Another Ten More Movies: June 2014 to July 2014

So here's the last 10 movies I watched …

  1. For No Good Reason at the Little, June 13: I went to see this documentary on Ralph Steadman, perhaps best known as Hunter S. Thompson's illustrator. In fact, the film centers on Steadman and Thompson's relationship most of all. While it's interesting to get to better understand what went on between those two at the time Thompson was so prolific, I found the most poignant moment was Steadman's realization that his lifelong goal to change the world had a substantially smaller effect than he (and his contemporaries) had hoped. I'm beginning to soften my own goals to save the world—from pollution, corruption, unfairness, and climate change—and hopefully save myself from later-years regrets. Nonetheless, although Steadman didn't stop war altogether, he helped redefine it. Consider that the images Steadman created and the words Thompson wrote were once relegated to a tiny niche, but are now virtually accepted as mainstream. As well, the ideas they conveyed are permeating the collective consciousness and are affecting change. Alas, slower than we'd like.
  2. The Bachelor and the Bobby-Soxer at the Dryden, June 17: I don't have a particularly strong opinion of Shirley Temple either way, but I figured I'd see what she did as she entered adulthood. Playing against Cary Grant's unscrupulous and charming womanizer, it's a rather good screwball comedy.
  3. My Name is Alan and I Paint Pictures at the Cinema, June 24: Alan "streets" Russell-Cowan is a painter who worked for a decade on the streets of New York City. He has been diagnosed with schizophrenia and is attempting to deal with it without medication—doctor-prescribed nor self-applied. As a documentary it's a bit unfocused. It goes scatter-shot trying to explain how challenging it is to be an artist in the modern world, and spends a fair amount of time letting doctors and fringe-art collectors opine on the art of people living without neurological normalcy. It also had some cheesy bits playing Alan's spartan, art-centered lifestyle against his conservative parents' wealth-driven ideology. In the end, I thought Alan's style was pretty interesting, and the film survives largely because of its interesting subject.
  4. Groundhog Day at the Dryden, June 28: It's been a long time since I saw this (dare I say) classic. For those who don't know, it's the story of a self-absorbed man who is mysteriously stuck reliving Groundhog Day over and over again. I find it very fascinating how the film can be so engaging and (largely) funny while at the same time being very bizarre and dark. Thankfully there are people as crazy as I am, and they estimated Phil is actually stuck in the same day for almost 34 years.
  5. Ida at the Little, June 30: It's about a woman who grew up as an orphan in a convent, and who is now about to take her vows to become a nun, when her family history throws a spanner in her faith [what's that about mixing metaphors before they hatch?] Although the story is bleak, the film is gently and elegantly paced.
  6. Obvious Child at the Little, June 30: Jenn and I stuck around for our own improvised double-feature and caught this pretty clever comedy. It's about a stand-up comic whose boyfriend leaves her, her workplace goes out of business, and then she's confronted with an unplanned pregnancy—hilarious, right? It actually is pretty engaging and funny.
  7. Snowpiercer at the Little, July 2: I had double-checked Rotten Tomatoes and confirmed a high rating before Jenn and I went to see this. Well, what the fuck? Decades after a failed overly successful attempt to reverse global warming plunges Earth into a global ice age, what remains of humanity is contained within a magic locomotive traversing the European and Asian land mass ever since. Numerous rearward passengers are tempted by the comparatively clean and content forward passengers and stage a revolt, fighting a videogame-like progression forward in the train. The unsurprising result is a parallel to our modern world's socioeconomic class stratification. Overall, I give it a "meh."
  8. Synth Britannia at the Memorial Art Gallery, July 18: Do you like synth-pop of the 1970's and 1980's? I sure do. So regardless, I enjoyed seeing bands I liked and 2009-era interviews with members thereof. As a documentary, it did a pretty good job explaining the evolution of all-electronic music. But the big notable hole is the lack of a music theory expert. While Simon Reynolds, an expert music critic, filled in the details of the social relevance and derivative interaction between bands, the film would have been helped by a music theory expert to help define "pop" as a musical style and where synthesizers fit in the history of musical instruments.
  9. July '64 at the Little, July 20: It's been a few years since I last saw it so I figured it was about time again—what with being four days shy of 50 years since Rochester's poorest neighborhood exploded in rebellion. I'll leave it to my prior review to explain the film. I'll add, though, that I think audiences are dumber because of Internet comments—the question-and-answer was more of a forum to ramble incoherently. The national guardsman who was personally involved offered some insight, but simply living in (or near) the city at that time is not interesting to anybody. And the guy who wanted to know about how Song of the South has been blocked from screening for 30 years—I would bet he is just a Disney shill drumming up interest. In all of it, though, the lack of coherency from the audience proves that no progress has been made to improve the poorest neighborhoods in Rochester.
  10. A Field in England at the Dryden, July 22: Jenn and I went to see this because it looked pretty interesting. I feel like I missed out on a lot because I didn't know enough about English folklore (although clued in to fairy rings and crossing a hedge row into another world during the introduction) and because I often couldn't decipher the thick, mumbled antiqued-English accents. Nonetheless, the style of storytelling, the cinematography, and the sound design were brilliant. The story is, when taken literally, rather bizarre and difficult to follow, but the allegorical tale makes a bit more sense—even with my handicaps.

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Ten and a Half More Movies: March 2014 to May 2014

So here's the last 10 movies I watched …

  1. Tim's Vermeer at the Little, March 16: This is a documentary about a man named Tim Jenison who was interested in the photo-realistic paintings by Johannes Vermeer, and tried to devise a technique to replicate his technique. As a documentary, it's adequate and entertaining, but it's the subject that is most intriguing. I knew virtually nothing of the works of Vermeer coming in to this film, so I took it as fact what they said. Afterward I did a bit of research and found that Vermeer was neither as mysterious as the film implies, nor was his work — save for a couple specific examples — anomalously photo-realistic for the time period. In any case, The Music Lesson had certain qualities that Jenison found intriguing: how had Vermeer created such photo-realism 200 years before the invention of photography? He suspected a device, and set to building one. What he made (although I don't recall the film mentioning it) is a unique form of camera lucida (thanks to Jenn for knowing that!) which uses lenses and mirrors rather than a prism. With that, he succeeded in recreating The Music Lesson, and in doing so, reproduced a tiny flaw (the pattern on the virginal curves ever so slightly while its edges are drawn by straight-edge) that strongly implied the use of optics beyond the traditional camera lucida. I think this discovery is something that would be of interest to art historians and inventors alike.
  2. Les parapluies de Cherbourg (The Umbrellas of Cherbourg) at the Dryden, March 18: A young woman is in love with a man who gets enlisted in the Algerian war … loves are lost … loves are found. In all it's a well-worn story told in brilliant color.
  3. Here One Day in Hoyt Auditorium on the University of Rochester Campus, March 27: It's a documentary where Kathy Leichter revisits her mother Nina's suicide 16 years prior. The catalyst was the rediscovery of audio cassettes Nina recorded for many years; Kathy found them shortly after the suicide, but couldn't bear to listen to them at the time. As such, the use of the cassettes makes the event seem extraordinarily current in the lives of Kathy, her brother, and her father. It's a beautiful, moving, and insightful film that begins to bridge the gap between the thought process of a mentally-healthy person and one suffering from depression (or in this case, manic-depression a.k.a. bipolar disorder.) After the film, there was a panel discussion and one woman spoke about her daughter's depression. What resonated with me was how she saw suicide as a loss, but her daughter saw it as freedom — a concept that made me realize how much my culture mistakenly assumes everyone thinks alike in some way, and how that may be a central reason for the challenges of addressing mental illness.
  4. The Grand Budapest Hotel at the Little, March 28: Jenn, Chris, and I went to see this together — Jenn and Chris being very excited about the new film by Wes Anderson; I didn't have strong expectations. The short is I thoroughly enjoyed it. It reminded me of the ensemble screwball comedies of the past (e.g. It's a Mad, Mad, Mad, Mad World) in which expected stars appear in a silly comedy. And this one is definitely silly and absurd.
  5. Pink Flamingos at the Dryden, April 2: I finally got around to seeing this after having been recommended many times over the years by different people. It's definitely a rough-around-the-edges kind of independent film, and also definitely delivers on being "an exercise in poor taste". I'm glad I finally saw it, in part to get the many references to it in a variety of media, but also because it's genuinely an entertaining movie. This version (from a re-release in 1997) included some (rather hilarious) outtakes and some commentary by filmmaker John Waters.
  6. Tectonics in Hubbell Auditorium at UofR, April 10: I saw this as part of OnFilm's "Earths" program (and stayed after for only four of 13 Lakes, mostly due to simple exhaustion/tiredness.) Tectonics was quite brilliant. In it, Peter Bo Rappmund filmed various locations along both sides of the U.S.-Mexico Border in-order from the Gulf of Mexico to the Pacific. I went into it with a bit of trepidation as my prejudices of borders — and this one in particular — are that they are useless, harmful relics of xenophobic nationalism. As such, I began the film with negative feelings of frustration and anger. Rappmund's anti-temporal filmmaking techniques (where he looped sequences-of-images and time-lapse photography which created a timelessness, and used overlapped field-recordings to carry the chronological narrative) led me to experience the border as something intensely futile, intensely irrational, and intensely beautiful. It was disconcerting to me to see all this technology and effort dedicated to creating suffering. But by the end, I found myself at peace with all of it. One thing that helped was the timeless quality of the film which implied a longer-term view — that this silliness is all temporary. Rappmund was present at the screening to answer questions, but I was just glad to thank him personally for making the film.
  7. The Kentucky Fried Movie at the Dryden, April 16: I remember seeing this as a kid and finding its irreverent and ribald humor to be unequivocally hilarious. It's a movie consisting of short sketches which is still funny, although it's almost more interesting to watch it as a historical relic owing to the extremely dated scenarios. And I imagine anyone raised with access to YouTube will find the humor at best, ho-hum. Well, the Kung-Fu parody, "A Fistful of Yen" is still very funny and extremely clever.
  8. The Kodak Employee Variety Show (U.S. 1960, 90 min., 16mm) at the Dryden, April 22: Jenn and I went to the "Made in Rochester" series "Kodak" show at the Dryden to check out some of the rarities. We felt a bit slighted that it was a 90-minute film followed by 3 shorts: a far cry from "a number of test films and company home movies" as we were promised. Nonetheless, the first film was a recording of the 1960 Kodak Employee Variety Show — a presentation that appeared to be largely for the sales staff of the company. As a film, it was the worst musical I ever saw (har har); in large part, it was an insufferable company party like I remember from my corporate days. The productions were high-quality and weirdly yet unsurprisingly Kodak-centric. There seemed to be a lot of tongue-in-cheek jabs at the Russians and Communism, not long after the worst of Senator Joseph McCarthy's state-sponsored murders. But perhaps the best moment was a look in to the "distant future" of 1970 when, rather than a log book, salesmen (and yes, they were all men) would carry a device as small as a pack of matches to dictate expenses and take photos of where they were — an ironic premonition of digital photography. In all, I'm glad to have had a chance to have seen it, but didn't enjoy the process. (Although I did offer Jenn $50 if she could spot a black person, and we jokingly pointed out white people on-stage in shadow.) We snuck out during intermission and skipped the shorts.
  9. Richard Pryor: Live in Concert at the Dryden, April 23: I was glad to be able to finally see this — a ribald performance made legendary by tales told by high-school friends in the 1980's, right at the dawn of home-video. In general the comedy holds up today, particularly his insightful jabs at white culture. Pryor's artistry lets him talk about embarrassing personal situations without the shadow of making it into a therapy session that so often plagues other performers' anecdotes. It's wonderful to be able to remember Pryor at the top of his game like this.
  10. Werner Herzog Eats His Shoe at the Dryden, May 6: The first of two short films by Les Blank, this one deals with, well, Werner Herzog eating his shoe. He made a bet with Erol Morris to complete his film, Gates of Heaven, which, obviously he did. The film gives Herzog the chance to talk about following through with commitments and about following your own passion. I've always enjoyed listening to him as he's got a unique articulate way of explaining his view of the world.
  11. (and ½) Garlic Is as Good as Ten Mothers also at the Dryden, May 6: The second half of the double-shorts program is Blank's film on the wonders of garlic. It's a fascinating sampler of off-center views in the late 1970's, and Blank's style (like the previous film) paces the documentaries exceedingly well, making them both a joy to watch.

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Running the Lilac 5K

It's been a while since I mentioned running, but this morning I ran the Lilac 5K. I do it each year to get an idea of my average pace and how it changes year-to-year. Since I haven't been running nearly as much as I did in past years by this time, I knew I'd be a bit slower. (And yeah, still running in bare feet.)

The results were posted earlier today and I was #355 of 1148 runners overall with a net time of 28:25 for a pace of 9:09/mile. I finished #205 of 486 men, and 19th of 47 male runners in my age group. Last year I was a little faster.

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OnFilm's Layers Program

I was excited to see the short-film program "Layers" by the University of Rochester OnFilm group. It was an impressive collection that centered around the "layers" theme and all the ramifications it can entail.

Starting out was 45 7 Broadway (Tomonari Nishikawa, 2013, 5 min., 16mm) in which Nishikawa shot scenes in Times Square successively with black-and-white film filtered with red, green, and blue filters, then made a color composite by merging the three resulting films to form a pseudo-color image. The effect was marvelous, often presenting rippling true-colors in stationary objects and overlaid colors in those that moved. At one point, I felt like I could smell the city.

Volcano Saga (Joan Jonas, 1989, 28 min., video) was an interesting interpretation of the Icelandic Laxdeala Saga — a tale of dream analysis — given an experimental-video spin. Capitalism: Child Labor (Ken Jacobs, 2006, 14 min., video) was a disorienting interpretation of a stereo-view of child workers in a factory. Jacobs quickly alternated between the images creating the illusion of continuously spinning, and added detail views that seemed to rotate on their own.

In Her + Him Van Leo (Akram Zaatari, 2001, 32 min., video), Zaatari visits the photographer who created a scantily-clad image of his grandmother which he discovered in his mother's closet. I found the repetitive technique a bit annoying at times, but the film was rather humorous and overall interesting. Of note to me was that Van Leo had a large-format camera which looked nearly identical to Jenn's camera in her new studio — particularly the heavy wheeled tripod.

I was a bit lost with Castro Street (Bruce Baillie, 1966, 10 min., 16mm). It was an experimental view of trains and industrialization … I guess. I'm not good at guessing, though. Likewise, Lot in Sodom (James Sibley Watson and Melville Webber, 1933, 28 min., 16mm), being a Biblical tale I didn't know (like most of them), I was kind of lost as to what was going on. Nonetheless, it was interesting to see their experimental filming techniques that rivaled what people were doing 30 years later.

Waves of Betrayal (Jae Matthews, 2007, 5 min., 16 mm B&W reversal transferred to video) was an interesting bit of film: according to the OnFilm description, it "is a home processed short where the ocean documented in the film was also used as the mixing material for the developer, stop, and fix baths". This resulted in a unique tonality to the film and scratches from sediment. Let me just say that it is the knowledge of the process that makes this film interesting.

Concluding the night was O'er the Land (Deborah Stratman, 2009, 52 min., 16mm), a view of modern American patriotism in many forms. I personally found it upsetting to have the idea of America's jingoistic militarism echoed back to me so strongly. Contrasting it with the waning natural wonders we have, the effect was even more profound.

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Ten More Movies: January 2014 to March 2014

So here's the last 10 movies I watched …

  1. Inside Llewyn Davis at the Little, January 29: Jenn and I got a chance to see this with her mom. Jenn was looking forward to the latest Coen Brothers' movie and I thought it looked good enough. It's another great film if you like live music. And if you are an artist or know artists—musicians particularly—you'll certainly recognize the duality of their lives: to others, they seem to be ego maniacal jerks, and within themselves, they suffer the (socially acceptable) indignity of having their creative vision treated like some kind of worthless communal property.
  2. Bettie Page Reveals All at the Dryden, January 31: Jenn and I saw this together as we were both interested in Page's life, but as a documentary, I found it lacking. Perhaps it was because, while I think Bettie Page is pretty and I think she's unique in being the canonical example of a pin-up girl, I don't think of her as some sort of magical being outside the realm of humanity. Unfortunately, the filmmakers were dazzled by her. So I guess if you're dazzled by Page, you might adore the film more. Anyway, both Jenn and I were fascinated by Page's central interview. I couldn't help but think there was something she was omitting. It wasn't until much later that I realized it was her: she never spoke of her own aspirations or motivations, only about what happened to her, as if she were simply a passive party to her own life. In some ways, that's the most interesting thing about her as a person, and something the documentary makers seem to have ignored.
  3. Is the Man Who Is Tall Happy? at the Dryden, February 11: Ted, Jenn, and I went to see this animated feature by Michel Gondry as he interviews Noam Chomsky. Although I admire Chomsky, I often find his densely intellectual sentences daunting. Gondry plays against this—plays the fool if you will—to great effect, slowing the flow of Chomsky's wisdom into digestible pieces.
  4. The Straight Story at the Dryden, February 20: Overall I enjoyed this (true) tale of a man who travels by riding lawnmower to visit his estranged brother. I'm not sure if it was solely perception, but I noticed David Lynch's cinematic affectations very much at the beginning of the film (e.g. slowly tracking to a window on the side of a house) but by the end, I didn't notice them at all (e.g. frighteningly aggressive-seeming vehicular traffic).
  5. Trouble Every Day at the Wexner Center for the Arts, Ohio State University, Columbus, Ohio, February 22: Jenn, her friend Heather Wetzel, Ali, Ted, and I saw this on a group trip to Columbus. As I was watching, I was acutely aware of the feeling I was going insane. Jenn compared it to Possession which I found to be a similarly impenetrable film, somewhat about an abusive relationship. It's got the methodical, deliberate pacing of a French (or Italian—see La grande bellezza, below) film as it outlines a bizarre condition or illness that causes people to behave, ostensibly, like vampires.
  6. Jack Goes Boating at the Little, February 28: This was the only one of the films in the Little's Philip Seymour Hoffman Tribute series that I went to see, and lo, I had seen it before—when it was released, actually. Nonetheless, it was interesting to watch it one more time. It's the story of a couple middle-aged people mired in each of jeir own neuroses who try to date, mirrored against the seemingly "normal" relationship between Jack's friend John and Connie's friend Lucy.
  7. Her at the Cinema, March 1: Jenn and I went to see this together and since the double-feature totaled well over 4 hours, we opted to watch this as a matinée. In case you haven't heard the rough plot outline, it's about a writer who falls in love with his computer's new, artificially-intelligent operating system. There are so many ways this could have gone terribly badly—as a movie, I mean—but Spike Jonze managed to avoid all the many possible pitfalls in both his writing and directing. The operating system, named Samantha, is amiable and its relationship with Theodore is downright believable. Even the conclusion is as reasonably satisfying as can be expected.
  8. La grande bellezza (The Great Beauty) at the Cinema, March 4: I had been looking forward to seeing this since before I missed it at the Dryden. I've been trying to describe it for some time now. What seems most satisfying is that it is a methodical meditation on what it is to look back on one's life. It's about a man named Jep Gambardella who looks back on his life where he became the epicenter of nightlife in Rome. It's punctuated with numerous expansive, loving shots of the city.
  9. A Foreign Affair at the Dryden, March 13: Jenn and I headed out to see this together on faith that Billy Wilder would deliver an entertaining movie. While it was truly entertaining, it's more evocative as a time capsule, as it's one of the only films I know of that is shot in Berlin shortly after the end of World War II, and it deliberately uses the bombed-out backdrop and opportunistic American GIs to move the plot forward.
  10. Dead Man, March 14: Jenn and I had both seen this before—she's far better versed in the other works of Jim Jarmusch than I (and has introduced me to Ghost Dog: The Way of the Samurai and Broken Flowers, both of which I liked.) I wrote about this a while back and my comments still hold, but I'll add the film holds up well after repeated viewings. I think I made a stronger point to notice the respectful and un-romanticized view of Native Americans, and of the un-glorious view of killing and of life on the Western frontier.

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Response from the Postcards to the Legislators

It's been almost exactly a year since I posted about sending postcards to the legislators. To briefly recap, I sent a postcard to every member of the House of Representatives, the Senate, to the President, Vice President, Governor of New York, and to my New York Assemblymember and Senator that said simply, "Killing people is always wrong."

Well in that time I got exactly one response: from Senator Rand Paul of Kentucky. He responded to my letter "regarding intervention by the United States in conflicts across the globe." He goes on to write about what I interpret as a largely isolationist policy. You can read the whole thing here. I'm mixed on my agreement with his policies: I agree with him in his strong belief in personal freedom and liberty, but I disagree with his fierce belief in the dog-eat-dog Capitalism.

My opposition to killing led me to attend a War Tax Resistance Workshop at the Flying Squirrel on February 7. There is a National War Tax Resistance Coordinating Committee (NWTRCC) which advises four methods of war tax resistance: file and refuse to pay your taxes, don't file your taxes, earn less than taxable income, or resist the local telephone excise tax. All the methods advised are forms of civil disobedience in that they are all illegal. While I support those methods entirely, at this time, I didn't feel willing to put everything at risk.

So as a workaround, I decided to donate the percentage of my income for active war—27%—to organizations that accept tax-deductible donations (The War Resisters League cites that 27% of taxes collected go to active wars and another 20% goes to pay for past wars). I mentioned this to my accountant who found it legal (some deductible donations are limited to 30% of income, and most are limited to 50%).

One of the ways war tax resisters use their civil disobedience is by keeping all their actions public. To reflect that, I'll try to make updates throughout the year, and certainly do at least one summary each year.

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A Trip to Columbus

Jenn and I headed toward Columbus with her dog Maia on Friday morning. We first went to The Wayne & Geraldine Kuhn Fine Arts Gallery at the Marion Campus of Ohio State University to take pictures of Jenn's show Rec•ord, which has been on display since the beginning of the year. The gallery is small, and the satellite campus is not nearly as well attended as the main campus in Columbus, but the guestbook revealed quite a few visitors.

The show itself was of Jenn's ambrotype photograms of small objects. She uses a wet-plate collodion process to create the one-of-a-kind ambrotype positives on anodized aluminum. Her level of mastery of that technique is on par with a fairly small set of experts in the field. Her work speaks to the distortion of the photographic process as a way to reliably represent objects and people.

Afterward we went to Columbus to visit her friend Heather Wetzel. We walked near Heather's house and stopped by Jeni's Splendid Ice Creams (4247 N. High St., Columbus, OH). On this visit, I found it too busy and rushed to make a proper assessment, but the ice cream was indeed good. I didn't find it substantially better than Hedonist Artisan Ice Cream, though, and actually found the huge array of flavors to be more daunting than appealing.

On Saturday morning, Ted and Ali arrived to join us for the weekend. We headed to Whole World Natural Restaurant (3269 N. High St., Columbus, OH) for lunch. As vegan food goes, it's hit-and-miss, but I went with the safe bet of avocado on a croissant. Afterward we went to the excellent Pattycake Bakery (3009 N. High St., Columbus, OH) and had some great vegan treats.

Heather wanted to stop by the opening of a The Mirage and the Rainbow: 2014 Department of Art Master of Fine Arts Thesis Exhibition at OSU's Urban Arts Space (50 W. Town Street, Suite 130 in the Historic Lazarus Building, Columbus, Ohio 43215) so she could see some of her students' work. Overall it was a good show. Ali, Jenn, and Heather took part in this "Dr. Armbruster's Laboratories" "experiment" where they were measured then drew with a paint drip test. It was a lot of fun.

The "Armbruster" name was fictitious, but I had to look up the list of MFA candidates to remember the ones I wanted, and didn't discern who did that work. The complete list from the website included: Jacci Delaney (Glass), Jonathan Fitz (Ceramics), Leah Frankel (Sculpture), Andrew Frueh (Art and Technology), Keith Garubba (Printmaking), Nick George (Photography), Anne Keener (Painting & Drawing), Gun Young Kim (Ceramics), Amanda Kline (Photography), David Knox (Printmaking), Sage Lewis (Painting and Drawing), Peter Luckner (Art and Technology), Jessica Naples (Photography), Ashley Neukamm (Ceramics), Amy Ritter (Glass), Philip Spangler (Sculpture), and Jennifer Watson (Printmaking). Anyway, I also liked Gun Young Kim's distorted self-sculptures and I was drawn to Amy Ritter's cardboard cutout nudes (digitally manipulated to remove any sexuality).

From there, we went to the Wexner Center for the Arts where we saw Trouble Every Day (Claire Denis, 2002). (I added it to my mini-reviews for the last few months if you're curious.) For dinner we went to Dirty Franks (248 S. 4th St., Columbus, OH) which I thought was quite excellent. They specialize in hot dogs, so it seems natural to compare them to Dogtown, but in this case, I liked Dirty Franks better. In all fairness, the quality is about the same, but Dirty Franks has a few extra unusual toppings, and adding cream cheese to a vegan dog is just great (rendering it vegetarian, at best). The macaroni-and-cheese was considerably sub-par for my taste. (Along with the other meals we ate-out, it made me think Columbus had a preference for blander food.) Later we made another visit to Jeni's and I was more satisfied with my selections and the experience.

On Sunday we took a little detour and stopped at Delaware State Park (5202 U.S. Highway 23 N., Delaware, OH) to let Maia run around before stopping by the Kuhn Fine Arts Gallery to take down Jenn's show. From there, we headed back home.

We stopped in Erie for a bit. We tried to find Whole Foods Co-Op (1341 W. 26th St., Erie, PA) as they have something called "cashew cheese". However, we made a mistake somewhere along the way and found the co-op had just closed. So, quite hungry, we decided to go to Wegmans (6143 Peach St., Erie, PA). I get grumpy when I'm hungry and Erie is, as best I could tell, the most miserable place on Earth and I will never go back there. (Time may moderate that opinion.)

Upon leaving Erie, our collective plans, so Jenn and I in one car, and Ted and Ali in another headed toward home at our respective paces. We forgot to stop for gas in Erie as we had planned, and we started running low so we got off and stopped at the Flying J Travel Plaza (8484 Allegheny Rd., Pembroke). To our surprise, Ted and Ali were there too in the same predicament despite having last crossed paths somewhere around Buffalo.

We arrived home late that night, exhausted.

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Finding Ivy

Last night, Jenn and I had quite a little adventure. We had gone with Ted to see Is the Man Who Is Tall Happy? at the Dryden and drove him back home. On the way back to Jenn's I spotted a dog standing in the snow off 490 near the Averill underpass.

Going back a few days, while Jenn was working at her studio, a woman came by and handed her a poster about a lost dog named Ivy [corrected1]. We see notices for lost pets and pay them little mind other than to hope the animal gets home okay. But Ivy was a rescued black Labrador retriever mix from a shelter in Kentucky. The reason we paid attention is sheer coincidence: Jenn's dog is also a black lab, and was also a rescue from—of all places—Kentucky. Ivy had just arrived and escaped from an Another Chance Pet Rescue foster family near Meigs and Monroe just a day after she arrived (they didn't know the dog's name so they named her Ivy … for all of a day, so obviously the dog wouldn't respond to that name.) The poster said that she was so timid that we should not try to approach her as she'd just run away.

Anyway, when we saw this black dog, we immediately thought it might be Ivy. So we got off at Goodman and went to go back to see off an overpass. But then I figured our best bet would be to get back on the highway, so after trying to remember the existence of the Byron Street entrance, we passed the poster on Alexander. I snapped a picture so we could have the phone numbers. We got back on but we saw neither the dog nor her prints. So we looped around again. This time, we found the tracks in the snow just behind the Spring Steel place on S. Clinton.

We called the people on the poster and they said they'd send their friends out. I had my headlamp from biking so I put that on and went up the embankment cautiously. I had noticed in the past I could see animal eyes in the darkness using the headlamp. After searching a bit, I found a pair of eyes looking back at me from under a tree near the building.

I went back and called again and really set things in motion. They called Animal Control to try and catch the dog, and sent a half-dozen people our way to help find her. One of the women affiliated with Operation Greece Pug Rescue and the officer from Animal Control arrived nearly simultaneously. We went up the embankment and found the dog—this time positively identified as Ivy. Unfortunately, she did manage to get away.

But she had been in the elements for about 7 days already, so she wasn't moving too fast. I watched her cross under Averill then continue to past Alexander before I lost sight of her, all the while fortunately staying in the snow and out of traffic. Jenn and I got back in the car and looped around again. We found Ivy just about on the entrance ramp. We stopped the car to call that we saw her, but she started running back. We followed her and tried to keep some distance, but she doubled back again and we lost her.

We got in touch with the Animal Control officer and one of the women involved. The officer provided a can of food for the dog and they were planning to set a live trap over night. We left and decided to see if we could find her again. We stopped in the Goodwill parking lot to look for tracks on Byron Street and found some, but no dog.

We got back to the car and called the woman from the Pug Rescue to say we were going home. She said that they had her—they actually caught Ivy. She was badly dehydrated, had hypothermia, and was on her way to the pet emergency center! It turns out she also had a laceration on her leg and a possible fracture.

A sickly black lab being carried by a volunteer.

Ivy gets rescued by a volunteer.

By today she was out of emergency care and it looks like she's going to survive. She'll need some more veterinary care in the coming weeks. If you want, you can donate through the PayPal link on the lower-right of the Another Chance Pet Rescue website.


1 2014-Feb-13: Correction: it wasn't her mom who gave her the poster, but her mom was present.

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Rochester Movie Makers' "Mind2Movie Challenge" Screening at the Cinema

Ali, Ted, and I met with Jenn, and Jenn's mom at the Gatehouse restaurant for dinner. After that, we all headed to the Rochester Movie Makers' Mind2Movie Challenge screening at the Cinema. They screened last year's winner and the 19 entries then had an awards ceremony.

If you recall from the post introducing the Mind2Movie challenge this year, the gist was to try and include three elements in our story: a character, an object, and a scenario. We were scored based on how well we used our character, our prop, and our situation, the storytelling, and the film technique.

This year's winner was team "Claydogh" with its sole member, Ben Doran. (2014-Feb-18 update: You can view "Ed" on Vimeo now.) His film received a score substantially higher than any other team. They said the next 5 teams were differentiated by only 6 points (out of a possible 200). I seem to remember them being in the 140-range; we got 135, and a few people said they really liked ours (including the MC, Mike McFadden.) We're all very … umm … curious about the surly judge who seemed to like nothing about what we made, but three of the four judges thought it was quite good in all categories.

Ted uploaded our film to YouTube and you can watch it there, or you might be able to watch it below. The film is called "The Singer" and was to include an entertainer, a communicator, and a scenario in which the communicator is stolen. Ted plays The Singer, Jenn plays The Photographer, I'm The Conjurer, Lucy is The Singer's Dog, and Maia is The Photographer's Dog. (That's right: we decided to make a movie with two dogs!)
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