UPDATE and the skies of Portland over the past few weeks

UPDATE: Slept well until around 3:15 a.m., then slept off and on until 8:30 a.m. I've been outside before the predicted rain started so that I could get in some walking. I'm walking in the building off and on now. I don't have much stamina yet, but I'm working on it. In fact, I walked the two blocks to Subway and got a tuna sandwich which I carried back home in a rain shower--I wore my hooded raincoat on purpose, y'all, so I was fine and able to rest at the somewhat wet picnic table at the Blue Diamond's back door on the way there and back. Y'all, thanks for your continued prayers, love, and concern.



I took this photo today, mid-morning, when I went out for a walk. For me, the sky tells the tale of why this flag flys at half mast--the heaviness in a lot of folks hearts and minds after the murders at Umpqua Community College on October 1. I assume that's th case, that Albertina Kerr followed the President's call to lower the American flag to half mast; however, they've not returned it to the top of the flag pole yet--the order was half mast through October 6.



Portland has some fantastic blue skies, sometimes with clouds which magnify their impact. I took this photo on October 8, six minutes after I took the next one on today's post. I was on my way home after work. I waited at East Burnside and NE Grand for a 12 or a 19 bus. That building on the left will end up 21 stories, not all visible from this position since the ground floor of it rests below the height of the Burnside Bridge, and I'm at that height here on East Burnside. The one on the right tops out at 10 stories. Both of those heights are what I found online in early stories about the construction--I assume there have been no changes.



Thirteen blocks south of the previous photo, same day, 2:34 p.m. I took this one as I sat at the Portland Streetcar shelter, waiting. I like the juxtaposition of the rust-induced-chocolate-truffle-colored public art with the blue sky. The sculpture's title is Inversion Plus Minus.



Downtown, outside the Portland Art Museum, September 26, when Leland and I had been inside at The Artisans Cup American Bonsai exhibition. I'm sorry to report that I don't know the name of this sculpture; it's in the outdoor courtyard between the two buildings that make up the PAM. The 175-foot tall church bell tower peeking between the trees and the cloud is across the South Park Blocks; it's the First Congregational United Church of Christ and is amazing in its architecture and Povey Brothers Studio stained glass windows.



One last photo of Portland skies, this one taken as I arrived at work on September 22. More of Inversion Plus Minus, the public art which also appears at the opposite end of the block and is shown in an earlier photo in today's post.

UPDATE and a few more American Bonsai seen at The Artisans Cup, Sept. 26

UPDATE: Made it to the Oncology Center for the blood work just fine this morning. Janessa gave me a ride there and then to work--she's a sweetheart! I don't know the results of the blood counts, though, so I'm hoping that they are OK. Since I had the test done about 9:40 a.m., and it is now close to 6 p.m. with no phone call or e-mail telling me to report early, I'm hoping that means I won't all of a sudden have to go there at 7 a.m. to do the test again before the chemo appointment at 8:30 a.m. Anyway, here's what has been approved by the doctor for in between Round 4, tomorrow, and Round 5, probably on October 22--I will only work seven days once I feel well enough to go back to work, not ten like I did this time. Hopefully, by working two days, being off three days, working three days, being off three days, then working two days before I get ready for Chemo Round 5 I will be able to endure the fatigue better. I'm certainly ready to try it. Thank you so much for your continued prayers, love, and concern.



Mountain Hemlock, exhibited by Bob King. Species, Tsuga mertensiana. Estimated age, 150+ years old; time in training, 15 years. Origin, Vancouver Island, British Columbia, Canada.



California Juniper, exhibited by John King. Species, Juniperus californica. Estimated age, 100+ years old; time in training, 10 years. Origin, Mojave Desert.



Buttonwood, exhibited by Michael Fedducia. Species, Conocarpus erectus. Estimated age, 150-200 years old; time in training, three years. Origin, Florida.

This is the artist statement excerpt published in the booklet that went along with the exhibition: This tree was collected in south Florida in the early 80's by Joe Samuels, one of the early pioneers of bonsai in Florida. In my humble opinion, it is by far one of the best representations of the larger buttonwoods that reside on the rocky islands of the Florida Keys that I have seen, and is one of the oldest collected specimens that I have encountered. Some of the trees I find most inspiring stand alone on small coral rock islands off the coast in the Atlantic ocean. They show a true will to survive in the face of adversity, overcoming the lack of a constant fresh water supply. Only to be replenished when a rain shower passes through saturating the stone in which they live. Gripping the coral tightly over the centuries as hurricanes push through, threatening to rip them away from their rocky perch, and still they hold on. They are inundated with salt day after day, and have adapted to excrete the excess through specialized glands at the base of their leaves. Living on the ragged edge of life and death, they exude strength and beauty while sharing the story of their constant struggle through the scars that they have earned. It is my hope to capture this image, if only a glimpse, and to allow the viewer to see this species in all it's glory as I have kayaking the ocean waters.

UPDATE and The Artisans Cup, some of the American Bonsai as seen at exhibit held in the Portland Art Museum

UPDATE: I don't know how it happened, but I didn't really get up today until 9:49 a.m. Best of my memory, I woke up at 6 a.m., but didn't get up other than to get in front of the TV because I really wanted to be awake at 7 a.m. to watch CBS Sunday Morning. I think I watched most of it, dozing now and then. Before it went off, I fell asleep all the way. I don't know what woke me up, but I was hungry, so ate leftover rice with kidney beans and smoked beef sausage slices with leftover Coca Cola from the Subway on Thursday afternoon that I didn't finish when I had my little picnic in the front yard. I feel pretty good. Tomorrow afternoon I have an appointment with the chemo doctor. Wednesday before work I go for the pre-chemo bloodwork. Thursday at 8:30 a.m. I have the chemo appointment for Round Four. I hope my blood counts are where they need to be. Thank you for your continued prayers, love, and concern!



It's easy to see why this tree had to be all by itself in the foyer to the exhibition room. It's huge compared to the 71 trees listed in the booklet handed to us when we entered the exhibit hall. Here's the info about this tree: Englemann Spruce, exhibited by Ryan Neil, Founder of The Artisans Cup. Species, Picea englemannii; origin, the Cascade Mountains. Estimated age is 350 years; years in training, three.



Coastal Redwood, exhibited by Bob Shimon. Species, Sequoia sempervirens; origin, Mendocino, California. Estimated age is 100 years; years in training, 18.



Japanese Maple, exhibited by Ram Lukas. Species, Acer palmatum 'Kashima;' origin, collected landscape tree. Estimated age, 50-60 years; years in training, 10. I cropped it like this because I didn't like all of the light on the leaves from the overhead fixture. I wanted you to be able to see the delicate leaves.

More American bonsai soon.

UPDATE and Leland with the heritage tree from pioneer times in Portland's South Park Blocks

UPDATE: I made it through the night fine, slept until about 5:30 a.m. I stayed awake until maybe 6:45 a.m., then fell back asleep until 8 a.m. Thank goodness! Thank you so much for your continued prayers, love, and concern. Leland and I had a good time together today. He came up with a neat event for us to check out, The Artisans Cup, a bonsai tree display at the Portland Art Museum in downtown Portland in an area known as the South Park Blocks. After that, we ate a late lunch, then went to see Mission Impossible - Rogue Nation at the Laurelhurst Theater, a vintage neighborhood jewel that shows second run and classic movies with a realistic ticket price; when I'm well, I am able to walk the ten blocks there and back; today, thank goodness for Leland's car. After he brought me home, I managed to see almost then entire second half of the Mississippi State win over Auburn. Go, Dawgs!



My darling younger son Leland agreed to stand here for me to take a photo. He's pushed his sunglasses up onto his head, and his hair's going every which way on his left--I love it! When I noticed if he moved to his left a bit the sun would be on his face better, he graciously moved for me and smiled again. I love this photo--I cropped it so that you could get a good look at this young man who got me out and about today for a bonsai tree exhibit and a movie, with a very late lunch at Burgerville in between. I ended up too tired to make it to Fred Meyer to get groceries, so he's going there tomorrow to get mine for me. Sweetheart, y'all, he's a sweetheart.

In this photo, take a good look at the width of the trunk and the height of the root area at the base of the trunk--I guess that's what you call it.  Now, scroll down to the fourth photo and compare, please. I'm amazed at the way this tree has grown, in the midst of all that goes on in downtown Portland and in such encumbered space for its roots.



If you look closely at this wide shot, the first of the three that I took, you can tell that Leland's left foot looks much more comfortable in this position. In the cropped photo, the second of the three and taken after I asked him to move to his left, you can see that he's managing to stay on those roots with his left foot in an awkward position. Thank goodness he didn't have to stand like that but a few seconds! Thanks, Leland.



Here's a wide shot of the tree that I took on the way back to the car. Perfect weather today!



Here's photo taken from almost the same spot as the one I took today with Leland standing on the tree. I took this one on August 29, 2009. Be sure to compare it with the top photo in the post, please. Are you as amazed as I am by the amount that the tree has increased in girth in the past six years?



There's a sign on the tree--I took this photo on August 29, 2009. The sign is still there today.



I like this sign, too, at the base of the tree in the sidewalk--another photo from August 29, 2009.

This is information that I found and put on the blog, back on October 12, 2009, when I decided to post about the Heritage Tree: I just love the Internet. I've found a pdf of a brochure or booklet, "Oregon Geology," published by the Oregon Department of Geology and Mineral Industries, from November 1985. On pg. 7, I've read about the sidewalk plaque. "At the northwest corner of the intersection of Main and West Park there stands a magnificent london (sic) plane tree (Platanus acerifolia) (a) that was planted in 1800 by Sylvester Farrell. At the base of the tree, a gneiss marker indicates incorrectly that the tree is a sycamore (which is a close relative of the london (sic) plane tree). The marker also left out an "L" in the gentleman's last name. The tree has been placed on the National Register of Historic Places. It is the sole survivor from pioneer times in the immediate area." The gneiss marker is in the photo above, embedded in the sidewalk.



Last photo of the tree--I walked east and turned back to get this one on August 29, 2009. I didn't have the energy to do that today, well, I saved what energy I had for viewing and taking photos at the bonsai tree exhibit that Leland and I had decided to see, inside one of the Portland Art Museum's buildings. The Artisans Cup and its bonsai trees turned out to be grand. Photos soon!

Portland Art Museum, Members Gospel Brunch, Sunday, April 7, 2013, No. 1

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From the card beside my water glass at the table where I decided to sit--right in front of the stage--I know that the man on the saxophone is Renato Caranto, that the man on the Hammond B3 is Louis Pain. I wish I knew the drummer's name, but it's not on the card. I mean no disrespect, but my lack of information bothers me.

Still and all, I like the photo too much not to share it with you. Perhaps someone will see this post and provide us with the man's name. For all three men, their music spoke of their talent and their love of performing. We who attended enjoyed them as we stood in line for the buffet and ate and drank before the program began.

The sold out event had been advertised thusly--"Join us for a one-of-a-kind event in the Kridel Grand Ballroom, featuring amazing live gospel performances and a southern-style buffet brunch. This foot-stomping event will definitely end your weekend on the right note." I jumped at the chance for preferred seating because I knew I wanted to be as close to the stage as possible. All I had to do was arrive early and place myself strategically at the front of the crowd, then I briskly walked across the length of the ballroom, heading for my ultimate destination, already revealed to you in the first paragraph. About the food, I couldn't eat the quiche--too much dairy--but I enjoyed the fruit, pastries, sausage and bacon, along with orange juice.

1961 Aston Martin DB4GT Zagato, Allure of the Automobile, Portland Art Museum's Photography Day, August 14, 2011

1961 Aston Martin DB4GT Zagato - I bought a special ticket which allowed entrance a couple of hours prior to the regular Sunday opening time. Hardly anyone present, just a few workers and a few photographers. Here is the all important agreement I signed about these particular images, which applies to the bottom two photos.

Under no circumstances may you download, upload, copy and paste any of these photos in this post. Thank you. They are not to be used for any purpose other than by me, and that purpose is to be posted on my blog, Portland Oregon Daily Photo. These are the conditions put forth by the Portland Museum of Art when I bought my Photography Day ticket. Thank you.




You can see others taking in the elegance that is this Aston Martin. While I don't begrudge anyone the chance to stand and look as long as they would like, I did wish for fewer people now and then. That's why I bought the special ticket I mentioned at the top of the today's post.

Driver's side view. I read this on the information placard on the wall near the vehicle: It is believed that only two of these cars had hood scoops, and this is one of them. Of the nineteen examples built, just six were left-hand drive. Coachwork: Lightweight Superleggera aluminum alloy body by Carrozzeria Zagato. Only 19 examples were produced. Some cars had hoods with triple power bulges; others had a single scoop. Suspension: In front its equal-length wishbones with coil springs, tubular shock absorbers and an anti-roll bar.
 

Passenger side view and more evidence in support of my desire to take photos of these cars with less people present. From the information placard: Engine type: 226-cid, 12-valve, DOHC 1-6. Horsepower: 314 bhp at 6,000 rpm. Transmission: 4-speed manual. Top speed: 160 mph. Wheelbase: 93 inches.
 

Name on the trunk, along with the reflection of the ceiling light fixture. From the placard: This particular example was the Turin show car in 1961, "dressed up" with bumpers, a chrome strip along the side, chrome instead of polished aluminum around the windows and headlights, and chrome wheels. It is believed to be one of only two examples that had hood scoops. Of the nineteen examples built, just six were left-hand drive.
 

Can you imagine walking through the museum's front door and seeing this beauty, right there in front of you? And you're one of only a handful of people there at that time? Wonderful, let me tell you.

I also read this on the information placard: Suspension: The rear suspension is a live axle with coil springs, lever arm shock absorbers and a transverse Watts linkage.

1954 Plymouth Explorer Sport Coupe, Allure of the Automobile, Portland Art Museum's Photography Day, August 14, 2011

1954 Plymouth Explorer Sports Coupe - I bought a special ticket which allowed entrance a couple of hours prior to the regular Sunday opening time. Hardly anyone present, just a few workers and a few photographers. Here is the all important agreement I signed about these particular images.

Under no circumstances may you download, upload, copy and paste any of these photos in this post. Thank you. They are not to be used for any purpose other than by me, and that purpose is to be posted on my blog, Portland Oregon Daily Photo. These are the conditions put forth by the Portland Museum of Art when I bought my Photography Day ticket. Thank you.




Across the front and along the passenger side.



Side view of front passenger tire, turn signal, headlight, and the grill.



Grill and headlights.



From the trunk forward.



A second view from the trunk forward.



Passenger door to front end.



Passenger door to back end.



Close-up.



Finally, two photos with a bit different exposure, making the color look a bit different, too.

See what I mean about the color? I think all of the earlier photos are more true in portraying the vehicle's actual color.

Info found at Concept Carz: In the post-World War II era, the public were very enthusiastic about the so-called Concept Cars of 'Dream Cars.' Virgil M. Exner had been placed as head of Chrysler's Styling department and was responsible for improving Chrysler's rather stodgy late 1940's image. He turned to Carrozzeria Ghia in Turin, Italy, to produce a unique series of one-of-a-kind 'idea cars' on production Dodge, Chrysler and Plymouth chassis. Exner had sourced the work out to these Italian craftsman because they could build these one-of-a-kind cars more creatively and less expensively than any American company.

Exner designed the Chrysler K-310 Series, which was followed by three more Ghia-built Chrysler design studies: the C-200, the SS, and the D'Elegance, as well as the DeSoto Adventurer 1 coupe. Luigi Segre of Ghia was asked to produce a memorable quartet of cars for Dodge called the Firearrows. The Dodge Firearrow III was a precursor of the subsequent De Soto Adventurer II and Plymouth Explorer concept vehicles that followed.

The sleek, wide-mouthed Explorer was mounted on a 114-inch wheelbase Plymouth chassis and was just 54-inches tall. Powering the vehicle was a 230-cubic-inch Plymouth l-head six that offered a humble 110 horsepower. There was a semi-automatic transmission, twin exhausts that exited through the rear fenders, and wire wheels. The car was distinguished by elegant ivory-hued side reveals, vestigial fins, a metal green finish, a white leather interior with bucket seats and fitted luggage.

Along with giving the public a glimpse into future designs for the company, the Dodge Firearrows, DeSoto Adventurer and Plymouth Explorer significantly helped to rejuvenate the company's image. Chrysler's 'Forward Look' styling of 1955 - 1961 inspired other automakers to return to their drawing boards to revise their models which lacked Chrysler's fresh, Italian-inspired flair. The car debuted in the May 1954 Motor Trend. Despite its racy good looks, the Explorer was powered by the 110-horsepower, 230 cubic-inch, 6-cylinder engine coupled to a Hy-Drive transmission. The dream cars were the inspiration of Virgil Exner who was hired by Chrysler boss K.T. Keller to reinvigorate the Plymouth brand. Chrysler had discovered that there was considerable interest in 'dream car' design proposals, so much so that GM took its cars on tour, staging the elaborate Motoramas around the country. Throughout the 1950s, Chrysler displayed a string of dozens of cars penned by some of the leading styling houses in Europe.

#4, Blastolene Brothers--wildness on wheels--at Cars in the Park, Portland Art Museum, September 3, 2011

A very big hot rod with a powerful engine. Very big.


A very big hot rod with a powerful engine. You can see how tall it is, in comparison to the nearby people.


This photo also gives you an idea just how tall this thing is!


And this one gives you an idea just how long this thing is, even with part of it not in the shot!


A close-up of the brakes on the very big hot rod with the powerful engine.


The view along the side of the very big hot rod with the powerful engine.


The front end of the very big hot rod with the powerful engine. To me, the wheels look like they belong on an 18-wheeler.


One more view of the very big hot rod with the powerful engine. It was something to see, let me tell you!


One more view of the back end of the very big hot rod with the powerful engine.

I really like the streamlined design of the very big hot rod with the powerful engine.