When composing and constructing plant enclosures for the Triffid Ranch gallery, a lot of back stories and inside jokes get mixed in. Sometimes, it’s serendipity, with an object with a lot of backstory that just happens to be the perfect inclusion to a new enclosure, and a little voice in the back row says “Let it go, so someone else can appreciate it.” Others are items with so much context that they encourage the construction of the whole arrangement. However, keep an eye open for one particular set of additions, because there’s some sentiment tied to it.
My parents-in-law first moved to their house in the late 1960s, back when Dallas was still just a bit more than a town and long before the oil boom of the 1980s expanded its sprawl in all directions. My wife spent the first days of her life in that house, and grew up not far away from the gallery’s current location. She has all sorts of stories about how the neighborhood changed over the decades, with new people moving in to replace those who moved elsewhere, additions added and removed (she loves telling the story of the neighbors who refused to clean their big sunken pool and thereby deal with the clouds of mosquitoes rising off it every evening, so she introduced bullfrogs that made so much noise that the neighbors took out the pool), walking a succession of Norwegian elkhounds to friends’ houses, and keeping in touch even after moving out on her own. Her story became my own in 2002, including the house hosting our wedding reception. The years went on, with my planting roses I’d grown from cuttings taken from roses planted in front of our own house and neglected. The roses at the original house were cut back too far just before the worst heat wave since 1980: they’re gone, but the cuttings are still in the back yard, throwing off gigantic pink and red blooms to everyone’s delight.
Eventually, though, the story of my in-laws’ time in the house had to end. The house was already too large for them to maintain easily when Caroline and I married, and the tales of my father-in-law installing Christmas lights on the eaves outside went from comedy to incipient terror. Finally, at the end of August, they made the decision to move from the monster house in which they’d resided for a half-century, and moved into a retirement apartment. The house went through the now-inevitable estate sale, and then it went onto the market. We just received word that an offer had been made by a couple that admired it and wanted to keep it as it was and not tear it down for replacement with a McMansion, so we can still drive by from time to time and share our memories. Its actual involvement in our lives, though, is done. As someone who moved a lot both as a kid and as an adult, I had defense mechanisms in place to mourn in my own time, but it’s understandably hit Caroline a lot harder than she thought would happen.
That’s where the Honeymoon Wall comes in. To hear my mother-in-law tell it, her dream with this house was to put a stone wall in the back, a promise she made on her honeymoon. It took a little longer than she planned, and that wall required building an extension declared “the playroom”. The stone came from trips to the Rocky Mountains, ranging from a deep navy igneous rock to a truly stunning light green stone with darker blue veining running through it from all directions. The Honeymoon Wall, once finished, witnessed the family growing, spreading, and reuniting, including our reception, and the chunks of rock that didn’t make the wall were incorporated into edging on a wildflower garden in the center of the back yard. That was the state of affairs until the estate sale was over and the house was vacated for the last time.
Before the house was cleared, all of the extended family was asked about taking everything not needed for the new apartment, and I was asked repeatedly “are you SURE you don’t want anything?” I really didn’t: we had our own furniture and our own keepsakes, but I asked if I could rescue some of the rocks in the back. One included a rather large petrified log found in the Brazos River decades before, and the rest of them were extra Honeymoon Wall pieces. A bit of experimentation revealed that they polished up in a rock tumbler quite nicely: they weren’t gem quality, but the blue stone was mistaken for sodalite, and the green was different enough that it caught almost everyone’s eye.
Now, a month after the estate sale, the experiment goes to its next stage. The idea is to add pieces of those Honeymoon Wall extras, big and small, to new enclosures, starting with “Hoodoo” from October. Those who know the story will recognize and appreciate the bits of Honeymoon Wall as they encounter them, and I hope to be in the business of constructing carnivorous plant enclosures long enough that customers specifically look for the tumbled stones. For everyone else, though, it’s all about the hidden context: they won’t know that the stone in their enclosures had its origins in a wish nearly seventy years old, but I will, and knowing that bits of that wish are spread across the continent is good enough. Selah.
The last few days after the end of the Dallas Fantasy Fair revival have led to a lot of soulsearching and evaluation of life and business needs. This includes an evaluation of the differences between being an attendee and later a guest at the tail end of the Twentieth Century, and being a vendor and business owner and operator in the Twenty-First. This includes looking past lots of good memories of the shows and remembering that while I attended back then mostly to see friends and cohorts that now are all over Facebook, both those friends and I were there also because we could afford admission and not much else. This includes a note that since science fiction, fantasy, and comic conventions have evolved drastically in the era of eBay and YouTube, vendors shouldn’t get nostalgic for the days when dealers’ rooms were dependent upon the latest fads and speculation bubbles. The last Dallas Fantasy Fair ran in April 1996, just as the big mid-Nineties comics speculation boom was collapsing (it’s hard to believe today with Avengers and Spider-Man movies released seemingly every month, but Marvel Comics was very close to Chapter 7 bankruptcy this time 22 years ago, and the idea of the whole of Marvel’s comic characters being sold to the WWE as wrestling characters was pretty reasonable at the time), and things have changed a LOT since then.
Not to beat on the Fantasy Fair revival: attendees were happy, it was good to run into people I hadn’t seen for nearly half my life, and those seeking vintage comics seemed to find exactly what they were looking for. It’s just that a combination of too many related events in the same month (friends who have been involved in Dallas fandom for 40 years related that they’ve never seen so many events scheduled for a November before, across the DFW Metroplex and north to Denton) and a lack of name recognition with anybody under the age of 40 led to, shall we say, a much smaller crowd than had been promoted.
Right now, the talk about the Fantasy Fair is optimistic, with one once-influential retailer talking about how the show may be a must-attend event in another ten years, and may even regain its place as second only to the San Diego Comic Con as essential attendance for anyone in the industry. I truly wish well of everyone involved, and hope that these predictions come true. In the meantime, though, with the exception of Texas Frightmare Weekend, it’s time to move away from conventions. It made sense a decade ago, but it’s time to move on.
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I’m out at the Dallas Fantasy Fair as you read this, but it’s time to reminisce. 20 years ago this Sunday, the final broadcast of a television experiment went shooting out of Earth’s atmosphere. It wasn’t the catalyst, and it certainly wasn’t the cause, but that broadcast was a good marker for my life Before and my life After. Considering how the life After turned out, the show’s final message couldn’t be more appropriate. Here’s to everyone, including an old friend who is still horribly missed, who changed the world without realizing it at the time.
For all of you having to work on Thanksgiving Day in the States, and for those working Black Friday everywhere, a reminder that the movie that popularized today’s theme song premiered 40 years ago. It’s still the best documentary about life in Dallas in the 1980s ever made.
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It took long enough, but summer is dead. Deceased. It’s not pining for the fjords. Its leavetaking proves that there’s still room in Hell. It’s GONE, MacReady. The heat is gone, defunct, bereft, and on its back and kicking like a dying cockroach. We won’t have to start worrying about oppressive heat in the Dallas area for another five months, and for a couple of weeks, we might need coats after the sun goes down. We’re gonna FREEZE!
Seriously, this November is shaping up to be a typical one. No unnatural heat the way we had in 2016, but also no significant chance of snow and slop the way we had in 1993. (Subfreezing temperatures and sleet on Thanksgiving evening and nearly impassable conditions for Dallas the day after: that was a wonderful mess.) We came close to snow last week with the cold front that passed through North and Central Texas. Even that was sporadic and fleeting, and we went back to our typical windy and sunny before anyone realized the bitter cold was gone. For those of us with fashion sense that includes motorcycle jackets and heavy boots, it’s been a little touch of heaven, and we still have December and January to go.
(And on the subject of motorcycle jackets, I bought mine 21 years ago this month, and it’s a little jarring to realize that I have friends and customers whose main interests were cell division and limb gene expression when I purchased it. I had at least four people ask me what I did to get it that wonderfully broken in and character-ridden, and I had to tell them “Just get one and wear it until it’s old enough to buy booze in the US.”)
Out come the jackets, in go the temperate carnivores, unfortunately. As of now, don’t expect to see any Venus flytraps, temperate sundews, or Sarracenia pitcher plants until at least the beginning of April, and even that may be delayed with last-minute blue northers hitting in February and March. The spotty frosts we’ve received over the last week have stopped any new growth in the flytraps and pitcher plants, and they’re now taking a much-deserved rest to recharge for spring. If we get just the right combination of sun and cold for the rest of the winter, next year’s blooms, especially with the purpurea pitcher plants, will be spectacular.
Just because they’re asleep doesn’t mean that everyone can’t have fun with carnivores until spring. The tropical carnivores are still busy and a bit obnoxious, so we’re going to be focusing on them all winter long. And oh, they’re going places.
The first place they’ll be going is to the revival of the Dallas Fantasy Fair, runningNovember 24and 25 at the Irving Convention Center. November is already a month packed with fannish events (I haven’t seen a month like this in Texas, and my memory of related events goes back 35 years as of this weekend), but setting up a booth at the Fantasy Fair seemed both like an opportunity to run into people I haven’t seen in two decades and give them a chance to see a cross-section of what the Triffid Ranch is trying to accomplish. Either way, look for booth #406: in a room full of comics professionals, a space dedicated to carnivorous plant enclosures is going to stand out.
Next, the Nightmare Weekends Before Christmas open houses at the gallery are going to be a little truncated this season due to conflicting schedules. Instead of running every Saturday in December before Christmas, we’re going to have two:December 15andDecember 22, bothstarting at 6:00 p.m.and ending when everyone’s done. In addition, anyone purchasing an enclosure at either of the open houses gets free delivery within the Dallas/Fort Worth area if you really want to surprise someone. (Note: between prior commitments and the open houses, time for custom enclosures will be at a premium, so get requests out NOW.)
After the holidays are finally over, it’s time to go back to a venue we haven’t visited in three years. The Perot Museum in downtown Dallas still has its bimonthly Social Science 21+ late-night events, and the Wild World event on January 25includes viewings of Nepenthes and Heliamphora pitcher plants and other carnivores. The contract is still being negotiated, but expect to see a redux, with North American pitcher plants, for the Social Science “Science Fiction” eventon April 26.Apparently that’s the one where I’m going to get alternate movie quotes thrown at me about triffids.
And on a last note, the touring Oddities and Curiosities Expo runs in Austin this weekend: as tempting as it was to head back to Austin for a weekend, my loyalty lies with the Blood of Texas Crew for the Horror For the Holidays event. You can imagine my surprise at discovering that Oddities and Curiosities is hitting Dallas on March 30, and of COURSE the booth fee has already been paid for it. Look at it as a teaser for Texas Frightmare Weekend on May 3 through 5, including having special news for Frightmare attendees who are also hitting Free Comic Book Day at local comic shops that weekend. Details will follow.
And that’s about it for now. Staying warm?
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Posted onNovember 14, 2018|Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 5
16 years ago, my life changed when I accepted a job interview with a tech company in Tallahassee, Florida. It was a fly-in/fly-out interview, but what I saw was enough to risk moving across country for something that might turn back into pumpkins and mice at any moment. (That’s about what happened, and several former co-workers regularly re-apologize for my getting laid off just before Christmas. I tell them that they have nothing to apologize for: if not for those four months in Tally, my life would be drastically different today, and much less satisfying. Hell, I might have returned to writing for science fiction magazines.) I had a lot of entertaining encounters in both the Dallas and Tallahassee airports, but one of the most interesting was from a Miami native who was switching flights in Tally before heading home, and he asked why the HELL would I want to live in the Florida Panhandle. “South Florida: that’s where the action is!”
Years later, after visiting Tampa and making friends I still hold dear, I understood what he was getting at. At the same time, in this line of work, a bit of quiet is exactly what I need to get things done.
It’s the same situation with Austin. “Look at all of the events out here! Look at the clubs, and the galleries, and the bookstores! Why, Dallas doesn’t even HAVE bookstores! You stand around staring at two-story buildings and ask if they have those newfangled indoor toilets!” Okay, so we’re not as relentlessly exciting as Austin, but we’re not completely uncivilized: the Adolphus Hotel in downtown finally took down the big “Free HBO in your room!” sign about a week ago. And if we don’t use indoor toilets, it’s usually because we’re really angry with a neighbor.
This isn’t a slam against Austin (two decades ago, if you’d told me I’d be defending Austin instead of riding a nuke into downtown, I’d have questioned your sanity, but times change), but it’s just not a town conducive to what the Triffid Ranch is trying to do. The secret to Dallas is that we’re not the hidebound, stick-in-the-mud business city popularly presented: we’ve got a wide-ranging music community, one hell of an arts community, and a lot of unorthodoxy that’s not advertised. That’s for a reason: the longer we can keep the contingent of SMU brats away, the longer a venue, locale, or community can last. It starts with a few of them coming in seeing if anyone knows any good coke dealers, and like roaches discovering spilled sugar, they leave scent trails for their friends. Before you know it, developers discover that artistic sweat equity made a locale particularly desirable, and it’s gentrified out of existence. The SMU brats who wanted to live there because it was cool leave because they don’t have a place to slum, the developers follow, and everyone else tries to rebuild elsewhere. The longer we keep quiet, the longer what we have lasts.
This means that Dallas runs on a different artistic cycle than most cities. Nobody cares if you’re an aspiring writer or painter: the only people who think this matters are yuppies who assume that crowing “Well, I’M an artist!” will get them into loft spaces otherwise inaccessible to those with neither brains nor soul. Respect comes from finishing the projects you say you’re going to finish, no matter how lonely or bored you are in the interim, and then producing more. Dallas is a tough teacher in that regard, especially since the city in general only notices successful artists after they’ve become successful elsewhere, but it also produces people who don’t quit halfway through because they’re not getting enough attention. And for some of us, that lack of attention is a greater motivator than getting attention, because it makes us strive that much harder to prove we can do it. Distractions just prevent production.
And that, in a nutshell, is why I can’t live in Austin, or Houston, or New York, or New Orleans. Please note that I said nothing about dragging out enclosures and visiting.
Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 5
Posted onNovember 14, 2018|Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 4
One of the minor issues with attempting new shows outside of the Dallas area is the sheer surface area and volume of Texas. Anybody growing up here doesn’t think twice about a two-hour drive to get somewhere, because that’s usually the only option. My friend Stephen Dedman came out to Dallas from Australia at the beginning of the decade to visit, and picked a hotel between Dallas and Fort Worth so he could visit both cities within a given day. The poor man had no idea as to how a “quick trip” between Dallas and Fort Worth could take up a good portion of the day, and that’s on a day without traffic congestion or foul weather. And getting anywhere else? Texarkana is nearly a six-hour drive away, and both New Mexico and Colorado are about eight. Only in Texas could a company like Southwest Airlines get started: for years, Southwest’s main business was in commuter traffic between Dallas, Houston, San Antonio, and Lubbock, and $99 weekend flights to Houston are still a significant portion of the company’s business, because it’s cheaper to fly than to drive.
(In 2010, I visited Boston to do a presentation on carnivorous plants for a science fiction convention west of town, and planned a Friday trip to visit Black Jungle Terrarium Supply smack in the middle of Massachusetts. My hosts were beyond horrified to discover that because of Massachusetts’s notoriously poor highway signage, I overshot my turn and kept going, only turning around when I started picking up radio ads for concerts in Saratoga Springs, New York. I’d traveled the length of the state that afternoon, something many natives never do, and back, and was completely nonplussed at the drive. These same friends were frothing and chewing the walls when I told them that I probably would have kept going just to see what I could see if I didn’t have to be back that evening: I haven’t been in Saratoga Springs for 40 years as of this month.)
The reasonably flat vistas of Texas are both blessing and nightmare for long transport trips: we took extraordinarily well to the implementation of the interstate highway system, which means that barring breakdowns, food and fuel are extremely accessible. Even the so-called Hill Country of central Texas is gentle rises for someone used to the Rocky Mountains or even the Adirondacks, which saves on fuel consumption but also leads to our famed constant wind out of the south. The flatness also means that west of Tyler, depending upon rain or trees for shade on the highway is a fool’s hope, and it’s very easy to overheat when caught in traffic jams on a major highway. Fact is, doing out-of-town shows in Texas makes the thought of doing shows outside of the state a bit rougher: I was recently invited to be a vendor for a big convention in Salt Lake City, and the biggest reason for turning it down was the thought of having to drive through the Rocky Mountains, with or without chains, for most of the way. (The snowstorm that hit the area the day I would have been driving back was confirmation that I made the right decision.)
At the same time, years of shows at Texas Frightmare Weekend have introduced me to a throng of wonderful folks, both customers and friends, who hop on commuter flights to Dallas from the rest of the state. It’s going to be a while before I get the chance to see them all in their home turf, but I’m working on it.
Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 4
Posted onNovember 14, 2018|Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 3
When it comes to carnivorous plants in Texas, the middle of November is a problematic time. The temperate carnivores, particularly the Venus flytraps and Sarracenia pitcher plants, are ready to go to bed for the season. They’ve already stopped growing new traps, and the existing ones are only good for photosynthesis until the next spring. However, they’re still green, and customers demand to see at least one flytrap. On the other hand, the temperatures can drop enough that tropical plants such as Nepenthes pitcher plants might have issues with the relative cold inside a transport van. The latter are easy to deal with: crank up the heat and try to keep time outside to a minimum. The issues with the former, though, mean having to inform customers that as beautiful they are now, the plants have to be allowed to go into dormancy over the winter, or else they’ll wear out and die. After all, who wants to buy a plant that they won’t be able to enjoy watching capturing insects for another five months?
The trick here, of course, is no trick: it’s all about being completely honest. Yes, that big clump of Sarracenia is about ready to start pining for the fijords, but the best time to repot a clump into a permanent bog garden is when it’s dormant. Yes, that flytrap has lost its narrow summer leaves, but the ones remaining are going to spend the winter capturing every last photon they can and convert that energy into starches that allow the plant to come back with a vengeance in spring. See the colors on the traps right now? This is what you have to look forward to 11 months from now, when the pitcher plant grows fresh traps at the end of the summer. Oh, and if you like them now, wait until they bloom at the end of March.
Part of the reason why I started the Triffid Ranch a decade ago was because garden centers selling carnivores fell flat on their faces as far as imparting proper care and preparation to new customers. “Don’t worry: you can make tap water safe for carnivores by boiling it.” “Flytraps at Christmas? Let me ring you up.” “Yes, you can use flytraps to control insects in your house, ESPECIALLY bedbugs.” It may disappoint some customers to warn them about a new plant’s life cycle, especially when that cycle interferes with their need for some green. The trick isn’t to downplay that life cycle as a bug, but to celebrate it as a feature.
Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 3
Posted onNovember 14, 2018|Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 2
When twentysomethings ask me if science fiction and horror conventions were better back when I was their age or today, I practically shriek “TODAY!” As a vendor, online promotion of events beats attempting to mail envelopes from a mailing list via First Class USPS, and don’t get me going about Eighties-era credit card processing machines. The biggest innovation to the live show scene, one that even out-there futurists like John Shirley and Ernest Hogan wouldn’t and couldn’t have predicted thirty years ago? Food trucks and GrubHub. These kids don’t remember the days when the only options for food within walking distance (or, with some shows in Austin, driving distance) were a horrible and horribly overpriced hotel restaurant, an even more horrible concession stand within the hall stocked with surplus rations from the Whiskey Rebellion, or a lone fast-food pit whose food quality would have been improved by setting the place afire with the owner in it. I remember shows where the meal options were so poor that running across a major highway during rush hour was a viable option, and the restaurants on the other side taunted those of us without easy access to transport. As a vendor, this still applies, especially when considering “Do I give up this this great parking spot and risk not finding anything in an hour, or do I settle for grazing in the hotel front yard?”
This show, Horror For the Holidays didn’t have any food trucks because of the vendors setting up booths outside, but it has something every year unseen at other shows: a Bloody Mary bar. I can’t drink, so the alcohol content has to stay below “virgin,” but consider the situation. You’ve spent the last two hours hauling heavy tubs full of glassware and plants across a parking lot, across a back stage, and to the booth location. You get finished just as the first customers come barreling in, and the crowds don’t slow down for the next six hours. Eating anything of significance just isn’t an option, especially if that anything of significance requires two hands. A nice big glass of tomato juice and celery salt, with a handful of blue cheese-filled olives, gots a long way toward replacing the seven kilos of salt you burned through during setup, and a second glass takes away a lot of the deep muscle pain inflicted during breakdown. No matter where Horror For the Holidays goes in the future, the Bloody Mary bar has to continue, because we vendors depend upon it.
Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 2
Posted onNovember 14, 2018|Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 1
After a decade of Triffid Ranch shows, the most appropriate truism about outside shows is that the more horrific the path getting to the show, the better the actual show will be. Take a look at Texas Frightmare Weekend. The day of this year’s show, I wrenched my ankle while loading the truck, slowing me so badly that arriving in time for the Friday opening was impossible. The year before, my truck was hit by lightning, causing the staff to nickname me “Sparky”, and I broke a differential rod on the truck while leaving DFW Airport and had to be towed back to the gallery. Without fail for the last ten shows, something Interesting has happened right before the event (including finishing up an extensive move the weekend of the 2010 show, where we discovered the housecleaner hired to take care of the final cleanup of our old condo had done absolutely nothing and the Thursday before was spent frantically sweeping, mopping, and scrubbing) where a little voice in the back of my head kept saying “Jump…jump NOW!” Ignoring that voice takes effort, but that action always yields rewards. Now, it’s the shows where setup is easy, the vehicle starts every time, and the booth is ready an hour ahead of schedule…those are the shows where staying at home and watching television would have been a more productive use of the weekend.
That’s pretty much the way every Horror For the Holidays show goes as well: this time, the big menace was an impending cold wave. Getting subfreezing temperatures this early in November isn’t completely unheard of, but it’s rare, and the last big one threatening snow came through in 1993. (Oh, Black Friday in Dallas was a mess that year.) Complicating matters was Interstate I-35, which connects Duluth, Minnesota to Laredo, Texas and splits to pass east and west branches through downtowns Dallas and Fort Worth. Because of its value as a trucking and shipping route, and because it’s the only remotely efficient route between Dallas, Austin, and San Antonio, it’s perpetually under construction on a scale unseen this side of Interstate I-5 passing through Seattle. North, south, doesn’t matter: out of the 200 miles/322 kilometers separating Dallas from Austin, approximately a quarter of that is construction zone, with the road narrowed to two lanes, big concrete barriers on either side, and no shoulders and therefore almost no clearance. Try that in the dark, with mist starting to fall and a north wind picking up, and the idiot who got on the highway in front of you is bobbing and weaving across both lanes, well under the speed limit, while towing a trailer with half of the lights out…yeah, “white knuckle trip” is as good a description as any. Coming back to Dallas, feeling the temperature drop through the windshield, was fun, too, as it coincided with a further cold front that kept promising snow. Just don’t look away from the road, slip while reaching for a drink, and make absolutely sure to have a selection of only music that the driver likes (you do NOT want the driver to snarl and attempt to throw the radio out the window when the only terrestrial radio station available has a classic rock format consisting of Tom Petty’s “Free Falling” playing six times an hour), and you might get through alive.
But you know what? Once inside and set up, the trip was worth the adventure.
Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – 1
Posted onNovember 14, 2018|Comments Off on The Aftermath: Blood Over Texas Horror For the Holidays V – Introduction
It’s been two years and three shows since the Triffid Ranch booth first polluted shows outside of Dallas, and attending shows run by the Blood Over Texas crew in Austin makes it worthwhile. This November is particularly noteworthy for the number and variety of events in the Dallas area, but they’ll have to wait. Horror For the Holidays, now finished with its fifth year, gets precedence every single time.
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Posted onNovember 9, 2018|Comments Off on Weather Cancellations of the Garland Urban Flea: the November Edition
Texas weather is a famed teacher of humility: regular readers may remember how last month’s outdoor Garland Urban Flea show was cancelled due to rain. A little rain we could have handled: the deluge with occasional hail blasted the whole area, and the Urban Flea locale would have made a great duck pond. Maybe it did. In any case, the revised plan was to move everything and everybody to the next show in November. Considering that early November in North Texas ranges from shortsleeve weather to “maybe I should get a jacket, just in case the wind picks up,” this was a very reasonable choice.
Well, that was before the weather report this week. You know that ominous music in horror films as the protagonist is trapped and unable to move, and the monster moves closer and closer in preparation to attack? The Weather Channel should license a theme and run it in the background when meteorologists discuss cold fronts. For the past week, the Weather.com prediction of an impending front dropping temperatures to or close to freezing left me checking my phone every few minutes. “It’s gonna miss us. It’s gonna miss us. I’m reasonably sure it’s going to miss us…”
It’s not going to miss us. Temperatures are going to drop to very near freezing, and that’s pretty much fatal to most of my plants. Hence, it’s a straight trip to Austin for the Blood Over Texas Horror For the Holidays show on Sunday, but the Saturday Garland Urban Flea just isn’t an option. Next year, after things warm up again, though, it goes right back on the schedule. And so it goes. Don’t let this stop you from going, though: just know that out of all the wonderful things being offered, carnivorous plants won’t be among them.
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The fourth Triffid Ranch Halloween event was, well, unexpected. For those keeping track, every previous open house this year has gone up against weather disasters: rain, hail, tornado sirens, and even a thick fog when torrential rains encountered a hot-enough-to-cook-flesh parking lot. The October 2018 open house? Clear skies, cool temperatures, enthusiastic crowds…everything we could have asked for. Many thanks to everyone who came out, because you’re the reason we do this.
As for the next open house, that’s going to have to wait until December because of a troika of shows in November and the necessary recuperation between them. The Nightmare Weekends Before Christmas will have to be truncated because of several shows in which Tawanda! Jewelry will be involved, but we’re still on for December 15 and 22, as well as being open by appointment for the rest of this month and the next.
And to add to the fun, while an open house probably isn’t in the cards, one in early February definitely is, probably the weekend after a plant show and lecture at the Perot Museum for its Social Science “Wild World” 21+ event on January 25. As always, details will follow.
One of the best available arguments against the existence of advanced indigenous or extraterrestrial civilizations on Earth in the distant past is a lack incontrovertibly artificial artifacts or technological byproducts in geological deposits predating modern humans. Even with radioisotope decay, the byproducts of that decay would still be recognizable as such, as with the Oklo natural nuclear reactor. Even in a degraded or decomposed state, if an advanced civilization sent representatives from other stars, or developed on its own from native life forms millions of years ago, detritus from exploration, settling, or accidents might still be found eroding out of badlands, moraines, and other areas of rapid geologic upheaval.
Dimensions (width/height/depth): 18″ x 24 1/2″ x 18″ (45.72 cm x 60.96 cm x 45.72 cm)
One of the challenges of working with Nepenthes pitcher plant species that like to vine, particularly ones with heavy vines such as N. bicalcarata, is supplying a suitably strong and visually arresting backdrop to allow proper growth. Armed with a fascination for the New York series of murals by the Swiss surrealist Hans-Ruedi Giger (1940-2014), the final backdrop combines strength, anchor points for bicalcarata vines, and an object lesson in how Giger’s famous biomechanics works implied function and stress loading as much S aesthetics.
Dimensions (width/height/depth): 18″ x 36″ x 18″ (45.72 cm x 91.44 cm x 45.72 cm)