"When I first came up with the title, I looked on the internet to see if it already existed, and found one book on Amazon called 'The History of Concrete'..."

"... which turned out to be just an empty book that was a place to store your valuables. I thought that was really funny—not even the most determined thief would have the courage to open a book with a title that boring...."

Says John Wilson, interviewed in "John Wilson’s Poetry of the Mundane/The director of 'The History of Concrete' discusses the value of comedy, nimbys, and making films out of both found moments and the rules that govern the Hallmark Channel" (The New Yorker).

Wilson, the genius behind my favorite TV show, "How To with John Wilson," explains his method: "I start the day by going out and filming potholes. I know that there’s a pothole somewhere about to give any day now, so I’ll go and do that. But then I’ll probably get bored, so I’ll go into a store nearby and see what’s going on there. And then I’ll tell them what I’m doing and see if they have anything to add. A lot of the time, the farther away you get from the subject matter, and the more you have someone from outside of that universe talk about it, the more interesting it gets, and the more illuminated the metaphor becomes."

And by the way, that's how I stumbled into the "Girl in Gold Boots" trailer, blogged in the previous post — "Just stumbled into the greatest movie trailer I have ever seen." I was looking for a DVD set of the HBO show "How To with John Wilson" so I could point non-HBO people to it. Didn't find it, found something else, which is nicely Wilsonesque. 

"History of Concrete" might be a bit hard to find in theaters, but it is playing at Cinematheque here at UW on October 1st. 

The tilted hat.

"Grow the fuck up"

Cardinals manager Oli Marmol was furious with umpire Doug Eddings after Eddings told rookie pitcher Hancel Rincon to fix his hat in the middle of his MLB debut pic.twitter.com/3t3AitYsCX

— Jomboy Media (@JomboyMedia) September 5, 2026

DETAILS: "Marmol ejected after rookie Rincon told to straighten hat out" (MLB).

“The batter [Rockies catcher Hunter Goodman] said, ‘Hey, can he wear his hat like that?’” [umpire Doug] Eddings recounted after the game. “I really didn't know, but it was really, really crooked. I asked the catcher to tell him to straighten his hat out, and the pitcher did. Nobody said anything until he gave up a couple runs.” 

Rincon said the comment didn’t distract him from his debut and that he didn’t argue with Eddings about his comment. “I had no idea why he told me to do it,” Rincon said through an interpreter. “It's fine.”...

“I had an issue with Doug,” [Cardinals manager Oliver] Marmol said... “Just Doug. He took it upon himself to tell our rookie pitcher the kid's ‘not going to wear his hat on my field that way.’ You got Dontrelle Willis, CC Sabathia, Pedro Strop -- plenty of guys that have worn it way more tilted. I have an issue with that. That's just a power-hungry move, in my opinion."

SIDETRACK: "The way you wear your hat..."

And I think of the 4th sentence of "Moby-Dick":

Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off—then, I account it high time to get to sea as soon as I can.

"In 1986, Justice Byron R. White... summoned his clerks to his chambers for a special assignment that took several weekends. Together they marked his quarter-century on the court..."

"...  by feeding his records, including from the landmark Miranda rights case, into a shredder purchased for the occasion, according to Dennis J. Hutchinson, his biographer. 'Well, here’s an article. Here’s an entire book,' one of the clerks later told Mr. Hutchinson, describing what it was like to insert invaluable history into the jaws of the machine. 'I couldn’t believe how much history was going down the chute,' he said."

Writes Jodi Kantor "How the Supreme Court Locks Away Its Own History/After Justice Scalia died, the justices held private negotiations about locking away their papers. We may not see the ultimate record of the Roberts court for decades" (NYT gift link).

To suppress these communications is to promote the belief that the Justices are humble servants of the law, a belief that enhances their power. But how can that work unless all the Justices go Byron White on their papers? And it's too late for that. Justice Blackmun set the release date for all his papers at 5 years after his death. He died in 1999. You might think that would motivate the other Justices to formalize their position one way or the other, but Justice Scalia, who died in 2016, did not. Perhaps his papers are full of material that offsets things in Blackmun's, but it doesn't seem that he cared. Perhaps he thought the final written opinion was the operative text. That's what a humble servant of the law would believe. 

"An early affection for tossing pots on the wheel led her to graduate school... where she studied both ceramics and sculpture with Peter Voulkos... who believed in subjecting clay to Abstract Expressionist theatrics."

"As Ms. Heilmann later recalled, Mr. Voulkos liked to walk across the classroom holding a homemade pot, then trip (or rather, as she said, 'fake trip'), with the pot smashing on the floor. He would collect the broken shards and assemble them into a surprisingly interesting sculpture. Ms. Heilmann’s own early sculptures, which consisted of ragged-looking objects constructed from inexpensive craft-shop materials like plastic clay, tin foil, cotton balls, bamboo and glitter, similarly sought to foreground the process of their making."

From "Mary Heilmann, Painter of Vividly Wobbly Abstractions, Dies at 86/An emblem of the obstacles faced by women artists of her generation, she was 67 when her first museum retrospective opened to rave reviews in 2007" (NYT gift link).

ADDED: Something about the attitude in the comments here made me remember a line from the movie "Blue Moon":

She’s a college student. Sophomore. Yale. Not the general school; that’s for the guys. This is the School of Fine Arts! Bohemian goddesses in gray smocks mixing paint in morning light. She’s all of twenty years old.

I bought the screenplay so I could quote that. (I highly recommend that movie, by the way. It's the most like "My Dinner with Andre" that I've ever run across: An unusual man talks about theater for a long time. Catch it on Netflix.)

I do appreciate the commenters focusing on the phrase "An emblem of the obstacles."

"It's very beautiful in its shattered state.... Do you see how wonderful it is?"

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A post shared by SARAH EYTON (@saraheyton)

"Everything about 'the Claw' feels tawdry, especially when they turn on the lights, which send bolts of blue and white illumination down the 154-foot interlocking steel arches...."

I'm reading "Joe Rogan called the White House UFC event ‘so America.’ He’s right. The 'Claw' bursting out of the White House grounds is the perfect metaphor for the moment, injecting bloody spectacle into the country’s birthday celebration" in the Washington Post

I'm reading that because it's by the Post's architecture critic, Philip Kennicott. He writes:

[T]he UFC match isn’t about celebrating the foundational myths of American democracy. It inhabits a landscape of darker myths, like the perpetual struggle of the frontier, the faux chivalry and resentments of the Lost Cause, the Darwinian drama of survival in a world of hostile forces, enemies, chaos....

Trump takes pleasure in presiding over conflict. The world comes to him, where he, the perpetual winner, lords over contests, over victories and defeats. You’re fired. You don’t hold any winning cards. You’ve lost the match. For many Americans, there is nothing surreal about this delight in domination. It simply reflects the world they live in, where people are losing all the time, at the gas pump, at dead-end jobs, in marriages that founder on the shoals of stress and poverty....

"The idea that trying too hard is deeply uncool is... nothing new. In the ’90s, it was the central dogma..."

"... of the grunge era.... Similarly, the current just-rolled-out-of-bed look might be seen as a pendulum swing away from looksmaxxing, big blowouts and heavily filtered social media photos. Guido Palau, who styled the windswept ponytails at the Prada show, describes the look as 'weirdly bourgeois' and designed to keep people guessing. 'If you’re wearing the most beautiful cashmere jumper and it costs a fortune, you want people to know but not to know,' he says, and messy hair works the same way. 'There’s a kind of inverted snobbery.'"

From "Want to Stay on Trend? Stop Brushing Your Hair. With messy mops showing up on both runways and red carpets, the key to fashion’s new favorite hairstyle is doing less" (NYT).

I've long been a fan of this kind of hairdo. When I was a teen, in the 1960s, I imagined myself becoming famous as the hairdresser who invented the style called The Mess-Up. How could you get people to rave about your brilliant work when what you were doing is messing up their hair? I don't know, but it's genius if you can make that happen. I had the vision to mess up the hair just the right way, the way that looks so nonchalant and witty. 

Life took me elsewhere, but the inspiration of The Mess-Up must have formed an underlying anti-structure.

You know, I didn't stumble across that link myself. Meade texted it to me, and I'm pretty sure that had to do with my criticism of the hair of the women on the various news commentary TV shows he watches. I loathe the shows, but I sit there, often with noise-cancellation AirPods in while I read my iPad, but I do take in the visuals enough to become annoyed by the messy cocker-spaniel ears that festoon the female heads. Make is sleek! Pin it up! Look professional!

"Tennessee bars journalists from witnessing the intravenous line insertion process, the first major step of the lethal injection protocol."

"I noted the time we entered the chamber. After about seven minutes of searching for a vein, they were able to insert an IV into his right arm. Then, following protocol, they also tried to set an IV in his left arm. That failed, so they moved on to his left hand, poking him over and over again. Cycling through needles, the executioners communicated mostly through tense glances and head shakes.... About 30 minutes in, a doctor entered and... told the executioners to remove Mr. Carruthers’s socks and search for veins in his feet.... After that didn’t work, the doctor asked whether anyone in the room knew how to gain access to Mr. Carruthers’s jugular vein. Then, the doctor decided to attempt to establish a central line... puncturing the neck, chest or groin.... Eventually, the doctor said he was not able to set a central line.... By then, an hour had passed. Still, the execution team continued probing his body for another access point....The state’s constructed illusion of precision had collapsed, revealing something far more chaotic and brutal...."

Writes Maria DeLiberato, in "In a Tennessee Execution Chamber, I Saw Chaos" (NYT).

The chaos ended because the governor acted, delaying the execution for another year. It's already been a long time. Carruthers was sentenced to death in 1996. 

Paris.

Problems in Paris pic.twitter.com/KOU8r5UF4S

— Elon Musk (@elonmusk) May 31, 2026

Out of the blue, Spotify decided to celebrate my first day of Spotify with the news of the first song I ever played there.

And it's something that's a complete mystery to me. I can't remember ever hearing of it. Can't think of a reason I'd have stumbled across it and gone to Spotify to start up with it so I could hear this thing. Is Spotify pulling my leg?

I asked Grok what the hell it was and got: "'Chatty Cats' is likely some super-obscure or random kids'/background track that got logged as your very first play. It's extremely common for Spotify's 'first song ever' to be something you don't recognize at all." 

"What a welcome and much-needed reminder of a President who valued art, beauty, and decency. A glaring contrast to the garish, self-serving chaos of the current one."

Says one commenter at the NYT article "The Audacity of Art at the Obama Presidential Center/Barack and Michelle Obama commissioned 30 artists to create work for their campus, which starts visitor previews next week on the South Side of Chicago."

That's a gift link so you can see the photos of the artwork inside the building, which I think is quite good, and so you can gaze at the "View from the Sky Room" photograph that shows a view from the building, looking out through one of the letters of the text from an Obama speech that you can attempt to read if you stand on the ground and gaze upward at the building.

The view from the Sky Room is garish chaos, but the chaos seems designed to give ordinary citizens a place to play, that is, it's not trying to look good, it's trying to offer what can be used. Included in the play equipment is an N.B.A.-size basketball court and a "sledding hill." We'll see how much freewheeling tomfoolery unfolds in this space. The message is casual playfulness for the people, and it is in distinct contrast to the design ideas Trump has been imposing on the White House and elsewhere. His message is grandeur and elegance.

Sunrise hubbub.

Video by Meade, this morning, on Lake Mendota.

It's a hubbub, to my ear, but I noticed that if I left the subtitles on, the computer was able to discern words that were chaotic noise to me, no more articulate than the nonsense of the geese. 

"President Trump is the best builder and developer in the entire world, and the American people can rest well knowing that this project is in his hands."

Said a White House spokesman, quoted in "Trump’s Ballroom Design Has Barely Been Scrutinized/Architects Say It Shows" (NYT)(gift link because there are some detailed graphics).

Also quoted is Carol Quillen, the president and chief executive of the National Trust for Historic Preservation, which is suing over the ballroom. She says: "Even if we are slow and we make mistakes and we fight, that process has meaning to us."

Have you ever paused to contemplate the meaningfulness of red tape? Maybe the deliberation and drawn-out procedure is subtly, secretly the very best part of what we do together, the very heart of democracy. 

"Your need for approval is like a sickness."

A gem of meaning at 3:14 in this video of the opening of the Oscars show last night.

Not having seen the movies, I experienced this noisy cluttered barrage of vignettes as ugly chaos. It reminded me — with jarring pokes and jabs — why I don't want to see new movies anymore. Why was Conan in overdone makeup that made him look like a very ugly woman? Why did animated Conan develop stars in his eyes for 3 adolescent girls? Why were children screaming and chasing him? He stops for a moment to speak Norwegian and examine whether his need for approval is like a sickness and then the children screaming chase him out of the psychoanalytic dark Norwegian room. It's back to the noisy cluttered barrage that is Hollywood as Conan runs into the theater. I don't know what movie those children were supposed to represent, so I was just thinking generically of Hollywood's exploitation of children. How did the children become the monsters? Or were they running from monsters and Conan running with them, not away from them? At least tell a clear story. But no, I think this years stories were about chaos and raw fear and uncomprehended monsters. 

"Corinthian is the highest order, and that’s what our other two branches of government have."

"Why the White House didn’t originally use them, at least on the north front, which is considered the front door, is beyond me."

Said Rodney Mims Cook Jr., "the Trump appointee who chairs the Commission of Fine Arts, a federal panel charged with advising the president on design matters, said in an interview last week," quoted in "Appointee wants to replace White House columns with the ones Trump prefers/The head of a federal arts commission is proposing the more ornate Corinthian style for the nearly 200-year-old columns at the building’s front entrance" (WaPo)(gift link, so you can see the drawings showing the number and location of the longstanding Ionic columns and the Corinthian columns to be built in the new East Wing).

We're told that Trump prefers Corinthian columns but also that, according to a White House spokesperson, "there are no plans to change the existing Ionic columns outside the White House." It's just Cook spreading the alarm about redoing the scroll-y tops into those leafy tops.

Do you have any preference with regard to the tops of Greek columns? Do you care what it meant to the Greeks or even understand the notion of "the highest order"?

"With the Epstein files, searching for almost any word can lead to some interesting or weird or confusing or awful or misleading insight."

"It could also lead to some random person’s lunch order. Any single file, deciphered and placed in the right context, could be some important something no one else has yet brought to light. It could also just be spam from Epstein’s junk folder, or cryptic inside-joke gibberish that will soon become fodder for a conspiracy theory no one will ever be able to debunk. Even an AI-powered dissertation on what’s in all this bulk data might be volume length. It took years to get ahold of just more than half of the millions of known Epstein files. It may take just as long, or longer, to fully understand what they mean."

From "Making Sense of the Epstein Files, One Disturbing Search at a Time" (NY Magazine).

"The killing of Alex Pretti is a heartbreaking tragedy. It should also be a wake-up call to every American, regardless of party..."

"... that many of our core values as a nation are increasingly under assault. Federal law enforcement and immigration agents have a tough job. But Americans expect them to carry out their duties in a lawful, accountable way, and to work with, rather than against, state and local officials to ensure public safety. That's not what we're seeing in Minnesota. In fact, we're seeing the opposite."

So reads the "Statement by President Obama and Mrs. Obama," posted on X by Barack Obama.

A lynch mob? A crowd chants "Kristi Noem will Hang!" in New York City.

NOW: "Kristi Noem will Hang!" Huge crowd chants in Foley Square NYC, also "Save a life, kill an ICE" as they gather to protest the ICE killing of Renee Good in Minneapolis.

Some in the crowd condemn the talk of killing. pic.twitter.com/ifrXNZB0dz

— Oliya Scootercaster 🛴 (@ScooterCasterNY) January 8, 2026

Democrats who hope to win back power need to act now to reconnect with peace and good order. They seem to have encouraged the chaos yesterday, and they need something quite different today lest they be seen as they wanted us to see Trump after January 6th, as having incited insurrection.

Stephen Miller goes into a long Trumpish "weave," and the reporters don't turn and walk away.

I guess they're still waiting and hoping that they'll be the one to wedge in a question that will somehow stymie the man who's never going to stop:

I am SO GLAD the Trump administration decided to completely UNLEASH Stephen Miller on the media.

He regularly displays a masterclass in debunking their lies.

"Guys - do you know the difference between a deportation order and a withholding order? Do you know the difference? Any… pic.twitter.com/sDmzpLtiyu

— Eric Daugherty (@EricLDaugh) April 14, 2025

What a dysfunctional relationship! Miller will take any question and return to the tortured, raped, and murdered women and girls who rule his world. The reporters cling to the hope that the plight of the deportees will seize the hearts of America. If only Miller would say something sufficiently inhumane about them, but every answer is the same: Think of their victims — the women and girls!

"One day I saw this camera room, and nobody was in there, and I took one and tested it, walked ou,t and they never noticed that a camera was missing."

Said Werner Herzog to Anderson Cooper, who injected flatly: "That's a stolen camera."

Herzog: "It was more expropriation than theft. You have to have a certain amount of, I say, good criminal energy to make a film. Sometimes, yes, you have to go outside of what the norm is."

And I like this, about Klaus Kinski: "I had a a mad man as a leading character. He had a temper as demented as it gets. You had to contain him, and I made his madness — his explosive destructiveness —productive for the screen.... Every gray hair on my head I call Kinsky."