Date Archives November 2016

Feed These Bad Boys!

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On the trip back from southern California, I decided to take the slightly less direct but vastly more scenic pacific coast highway. It was an opportunity to see different sights, try different things, and even though it would make the trip longer, it would feel shorter and that’s the important thing. Because as much as I love road trips, those long repeated stretches of sameness can really weigh on me, make me feel more anxious, less patient…all those qualities I don’t want to draw out on a long drive. So the pacific coast highway it was, and what an excellent choice it turned out to be.

My first stop was in the adorable town of Solvang, which has been built to evoke the feeling of a tiny trip to Denmark, with its half-timbered architecture, windmills, and even a replica of the Copenhagen Little Mermaid statue. The four sided brass clock standing on the corner of Atterdag road is an antique Ansonia, and the only one of its kind in the world. Sadly, I didn’t get much more than a quick peep at the town and a late lunch at the Fresco Valley Cafe–I sat outside to better soak up the sun, and it seemed like every fly in the greater Solvang area paid me and my sandwich a visit. I have since read that the flies in the area are a huge problem August through October, so if I were to go back, it’d be in the off season while the flies are vacationing elsewhere, because if I’m going to have to twirl my arms around my head every few seconds, I’d better be on ecstasy and at a rave, not trying to eat a fecal matter free sandwich.

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The most important stop of the day beckoned from the roadside between Solvang and our destination, a bright green sign reading “Ostrichland USA FEED THIS BAD BOY!” What? A new opportunity a mere 733 miles from my last ostrich-based disappointment spotted in the same week? This wasn’t merely opportunity or even ostrich-tunity: this was destiny.

OSTRICH. DESTINY.

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They do charge an admission fee, but the first bowl of food is free with two adult admissions. When the employee asked how many additional bowls of food we wanted, I told him that the free one would probably suffice.  I couldn’t have been more wrong.  Up close, ostriches resemble nothing so much as giant deranged muppets, with their long bendy necks, their exaggeratedly large eyelashes, and their beaks hanging agape in anticipation of food. It makes them look half cute and half vacantly stupid. There was simply no way for me to anticipate the utter violence with which they eat. Even the signs that say that ostriches enjoy biting, the feeding instructions that indicate to hang on to the dustpan handle with both hands, and the slogan “feed these bad boys” only gave me an inkling of the pellet-based devastation that was about to occur. They absolutely slam their heads over the fence and into the bowl, the feed inside disappearing in seconds, some attempting to even rip the bowl away from the feeder.

Obviously, we needed to buy more pans of food, at least two. They were hungry, they were bad, and they required no fewer than two more pans. They told me this with their pleading gazes and also with their threats of violence if their demands were not met. I was quick to comply.

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They also had emus at ostrichland, which are smaller but almost equally imposing as they are able to get their heads out from between the fence slats, the better to glare with their dinosaur eyes and vocalize their eerie, rumbling groans.

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Owing to fence placement, it’s hard to get a photo of an entire ostrich–either you get the disembodied head or the beheaded body but not both. There were large rectangular gaps in the fence, presumably for the feeding of the animals, and I found one with no ostriches nearby so I could peep my head inside and maybe get a full body shot or two. Which, owing to the violence I just witnessed, was indeed incredibly stupid, a point which was hammered home when not ten seconds later Jason warned me about an ostrich that was silently creeping up on me, not doubt to bite at will with all the pleasure it could muster, with maybe a kick or two for good measure. And I absolutely would have deserved it.

solvang-17-of-29This sneaky motherfucker.

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And once I thought I had grasped just how terrifying an ostrich could be (they’ll now be known as “the silent killer” in my house), they started showing off their creepy second eyelids in my photos, like they’re telepathically communicating with a hellish underworld that has issued a literal pecking order for my murder. Specifically my murder.

Their babies sure are cute, though.

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And the fat ass dappled squirrels who enjoy a bounty of scattered food aren’t bad, either.

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We had time for one more quick stop before we had to get to the hotel for the night, so we swung into Pea Soup Andersen’s, which is famous for its (you guessed it!) pea soup. You know, as famous as a place can be for something like pea soup, which is not even cronut levels of fame. But I guess as far as pea soup goes, Pea Soup Andersen’s is the Beyoncé of soup. Just ask for a bowl of Peayoncé.

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solvang-28-of-29Their pressed penny machine? Broken. Their soup of the day? MINESTRONE.

solvang-29-of-29For shame.

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Guillermo del Toro: At Home with Monsters

“Holy crap. Holy crap. Holy crap.” was about the extent of my thoughts when I first heard there was going to be an exhibit of items from Guillermo del Toro’s home, Bleak House, at LACMA. Even though I had just come back from a trip to southern California when the news broke, I knew I’d have to get back down there before the exhibit left. I had to. Truth time: I actually pinned a photo of the interior of del Toro’s home to my “dream house” board on Pinterest before I even knew to whom it belonged. How many times in life are you going to get an opportunity to walk through your dream house? Especially if you’re like me and your tastes are a little, uh, unconventional? So now you see why I found it imperative to get my butt to Los Angeles.

“Holy crap. Holy crap. Holy crap.” was about the extent of my thoughts as I was walking through the exhibit. While there are quite a few things from Guillermo del Toro’s movies on exhibit (after all, it’s really easy to collect one’s own work), this is not a retrospective exhibit in that it mainly focuses on del Toro’s inspirations, making the overall effect one of being able to geek out with one of my favorite directors about his favorite things. And, as it turns out, a lot of my favorite things as well.

Guillermo del Toro loves labyrinthine Victorian mansions and Victoriana? Me too!

Guillermo del Toro loves monster makeup and the artists who bring it to life? Me too!

Guillermo del Toro loves the spooky-ass artwork of Stephen Gammell? Me too! In fact, his creepy illustrations for the Scary Stories line of books may well be at the root of my love for all things dark and spooky.

Guillermo del Toro loves fairy tales and folklore? Me too!

Guillermo del Toro loves weird taxidermy? Me too!

Guillermo del Toro loves rainstorms to the point of engineering a room in which it appears to be raining 24 hours a day? We definitely diverge there, I would do nothing in that rain room but sleep.

And this exhibit? I loved it, too. The show itself is labyrinthine, like the old Victorian home styling del Toro admires.

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I was so stoked to be able to get up close and personal with the costumes from Crimson Peak. Most exhibits put costume work behind glass, the reflections of which make it very difficult to see detail, especially if it’s dimly lit. Here I was able to get up on it, get my face close in and see the stitching and the buttons and everything else that’s moving too fast on screen to truly appreciate.  I was especially enthralled with the “mother ghost” costume, with all of the moths and botanicals worked into the the tulle. My blog photos do it absolutely no justice, it was a stunning piece of work.

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A tableau to Charles Dickens, del Toro’s “Bleak House” is in reference to Dickens. 

del-toro-9-of-68  I want shelves like these for my house. SO BADLY.

del-toro-12-of-68T-B, Portrait of Cousin Eerie, Portrait of Uncle Creepy, Richard Corben

del-toro-13-of-68cw from left: Amelia, Queen of the Sea Monkeys, circa 1879, The Coachman and His Brother, The Strangler, Travis Louie

del-toro-14-of-68Kaiju parasite from Pacific Rim 

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One of del Toro’s sketchbooks , used when planning Pan’s Labyrinth

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del-toro-24-of-68Cronos device from Cronos

del-toro-25-of-68Hey, Night on Bald Mountain was my favorite part of Fantasia, too!

del-toro-26-of-68The Great Ancestors, Mœbius (Jean Giraud)

del-toro-27-of-68Landscapes, Eyvind Earle

The exhibit also had a number of pieces by Eyvind Earle, most noted for his work as a Disney background artist in the 50s. He did all the styling, background art, and color for Sleeping Beauty, which is actually one of my favorite Disney movies on styling alone. His artwork is gorgeous, but more than anything, I couldn’t believe how much the black velvet matting complemented the work, making it stand out in truly extraordinary fashion. I’ve generally been opposed to matting any artwork I buy, for a bunch of reasons–it’ll require a bigger frame which is more expensive, takes more space on the wall, mat board is stupid expensive for what it is, generally I don’t think it puts much on the table given its downsides, but primarily, I just plain hate cutting mat board. My high school art projects always had the shabbiest mat job, cutting straight crisp lines is evidently beyond me. But this black velvet is making me reconsider my mat stance, it’s that striking.

del-toro-28-of-68Clinkity-Clink, Stephen Gammell

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del-toro-33-of-68Dick Smith, father of modern makeup effects. Bust by Kazuhiro Tsuji

del-toro-34-of-68Ray Harryhausen, sculpture by Mike Hill

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del-toro-36-of-68God, I love this cookie-stealing skeleton.   

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OLYMPUS DIGITAL CAMERA

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del-toro-48-of-68Dystopia! “Feed my beast with your blood”, Christopher Ulrich

del-toro-49-of-68l-r: The Tourist VIII, H R Giger, Duke Agares Seated atop a Shuffler, Wayne Barlowe

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del-toro-51-of-68On the wall l-r: Pip and Jo-Jo the Dog-Faced Boy by Gail Potocki

del-toro-52-of-68The Evil Eye, Chet Zar

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del-toro-61-of-68Divine Messenger, Craig LaRotonda

del-toro-62-of-68The “rain room”. Droplets of silicone are adhered to the outside of the windows to give them a rain streaked appearance, and a projector and sound system handle the rest of the rain effect.

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del-toro-64-of-68Another of del Toro’s sketchbooks

One of the most impactful statements in the exhibit for me was a quote from del Toro: “As a kid,” the filmmaker recalls, “I dreamed of having a house with secret passages and a room where it rained twenty-four hours a day. The point of being over forty is to fulfill the desires you’ve been harboring since you were seven.”

If that’s what the post-forty life looks like, sign me up. I can’t wait until I get my unicorn.

 

The del Toro exhibit is at LACMA through November 27th, after which it will move to the following cities (dates TBA): Minneapolis, Toronto, Mexico City, Barcelona, Paris, New York City

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Trader Sam’s Enchanted Tiki Bar

 

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After a day at Disneyland, no matter how much fun you had, you could probably use a drink or two. I definitely could, so I walked down the nigh-endless mall that is Downtown Disney to the Disneyland Hotel, to imbibe a few at Trader Sam’s Enchanted Tiki Bar. The place was surprisingly crowded, but luckily a couple of seats opened up at the bar shortly after I arrived–I mean, sure, if you want to drink your drinks poolside, that’s certainly a thing you could do, but if I was going to slurp down a few expensive drinks in novelty glasses, I damn well wanted to do so in an enchanted atmosphere, so the pool would absolutely not do for me.  And hot damn, is the atmosphere inside ever enchanted. The taps have glowing eyes and play different rhythms whenever a beer is poured. Little jokes are plastered all over the walls. And whenever someone orders a novelty drink, the whole bar gets in on the action. Ships sink. Sirens blaze. Volcanoes explode. You may or may not be sitting in a splash zone.

God knows I love me a novelty glass, so my first drink of the evening was the legendary “Uh-Oa!”, which is so large that it must be shared by two or more people. It comes in a large mug with tiki figurines on three sides, the heads of which are all filled with ground cinnamon. The lights go down, the bartender sets some booze soaked sugar cubes atop a lime on fire, and while every patron in the bar chants “uh oa! uh oa! uh oa!”, you grab pinches of cinnamon and fling them into the fire, sending sparks into the air. It was magical, and it’s probably good that I got the playing with fire accomplished before I got hecka drunk, which I was after drinking my half of this drink.  Not that a little thing like being two and three quarters sheets to the wind was going to stop me from ordering another drink, because I had a lot of trunk space with which to fill with novelty glassware. So Jason ordered a krakatoa, setting off the volcano, and I acquired a rum-filled shrunken head, which is kind of funny as I’d think all that rum would cause a head to change sizes in the opposite direction. Or at least feel that way. I also, more wisely, ordered the pu pu platter, which came with sweet and spicy asian wings, glazed portuguese sausage bites, panko crusted chinese long beans, tropical slaw, and a sriracha aioli, all of which made my mouth super happy and my tummy less booze-slosh-y.

After we finished those, we agreed that it was probably for the best if we didn’t imbibe any more Disneyland booze magic, so we wandered back down the Disney mall and made it rain on Star Wars merchandise, namely a Chewbacca print that set my heart aflame with adorableness. Where am I going to hang it? I don’t know, same place I’m going to store all of this novelty glassware, I guess.