Tuesday, July 22, 2025

Bug Bit Elbow then 2 weeks later I Bumped it and it Became infected Bursitis

https://sportsmedicine.mayoclinic.org/condition/elbow-bursitis/

https://orthoinfo.aaos.org/en/diseases--conditions/elbow-olecranon-bursitis/ 

Thank God for local URGENT CARE 

Socialism is what they called public power. Socialism is what they called social security. Socialism is what they called the growth of free and independent labor organizations. Socialism is their name for almost anything that helps all the people. —Harry Truman, 1952

Alcoholism is a disease. Drunken driving is a dangerous choice.

You already have the precious mixture that will make you well. Use it. Rumi

1969 Old MacDonald Had an Apartment House

 Picture 1 of 3

The price of anything is the amount of life you exchange for it. Henry David Thoreau, Walden

Be teachable you don't know everything and you're not always right. Carl Sagan

Monday, July 21, 2025

Henry Winkler: You can not see your face in boiling water similarly .. you can not see the truth in a state of anger.

Miles Davis: Anybody can play. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent.

May 5th 1999

Tibor Kalman, 'Bad Boy' of Graphic Design, 49, Dies

Tibor Kalman, a graphic designer whose innovative ideas about art and society helped change the way a generation of designers and their clients viewed the world, died on Sunday at the Hyatt Dorado Hotel near San Juan, P.R. He was 49 and lived in Manhattan.

Mr. Kalman decided to spend his last days in Puerto Rico after losing a four-year bout with non-Hodgkins lymphoma, his wife, Maira Kalman, said.

The founder of M&Co, a revolutionary New York design firm that became a social prod to his major clients as much as a graphics resource, Mr. Kalman was also the former editor in chief of Colors magazine, an art director and a director of music videos and television commercials.

He was the self-styled bad boy of the graphic design profession and a harsh critic of formulaic or what he pejoratively termed ''professional'' design. He wanted designers to take greater responsibility for how their work influenced the surrounding culture. As the designer Milton Glaser asserted, ''He emerged in such a short amount of time as a major influence on a young generation.''

Mr. Kalman described himself as more a social activist than a designer and constantly sought to use his work to promote causes like environmentalism and economic equality. He opposed products that he considered harmful to the workers who made them, the environment or the consumer and never hesitated to tell his clients what he thought.

After spending almost a decade building a business that he said sold ''design by the pound'' to banks, discount department stores and other institutions, Mr. Kalman reinvented M&Co in the mid-1980's as a conceptually progressive firm doing graphics, exhibitions, books, magazines and film titles primarily for cultural clients that included the rock band Talking Heads, the Times Square Redevelopment Corporation and the Whitney Museum of American Art.

He also founded M&Co Labs, which conceived and manufactured watches and clocks with quirky faces and rearranged numerals, products that helped start a fashion for such designer-made objects.

Tibor Kalman was born in Budapest in 1949 and immigrated with his family to Poughkeepsie, N.Y., in 1957 after the unsuccessful Hungarian uprising against the Communist regime. He spent a year at New York University, where he joined Students for a Democratic Society and traveled to Cuba to pick cotton with the Venceremos Brigade, which took middle-class Americans to help support the Communists.

When he returned to the United States in 1971, Mr. Kalman learned rudimentary graphic design by doing window displays for the Student Book Exchange at N.Y.U., which was owned by Leonard Riggio, who later bought Barnes & Noble and made Mr. Kalman its first creative director. He designed the bookstore's first shopping bag, featuring an antique woodcut of a scribe, which is still used today.

Knowing little about the nuances of typography, however, Mr. Kalman hired young design school graduates to execute his ideas while he retained creative control, a practice he continued throughout his career.

A Sledgehammer And a 'Goofy' Room

In 1979 he was hired as the creative director responsible for signs and displays for E. J. Korvettes, the discount department store. Unhappy in this lucrative job, in 1980 he established M&Co in his Greenwich Village apartment. A year later he moved it to an office on West 57th Street in Manhattan. His first work was designing logos for department stores for a bag manufacturer. But Mr. Kalman was not content working on such commonplace assignments and decided to change his focus.

The firm's enigmatic name was typical of Mr. Kalman's wit. The corporate-sounding cadence was meant to give an aura of mystery and to confuse his more strait-laced clientele, who always wanted to know who the M was. His wife, Maira, a children's book author and illustrator, has the nickname ''M,'' which she donated to the cause.

Mr. Kalman's new office was designed to establish an unconventional aura and featured what he called ''a goofy, triangular-shaped table that fit into a goofy-shaped conference room,'' as well as a hole smashed out of one wall by a sledge hammer for a reception window.

Mr. Kalman's metamorphosis into a progressive design impresario came when M&Co designed a Talking Heads album that featured four digitally manipulated photographs of the group members (before personal computer software made this a common graphic conceit) and a title with upside-down letters. From then on, M&Co received attention in the design trade press for pushing beyond the conventions of design and typography.

Urging Designers To Be Responsible

Mr. Kalman soon moved his office to a downtown loft that he had designed to simulate the interior of an old factory. This was consistent with his passion for vernacular design. He encouraged his designers to apply the handmade signs and common methods used by neighborhood printers who do menus and handbills. Ultimately, vernacularism became a way for him to protest the corporate International Style.

As a frequent lecturer and a writer of acerbic manifestoes, Mr. Kalman urged designers to take more responsibility for their work's impact on society and culture. In 1986 he was co-chairman of the American Institute of Graphic Arts' national conference in San Antonio, called ''Dangerous Ideas.'' It was the first such major event to focus attention on how designers contribute to environmental waste and promote products that harm people or the environment.

M&Co became Mr. Kalman's soapbox. To address homelessness, he sent boxes with the contents of a typical city shelter meal to clients one Christmas season instead of the usual presents, noting that M&Co would match all monetary contributions.

Graphic design was too small a platform for Mr. Kalman. He gradually moved away from graphics as such to editing and creative direction for the magazines Art Forum and Interview. But perhaps his most meaningful job was as editor in chief of Colors, the Italian and English magazine published by the Italian clothing company Benetton, an assignment that forced him to discontinue M&Co temporarily and move his family to Rome.

Colors, founded by a photographer, Oliviero Toscani, was not a typical corporate house organ or fashion magazine, but rather focused on sociocultural issues like racism, AIDS and even sports. Colors was ''the first magazine for the global village,'' Mr. Kalman said, ''aimed at an audience of flexible minds, young people from 14 to 20, or curious people of any age.''

Colors became the main outlet for Mr. Kalman's ideas. An issue devoted to racism had a feature titled ''How to Change Your Race'' and examined cosmetic means of altering hair, features and skin color to achieve some kind of platonic ideal. Also in that issue, ''What If. . .,'' was a collection of manipulated photographs showing famous people racially transformed: Queen Elizabeth and Arnold Schwarzenegger as black; Pope John Paul II as Asian; Spike Lee as white and Michael Jackson with a Nordic cast. ''Race is not the real issue here,'' Mr. Kalman said. ''Power and sex are the dominant forces in the world.''

Mr. Kalman returned to New York in 1997 after three years as Colors editor to battle cancer. He re-established M&Co to produce and design exhibits, videos and books that had social relevance. Among his projects was a photographic series quoting everyday people's relationship to Times Square, which hung on scaffolding during the recent construction of the Conde Nast building in Times Square, and a series of Op Art contributions to The New York Times Op-Ed page.

During his cancer treatments he also taught a pictorial narrative class to graduate students at the School of Visual Arts and directed work on his monograph, ''Tibor Kalman: Perverse Optimist.''

In addition to his wife, he is survived by a daughter, Lulu Bodoni, and a son, Alex Onomatopoeia; his parents, Marianne and George Kalman of Gwyned, Pa.; a brother, John of Horsham, Pa., and a sister, Margie of Bristol, Pa.

In the last months of his life, Mr. Kalman designed the exhibition ''Tiborocity,'' which will open at the San Francisco Museum of Modern Art in July. It will consist of ''neighborhoods'' representing different aspects of his work as well as the protest posters and graphics that influenced him in the 1960's and 70's. Mr. Kalman told friends he intended the retrospective to be his last testament.

  • Summer of Neil Young

     https://www.youtube.com/watch?v=k_86sHtlErQ

    How are things in DeSantistan?

    More About Buttermilk

     https://bacillusbulgaricus.com/buttermilk-making-instructions/

    This morning I made cheese accidentally. 

     

    Stéphane Mallarmé, « Brise marine » (1865)

    Texte
    Brise1 marine

    Ce poème de jeunesse fut publié par Mallarmé en 1865 dans le recueil poétique collectif Le Parnasse contemporain, dans le sillage des Fleurs du Mal de Baudelaire. Il traduit l'impossible quête de l'absolu qui hanta le poète toute sa vie.

    La chair est triste, hélas ! et j'ai lu tous les livres.
    Fuir ! là-bas fuir ! Je sens que des oiseaux sont ivres
    D'être parmi l'écume inconnue et les cieux !
    Rien, ni les vieux jardins reflétés par les yeux
    Ne retiendra ce cœur qui dans la mer se trempe
    Ô nuits ! ni la clarté déserte de ma lampe
    Sur le vide papier que la blancheur défend,
    Et ni la jeune femme allaitant son enfant.
    Je partirai ! Steamer2 balançant ta mâture3
    Lève l'ancre pour une exotique nature !

    Un Ennui, désolé par les cruels espoirs,
    Croit encore à l'adieu suprême des mouchoirs !
    Et, peut-être, les mâts, invitant les orages
    Sont-ils de ceux qu'un vent penche sur les naufrages
    Perdus, sans mâts, sans mâts, ni fertiles îlots...
    Mais, ô mon coeur, entends le chant des matelots !
    Poésies, 1899.

    Pop Up, Pot Lucks!!

    Let's do this! Pop Up potlucks using real silverware and china, and cloth napkins. No booze.

    Richard the Third and Emily Dickinson

    At 7AM I heard the metal klink of a tire iron on asphalt and went out onto the porch to investigate. A young man was on the street below wrestling with a flat tire. He was parked directly opposite my house which is a main artery and often a very busy street. I went down and saw he was in the line of traffic jumping on the tire iron to loosen the lug nuts. I told my husband, "If he got hurt I would never forgive myself. I have an orange traffic cone in the back yard. I am going to go get it." I brought out the cone and said "I didn't want you to get hurt, this is a busy street with distracted drivers." I asked him if he needed some WD40. "Yes please, and thank you," he said. I ran inside to my husband's workshop and got it. I heard my neighbor call work. "I'm going to be a little late," he said. How low key, I thought.

    I gave him the can of WD40 and went back inside to drink my iced coffee. After about 10 minutes I came out to check on him. He had been able to get the lug nuts off but the tire wouldn't budge. "Can I borrow that WD40 again?" I ran back inside and got it. The tire was not coming off. Then I remembered that I could get help for anyone using my triple A card. I asked him, "Would you like me to call triple A? I can get help for you on my card." "Thank you," he said. I phoned triple A and a woman named Philomena answered. "Hi Philomena I am here on the street in front of my house helping a neighbor with a flat tire."
    "Do you have a triple A card with you?"
    "Oops, I am going to go inside and get it out of my wallet but I will keep you on the line. Okay I'm up the stairs, now stepping over dog toys."
    "Take your time," she laughed.
    "Okay I have my wallet, now I need to step into the light. Okay, here it is. Oops it says expired 2021. I believe we are up to date though.
    "It will still work," she said. "Okay, does the vehicle have a spare?
    "Yes, a donut, and it's round," I said, laughing. "Not a Flintstone tire." She laughed too. "Okay thank you, Philomena, have a wonderful day and thanks for laughing at my joke."

    The flatbed arrived pretty quickly. The friendly driver had a thick Boston accent. He got the tire off, put on the spare, finished up and drove off. I asked my neighbor, "What's your name?"
    "Richard."
    "I am Emily but I am terrible with names.
    "Me too," he said.
    "I was named after Emily Dickinson.
    "I am Richard the third!" We laughed. "Now I will definitely remember," I said.

    Prof. Feynman: Break problems down to basic principles before solving them.

    The Make Up Chair

     Image

    rising up from your subconscious

    The actual mechanics of songwriting is only understandable up to a certain point and it’s frustrating because it’s at that point that it begins to matter. Creativity is an act of magic rising up from your subconscious. It feels wonderful every time it happens, and I’ve learned to live with the anxiety of it not happening over long periods of time. Bruce Springsteen

    Sunday, July 20, 2025

    Bugs Bunny

     When I was a kid I had a View Master with images of Bugs Bunny's underground apartment. I loved it. I wanted the same apartment when I grew up. And here I am. I love being underground. Introvert heaven.