only to Big Bird; since 1985,
all the characters can see him, as Big Bird’s old protestations
that he was not hallucinating came to seem a little creepy,
not to mention somewhat strained.
As for Cookie Monster, he can be seen in the old-school episodes
in his former inglorious incarnation: a blue, googly-eyed cookievore
with a signature gobble (“om nom nom nom”).
Originally designed by Jim Henson for use in commercials for
General Foods International and Frito-Lay, Cookie Monster was never
a righteous figure. His controversial conversion to a more diverse
diet wouldn’t come until 2005, and in the early seasons he comes
across a Child’s First Addict.
The biggest surprise of the early episodes is the rural — agrarian, even — sequences.
Episode 1 spends a stoned time warp in the company of backlighted cows, while they
mill around and chew cud. This pastoral scene rolls to an industrial voiceover
explaining dairy farms, and the sleepy chords of Joe Raposo’s aimless masterpiece,
“Hey Cow, I See You Now.” Chewing the grass so green/Making the milk/Waiting
for milking time/Waiting for giving time/Mmmmm.
Oh, what’s that? Right, the trance of early “Sesame Street” and its
country-time sequences. In spite of the show’s devotion to its “target child,”
the “4-year-old inner-city black youngster” (as The New York Times explained in 1979),
the first episodes join kids cavorting in amber waves of grain — black children,
mostly, who must be pressed into service as the face of America’s farms uniquely
on “Sesame Street.”
In East Harlem and Bedford-Stuyvesant in 1978, 95 percent of households with
kids ages 2 to 5 watched “Sesame Street.” The figure was even higher in Washington.
Nationwide, though, the number wasn’t much lower, and was largely determined by the whims
of the PBS affiliates: 80 percent in houses with young children. The so-called inner city
became anywhere that “Sesame Street” played, because the Children’s Television Workshop
declared the inner city not a grim sociological reality but a full-color fantasy —
an eccentric scene, framed by a box and far removed from real farmland and city streets alike.
The concept of the “inner city” — or “slums,” as The Times bluntly put it in
its first review of “Sesame Street” — was therefore transformed into a kind
of Xanadu on the show: a bright, no-clouds, clear-air place where people bopped
around with monsters and didn’t worry too much about money, cleanliness or projecting
false cheer. The Upper West Side, hardly a burned-out ghetto, was said to be the model.
People on “Sesame Street” had limited possibilities and fixed identities, and (the best part)
you weren’t expected to change much. The harshness of existence was a given, and no one was
proposing that numbers and letters would lead you “out” of your inner city to Elysian suburbs.
Instead, “Sesame Street” suggested that learning might merely make our days more bearable,
more interesting, funnier. It encouraged us, above all, to be nice to our neighbors and to
cultivate the safer pleasures that take the edge off — taking baths, eating cookies, reading.
Don’t tell the kids.
Points of Entry
Caveat teletor: Volumes 1 and 2 of “Sesame Street: Old School”
are available on DVD, which you can sample and buy on Sesameworkshop.org.
With a few episodes, extras and celebrity appearances by the likes of
Richard Pryor and Lou Rawls, “Old School” sounds harmless enough.
But are you ready to mainline this much ’70s nostalgia?
The Way Old: YouTube is great for performance art.
If 1969 is not far back enough for you, how’s 1935?
The Oscar-winning short film “How to Sleep,”
by the Algonquin Round-Tabler Robert Benchley,
can be found here in sumptuous black-and-white;
search for his name and the film’s title on YouTube.
Come of Age: Marshall Herskovitz and Edward Zwick,
the men of “My So-Called Life” and “thirtysomething,”
have at last introduced their online-only young-adult series,
“Quarterlife.” It started Nov. 11 on MySpaceTV.com,
and it marks the first time a network-quality series —
a long indie film, really — has been produced directly
for the Internet.
If the old times unnerve you, welcome to the new times.
Hope you all had a great thanksgiving weekend!
Sunny days! The earliest episodes of “Sesame Street”
are available on digital video!
Break out some Keebler products,
fire up the DVD player and prepare for
the exquisite pleasure-pain of top-shelf nostalgia.
Just don’t bring the children.
According to an earnest warning on Volumes 1 and 2,
“Sesame Street: Old School” is adults-only:
“These early ‘Sesame Street’ episodes are
intended for grown-ups, and may not suit
the needs of today’s preschool child.”
Say what?
At a recent all-ages home screening,
a hush fell over the room.
"What the ......did they do to us?"
asked one Gen-X mother of two, finally.
The show rolled, and the sweet trauma
came flooding back.
What they did to us was hard-core.
Man, was that scene rough.
The masonry on the dingy brownstone at 123 Sesame Street,
where the closeted Ernie and Bert shared a dismal
basement apartment, was deteriorating.
Cookie Monster was on a fast track to diabetes.
Oscar’s depression was untreated.
Prozacky Elmo didn’t exist.
Nothing in the children’s entertainment of today,
candy-colored animation hopped up on computer tricks,
can prepare young or old for this frightening glimpse
of simpler times.
Back then — as on the very first episode, which aired
on PBS Nov. 10, 1969 — a pretty, lonely girl like Sally
might find herself befriended by an older male stranger
who held her hand and took her home.
Granted, Gordon just wanted Sally to meet his wife and have
some milk and cookies, but . . . well, he could have wanted
anything. As it was, he fed her milk and cookies.
The milk looks dangerously whole.
Live-action cows also charge the 1969 screen — cows eating
common grass, not grain improved with hormones. Cows are
milked by plain old farmers, who use their unsanitary hands
and fill one bucket at a time.
Elsewhere, two brothers risk concussion while whaling on each
other with allergenic feather pillows. Overweight layabouts,
lacking touch-screen iPods and headphones, jockey for airtime
with their deafening transistor radios. And one of those radios
plays a late-’60s news report — something about a “senior American
official” and “two billion in credit over the next five years” —
that conjures a bleak economic climate, with war debt and
stagflation in the offing.
The old “Sesame Street” is not for the faint of heart,
and certainly not for softies born since 1998, when the
chipper “Elmo’s World” started. Anyone who considers bull
markets normal, extracurricular activities sacrosanct and
New York a tidy, governable place — well, the original
“Sesame Street” might hurt your feelings.
When asked Carol-Lynn Parente, the executive producer of “Sesame Street,”
how exactly the first episodes were unsuitable for toddlers in 2007.
She told about Alistair Cookie and the parody “Monsterpiece Theater.”
Alistair Cookie, played by Cookie Monster, used to appear with a pipe,
which he later gobbled. According to Parente, “That modeled the wrong behavior”
— smoking, eating pipes — “so we reshot those scenes without the pipe,
and then we dropped the parody altogether.”
Which brought Parente to a feature of “Sesame Street” that had not been
reconstructed: the chronically mood-disordered Oscar the Grouch.
On the first episode, Oscar seems irredeemably miserable —
hypersensitive, sarcastic, misanthropic. (Bert, too, is described
as grouchy; none of the characters, in fact, is especially sunshiney
except maybe Ernie, who also seems slow.)
“We might not be able to create a character like Oscar now,” she said.
Snuffleupagus is visible only to Big Bird; since 1985,
all the characters can see him, as Big Bird’s old protestations
that he was not hallucinating came to seem a little creepy,
not to mention somewhat strained.
As for Cookie Monster, he can be seen in the old-school episodes
in his former inglorious incarnation: a blue, googly-eyed cookievore
with a signature gobble (“om nom nom nom”).
Originally designed by Jim Henson for use in commercials for
General Foods International and Frito-Lay, Cookie Monster was never
a righteous figure. His controversial conversion to a more diverse
diet wouldn’t come until 2005, and in the early seasons he comes
across a Child’s First Addict.
The biggest surprise of the early episodes is the rural — agrarian, even — sequences.
Episode 1 spends a stoned time warp in the company of backlighted cows, while they
mill around and chew cud. This pastoral scene rolls to an industrial voiceover
explaining dairy farms, and the sleepy chords of Joe Raposo’s aimless masterpiece,
“Hey Cow, I See You Now.” Chewing the grass so green/Making the milk/Waiting
for milking time/Waiting for giving time/Mmmmm.
Oh, what’s that? Right, the trance of early “Sesame Street” and its
country-time sequences. In spite of the show’s devotion to its “target child,”
the “4-year-old inner-city black youngster” (as The New York Times explained in 1979),
the first episodes join kids cavorting in amber waves of grain — black children,
mostly, who must be pressed into service as the face of America’s farms uniquely
on “Sesame Street.”
In East Harlem and Bedford-Stuyvesant in 1978, 95 percent of households with
kids ages 2 to 5 watched “Sesame Street.” The figure was even higher in Washington.
Nationwide, though, the number wasn’t much lower, and was largely determined by the whims
of the PBS affiliates: 80 percent in houses with young children. The so-called inner city
became anywhere that “Sesame Street” played, because the Children’s Television Workshop
declared the inner city not a grim sociological reality but a full-color fantasy —
an eccentric scene, framed by a box and far removed from real farmland and city streets alike.
The concept of the “inner city” — or “slums,” as The Times bluntly put it in
its first review of “Sesame Street” — was therefore transformed into a kind
of Xanadu on the show: a bright, no-clouds, clear-air place where people bopped
around with monsters and didn’t worry too much about money, cleanliness or projecting
false cheer. The Upper West Side, hardly a burned-out ghetto, was said to be the model.
People on “Sesame Street” had limited possibilities and fixed identities, and (the best part)
you weren’t expected to change much. The harshness of existence was a given, and no one was
proposing that numbers and letters would lead you “out” of your inner city to Elysian suburbs.
Instead, “Sesame Street” suggested that learning might merely make our days more bearable,
more interesting, funnier. It encouraged us, above all, to be nice to our neighbors and to
cultivate the safer pleasures that take the edge off — taking baths, eating cookies, reading.
Don’t tell the kids.
Points of Entry
Caveat teletor: Volumes 1 and 2 of “Sesame Street: Old School”
are available on DVD, which you can sample and buy on Sesameworkshop.org.
With a few episodes, extras and celebrity appearances by the likes of
Richard Pryor and Lou Rawls, “Old School” sounds harmless enough.
But are you ready to mainline this much ’70s nostalgia?
The Way Old: YouTube is great for performance art.
If 1969 is not far back enough for you, how’s 1935?
The Oscar-winning short film “How to Sleep,”
by the Algonquin Round-Tabler Robert Benchley,
can be found here in sumptuous black-and-white;
search for his name and the film’s title on YouTube.
Come of Age: Marshall Herskovitz and Edward Zwick,
the men of “My So-Called Life” and “thirtysomething,”
have at last introduced their online-only young-adult series,
“Quarterlife.” It started Nov. 11 on MySpaceTV.com,
and it marks the first time a network-quality series —
a long indie film, really — has been produced directly
for the Internet.
If the old times unnerve you, welcome to the new times.
Hope you all had a great thanksgiving weekend!
Tight Squeeze
We delivered to a residential district of Philadelphia last night and as usual, our directions weren't very good, so at 2am we found ourselves traveling down a narrow street lined with cars on each side wondering if we would come to a low underpass and have to back up down the same 1 way street. Luckily, there were no low underpasses and we eventually made our way to the delivery point. Here is some video.
Google's Van looks like it has a camera on top
About three weeks ago, I was driving north on 101 to work at PBwiki. There was a van driving by and I saw what looked like a large black cargo container on it. Except it had a large cylinder on top. It looked like a GIANT CAMERA mounted on the roof, aimed at the sky. I thought, "Yeah, Brian, It's a giant camera on top of a van."
Now I just saw William's photos of the Google van. LOL. Turns out the thing on top was a camera after all. Well, a panoramic assembly of normal-sized cameras arranged in a shape that just so happens to look like a giant camera. Is this an engineering joke on behalf of Google? Or maybe it is a disguise: "Nobody will think were hiding cameras in 60x-sized replica of a camera."
About three weeks ago, I was driving north on 101 to work at PBwiki. There was a van driving by and I saw what looked like a large black cargo container on it. Except it had a large cylinder on top. It looked like a GIANT CAMERA mounted on the roof, aimed at the sky. I thought, "Yeah, Brian, It's a giant camera on top of a van."
Now I just saw William's photos of the Google van. LOL. Turns out the thing on top was a camera after all. Well, a panoramic assembly of normal-sized cameras arranged in a shape that just so happens to look like a giant camera. Is this an engineering joke on behalf of Google? Or maybe it is a disguise: "Nobody will think were hiding cameras in 60x-sized replica of a camera."
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