But first I stopped in San Francisco to recover and I was bombarded with green guilt at every turn.

this paint job actually worked for me.

Excellent succulent wreath at Paxton Gate.

Then i landed in BUR and a friend needed an emergency rescue from WeHo, which I provided, then we went to Diamond Dogs at Hwood (notice the bondage bling canine at the bar)

and I didn’t get home ’til the sun was coming up (again). The LA Times was there and looky here, they shot one of me (in the red) dancing behind Santino and Tony Ward – who btw, gave me a stick of cinnamon gum so intense i actually got chemical burns on my tounge. What is it with America’s obsession with INTENSE EXTREME IN YOUR FACE FLAVOR!? Christ just give me a stick of zebra stripe that looses it’s flavor after 5 chews.

I had a lesbian friend at Disney that would always come over and bend my pinkie finger down. I can’t help it, it just likes to be up. It makes everything fancier.

All the cool Nordic people were in red plaid.

I never considered myself a party animal but I’m now sick as a dog and i sound like a broken down tar-throated tranny.

“PARTY MONSTER” Closing Party 8pm – 2808 Elm St, LA CA, 90065

We’ll have SNOW CONE COCKTAILS again – will u be there? I hope so!

Details and more at JustinJorgensen.com

I had them for my “PARTY MONSTER” gallery installation opening – just add vodka to a regular “blue” or “red” flavored snow cone – OR – make a martini and pour it over a snow cone topped with an olive! Watch Santino and I illustrate their deliciousness below  – see all the pics from the opening night photo-booth here.

Because I insist on the best for my guests – and I having a unified theme – I arranged sponsorship with Prairie Vodka, an organic kosher vodka made in a very small town in Minnesota not far from where my “PARTY MONSTER” photos were taken. How much do we love their design and promo-packaging? – not to mention it won the Gold Medal Spirit Award at the 2008 Los Angeles International Wine & Spirit Awards. (Image from Notcot.com)

From Saturday night. There will be a closing party too if you missed the opening – (probably April 3rd). There’s an interview with me in Hi Fructose about the show here. I’m exhausted. There will also be a closing party Friday April 3 8-11.

I did this in 1999 and was not paid, I had one assistant part time and a budget of $3000. It’s not really my design because the director wanted the drained swimming pool bedroom from the 1972 film “Ciao Manhattan” starring Edie Sedgwick so I just gave him exactly that. That’s my illustration below (which the record company called “too cartoony.”)

The ONE thing I did get to design was the custom neon microphone that would glow in response to her voice. I had an effects guy from Imagineering fabricate it. When unveiled on set it got an applause. I was very happy about that. I still have it in a box.

But the record company treated me horribly and referred to me as “that theme park guy.” However the singer, Ambrosia Parsley, was very sweet and has a great look. (I have a prop notebook I had her decorate while she was getting her makeup done if there’s a fan out there that wants it.)  This song also plays over the end credits of Kill Bill Vol 2.

OMG I just watched it again and realized the black satin pillowcases on my bed came from this video. Also I’d forgotten how when I showed up the second night of the shoot, the pool was still being drained and had several feet of water in it. I waited a half hour for the pumps to drain it but then the record company started to freak out and demanded that I start placing the furniture and building her water bed IN THE WATER! I pointed out that this would ruin some of their set decorating but I guess they were fine paying the repalcement fees. So I took of my shoes, rolled up my jeans and prayed none of the electrical cords would fall in and electrocute me. The boards floated around and it was like trying to build a bed in zero G. It’s a miracle it didn’t collapse later.

Also, the director wanted to have Ambrosia spray a can of hairspray over a lighter to make that mini-flamethrower effect. I knew this was horribly dangerous (I have a scar on my nose from an aerosol can exploding when I was a kid). So, what I did was wait until all the record label people got there and then I handed the director the lighter and hairspray knowing he would immediately begin playing with it to show off to the execs. Sure enough, he did just that and they FREAKED THE SHIT OUT and said NO FUCKING WAY. So Ambrosia, you can thank me for saving you from Aqua Net exploding in your face.

This was my first of a series of music video jobs where I was a one man art department. Not that there was much to on this aside from the velvet curtain, renting some lamps you never see, and aiming a fan at the stripper girls that got cut from the final edit because MTv said it was no longer acceptable to feature girls dancing on poles. (Side note: The girl, unaware of my presence lying on the floor aiming the fan at her, kicked her chair off the stage which flew legs-first towards me shattering the fan sending the blades flying across the set and everyone thought I’d been horribly injured.) 

Also the fight you see with the guys was real; this was filmed at Three of Clubs in Hollywood; and the fire was my thing and here’s how you do it: Spray-paint a sheet of plywood flat black and let dry. Squirt it with charcoal lighter fluid (it burns the right speed), flip it over onto two sawhorses and light the fluid on the underside. Film the whole thing by shooting into a mirror placed at an angle under the plywood. This lets you keep the camera a safe distance from the fire. Just watch for drips onto the mirror. After doing this a few times the board will start to burn so you have to watch that. And let it cool before reapplying lighter fluid. When the video ran on Beavis and Butthead they were mostly interested in the fire.

The iconic facade and sets of Disneyland’s It’s a Small World attraction were designed in the late 1960′s and bear the unmistakable markings of that time (and the couple proceeding decades). But I wanted specifics. What had Mary Blair, the attraction’s main designer, been exposed to that may have inspired the famous styling of that ride? Here’s a sampling of what I found:

Top image below: Mary Blair, Small World concept art, 1965. And below, two pieces by Auguste Herbin, 1951 and 1950, that are undeniably similar to Blair’s work.Below is a collage by Ray Eames in 1949. Besides a similar styling to Blair, the collage technique and use of transparent layers was something Blair would later use in many of her Small World collages.Below is another Blair illustration, and below that, a Paul Klee painting, Burg und Sonne, 1928I saw many similarities between Klee and Blair, like the three images below. The first image, Klee’s Landscape with Yellow Birds, 1932, uses leaf shapes seen in the Blair piece below it. The third piece is also a Klee and has some subtle similarities to the work above it.The Small World attraction debuted at the 1964 World’s Fair with a an enormous kinetic sculpture at the entrance called the Tower of the Four Winds (second image below). Designed by Rolly Crump but I see inspiration in an unproduced Do Nothing solar-powered kinetic toy designed by Charles and Ray Eames in 1957 (first image below).And lastly it seems It’s a Small World continues to inspire others, like perhaps Rex Ray (second image below) whose work possesses the same sense of retro-whimsy seen in Blair’s art for the finale scene in the attraction (below).SEE ALSO MY: Patty Wickman Paints Women Wrestling and I’m All Hey that’s from Epcot

The places you find walking by the LA river.

"Fucking faggot!" was yelled at me from a passing pickup in Hollywood yesterday. I’m sure it was my "Marriage is totally gay!" bumper sticker that caught his attention. But how refreshing, how old-school.