jj: lmao what

Lemon man: what???? huh?????? u triggered?????????

jj: whatever you say lemon man

lemon man:

How to see whether a Chinese handmade teapot is well done or not - quality of the spout is an important standard. 

and i could tell she wasn't supposed to tell me, but heard the absolute exasperation in my voice and just knew i was his child. she described that there was "a fender bender, and an altercation, in a restaurant parking lot" and that his lawyer was trying to get a hold of him to tell him his court summons had been waived

my parents own a restaurant so I figured it was their parking lot but upon asking my mom i have learned

-pulled up to the burger king drive through and a guy was just standing in the way. my dad rolls down the window and tells him to get out of the way

-guy goes over to the window of my dad's car and starts yelling at him for some reason

-guy throws a slushie in my dad's face and then starts to walk off

-my dad, and i quote, "just fuckin blacked out" and, in an apoplectic haze, hits the dude with his truck, not hurting him but flinging him a respectable distance and knocking him to the ground. i at this point ask why he didn't just get out and punch him. he says "i don't know something just came over me", while understanding this isn't an excuse to hit people with your truck

you didn't ask for "my dad hitting a guy with his truck" updates but i have some anyway. turns out the guy he hit 1. is named bronson tate and 2. has two DV charges so i think this is warranted now

What I thought that meant: telling us about unique sculpture materials and paint mixtures.

What that actually meant: an 84yo woman gingerly holding a beautifully beaded and embroidered dress (apparently from Ukraine and at least 200 years old) and, with tears in her eyes, showing how each individual thread was spun by hand and weaved into place on a cottage floor loom, with bright blue silk embroidery thread and hand-blown beads intricately piercing the work of other labor for days upon days, as the labor of a dozen talented people came together to make something so beautiful for a village girl’s wedding day.

What it also meant: in 1948, a young girl lived in a cramped tenement-like third floor apartment in Manhattan, with a father who had just joined them after not having been allowed to escape through Poland with his pregnant wife nine years earlier. She sits in her father’s lap and watches with wide, quiet eyes as her mother’s deft hands fly across fabric with bright blue silk thread (echoing hands from over a century years earlier). Thread that her mother had salvaged from white embroidery scraps at the tailor’s shop where she worked and spent the last few days carefully dying in the kitchen sink and drying on the roof.

The dress is in the traditional Hungarian fashion and is folded across her mother’s lap: her mother doesn’t had a pattern, but she doesn’t need one to make her daughter’s dress for the fifth grade dance. The dress would end up differing significantly from the pure white, petticoated first communion dresses worn by her daughter’s majority-Catholic classmates, but the young girl would love it all the more for its uniqueness and bright blue thread.

And now, that same young girl (and maybe also the villager from 19th century Ukraine) stands in front of us, trying not to clutch the old fabric too hard as her voice shakes with the emotion of all the love and humanity that is poured into the labor of art. The village girl and the girl in the Bronx were very different people: different centuries, different religions, different ages, and different continents. But the love in the stitches and beads on their dresses was the same. And she tells us that when we look at the labor of art, we don’t just see the work to create that piece - we see the labor of our own creations and the creations of others for us, and the value in something so seemingly frivolous.

But, maybe more importantly, she says that we only admire this piece in a museum because it happened to survive the love of the wearer and those who owned it afterwards, but there have been quite literally billions of small, quiet works of art in billions of small, quiet homes all over the world, for millennia. That your grandmother’s quilt is used as a picnic blanket just as Van Gogh’s works hung in his poor friends’ hallways. That your father’s hand-painted model plane sets are displayed in your parents’ livingroom as Grecian vases are displayed in museums. That your older sister’s engineering drawings in a steady, fine-lined hand are akin to Da Vinci’s scribbles of flying machines.

We established this phrase that this specific part of my brain is the highway (easily accessible, broad and paved road) while what I personally would like to seek out is the less travelled gravel road through the countryside.

Example:

As a kid, I constantly lived in fear of damaging shit in my parent's house. The walls. The floors (especially the floors. The wood was beautiful. Shiny. But so easy to scratch). The cabinets.

As a sixteen-year-old, I once took my car to the dealership after work and paid a very dear sum of $250 ($10/hr cashier salary) to fix a slight scratch in the paint because I knew if my father saw it there would be hell to pay. It didn't matter that I parked far out, like I'd been taught, and someone scratched it anyway. It was my fault. I failed in my duties as a steward of my vehicle.

Every time I scratched a rim on a curb while parallel parking or got a door ding or, god forbid, didn't wash and vacuum that car every weekend, it was treated like some sort of moral failing.

Last year, when my husband and I first moved into our house, he scraped the side of our car when parking in our (Very Narrow) garage. When he told me, my first instinct was to be afraid for him. Like something terrible was going to happen to him because of this mistake. I urgently reassured him that it was okay, it was an accident, I wasn't mad. Baffled, he was like, "Yeah? I know? Like, thank you for the reassurance, but I'm only a little annoyed, I'm not upset. It's just a car." And I had to take several minutes to process that. It's...just a car.

We keep the car tidy. We maintain it. But we wash it maybe 4x a year. We only vacuum it after dirty road trips or when the dog hair starts to get annoying. It has scrapes and dings and the leather seats have stains. But that's ok. Because it's just a car.

This morning, I realized that a small rock had gotten embedded in the felt foot on one of our bar stools. Neither of us had noticed. There are now scratches on our beautiful hardwood floor. My immediate response was fear accompanied by a heavy measure of paralyzing guilt. "I'm so sorry," I told my husband, "I should have noticed. I'll figure out how to fix it, I swear. I can probably sand down that section and match the stain and--"

"Whoa, hey," he said. "It was an accident. And it's fine. Floors are going to get damaged. They're floors. We live here. There was damage in places before we even bought the house, remember? It's not a big deal. It's just a floor." Right. It's just a floor. Right.

My husband's mom is visiting and this afternoon, as I was sitting in the kitchen looking at the scratches on the floor, I offhandedly asked her if my husband had ever broken or damaged anything as a kid. "Of course," she said. Household items. A TV. A wrecked car during his teen years. I asked how she punished him.

"Why would I punish him for things like that?" she said. "They were all accidents."