There once was a young person named Little Red Riding Hood who lived on the edge of a large forest full of endangered owls and rare plants that would probably provide a cure for cancer if only someone took the time to study them.
Red Riding Hood lived with a nurture giver whom she sometimes referred to as “Mother,” although she didn’t mean to imply by this term that she would have thought less of that person if a close biological link did not in fact exist. Nor did she intend to denigrate the equal value of nontraditional households, and she was sorry if this was the impression conveyed.
One day her mother asked her to take a basket of organically grown fruit and mineral water to her grandmother’s house.
“But mother, won’t this be stealing work from the unionized people who have struggled for years to earn the right to carry all packages between various people in the woods?”
Red Riding Hood’s mother assured her that she had called the union boss and gotten a special compassionate mission exemption form.
“But mother, aren’t you oppressing me by ordering me to do this?”
Red Riding Hood’s mother pointed out that it was impossible for women to oppress each other, since all women were equally oppressed until all women were free.
“But mother, then shouldn’t you have my brother carry the basket, since he’s an oppressor, and should learn what it’s like to be oppressed?”
Red Riding Hood’s mother explained that her brother was attending a special rally for animal rights, and besides, this wasn’t stereotypical women’s work, but an empowering deed that would help engender a feeling of community.
“But won’t I be oppressing Grandma, by implying that she’s sick and hence unable to independently further her own selfhood?”
But Red Riding Hood’s mother explained that her grandmother wasn’t actually sick or incapacitated or mentally handicapped in any way, although that was not to imply that any of these conditions were inferior to what some people called “health.” Thus Red Riding Hood felt that she could get behind the idea of delivering the basket to her grandmother, and so she set off.
Many people believed that the forest was a foreboding and dangerous place, but Red Riding Hood knew that this was an irrational fear based on cultural paradigms instilled by a patriarchal society that regarded the natural world as an exploitable resource, and hence believed that natural predators were in fact intolerable competitors.
Other people avoided the woods for fear of thieves and deviants, but Red Riding Hood felt that in a truly classless society all marginalized peoples would be able to “come out” of the woods and be accepted as valid lifestyle role models.
On her way to Grandma’s house, Red Riding Hood passed a woodchopper, and wandered off the path, in order to examine some flowers. She was startled to find herself standing before a Wolf, who asked her what was in her basket. Red Riding Hood’s teacher had warned her never to talk to strangers, but she was confident in taking control of her own budding sexuality, and chose to dialogue with the Wolf.
She replied, “I am taking my Grandmother some healthful snacks in a gesture of solidarity.”
The Wolf said, “You know, my dear, it isn’t safe for a little girl to walk through these woods alone.”
Red Riding Hood said, “I find your sexist remark offensive in the extreme, but I will ignore it because of your traditional status as an outcast from society, the stress of which has caused you to develop an alternative and yet entirely valid world view. Now, if you’ll excuse me, I would prefer to be on my way.”
Red Riding Hood returned to the main path, and proceeded towards her Grandmother’s house. But because his status outside society had freed him from slavish adherence to linear, Western-style thought, the Wolf knew of a quicker route to Grandma’s house.
He burst into the house and ate Grandma, a course of action affirmative of his nature as a predator. Then, unhampered by rigid, traditionalist gender role notions, he put on Grandma’s nightclothes, crawled under the bedclothes, and awaited developments.
Red Riding Hood entered the cottage and said, “Grandma, I have brought you some cruelty-free snacks to salute you in your role of wise and nurturing matriarch.”
The Wolf said softly, “Come closer, child, so that I might see you.”
Red Riding Hood said, “Goddess[es]! Grandma, what big eyes you have!”
“You forget that I am optically challenged.”
“And Grandma, what an enormous, what a fine nose you have.”
“Naturally, I could have had it fixed to help my acting career, but I didn’t give in to such societal pressures, my child.”
“And Grandma, what very big, sharp teeth you have!”
The Wolf could not take any more of these speciesist slurs, and, in a reaction appropriate for his accustomed milieu, he leaped out of bed, grabbed Little Red Riding Hood, and opened his jaws so wide that she could see her poor Grandmother cowering in his belly.
“Aren’t you forgetting something?” Red Riding Hood bravely shouted. “You must request my permission before proceeding to a new level of intimacy!”
The Wolf was so startled by this statement that he loosened his grasp on her. At the same time, the woodchopper burst into the cottage, brandishing an axe.
“Hands off!” cried the woodchopper.
“And what do you think you’re doing?” cried Little Red Riding Hood. “If I let you help me now, I would be expressing a lack of confidence in my own abilities, which would lead to poor self-esteem and lower achievement scores on college entrance exams.”
“Last chance, sister! Get your hands off that endangered species! This is an FBI sting!” screamed the woodchopper, and when Little Red Riding Hood nonetheless made a sudden motion, he swung the axe and sliced off her head.
“Thank goodness you got here in time,” said the Wolf. “The brat and her grandmother lured me in here. I thought I was a goner.”
“No, I think I’m the real victim, here,” said the woodchopper. “I’ve been dealing with my anger ever since I saw her picking those protected flowers earlier. And now I’m going to have such a trauma. Do you have any aspirin?”
“Sure,” said the Wolf.
“Thanks.”
“I feel your pain,” said the Wolf, and he patted the woodchopper on his firm, well padded back, gave a little belch, and said “Do you have any Maalox?”
My thanks to Hilton (HWH) for passing this on. I am unaware of the originator. The Illustrations are by Gustave Doré.
How was Stonehenge built? One of the world's most recognizable prehistoric sites, Stonhenge was built over a very long period, with the visible dyke and standing stones having been modified over a period of at least 1500 years. Post holes at the site have been dated to as early as 8,000 BC. It is believed that Stonehenge's purpose is religious. Burials have been discovered dating from its earliest history. The stones themselves apparently served as a celestial calendar, lining up with events that have been celebrated as pre-Christian religious holidays. But is it possible just plain boredom led neolithich man to construct this wonder?
Wally Wallington, a retired construction worker of Flint Michigan, has found that he can relieve his boredom by showing how just one man could erect a standing stone as large as any at Stonehenge. Using a walnut-sized rock as a pivot, he can show how a single man can move a stone that outweighs a car. Using the same method, he moved his son's barn. And using similarly simple yet effective methods, he has shown that a single man, with no modern tools, or even rope, could, with enough time, erect Stonehenge. Here is Wally Wallington's fascinating website,Forgotten Technology. And you can watch a six-minute video of Wally's accomplishment at I-am-bored.com, a site which also features many other interesting clips. My thanks to Michael Marotta for bringing this to my attention.
Some news items are their own ironic commentary. 
In 1972, in an attempt to enter the German market, The Monty Python troop filmed 
Tom Snyder, 1936-2007 is one of the legends of broadcasting. With his golden voice and engaging manner he sought to make the subjects he investigated clear to the common man without dumbing down the dialog or chasing after glitz. A true gentleman, he got his start in radio, moved on to national broadcasting for NBC, and secured his fame with the beloved Tomorrow Show which ran late nights from 1973 to 1982. He was the last to interview John Lennon, and the first to interview U2 for an American audience. 
Here is a classic interview from the Tomorrow Show with a brilliant but tough guest, Ayn Rand. Enjoy this three part clip. My thanks to J. Hoyle for bringing it to my attention.
The ancients held that the happiness of men is equal to the happiness of the gods, that it admits of no degree. One wonders if this standard applies to works of art? Is any truly good play just as perfect as any other? Oscar Wilde's "Lady Windermere's Fan" would sorely test that notion, for although it is, in its own way perfect, it would also, I have to think, admit of improvement. Let me explain why this play is so satisfying, yet so frustrating.
Darlington is a charming wit and we sympathize with his rejection of conventional hypocrisy. As the plot develops, we learn from Darlington that Lord Windermere has been fraternizing with a Mrs. Erlynne, (here as played by Helen Hunt,) a woman of questionable reputation. Darlington, an honorable and not unforthright man suspects that Lady Windermere will find herself betrayed, and makes it clear that he intends to "be there for her" when she needs him. Later that evening, when Mrs. Erlynne mortifies Lady Windermere by showing up as her husband's guest at Lady Windermere's party, Darlington repeats his offer, explicitly and urgently:
And of course, she breaks our hearts too! How could she not go with this man, this man willing to suffer all to gain her, to face the world's scorn for true love? But herein lies the play. Lady Windermere does not abscond with a man worthy of her love. We are denied the happy ending we expect in the second act. Yet Wilde has a trick up his sleave, a twist of the plot, and he pulls off a happy ending with which we are, in the end, satisfied. Is the satisfaction the same as it would have been had the Lady run off? She does end the play happily. And if all happiness is equal, then we too should be happy. Yet...
Given our modern view of the Victorian virtues, and especially our knowledge as ominpotent spectators in this play, we can imagine an ending to it other than Wilde's which would satisfy us completely. Yet the play's internal logic is sound. The drama works. Wilde is still a dramatic genius. I am not a dramatist, and while I could 
As I have previously 
Neither the actual outbreak nor the course of the war was predetermined. Even up to mobilization the war could have been averted, although, Tuchman argues, the principles often did not see this. Although the reader knows the outcome, through the first half of the book one is kept turning the pages, hoping that war will be avoided. As diplomats and European royalty work sometimes diligently and sometimes fecklessly to achieve some accomodation, others argue that once the wheels are in motion it would be suicide to attempt a delay of action. The Kaiser is shown as too week to avoid a war (one that he both feared and longed for) as well as too conflicted to win it. The effect of Bristish diplomacy was to support France well enough morally that she would not seriously seek to avoid war with Prussia, but not well enough materially to break the German lines once that war broke out. "No more distressing moment can ever face a British government than that which requires it to come to a hard, fast and specific decision," says Tuchman.
One particularly tragic event that Tuchman documents is the bombardment of the Belgian city of Louvain and the destruction of its university library, the oldest in Europe, with the loss of countless unique treasures. Cardinal Désiré Mercier, author of the 
Little compares to Ludwig van Beethoven. One of the strangest opinions I've ever heard of Beethoven is that his music is malevolent. He certainly can convey darker themes with his compositions. The Fifth Symphony, with its "Fate knocking at the door" is far from lighthearted. Indeed, Beethoven can be seen as the first Heavy Metal artist, with the booming epic style of his symphonies. Considered a member of the Classical school along with Mozart and Haydn we can hear echoes of Shubert and a foretaste of the Romantics that is absent mostly, say, in Mozart. To make a grossly inadequate analogy for the student of pop music, Beethoven's dramatic range is like Led Zepellin to Mozart's saccharine early Beatles.
One of my favorite of all classical pieces is Beethoven's Sixth Symphony, "The Pastoral." Composed, rehearsed and debuted along with the more ominous Fifth, The Sixth, with its buoyant mood, provides a perfect complement. The Pastoral Symphony, which is intentionally meant to evoke "recollections of country life" has been famously adapted to two iconic movies of the Twentieth Century. The first is Walt Disney's animated masterpiece Fantasia. The full five movements, performed by Leopold Stokowski directing the Philadelphia Symphony Orchestra, are illustrated with scenes of Greek and European mythology that comprise one of my earliest and most joyful childhood memories. 
The second iconic film usage is in 1973's sci-fi noir, Soylent Green. The fatherly police archivist Sol Roth, (Edward G. Robinson in his last role,) has watched America decay from greatness to mindless rioting and self-delusion. Choosing to die, he patronizes a state-run euthansia clinic. With all the world's wildlife dead, Roth watches images of the countryside and listens to Beethoven's Pastoral as the fatal cocktail takes effect. Of course its use in Soylent Green is darkly ironic. The piece itself conjures no malevolent images, at least nothing worse than a soon-passed summer thunderstorm. 
A mix of Nietzsche and teen angst ending with the words, "There's a new sheriff in town," 
Then bad-boy Jason "J.D." Dean (Slater) transfers in to Westerburg. With his shades and leather jacket and his disdain not only for authority but also the Heathers, he embodies for Veronica the possibility of a sufficient self. But J.D., for all his apparent bravado, is an empty shell as well. With no real values of his own, this nihilist lives to expose the emptiness in others. Finding the lone wolf in him attractive, Veronica decides to explore the dark side, beginning with a visit to the top Heather who is suffering the effects of a hangover. But J.D. switches the pick-me-up Veronica pours for her with poison. In a frantic attempt to avoid blame for her surpise demise, Veronica forges a suicide note. Not only is the note successful, but Heather's suicide is seen as an example by her classmates, and the ensuing farcical deaths are celebrated as an "opportunity to heal" by the school guidance counselor.
With its dark humor, over-the-top performances, stylized lunacy, and disdain for convention, 
You are probably familiar with 
Discovered in 1803 in the Benediktbeuern abbey by the German scholar Johann Andreas Schmeller, the 
It premiered at the Alte Oper, Frankfurt, in 1937. The opening movement, 
"I would give the greatest sunset in the world for one sight of New York's skyline and the will of man made visible. What other religion do we need? I feel that If a war came to threaten this I would throw myself into space over the city and protect these buildings with my body." This quote of 
Researching the guitarist Francisco Tárrega, [considered the father of modern classical guitar] I ran across the amazing Chinese guitar vituosa Li Jie (
When I was young, there was no such thing as The Simpsons. No iPods, (Nor even Sony Walkmen. Or is that Walksman?) no cell phones, no Department of Homeland Security. All we had were such antiquities as the moon landings, the Concorde, and the Twin Towers of the World Trade Center. Of course, my father's generation had it worse, what with no TV, no FM radio, and having to see WWII won long before they could even dream of moonwalks. Kids nowadays have it easy with their GPS, their CNN, and their TRL. Oh, wait, I understand MTV has cancelled Total Request Live. The horrors!
The music of the band Yes stands out among other rock bands, even fellow progressive rock bands, for one quality that most others lack. Though they may share all of the technical virtuosity, grand vision, and the triple-gatefold sleeves of King Crimson, Genesis, ELP, and Pink Floyd – Yes cornered the market on one commodity – joy.
The band is given a lot of flack from more cynical rock fans who dismiss them as little more than "sunshine and rainbows." But that is a superficial reading. Yes is not ignorant to pain and suffering. The music of Yes, which is, admittedly, something of a "utopian" project, addresses the suffering in the world in relation to their songs of elation...theirs is not a Pollyanna solution. And they offer no sanction of the victim. "If the summer changed to winter, yours is no disgrace!" They do not celebrate the dark, they fight through it to make their way towards the sun.
"Future Times/Rejoice" (1979) may be considered the poorest of the Yes albums, but Yes at their worst offers much more than most rock bands at their height. The opening track here is a very creative one, encompassing many moods and textures, and a childlike sense of possibility in an era of increasing despair. That a band could still find a way to rejoice in the age of punk was no mean feat...
Glancing through the news the other day, my eye was caught by the headline "The Mountains of Madness." The article was about an expedition to the Gamburtsev Mountain Range in central Antarctica. The mountains were discovered 50 years ago in the International Geophysical Year of 1958. This year (2008) is the International Polar Year, and a team of scientists has returned to the Gamburtsevs to try, among other things, to explain their formation. But the headline itself, "Mountains of Madness," is an allusion to a novella by science fiction author H. P. Lovecraft, At The Mountains of Madness, written in 1931.
First I read 
Next, I decided to read the longer work, 
Nicholas Roerich (1874-1947) was a painter, archeologist, philosopher and Orientalist from St. Petersburg, Russia. An accomplished illustrator and folklorist, he suggested the subject, collaborated with the composer, and did the stage designs for the riotous Paris debut of Stravinsky's 
Roerich travelled through Asia and the Russian Orient. He documented the area's geography and cultural artifacts and painted real, historical, and mythological landscapes and events. His style is notable for its stylization, color, clarity and dynamic themes. He is not a great figurative artist. His human figures are simple. Nature, rather than man, plays the central role in his works. But he does depict themes which evoke wonder and awe, and subjects of epic beauty. Here in 
The Arcadian painting 
While I do enjoy classical music, I mostly prefer instrumental pieces, for example Beethoven's Symphonies or tone poems such as Liszt's 
In college, a friend rented a favorite movie of his, 
In the movie 
