How to Potty Train Your Cat: A Handy Manual by Charles Mingus

mingus

Charles Min­gus, the inno­v­a­tive jazz musi­cian, was known for hav­ing a bad tem­per. He once got so irri­tat­ed with a heck­ler that he end­ed up trash­ing his $20,000 bass. Anoth­er time, when a pianist did­n’t get things right, Min­gus reached right inside the piano and ripped the strings out with his bare hands — a true sto­ry men­tioned in the BBC doc­u­men­tary, 1959: The Year that Changed Jazz.

But Min­gus had a soft­er, nur­tur­ing side too. If you head to the offi­cial Charles Min­gus web site, you will find a copy of the Charles Min­gus Cat Toi­let Train­ing Pro­gram, a lov­ing lit­tle guide cre­at­ed for cat own­ers every­where. The trick to pot­ty train­ing your cat comes down to edg­ing the lit­ter box clos­er to the bath­room, even­tu­al­ly plac­ing the box on the pot­ty, and then cut­ting a hole in the cen­ter of the box. Expect to spend about three weeks mak­ing the tran­si­tion. And who knows, Min­gus says, your cat may even learn to flush. The full guide appears here. Or read it below:

1

First, you must train your cat to use a home-made card­board lit­ter box, if you have not already done so. (If your box does not have a one-piece bot­tom, add a card­board that fits inside, so you have a false bot­tom that is smooth and strong. This way the box will not become sog­gy and fall out at the bot­tom. The gro­cery store will have extra flat card­boards which you can cut down to fit exact­ly inside your box.)

Be sure to use torn up news­pa­per, not kit­ty lit­ter. Stop using kit­ty lit­ter. (When the time comes you can­not put sand in a toi­let.)

Once your cat is trained to use a card­board box, start mov­ing the box around the room, towards the bath­room. If the box is in a cor­ner, move it a few feet from the cor­ner, but not very notice­ably. If you move it too far, he may go to the bath­room in the orig­i­nal cor­ner. Do it grad­u­al­ly. You’ve got to get him think­ing. Then he will grad­u­al­ly fol­low the box as you move it to the bath­room. (Impor­tant: if you already have it there, move it out of the bath­room, around, and then back. He has to learn to fol­low it. If it is too close to the toi­let, to begin with, he will not fol­low it up onto the toi­let seat when you move it there.) A cat will look for his box. He smells it.

2

Now, as you move the box, also start cut­ting the brim of the box down, so the sides get low­er. Do this grad­u­al­ly.

Final­ly, you reach the bath­room and, even­tu­al­ly, the toi­let itself. Then, one day, pre­pare to put the box on top of the toi­let. At each cor­ner of the box, cut a lit­tle slash. You can run string around the box, through these slash­es, and tie the box down to the toi­let so it will not fall off. Your cat will see it there and jump up to the box, which is now sit­ting on top of the toi­let (with the sides cut down to only an inch or so.)

Don’t bug the cat now, don’t rush him, because you might throw him off. Just let him relax and go there for awhile-maybe a week or two. Mean­while, put less and less news­pa­per inside the box.

3

One day, cut a small hole in the very cen­ter of his box, less than an apple-about the size of a plum-and leave some paper in the box around the hole. Right away he will start aim­ing for the hole and pos­si­bly even try to make it big­ger. Leave the paper for awhile to absorb the waste. When he jumps up he will not be afraid of the hole because he expects it. At this point you will real­ize that you have won. The most dif­fi­cult part is over.

From now on, it is just a mat­ter of time. In fact, once when I was clean­ing the box and had removed it from the toi­let, my cat jumped up any­way and almost fell in. To avoid this, have a tem­po­rary flat card­board ready with a lit­tle hole, and slide it under the toi­let lid so he can use it while you are clean­ing, in case he wants to come and go, and so he will not fall in and be scared off com­plete­ly. You might add some news­pa­per up there too, while you are clean­ing, in case your cat is not as smart as Nightlife was.

4

Now cut the box down com­plete­ly until there is no brim left. Put the flat card­board, which is left, under the lid of the toi­let seat, and pray. Leave a lit­tle news­pa­per, still. He will rake it into the hole any­way, after he goes to the bath­room. Even­tu­al­ly, you can sim­ply get rid of the card­board alto­geth­er. You will see when he has got his bal­ance prop­er­ly.

Don’t be sur­prised if you hear the toi­let flush in the mid­dle of the night. A cat can learn how to do it, spurred on by his instinct to cov­er up. His main thing is to cov­er up. If he hits the flush knob acci­den­tal­ly and sees that it cleans the bowl inside, he may remem­ber and do it inten­tion­al­ly.

Also, be sure to turn the toi­let paper roll around so that it won’t roll down eas­i­ly if the cat paws it. The cat is apt to roll it into the toi­let, again with the inten­tion of cov­er­ing up- the way he would if there were still kit­ty lit­ter.

It took me about three or four weeks to toi­let train my cat, Nightlife. Most of the time is spent mov­ing the box very grad­u­al­ly to the bath­room. Do it very slow­ly and don’t con­fuse him. And, remem­ber, once the box is on the toi­let, leave it a week or even two. The main thing to remem­ber is not to rush or con­fuse him.

Bonus: Below you can hear Reg E. Cathey read The Charles Min­gus CAT-alog for Toi­let Train­ing Your Cat.

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Werner Herzog: Movies Won’t Change the World

Wern­er Her­zog does­n’t work under any illu­sions. In this Stu­dio Q inter­view, the film­mak­er tells Jian Ghome­shi that “movies don’t change things.” “Even influ­en­tial doc­u­men­taries like Inside Job “do not real­ly change the course of our lives.” And that applies to his lat­est film, Into the Abyss, which takes a Dos­toyevskian look at a triple mur­der com­mit­ted in Texas. (See trail­er below.) Into the Abyss prob­a­bly won’t change the U.S. penal sys­tem, or how the death penal­ty gets met­ed out. But that was nev­er the point of the film, and it’s not why Her­zog threw him­self, body and soul, into what he calls the most intense film­mak­ing expe­ri­ence of his life, a project that left him feel­ing each day like he had been “hit by a truck.” The con­ver­sa­tion runs 25 min­utes. h/t @webacion

Relat­ed Con­tent:

Wern­er Her­zog Reads “Go the F**k to Sleep” in NYC (NSFW)

Wern­er Her­zog Los­es a Bet to Errol Mor­ris, and Eats His Shoe (Lit­er­al­ly)

Wern­er Her­zog and Cor­mac McCarthy Talk Sci­ence and Cul­ture

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Jazz on a Summer’s Day

In 1958, jaz­z’s place in Amer­i­can cul­ture was chang­ing. It was climb­ing out of the smokey night­clubs and into the sun­ny embrace of the bour­geoisie. A younger force, rock and roll, was start­ing to push it aside. That sense of tran­si­tion is pre­served in Jazz on a Sum­mer’s Day, pho­tog­ra­ph­er Bert Stern’s film of the 1958 New­port Jazz Fes­ti­val.

Kei­th Richards has called Stern’s movie “a para­ble on film of the changeover of pow­er between jazz and rock and roll.” In his auto­bi­og­ra­phy, Life, Richards describes his youth­ful pil­grim­age with Mick Jag­ger to see Chuck Berry’s per­for­mance in Jazz on a Sum­mer’s Day:

The film had Jim­my Giuf­fre, Louis Arm­strong, Thelo­nious Monk, but Mick and I went to see the man. That black coat. He was brought on stage–a very bold move by someone–with Jo Jones on drums, a jazz great. Jo Jones was, among oth­ers, Count Basie’s drum­mer. I think it was Chuck­’s proud­est moment, when he got up there. It’s not a par­tic­u­lar­ly good ver­sion of “Sweet Lit­tle Six­teen,” but it was the atti­tude of the cats behind him, sol­id against the way he looked and the way he was mov­ing. They were laugh­ing at him. They were try­ing to fuck him up. Jo Jones was rais­ing his drum­stick after every few beats and grin­ning as if he were in play school. Chuck knew he was work­ing against the odds. And he was­n’t real­ly doing very well, when you lis­ten to it, but he car­ried it. He had a band behind him that want­ed to toss him, but he still car­ried the day. Jo Jones blew it, right there. Instead of a knife in the back, he could have giv­en him the shit. But Chuck forced his way through.

Lat­er gen­er­a­tions of jazz lovers have been per­plexed by the film, not because of Chuck Berry, but because of the film­mak­er’s focus on every­thing but the jazz. At one point Thelo­nious Monk is soul­ful­ly play­ing “Blue Monk” when the film sud­den­ly cuts to the Amer­i­ca’s Cup sail­boat race and the jar­ring voice of a radio announc­er describ­ing the scene. Ouch.

Just as painful, in ret­ro­spect, are the omis­sions. The film­mak­er took a pass on per­for­mances at the fes­ti­val that year by Duke Elling­ton, Dave Brubeck, Lester Young, Son­ny Rollins and the Miles Davis Sex­tet. “Yes,” writes Alan Kurtz at Jazz.com about the Davis sex­tet, “the last unit fea­tur­ing Can­non­ball Adder­ley, John Coltrane and Bill Evans was the same super­group as would eight months lat­er record Kind of Blue and of which no motion pic­ture or video footage now exists.” Ouch again.

But Jazz on a Sum­mer’s Day is still a won­der­ful film. Stern was one of the great­est adver­tis­ing and fash­ion pho­tog­ra­phers of his gen­er­a­tion. He was a 28-year-old still pho­tog­ra­ph­er when he went to New­port and basi­cal­ly invent­ed the music per­for­mance film genre. While Stern’s com­mer­cial work tends to be care­ful­ly con­trolled, Jazz on a Sum­mer’s Day exhibits the pho­tog­ra­pher’s con­sid­er­able gift for observ­ing peo­ple in their nat­ur­al set­ting. There are many doc­u­ments of the way peo­ple looked in the late 1950s, but few are this vivid. Or this visu­al­ly elo­quent.

Create iPhone/iPad Apps in iOS 5 with Free Stanford Course

Back in 2009, Stan­ford Uni­ver­si­ty start­ed record­ing lec­tures giv­en in its iPhone Appli­ca­tion Devel­op­ment course and then plac­ing them on iTunes, mak­ing them free for any­one to view. The course hit a mil­lion down­loads in a mat­ter of weeks, and now, two years lat­er, here’s where we stand. The course remains the most pop­u­lar item on Stan­ford’s iTune­sU site, hav­ing clocked in 10 mil­lion down­loads. And the school has released a new ver­sion of the course that focus­es on iOS 5, the lat­est ver­sion of the iPhone/iPad oper­at­ing sys­tem. You can down­load the course on iTunes (in HD video or stan­dard-def­i­n­i­tion video) and start cre­at­ing apps on your own.

The iPhone Appli­ca­tion Devel­op­ment course is now list­ed in the Com­put­er Sci­ence sec­tion of our big col­lec­tion of Free Online Cours­es. There you will find 40+ free cours­es that will teach you to code.…

via Stan­ford News

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How Many U.S. Marines Could Bring Down the Roman Empire?

It all start­ed as a thought exper­i­ment on Reddit.com when a user posed the ques­tion: “Could I destroy the entire Roman Empire dur­ing the reign of Augus­tus if I trav­eled back in time with a mod­ern U.S. Marine infantry bat­tal­ion or MEU?”

Then the Red­dit user offered a more pre­cise sce­nario:

Let’s say we go back in time with a Marine Expe­di­tionary Unit (MEU) … could we destroy all 30 of Augus­tus’ legions?

We’d be up against near­ly 330,000 men since each legion was com­prised of 11,000 men. These men are typ­i­cal­ly equipped with limb and tor­so armor made of met­al, and for weapon­ry they car­ry swords, spears, bows and oth­er stab­bing imple­ments. We’d also encounter siege weapons like cat­a­pults and crude incen­di­ary weapons.

We’d be made up of about 2000 mem­bers, of which about half would be par­tic­i­pat­ing in ground attack oper­a­tions. We can use our mech­a­nized vehi­cles (60 Humvees, 16 armored vehi­cles, etc), but we can­not use our attack air sup­port, only our trans­port air­craft.

We also have medics with us, mod­ern med­ical equip­ment and drugs, and engi­neers, but we no longer have a mag­i­cal time-trav­el­ing sup­ply line (we did have but the timelords frowned upon it, sad­ly!) that pro­vides us with all the ammu­ni­tion, equip­ment and sus­te­nance we need to sur­vive. We’ll have to suc­ceed with the stuff we brought with us.

So, will we be vic­to­ri­ous?

The ques­tion touched off a fren­zy of dis­cus­sion. One user, James Erwin, wrote a short sto­ry, Rome Sweet Rome, imag­in­ing how the bat­tles might play out, and Warn­er Bros. came along and bought the movie rights to the sto­ry.

And now pro­fes­sion­al his­to­ri­ans are weigh­ing in. Inter­viewed in Pop­u­lar Mechan­ics, his­to­ri­an Adri­an Goldswor­thy, an expert on the Roman army, offered these thoughts:

Obvi­ous­ly, there is a mas­sive dif­fer­ence in fire­pow­er. Not only would Roman armor be use­less against a rifle round—let alone a grenade launch­er or a .50 cal­iber machine gun—it would prob­a­bly dis­tort the bullet’s shape and make the wound worse.

But here comes the dif­fi­cul­ty:

In the short term and in the open, mod­ern infantry could mas­sacre any ancient sol­diers at lit­tle risk to them­selves. But you could not sup­port mod­ern infantry. So all of these weapons and vehi­cles could make a brief, dra­mat­ic, and even dev­as­tat­ing appear­ance, but would very quick­ly become use­less. Prob­a­bly in a mat­ter of days.… Marines are the best war­riors ever trained. But they can’t fight an end­less wave of sol­diers. No one can.

You can find the rest of Goldswor­thy’s thoughts here, and sev­er­al good Roman his­to­ry cours­es in our big col­lec­tion of Free Online Cours­es.

via Andrew Sul­li­van

Fol­low Open Cul­ture on Face­book and Twit­ter and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

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The Always Bankable Banksy

You have to appre­ci­ate the para­dox of Banksy: A com­mer­cial­ly suc­cess­ful anti-cap­i­tal­ist. A van­dal who adds val­ue. It’s the sort of amus­ing con­tra­dic­tion that appears often in the artist’s own work.

A case in point: In 2009 Banksy made a wall paint­ing on an indus­tri­al estate out­side Croy­don, South Lon­don, depict­ing a spike-head­ed punk rock­er puz­zling over a set of instruc­tions. Next to him is a box labeled “LARGE GRAFFITI SLOGAN,” with a jum­bled car­go of words–“SYSTEM,” “SMASH,” “POLICE”–spilling out, wait­ing to be assem­bled. The logo on the box is also dis­as­sem­bled, but eas­i­ly rec­og­niz­able: IKEA.

The guer­ril­la artist had bare­ly fin­ished his mur­al when a pair of guer­ril­la busi­ness­men swooped in, sub­vert­ing the sub­ver­sive mes­sage. It’s an inter­est­ing sto­ry, nice­ly told in this nine-minute film pro­duced for Chan­nel 4 by Mar­tyn Gre­go­ry, shot and edit­ed by Paul Bernays and nar­rat­ed by Nick Glass.

The Story of Broke: An Animated Look at US Federal Spending and Values

Back in 2008, Annie Leonard pro­duced The Sto­ry of Stuff (see below), a 20-minute ani­mat­ed film that explores the way our con­sumerist habits take a toll on the envi­ron­ment and sus­tain­abil­i­ty. The video racked up mil­lions of views on YouTube, and now Leonard returns with the sec­ond video in a longer series. It’s called the The Sto­ry of Broke (see above) and it takes a short­er, ani­mat­ed look at U.S. gov­ern­ment spend­ing — at how we pri­or­i­tize our spend­ing, and what it says about our core nation­al val­ues.

We have a lot of mon­ey float­ing around. The fed­er­al gov­ern­ment col­lect­ed $2.16 tril­lion in tax rev­enue in FY 2010 (and we bor­rowed yet anoth­er $1.3 tril­lion more). Mean­while, rough­ly $705 bil­lion went to defense spend­ing, which is sev­en times (or $589 bil­lion) more than the next biggest defense spender, Chi­na. It turns out that oper­at­ing a bloat­ed empire with troops deployed across 150 coun­tries is a cost­ly nation­al pri­or­i­ty. Then, as Leonard points out, we also unthink­ing­ly fun­nel a lot of mon­ey, in the form of sub­si­dies and give­aways, to dinosaur indus­tries. And then we’re told that noth­ing is left over for Social Secu­ri­ty ($707 bil­lion), Medicare/Medicaid ($732 bil­lion), and edu­ca­tion. But we should­n’t take those claims at face val­ue. Where we spend mon­ey is a choice. It’s ide­al­ly our choice, but all too often it’s real­ly a mat­ter of what’s val­ued by our lead­ers and their finan­cial back­ers.…

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A Brief, Wondrous Tour of Earth (From Outer Space)

We have seen sev­er­al time-lapse views of Earth from the Inter­na­tion­al Space Sta­tion, but this may well be the best. Record­ed from August to Octo­ber, 2011, this HD footage has been smoothed, retimed, denoised, deflick­ered, cut, etc, and then cou­pled with music by Jan Jelinek. It gives you a pret­ty splen­did view of the auro­ra bore­alis from orbit (how often have you seen that?), and if you’re won­der­ing just what pro­duces those north­ern lights, you can watch a nice expla­na­tion here (scroll down to the sec­ond video). This video is housed in our col­lec­tion of Great Sci­ence Videos.

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Open Culture was founded by Dan Colman.