The Chicago Tribune gleefully welcomes a new primetime Sci Fi drama which premiered on ABC last night. One of the principal aliens is played by Morena Baccarin, who was the beautiful courtesan in Firefly/Serenity.

The new show’s plot features some amusing parallels to reality.

Imagine this. At a time of political turmoil, a charismatic, telegenic new leader arrives virtually out of nowhere. He offers a message of hope and reconciliation based on compromise and promises to marshal technology for a better future that will include universal health care.

The news media swoons in admiration—one simpering anchorman even shouts at a reporter who asks a tough question: “Why don’t you show some respect?!” The public is likewise smitten, except for a few nut cases who circulate batty rumors on the Internet about the leader’s origins and intentions. The leader, undismayed, offers assurances that are soothing, if also just a tiny bit condescending: “Embracing change is never easy.”

So, does that sound like anyone you know? Oh, wait—did I mention the leader is secretly a totalitarian space lizard who’s come here to eat us?

Welcome to ABC’s “V,” the most fascinating and bound to be the most controversial new show of the fall television season. Nominally a rousing sci-fi space opera about alien invaders bent on the conquest (and digestion) of all humanity, it’s also a barbed commentary on Obamamania that will infuriate the president’s supporters and delight his detractors. ...

The aliens—who become known as V’s, for visitors—quickly enthrall their wide-eyed human hosts.

A handful of dissidents hold out against the rapturous reception given the V’s. Some are simply uneasy, such as the youthful priest Father Jack (Joel Gretsch, “The 4400”), who sharply criticizes the Vatican’s embrace of the V’s as divine creations: “Rattlesnakes are God’s creatures too.”

A musical tribute from Creedence (with malice) to our democrat rulers via Moe Lane.

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Ayn Rand, young and svelte, in Hollywood

Ilya Somin, at Volokh, having just finished Jennifer Burns’s excellent new biography of Ayn Rand, makes a point of recommending it, and offers his own view of Rand.

Ayn Rand was the greatest popularizer of libertarian ideas of the last 100 years. Many more people have read Rand’s books than have read all the works of Friedman, Hayek, Mises, Nozick, and all the other modern libertarian thinkers combined. In becoming a libertarian without any influence from Rand, I was actually unusual. Over the last 15 years, I have met a large number of libertarian intellectuals and activists of the last two generations, including some of the most famous. More often than not, reading Rand influenced their conversion to libertarianism, even though very few fully endorse her theories or consider themselves Objectivists. Burns quotes Milton Friedman’s perceptive assessment of Rand as “an utterly intolerant and dogmatic person who did a great deal of good.” I think he was probably right.

Rand turns Marxism on its head. While Marxists argue that “capitalists” make their profits on the backs of the working class, Rand illustrates that the working class, as such, makes almost no contribution to wealth, but relies on the efforts, risks, sacrifices, and most of all the genius of the entrepreneurial class. Consider, as a thought experiment, what living standards would be like if every person in the world had an IQ around the median of 103, and otherwise had average talents and ambition. Does anyone seriously doubt that “workers,” and everyone else, would be a lot poorer than they are today, and indeed would likely be living as poorly as our hunting and gathering ancestors?

Leonardo da Vinci, Portrait of Young Girl in Profile

The London Time describes how sophisticated forensic techniques were able to authenticate a portrait profile drawing in inks and chalks as the work of Leonardo da Vinci.

The 33×23cm (13×9in) picture, in chalk, pen and ink, appeared at auction at Christie’s, New York, in 1998, catalogued as “German school, early 19th century”. It sold for $19,000 (£11,400). Now a growing number of leading art experts agree that it is almost certainly by Leonardo da Vinci and worth about £100 million.

Carbon dating and infra-red analysis of the artist’s technique are consistent with such a conclusion, but the most compelling evidence is that fragment of a fingerprint.

Peter Paul Biro, a Montreal-based forensic art expert, found it while examining images captured by the revolutionary multispectral camera from the Lumière Technology company. ...

The fingerprint corresponds to the tip of the index or middle finger, and is “highly comparable” to one on Leonardo’s St Jerome in the Vatican. Importantly, St Jerome is an early work from a time when Leonardo was not known to have employed assistants, making it likely that it is his fingerprint.

Martin Kemp, Emeritus Professor of History of Art at the University of Oxford, is convinced and recently completed a book about the find (as yet unpublished). He said that his first reaction was that “it sounded too good to be true — after 40 years in the business, I thought I’d seen it all”. But gradually, “all the bits fell into place.”

Professor Kemp has rechristened the picture, sold as Young Girl in Profile in Renaissance Dress, as La Bella Principessa after identifying her, “by a process of elimination”, as Bianca Sforza, daughter of Ludovico Sforza, Duke of Milan (1452-1508), and his mistress Bernardina de Corradis. He described the profile as “subtle to an inexpressible degree”, as befits the artist best known for the Mona Lisa.

If it is by Leonardo, it would be the only known work by the artist on vellum although Professor Kemp points out that Leonardo asked the French court painter Jean Perréal about the technique of using coloured chalks on vellum in 1494.

The picture was bought in 1998 by Kate Ganz, a New York dealer, who sold it for about the same sum to the Canadian-born Europe-based connoisseur Peter Silverman in 2007. Ms Ganz had suggested that the portrait “may have been made by a German artist studying in Italy … based on paintings by Leonardo da Vinci”. ...

Carbon-14 analysis of the vellum gave a date range of 1440-1650. Infra-red analysis revealed stylistic parallels to Leonardo’s other works, including a palm print in the chalk on the sitter’s neck “consistent … to Leonardo’s use of his hands in creating texture and shading”, according to Mr Biro.

Sometimes a review panning a film can be fun to read. C. Robert Cargill turns in an exceptionally amusing review of Lars von Trier’s new movie Antichrist, which actually contains both savage mockery and high praise.

Widely panned at Cannes by some, praised by others, and completely spoiled in the press, especially on the Drudge Report in which its final scenes were spoiled in headlines splashed across the front page (can’t find Drudge’s posting, but here’s a nice spoiler. – JDZ) It is not a nice film. It is dark, brooding, melancholy, and more than a little mean-spirited. Loaded from top to bottom with nudity, sexuality, and even a slow-motion shot that will itself ensure that this gets the dreaded NC-17 rating (as well it should for the level of adult content in this), it is at times a bit distracting. There’s so much nudity in this thing that I almost feel as if it should be renamed Lars Von Trier’s I Hate Pants! There are even a few scenes in which the characters lack pants for no good reason. But then again, there’s a lot of things in this that some would argue are here for no good reason. It is violent, bloody, and disturbingly sexual for a goodly portion of the film. Not in small doses. The majority of the film aims to offend you in one manner or another.

Read the whole thing.

Happily for me, I already know that I loathe and despise Lars Trier (who is no kind of “von” whatsoever, the “von” he uses is just a joking cinematic reference to von Stroheim and von Sternberg, who both, for very different reasons, appropriated the preposition characteristic of names of Teutonic armigers) and all his works. Trier is a representative of the worst sort of European communist sensibility. Take an airsickness bag if you plan to see this one.

“Cerca Trova” (Seek and Find) appears on a banner on Vasari’s mural of the Battle of Marciano

Only 15 surviving paintings are generally attributed in whole or in part to Leonardo. His responsibility for another six is disputed.

Dr. Maurizio Seracini, an engineering professor from UC San Diego, had been pursuing a quest to recover Leonardo Da Vinci’s largest painting, a 1505 fresco depiction of the 65 year earlier Battle of Angiarhi between Florence and Milan which once ornamented the Hall of Five Hundred in Florence, which disappeared in the course of a mid-16th century remodeling by Giogio Vasari, for a number of years.

The New York Times reports that scientific instruments are now ready to test Seracini’s hypothesis that Vasari simply walled-up the Da Vinci fresco.

“The Battle of Anghiari,” (was) the largest painting Leonardo ever undertook (three times the width of “The Last Supper”). Although it was never completed — Leonardo abandoned it in 1506 — he left a central scene of clashing soldiers and horses that was hailed as an unprecedented study of anatomy and motion. For decades, artists like Raphael went to the Hall of 500 to see it and make their own copies.

Then it vanished. During the remodeling of the hall in 1563, the architect and painter Giorgio Vasari covered the walls with frescoes of military victories by the Medicis, who had returned to power. Leonardo’s painting was largely forgotten.

But in 1975, when Dr. Seracini studied one of Vasari’s battle scenes, he noticed a tiny flag with two words, “Cerca Trova”: essentially, seek and ye shall find. Was this Vasari’s signal that something was hidden underneath? ...

(N)ew analysis showed that the spot painted by Leonardo was right at the “Cerca Trova” clue. The even better news, obtained from radar scanning, was that Vasari had not plastered his work directly on top of Leonardo’s. He had erected new brick walls to hold his murals, and had gone to special trouble to leave a small air gap behind one section of the bricks — the section in back of “Cerca Trova.” ...

Dr. Seracini was stymied until 2005, when he appealed for help at a scientific conference and got a suggestion to send beams of neutrons harmlessly through the fresco. With help from physicists in the United States, Italy’s nuclear-energy agency and universities in the Netherlands and Russia, Dr. Seracini developed devices for identifying the telltale chemicals used by Leonardo.

One device can detect the neutrons that bounce back after colliding with hydrogen atoms, which abound in the organic materials (like linseed oil and resin) employed by Leonardo. Instead of using water-based paint for a traditional fresco in wet plaster like Vasari’s, Leonardo covered the wall with a waterproof ground layer and used oil-based paints.

The other device can detect the distinctive gamma rays produced by collisions of neutrons with the atoms of different chemical elements. The goal is to locate the sulfur in Leonardo’s ground layer, the tin in the white prime layer and the chemicals in the color pigments, like the mercury in vermilion and the copper in blue pigments of azurite. ...

Once he gets permission, Dr. Seracini said, he hopes to complete the analysis within about a year. If “The Battle of Anghiari” is proved to be there, he said, it would be feasible for Florentine authorities to bring in experts to remove the exterior fresco by Vasari, extract the Leonardo painting and then replace the Vasari fresco. Of course, no one knows what kind of shape the painting might be in today. But Dr. Seracini, who has extensively analyzed the damages suffered by many Renaissance paintings, said that he was optimistic about “The Battle of Anghiari.”

“The advantage is that it has been covered up for five centuries,” he said. “It’s been protected against the environment and vandalism and bad restorations. I don’t expect there to be much decay.”

If he is right, then perhaps Vasari did Leonardo a favor by covering up the painting — and taking care to leave that cryptic little flag above the trove.

Rubens chalk, ink, and water-color copy of Da Vinci study for “The Battle of Anghiari,” Musée du Louvre

As I’ve previously observed, a lot of people on both the political left and right neglected to consider some pretty obvious aspects and details of the liaison between Roman Polanski and a certain young lady 32 years ago and simply accepted her Grand Jury testimony uncritically as a perfectly factual and objective version of events.

That acceptance of a less than complete, biased and self-interested account, combined with a liberal application of emotionalism and indignation, easily turned a tawdry Hollywood casting couch trist into a horrid sex crime with a child victim. Left or right, a surprisingly large number of people seem to find the editorial equivalent of participation in a lynch mob to be a gratifying form of self expression.

The probation officer all those years ago was in possession of a more accurate and complete understanding of the case, and his sentencing report, quoted by the New York Times, arrives at very different conclusions.

The report, submitted by acting probation officer Kenneth F. Fare, and signed by a deputy, Irwin Gold, recommended that Mr. Polanski receive probation without jail time for his conviction on one count of having unlawful sex with a minor. In a summary paragraph, the report said: “Jail is not being recommended at the present time. The present offense appears to have been spontaneous and an exercise of poor judgement by the defendant.” It went on to note that the victim and her parent, as well as an examining psychiatrist, recommended against jail, while a second psychiatrist described the offense as neither “aggressive nor forceful.”

Despite Ms. Geimer’s age and her testimony that she had objected to having sex with Mr. Polanski and asked to leave Jack Nicholson’s house, where the incident occurred, the probation report concluded, “There was some indication that circumstances were provocative, that there was some permissiveness by the mother,” and “that the victim was not only physically mature, but willing.”

As we see, the authorities at the time, took the young lady’s testimony of her own reluctance with a very large grain of salt, doubtless concluding that both the circumstances of the encounter and many of her own actions signaled explicitly affirmative intentions.

The most interesting aspect of all of this is the fact that Roman Polanski’s flight thirty one years ago was precipitated by precisely the same sort of journalistic feeding frenzy which has been replayed all over again recently. A firestorm of sensationalized accounts of Polanski’s misdeed alarmed the publicity-conscious judge who intended to set aside the conventional processes of justice and overrule a plea bargain already agreed to by both the prosecution and the defense.

Polanski did not escape justice. He had already served a 42 day term of imprisonment, which was supposed to constitute his actual sentence. Polanski also settled privately with the young lady, paying her a sum of money of a specific amount never publicly disclosed. What Polanski escaped was injustice.

He escaped a breach of the normal, impartial, and objective processes of justice, which were in the process of collapsing due to official cowardice and unwillingness to resist a wave of public indignation, mischievously created by irresponsible journalism.

Long-standing cultural restraints on sexual expression and activity have been dwindling away in America for all of the last century, but one powerful prohibition not only survives, but continues to be able to turn ordinary Americans into something very much resembling belligerent Muslims bent on wiping out any stain upon the chastity of their females in blood: the issue of age.

Underage sex is still a kind of priapic third rail. And like Nabokov’s Humbert, Roman Polanski proved to be another sophisticated European gentilhomme d’un certain âge susceptible to the charms of the knowing nymphette. His sin happens to be relatively unique in being capable of getting Americans in general worked up into a lather of righteous indignation just as effectively in 2009 as in 1978 or in 1955 (the publication date of Lolita).

In exactly the same way that the idea of black sexual aggression directed at white women was once upon a time so horrifying an idea to the general community in certain American states that any close resemblance to that supreme phobia could suffice to set into motion the processes of storytelling which would fit the details of the actual case into the terrible archetype, frequently with lethal results, so too today is the idea of adult sexual aggression directed at children a compelling, and potentially dangerous, archetype.

Let’s try another literary trope. Picture Roman Polanski, not as Humbert Humbert, but as Tom Robinson, the black defendant in To Kill a Mockingbird. Just like the Polanski case, To Kill a Mockingbird features a public frenzy of indignation at a defendant accused of being a sexual aggressor toward an innocent victim, who is supposed to be protected from the advances of anyone like the defendant by powerful social taboos. Just as in the Harper Lee novel, adjudication of the Roman Polanski case revolved around issues of just who was the actual initiator and whether female consent had been given. Fearful archetypes and framing narratives can work in exactly the same in either case, can’t they?

Sarah Palin’s new book Going Rogue will not be released by its publisher until November 17, but it is already the Number 1 best selling title on Amazon and Barnes & Noble.

A hit piece in the New York Post sneers over the fact that Sarah Palin had the assistance of a collaborator (Lynn Vincent) in producing her book. The press never talks that way about books (all written with—or by—collaborators) published by democrats like the Clintons.

I suppose the difference is that Palin identified her collaborator publicly, rather than denying one existed.

JWF reports that Palin is having the last laugh over the Post attack piece’s “blithering idiot” insult. Apparently, she is getting hundreds of speech requests at her new $100,000 speaking fee. On top of her $7 million book advance, those speeches will quickly pay off the legal expenses that caused her to relinquish the Alaska governorship, and will give her a platform to use to make an impact on the political issues of the day.

Roman Polanski

The director Roman Polanski is a significant artist of international stature. He is also 76 years old. More than 30 years ago, Polanski had sex with an underage girl in California. The judicial proceedings which took place at the time were improperly influenced by the superfluity of media attention focused on a famous Hollywood director entangled in a sex scandal.

Marina Zenovich’s 2008 documentary film Roman Polanski: Wanted and Desired made it generally known that Polanski accepted a plea bargain which put him behind bars in very unpleasant circumstances “for psychiatric evaluation” for 42 days in Chino State Prison. After which time, according to the deal made with prosecutors, Polanski was supposed to be let off without further incarceration.

Newspaper reports, however, inflamed public opinion about the case, and Judge Laurence Rittenband arbitrarily decided to void Polanski’s plea bargain and impose an exemplary sentence, essentially sacrificing the unlucky director for the gratification of the tabloid mob. Polanski was temporarily at large when he learned of the judge’s intentions, and prudently fled into exile in Europe.

Polanski was certainly guilty of a form of sexual misbehavior which, depending on the overall circumstances, can be prosecuted as a serious crime. But consensual sex with underage girls is only “rape” in a technical sense. Michelle Malkin is making a regrettable spectacle of herself striking ridiculous moralistic poses, calling Polanski a “perv,” and describing sensible persons disinclined to support wasting government time and resources on seeking pointless vengeance on an old man a generation after the fact “crime-coddling apologists.”

This kind of naive legal absolutism rests on a childish fantasy that human acts, their legal status, and the outcome of judicial proceedings are matters of black and white, that good people, like Michelle Malkin and the rest of us on the Right, are always in favor of enforcing the letter of the law. I’m not. Laws (like our immigration and drug laws) can be ill-considered. Courts are sometimes corrupt. They are sometimes mistaken. Laws can be wrongly or simply arbitrarily enforced. After 30 years, some laws are no longer worth enforcing, some cases are no longer worth punishing.

The young woman who had sex with Polanski, now middle-aged, has said publicly that she thought she was being exploited by the court at the time, that she forgives Polanski, and that she finds the idea of re-opening the case against him embarrassing to herself and her family. So whom do we need to be avenging?

Patterico, who actually works at the same Los Angeles District Attorney’s Office has gone even more loco with the same law-and-order zealotry.

He is raving about a conflict of interest in Anne Applebaum editorializing in favor of clemency in a stale and aged case involving an internationally renowned artist who is elderly, who has made significant cultural contributions, and who has himself been more than once a victim of terrible injustices. Anne Applebaum, you see, is married to Polish Foreign Minister Radek Sikorski. Polanski is a Pole, and Poland is protesting his arrest, so Patterico thinks her editorials need to be accompanied by a warning of undue influence from the Polish Government. Lord!

I personally think conservative righteousness, outrage, and pettyfogging argument is more appropriately reserved for graver issues than a case of Hollywood hanky-panky from thirty years in the past. And, until Utopia is achieved and we have a perfect legal system administered by angels, applying a flawless legal code in every case with precision accuracy and scrupulous evenhandedness, I think we can skip all the rah-rah law-and-order nonsense.

Sometimes the law is an ass. And the day the US undertook to extradite Roman Polanski over a roll in the hay that occurred during the opening days of the Consulship of Jimmy Carter is one of those times.

Four modern violins by Michael Rhonheimer and one Stradivarius made in 1711

Material scientist Francis W.M.R. Schwarze believed that biotechnology could modify contemporary woods to possess the acoustic properties found in the centuries-old violins produced by masters of violin-making’s Golden Age.

Schwarze used varying amounts of fungal decay to modify the density of the woods used in two violins built by Michael Ronheimer. An acoustic tone test was then arranged at the annual Osnabrücker Baumpflegetagen (forestry conference).

English violinist Matthew Trusler would play the same piece on five violins, in a blind test including a Stradivarius worth two million dollars built in 1711, two Rhonheimer violins built of untreated wood, and two Rhonheimer violins built from wood subjected to varying amounts of decay.

Science Daily reports the astonishing result: Schwarze’s biotech defeated the workmanship of Stradivarius.

Of the more than 180 attendees, an overwhelming number – 90 persons – felt the tone of the fungally treated violin “Opus 58” to be the best. Trusler’s stradivarius reached second place with 39 votes, but amazingly enough 113 members of the audience thought that “Opus 58” was actually the strad! “Opus 58” is made from wood which had been treated with fungus for the longest time, nine months.

Francis W.M.R. Schwarze, et. al. Superior wood for violins – wood decay fungi as a substitute for cold climate

ABSTRACT:

Violins produced by Antonio Stradivari during the late 17th and early 18th centuries are reputed to have superior tonal qualities. Dendrochronological studies show that Stradivari used Norway spruce that had grown mostly during the Maunder Minimum, a period of reduced solar activity when relatively low temperatures caused trees to lay down wood with narrow annual rings, resulting in a high modulus of elasticity and low density.

The main objective was to determine whether wood can be processed using selected decay fungi so that it becomes acoustically similar to the wood of trees that have grown in a cold climate (i.e. reduced density and unchanged modulus of elasticity).

This was investigated by incubating resonance wood specimens of Norway spruce (Picea abies) and sycamore (Acer pseudoplatanus) with fungal species that can reduce wood density, but lack the ability to degrade the compound middle lamellae, at least in the earlier stages of decay.

Microscopic assessment of the incubated specimens and measurement of five physical properties (density, modulus of elasticity, speed of sound, radiation ratio, and the damping factor) using resonance frequency revealed that in the wood of both species there was a reduction in density, accompanied by relatively little change in the speed of sound. Thus, radiation ratio was increased from ‘poor’ to ‘good’, on a par with ‘superior’ resonance wood grown in a cold climate.

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It is possible to listen to this kind of comparison oneself. Ruggiero Ricci played the same opening of Bruch’s Violin Concerto No. 1 in G minor, Op. 26 (1866) on 15 important violins, including examples by Amati, Guarneri, and Stradivarius, on a record titled The Glory of Cremona, currently regrettably out-of-print and expensive.

But all 15 Ricci performances and 3 additions are available via YouTube vidoes, linked here.

Hat tip to Karen L. Myers.

David Malki’s original Electroplasmic Hydrocephalic Genre Fiction Generator 2000 design.

Liam Cooke’s working model

Hat tip to Karen L. Myers.

24-year-old Kseniya Simonova moved the audience of the Ukraine’s Got Talent (Україна має талант) television program to tears with her sand painting depicting the impact of the German Invasion during WWII on the lives of ordinary Ukrainians. She won the competition, and the YouTube video of her performance has attracted more than 2 million viewers.

8:33 video

The
Telegraph explains the story of the animation.

In New Republic, Jonathan Chait, uses the purported review space for two new biographies of Ayn Rand—Jennifer Burns’s Goddess of the Market: Ayn Rand and the American Right and Anne C. Heller’s Ayn Rand and the World She Made (to be released October 27)—to deliver instead an attack on Rand and her philosophy of which Ellsworth Toohey would be proud.

Admirers of Rand will enjoy reading this relatively sophisticated analysis of her influence, and will probably also perversely enjoy (in the mode of intellectual pathologist) the ingenious and sophistical rhetorical ploys Chait uses to defend his own leftism.

We’re really squabbling over nothing, Chait explains in a particularly artful pair of paragraphs. Accept Chait’s numbers (if you do, come see me about a bridge I’m selling), and it all becomes clear: the difference between conservative and liberal tax policies amounts to a tiny, scarcely significant, percentage.

Most of the right-wing commentary purporting to prove that the rich bear the overwhelming burden of government relies upon the simple trick of citing only the income tax, which is progressive, while ignoring more regressive levies. A brief overview of the facts lends some perspective to the fears of a new Red Terror. Our government divides its functions between the federal, state, and local levels. State and local governments tend to raise revenue in ways that tax the poor at higher rates than the rich. (It is difficult for a state or a locality to maintain higher rates on the rich, who can easily move to another town or state that offers lower rates.) The federal government raises some of its revenue from progressive sources, such as the income tax, but also healthy chunks from regressive levies, such as the payroll tax.

The sum total of these taxes levies a slightly higher rate on the rich. The bottom 99 percent of taxpayers pay 29.4 percent of their income in local, state, and federal taxes. The top 1 percent pay an average total tax rate of 30.9 percent—slightly higher, but hardly the sort of punishment that ought to prompt thoughts of withdrawing from society to create a secret realm of capitalistic übermenschen. These numbers tend to bounce back and forth, depending upon which party controls the government at any given time. If Obama succeeds in enacting his tax policies, the tax burden on the rich will bump up slightly, just as it bumped down under George W. Bush.

Excellent reading for train rides through Rocky Mountain tunnels.

Humorist Harry Stein’s a new book, I Can’t Believe I’m Sitting Next to a Republican, skewering the intolerance, self-regard, and intellectual provinciality of the establishment left is the occasion of this Front Page interview.

F(ront)P(age): ...What inspired you to write this book?

Stein: It was simply the fact of living in a dark blue locale – the artsy New York suburb of Hastings-on-Hudson, literally and figuratively an extension of the Upper West Side – and daily facing the reality that, for all my neighbors’ ostentatious ‘tolerance,’ they are astonishingly intolerant of anyone who challenges their own left-of-center assumptions and beliefs. There are millions of us conservatives marooned in places like this all over America, and I wanted the book to reflect their experiences, horrific, amusing and otherwise. I also want to encourage those who tend to hide in the conservative closet to stand up and be counted – something that, in the age of Obama, is more essential than ever.

FP: Why is New York so liberal? What forces made it so?

Stein: ...Historically, New York is a city of immigrants—immigrants who, in many cases, were fleeing genuine oppression. (This was certainly my grandparents’ case). So their tendency, way back when, was to be extremely liberal, if not outright radical, in their political orientation. And leftist politics, like any other faith, tends to be inherited. Question many New Yorkers closely about why and how they became liberal and they’ll look at you as if you’re mad; they’ve always been this way, so has everyone they know, how could anyone possibly be anything else? In fact, they’ll have contempt for you for even posing such an absurd question. ...

FP: ... Why are liberals and leftists so abusive?

Stein: I really believe it’s because they grasp on some level—we’re talking way, way, deep down, miles below consciousness—that their ideas do not stand up to rational argument. Theirs is a belief system grounded on faith, not on facts and certainly not, God knows, justified by experience. So they simply cannot afford to accord their opponents the status of moral equals; they must be attacked, and dismissed, as evil. That’s why trying to have an honest and fair-minded discussion with such people is useless, As soon as they’re cornered, they reflexively resort to name calling. ...

FP: ...Can you talk a bit about this echo chamber that the Left lives in? ...

Stein: ‘Echo chamber’ is the right term, because these views tend not simply to be endlessly repeated in such environments, but amplified through the repeating. Something that strikes many of us who live in such environments is how blithely unaware they are of conservative views. What they think they know about who we are and what we believe, picked up from the likes of NPR or The New York Times, is invariably distorted; we’re reduced to crude caricature, so as to flatter their own smug sense of moral and intellectual superiority.

Maybe readers allowing you to purchase electronic copies of books from giant impersonal corporations are not such a good idea after all.

What happens when Amazon decides, for reasons of its own, that you should not be in possession of a particular book? Pop! It’s gone. Eliminated by your friendly corporation’s software update system.

Big Brother came calling on Amazon customers yesterday, as the New York Times reports.

In George Orwell’s “1984,” government censors erase all traces of news articles embarrassing to Big Brother by sending them down an incineration chute called the “memory hole.”

On Friday, it was “1984” and another Orwell book, “Animal Farm,” that were dropped down the memory hole — by Amazon.com.

In a move that angered customers and generated waves of online pique, Amazon remotely deleted some digital editions of the books from the Kindle devices of readers who had bought them.

An Amazon spokesman, Drew Herdener, said in an e-mail message that the books were added to the Kindle store by a company that did not have rights to them, using a self-service function. “When we were notified of this by the rights holder, we removed the illegal copies from our systems and from customers’ devices, and refunded customers,” he said.

Amazon effectively acknowledged that the deletions were a bad idea. “We are changing our systems so that in the future we will not remove books from customers’ devices in these circumstances,” Mr. Herdener said.

The Times reports that the Holden Caulfield alienation franchise is currently under attack by brand infringement.

(Last Wednesday,) a federal judge granted a temporary restraining order forbidding publication in the United States of “60 Years Later: Coming Through the Rye,” a takeoff on — J. D. Salinger’s lawyers say rip-off of — “The Catcher in the Rye,” written by a young Swedish writer styling himself J. D. California.

Until the judge makes her final ruling, Mr. Salinger’s fans will be spared the prospect of encountering Holden Caulfield, the ultimate alienated teenager, as a lonely old codger who escapes from a retirement home and his beloved younger sister, Phoebe, as a drug addict sinking into dementia.

But, matters are far worse than that: poor Holden’s 1950s vocabulary and teenage preoccupations have grown out-of-date, and nobody even feels sorry for him any more.

Holden may have bigger problems than the insults of irreverent parodists and other “phonies,” as Holden would put it. Even as Mr. Salinger, who is 90 and in ailing health, seeks to keep control of his most famous creation, there are signs that Holden may be losing his grip on the kids.

“The Catcher in the Rye,” published in 1951, is still a staple of the high school curriculum, beloved by many teachers who read and reread it in their own youth. The trouble is today’s teenagers. Teachers say young readers just don’t like Holden as much as they used to. What once seemed like courageous truth-telling now strikes many of them as “weird,” “whiny” and “immature.”

The alienated teenager has lost much of his novelty, said Ariel Levenson, an English teacher at the Dalton School on Manhattan’s Upper East Side, Holden’s home turf. She added that even the students who liked the book tend to find the language — “phony,” “her hands were lousy with rocks,” the relentless “goddams” — grating and dated.

“Holden Caulfield is supposed to be this paradigmatic teenager we can all relate to, but we don’t really speak this way or talk about these things,” Ms. Levenson said, summarizing a typical response. At the public charter school where she used to teach, she said, “I had a lot of students comment, ‘I can’t really feel bad for this rich kid with a weekend free in New York City.’ ”

A 15th century manuscript of the Forme of Cury, a book of recipes compiled by Richard II’s master cooks, from the collection of the John Rylands Library of the University of Manchester has been digitized, making available online in its original form one of the most famous medieval cookbooks.

The Forme includes recipes for pike, porpoise, blancmange, and even “loseyns” (lasagna), a dish of baked pasta with cheese.

BBC

1:19 video

An 18th century printed edition is also available online at Project Gutenberg.

The Trichoptera, commonly called sedge flies, are those busy flies one sees emerging with a pop, then flitting erratically above the surface of the stream. Caddis hatches drive trout crazy. One often sees trout chasing emerging caddis larvae to the surface, and then breaking water and leaping in the air to nail the insect. Caddises actually constitute a more important portion of the trout’s menu than the more beautiful and delicate mayflies (Ephemera), and are hardier and better able to survive warmer temperatures and pollution than many of the classic mayflies.

I’ve often collaborated with Trichoptera myself: at catching trout, not at creating art. Back when I was a bloodthirsty teenage meat fisherman and baitfished, my partner-in-crime John Zebraitis and I reposed especial confidence in the appeal of stone caddises as bait for trout. The caddises who built their nests of twigs, known as “stick bait,” were common and decently effective, but stone caddises were relatively rare, and could be found only in certain pools in particular streams. When we came on them, John and I felt like we’d won the lottery, knowing that our chances of tempting the reluctant 20” old soak known to be lurking craftily in the deep hole were starting to look good.

Heaven only knows how big a trout John or I could have derricked out the mysterious depths of the unfathomed hole on the mighty Loyalsock at Hillsgrove had we only been equipped with a couple of these dazzling stone-cases. And I can picture with a smile the arguments we might have had about whether brookies go more for opals than for lapis, and just how effective turquoise is in low water.

Spring issue, Cabinet:

(The photos illustrate) the results of an unusual artistic collaboration between the French artist Hubert Duprat and a group of caddis fly larvae. A small winged insect belonging to the order Trichoptera and closely related to the butterfly, caddis flies live near streams and ponds and produce aquatic larvae that protect their developing bodies by manufacturing sheaths, or cases, spun from silk and incorporating substances—grains of sand, particles of mineral or plant material, bits of fish bone or crustacean shell—readily available in their benthic ecosystem. The larvae are remarkably adaptable: if other suitable materials are introduced into their environment, they will often incorporate those as well.

Duprat, who was born in 1957, began working with caddis fly larvae in the early 1980s. An avid naturalist since childhood, he was aware of the caddis fly in its role as a favored bait for trout fishermen, but his idea for the project depicted here began, he has said, after observing prospectors panning for gold in the Ariège river in southwestern France. After collecting the larvae from their normal environments, he relocates them to his studio where he gently removes their own natural cases and then places them in aquaria that he fills with alternative materials from which they can begin to recreate their protective sheaths. He began with only gold spangles but has since also added the kinds of semi-precious and precious stones (including turquoise, opals, lapis lazuli and coral, as well as pearls, rubies, sapphires, and diamonds) seen here. The insects do not always incorporate all the available materials into their case designs, and certain larvae, Duprat notes, seem to have better facility with some materials than with others. Additionally, cases built by one insect and then discarded when it evolves into its fly state are sometimes recovered by other larvae, who may repurpose it by adding to or altering its size and form.

More on Duprat:

Leonardo

————————————————
Hat tip to Karen L. Myers.

The local historical society atBerwick, Pennsylvania, a borough of 10,000 people in largely rural Columbia County, was inventorying its collection of Early America almanacs and discovered it possessed a rare 1733 first annual edition of Benjamin Franklin’s Poor Richard’s Almanack.

The almanac, bound with several others, proved authentic, and was sold yesterday at Sotheby’s, bringing $556,500, the second largest price ever paid at auction for an American book. The record holder remains George Washington’s copy of the Federalist Papers also sold by Sotheby’s in 1990 for $1.4 million.

Whatever will the historical society do with so much money?

Some news agency’s account.

I know myself of a county courthouse in Pennsylvania where original documents signed by Benjamin Franklin in his capacity as secretary of the Commonwealth of Pennsylvania are still sitting unrecognized in the county clerk’s office. I could have pointed out their value, but I kind of like the idea of their being in the same place they’ve always been.

David Kahane, at National Review Online, finds fuel for the next box office blockbuster in some recent headline.

[W]e still can’t sell scripts about “Muslim terrorists,” but a celebrity death match between the Central Intelligence Agency and the person who stands second to the vice president in the line of succession to the White House should any, you know, unfortunate accident befall the leader of the free world, is right up our alley. Which is why I was first off the mark last week when Nancy D’Alesandro Pelosi, the flower of Baltimore and the pride of San Francisco, accidentally pulled the pin on a live hand grenade in front of the fiercely independent Washington press corps and blew herself up.

She wasn’t trying to, of course. She was trying to explain to a bunch of less-than-enchanted media stenographers who would rather be covering Michelle Obama’s workout, or even Bo the dog’s breakfast, that the nasty, un-American CIA has deliberately “misled” her when discussing just precisely how they were going to insert bamboo shoots under the fingernails of a caterpillar that they would then waterboard and introduce into the cell of some totally innocent mujahedin caught up in the lawless Bush-Cheney dragnet during the hysteria that followed the inside job that was 9/11 and . . .

Zzzzzzzzzzzz.

In the other corner we have the Central Intelligence Agency, which we in Tinseltown have been depicting for years as just about the most malevolent organization in the world, outside of the Catholic Church, the Club for Growth, and the Cheney family. In movie after movie, the shadowy CIA guy always wound up as the villain in the last reel. So imagine our surprise when, during the Bushitler interregnum, we discovered that the CIA is on our side, and has been for decades! Screwed up the whole Shah of Iran thing and opened the way for the mullahs? Check! Consistently overrated and then failed to forecast the sudden disintegration of the Soviet Union? Check!! Never did quite figure out what Osama bin Laden was up to? Check

To top it all off, along came super-top-secret agent/Vanity Fair babe Valerie Plame and her dashing, Graydon-Carter-tressed hubby, Joe Wilson, running a sting operation against the hapless Bush White House, whipsawing the president and the veep with Joe’s unprovoked New York Times tale of sipping mint tea with Colonel Kurtz up the Congo and all of sudden there’s shouting about the “sixteen words” in Chimpy’s State of the Union address and Valerie is outed by Cheney flunky Scooter Libby — okay, by Colin Powell flunky Dick Armitage, same thing — and then Judy Miller goes to jail and . . .

Zzzzzzzzzzzz.

[H]ere’s the script that just made me a cool $1.5 mil plus five monkey points plus two first-class tickets to the premiere: Three Days of the Dodo Bird.

We open in Abu Ghraib prison, post-“Mission Accomplished,” where a SHADOWY CIA AGENT gets the bright idea to strike fear into the hearts of America’s “enemies” by photographing completely innocent prisoners in outrageous situations (piled naked on top of each other, led around on a dog leash by a woman, forced to wear panties on their heads) calculated to offend and inflame the sensibilities of the Religion of Peace. Now, you and I both know that these kinds of things happen every week at the right Hollywood parties, and they’re tons of fun, but for some weird cultural reason the photos are deemed offensive, the super-top-secret psy-war campaign winds up on the front page of the Times every day for a year, and the Shi’ites hit the fan.

Read the whole thing.

Fjordman observes that the Chinese have a special enthusiasm for Western classical music while Muslims commonly care little for Western music or art. When Muslims look for inspiration to the West, their admiration is focused on weapons of mass destruction, the authoritarian state, socialism, and militaristic nationalism, in other words: fascism. The leading political movement in the post colonial Islamic world has been Ba’athism, a political movement specifically modeled on German National Socialism.

Despotism comes quite natural to Islamic culture. When confronted with the European tradition, many Muslims freely prefer Adolf Hitler to Rembrandt, Michelangelo or Beethoven. Westerners don’t force them to study Mein Kampf more passionately than Leonardo da Vinci’s Mona Lisa or Goethe’s Faust; they choose to do so themselves. Millions of (non-Muslim) Asians now study Mozart’s piano pieces. Muslims, on the other hand, like Mr. Hitler more, although he represents one of the most evil ideologies that have ever existed in Europe. The fact that they usually like the Austrian Mr. Hitler more than the Austrian Mr. Mozart speaks volumes about their culture. Koreans, Japanese, Chinese and Middle Eastern Muslims have been confronted with the same body of ideas, yet choose to appropriate radically different elements from it, based upon what is compatible with their own culture.

Tom Doniphon (John Wayne) tells a few hard truths to Ransom Stoddard (James Stewart) in The Man Who Shot Liberty Valence

David Brooks watches John Ford Westerns (apparently only one John Ford Western), and advises us that John Ford movies are all about communitarianism. According to Brooks, John Ford Westerns are paeans to the collectivist statist ideals of Barack Obama and the democrat party.

We Republicans need to register (and then surrender) our sixguns, turn over our poker chips to build a new schoolhouse, hire some government administrators, and then come out to the church social to sing hymns.

Republicans generally like Westerns. They generally admire John Wayne-style heroes who are rugged, individualistic and brave. They like leaders — from Goldwater to Reagan to Bush to Palin — who play up their Western heritage. Republicans like the way Westerns seem to celebrate their core themes — freedom, individualism, opportunity and moral clarity.

But the greatest of all Western directors, John Ford, actually used Westerns to tell a different story. Ford’s movies didn’t really celebrate the rugged individual. They celebrated civic order.

For example, in Ford’s 1946 movie, “My Darling Clementine,” Henry Fonda plays Wyatt Earp, the marshal who tamed Tombstone. But the movie isn’t really about the gunfight and the lone bravery of a heroic man. It’s about how decent people build a town. Much of the movie is about how the townsfolk put up a church, hire a teacher, enjoy Shakespeare, get a surgeon and work to improve their manners.

The movie, in other words, is really about religion, education, science, culture, etiquette and rule of law — the pillars of community. In Ford’s movie, as in real life, the story of Western settlement is the story of community-building. Instead of celebrating untrammeled freedom and the lone pioneer, Ford’s movies dwell affectionately on the social customs that Americans cherish — the gatherings at the local barbershop and the church social, the gossip with the cop and the bartender and the hotel clerk.

Today, if Republicans had learned the right lessons from the Westerns, or at least John Ford Westerns, they would not be the party of untrammeled freedom and maximum individual choice. They would once again be the party of community and civic order.

In this movie as in others by Ford, particularly The Man Who Shot Liberty Valance (1962), we see both things: both the community and civilization that people, left in peace, will spontaneously create for themselves and the lone man with the gun, free and solitary, whom the community, often without knowing it, depends on to be left in peace. Without the one, there would not be the other. Ford’s point in both movies is that the community will happily discard and exile and finally forget about the hero, once his work is done. Mr Brooks himself unwittingly illustrates it by forgetting about him, or regarding him as incidental material.

In both movies, too, the hero is complict in his own marginalization by the community he saves. He prefers to live apart from it, partly because, in order to do what he does, he belongs more to the savage, honor-bound, heroic world that he helps to supplant. In Liberty Valance, John Wayne’s forgotten hero, Tom Doniphon has far more in common with Lee Marvin’s Liberty (significant name) than he does with Jimmy Stewart’s Ransom Stoddard. Stoddard even marries the woman he, Doniphon, loves, which makes his rescue both of Stoddard and of the world of law and civic order he represents even more of a noble renunciation than it would be in any case. Tellingly, Ford also shows how the town wants to tell itself a false story about Doniphon’s act of murder, in order to bring it under the umbrella of law and civic order which that act has made possible. And those who know the true story — that in the end civilization itself depends on the man with the gun — allow the false one to stand. Ford must have foreseen even in 1964 the time nearly half a century on when people like David Brooks would have forgotten that primal act of heroism that makes everything else possible and so come to believe, like the townsfolk of Shinbone in Ford’s movie, that civilization can bring itself to birth and sustain itself without the need for honor and courage.

Ilya Somin wonders when the Federation lost its freedom.

Michael D’Antuono, The Truth, 2009

The Obamessiah’s 100th Day (4/29) was scheduled to be commemorated by the unveiling of a new “art work” in New York City’s Union Square.

WorldNetDaily:

On his 100th day in office, President Obama will be “crowned” in messianic imagery at New York City’s Union Square.

Artist Michael D’Antuono’s painting “The Truth” – featuring Obama with his arms outstretched and wearing a crown of thorns upon his head – will be unveiled on April 29 at the Square’s South Plaza. ...

Like others in the news who have depicted Obama in Christ-like imagery, D’Antuono insists he isn’t claiming the man is Messiah, but only inviting “individual interpretations.”

This actually made me kind of sick. I threw up a little in my mouth. Please excuse the mass mailing…I think everyone should see it. To me it’s sick and sycophantic, but it is also so cowardly. Insult the Christians, because you can, and never mind that we’re still in Easter.

This makes me think less of Obama, who should have gotten out in front of this messianic talk, instead of silently encouraging it. It speaks volumes about the artist, but Obama’s silent consent also speaks volumes about him.

PR Newswire:

Painter Michael D’Antuono has cancelled the planned public unveiling of his latest work “The Truth” at NYC’s Union Square Park on President Obama’s 100th day in office due to overwhelming public outrage. The artist’s decision was based in part on thousands of emails and phone calls; online blogs and other public commentary received in the first 48 hours following its release. ...

The artist insists that the work was intended purely as a political piece. “The religious reference was used metaphorically and not to insult anyone’s religious beliefs. If that is the effect that my art has had on anyone, I am truly sorry,” says D’Antuono.

Tablet containing “Akkadian terms written in a Hurrianized manner and enscribed in Ugaritic Cuneiform script” thought to represent a hymn to Nikkal, Moon goddess and patroness of fruit and orchards

Ancient Music specialist Michael Levy performs Dr. Richard Dumbrill’s interpretation of the 3400 year old hymn on a replica lyre.

5:42 video

Hat tip to Roger de Hauteville, who “Got Phoenecian Pneumonia and the Ugaritic Flu.”

Mormon cricket, Anabrus simplex

Fortunately for residents of the remote Nevada village, Mormon crickets don’t, reports the Wall Street Journal.

The residents of this tiny town, anticipating an imminent attack, will be ready with a perimeter defense. They’ll position their best weapons at regular intervals, faced out toward the desert to repel the assault.

Then they’ll turn up the volume.

Rock music blaring from boomboxes has proved one of the best defenses against an annual invasion of Mormon crickets. The huge flightless insects are a fearsome sight as they advance across the desert in armies of millions that march over, under or into anything in their way.

But the crickets don’t much fancy Led Zeppelin or the Rolling Stones, the townspeople figured out three years ago. So next month, Tuscarorans are preparing once again to get out their extension cords, array their stereos in a quarter-circle and tune them to rock station KHIX, full blast, from dawn to dusk. ...

[Mormon] crickets are a serious matter. The critters hatch in April in the barren soil of northern Nevada, western Utah and other parts of the Great Basin, quickly growing into blood-red, ravenous insects more than 2 inches long.

Then they march. In columns that in peak years can be two miles long and a mile across, swarms move across the badlands in search of food. Starting in about May, they march through August or so, before stopping to lay eggs for next year and die.

In between, they make an awful mess. They destroy crops and lots of the other leafy vegetation. They crawl all over houses, and some get inside. “You’ll wake up and there’ll be one sitting on your forehead, looking at you,” says Ms. Moore.

They swarm on roads, where cars turn them into slicks that can cause accidents. So many dead ones piled up on a highway last year that Elko County, Nev., called in snowplows to scrape them off.

Squashed and dying crickets give off a sickening smell. “For us, it’s mostly the yuck factor,” says Ron Arthaud, a painter here.

Many springs, the infestation is negligible. But every few years, far bigger swarms hatch. From 2003 to 2006, armies of crickets went forth. They smothered the county seat, Elko, causing pandemonium as residents fled indoors. Realtor Jim Winer couldn’t, because he had to show homes. “I carried a little broom in my car,” he says, “and when I got out, I would sweep a path through the bugs to the house.”

Every half-century or so, plaguelike numbers hatch. The critters got their name in the 19th century after a throng of them ravaged the crops of a Mormon settlement. But “I don’t think they care about Mormons or Baptists,” says Lynn Forsberg, who runs Elko County’s public-works program. “I don’t think they care about anything.”

Including one another. Mormon crickets are programmed to march. Any cricket that falls by the wayside is eaten by others, ensuring that at least some cross the hot, barren stretches well-fed.

Following an unseasonably warm winter, some in Elko County fear a big crop this year.

Migrating crickets can be a road hazard

Recent political developments have made Ayn Rand’s masterpiece timely and topical and Hollywood.com reports that financing may be in the works to begin production of the film version.

Charleze Theron seems to have replaced Angelina Jolie as the front runner to play Dagny Taggart.

Ryan Kavanaugh is said to be circling the eternally stuck-in-development-hell big-screen adaptation of Ayn Rand’s self-styled ‘magnum opus,’ Atlas Shrugged.

Kavanaugh’s Relativity Media, according to the Risky Biz blog, could come aboard to finance the Baldwin Entertainment project with Lionsgate.

While Angelina Jolie was the most recent name attached to play protagonist Dagny Taggart, the blog says that other stars now interested include Charlize Theron, Julia Roberts and Anne Hathaway.

Given the book’s themes of individualism that resonate in the era of Obama, government bailouts and stimulus packages, this could be the perfect time to finally get the book to the screen.

“This couldn’t be more timely,” Karen Baldwin, who along with husband Howard is producing, told BIZ. “It’s uncanny what Rand was able to predict—about the only things she didn’t anticipate are cell phones and the Internet.”

With the recession, the book has experienced a resurgence. As of today, it is listed as top seller on Amazon in the Literature & Fiction Literary and Classics categories.

The story first appeared at Hollywood Reporter’s Risky Biz blog.

Bear Mountain Sports turns around a clichéd Hollywood situation in this terrific commercial.

1:04 video

Also via Jon Henke.

The Austrian writer Alexander Maria Norbert Lernet-Holenia, 1897-1976, served as an officer in both World Wars

I think possibly the most comical death scene in all literature may be found in Lernet-Holenia’s The Resurrection of Maltravers, 1936:

Count Georg Maltravers, a ne’er-do-well representative of an Ur-Adel family “descended from no lesser a being than Merwech, the son of an ocean demon, who had overpowered the Queen of the Franks as she bathed in the sea,” takes refuge with his estranged brother upon release from prison after serving a twenty-two month sentence for cheating at cards.

Shunned by his family as the result of his disgrace (and because of his manifest contempt for his brother’s bourgeois wife), Maltravers disconsolately roams the countryside desultorily bird shooting. He is finally injured in a shooting accident, and collapses from loss of blood having been injured in the hand by a burst barrel.

A peasant lifted him up, placed him on his wagon, and took him home, like the peasant in the tale of Sir Lancelot of the Lake.

When the Hospitaller was alone with the patient, he sat down on the edge of his bed, and Maltravers grabbed Le Boutillier’s hands, laying them on his own forehead and eyes. At that instant, Le Boutillier realized that Maltravers was dying. His reclining body jolted, and he sat up halfway. Le Boutillier hastily withdrew his hands from the patient’s eyes, reached for a glass of port on the night table, and was about to hand it to him. But as he bent over, Maltravers sat further up, their heads collided, the port was spilled on the bed cover, Maltravers fell back and was dead.

In reality, our hero is not actually dead at all. He awakens in his coffin, dressed in his old cavalry uniform, breaks out of the family crypt, and sets off for new adventures, determined to make a major change in his mode of living.

Wanted (2008)

Angelina Jolie, since Laura Croft: Tomb Raider (2001), has made something of a personal specialty of portraying female comic book (or video game) heroines with superhuman abilities at striking both targets and cool poses.

In America, chicks-with-guns is (Example 1, Example 2) is a popular pin-up picture and video genre, but Puritan statism’s hostility to guns is far more advanced in Britain.

Just watching voluptuous Angelina Jolie strike provocative shooting poses could shatter British phlegm and impel legions of bowler-hatted, umbrella-toting Essex men to fly their cubicles and turn to Quentin Tarantino-style orgies of violence, or at least so evidently supposes Britain’s Advertising Standards Authority which has banned the 0:35 minute trailer for Angelina’s new film.

The Guardian reports:

A television advert for the film Wanted, in which Angelina Jolie was shown firing a bullet towards the audience, has been banned by media watchdogs for glamorising violence.

The promo for the DVD release of the action blockbuster showed Jolie kissing co-star James McAvoy during a high-speed car chase before the pair turned and fired their guns in the direction of the viewer. For good measure, a voiceover described Wanted as “the coolest movie of the year”.

The advert received just one complaint from the public, but the Advertising Standards Authority (ASA) said it suggested that “using guns was sexy and glamorous”, which breached the code for television.

The move follows the ASA’s decision in September to ban billboard posters for the film’s theatrical release. These featured Jolie and McAvoy holding guns in a variety of positions in a comic book-style montage of pictures.

Some news agency

They banned this 0:35 trailer.

They probably really wouldn’t like the 2:23 long version any better.

Hat tip to Robert Breedlove.

Cracked serves up recipes and videos explaining how to construct your own Tesla Coil, Laser, RailGun, ExoSuit, and/or Jet Pack at home.

Why, with any one of which an enterprizing fellow could… dare I say it? Rule the world. (Maniacal laugh)

Hat tip to Conservative Grapevine.

WorldNetDaily:

A bookstore in Texas has sparked some comments – and criticisms – for having displayed a number of books about Barack and Michelle Obama under a “Religion” sign in the children’s section of its facility.

If you wanted to buy a pre-1921 edition of the Royal Geographic Society’s Hints to Travellers Scientific and General, I’m afraid you’d be completely out of luck today. Only a single copy of the 1921 10th edition is on offer at the present time at all. though you can buy it at three different prices, depending on the book search venue chosen: $57.66 (Bibliophile) or $63.70 (Choose) or $72.94 (Amazon UK).

Or you can read it on your PC, right here, for free.

The Archive.org stream isn’t as fast over satellite modem as one would like, but it is surprisingly readable and the user interface is simple and intuitive.
—————————————————-

Hat tip to John Murrell via Karen L. Myers.

Ralph Peters takes the Heinleinian view of our Taliban adversaries.

A fundamental reason why our intelligence agencies, military leaders and (above all) Washington pols can’t understand Afghanistan is that they don’t recognize that we’re dealing with alien life-forms.

Oh, the strange-minded aliens in question resemble us physically. We share a few common needs: We and the aliens are oxygen breathers who require food and water at frequent intervals. Our body casings feel heat or cold. We’re divided into two sexes (more or less). And we’re mortal.

But that’s about where the similarities end, analytically speaking. ...

Regarding Planet Afghanistan, we still hear the deadly cliché that “all human beings want the same basic things, such as better lives and greater opportunities for their children.” How does that apply to Afghan aliens who prefer their crude way of life and its merciless cults?

When girls and women are denied education or even health care and are executed by their own kin for minor infractions against the cult, how does that square with our insistence that all men want greater opportunities for the kids?

What about those Afghan parents who approve of or even encourage suicidal attacks by their sons? This not only confounds our value system, but defies biological reason.

So: These humanoid forms with which we must deal don’t all want or value the same things we do. They form different social aggregates and exchange goods and services within wildly different parameters (and exhibit hypocritical sexual tastes that diverge from procreative mandates – ask our troops about that).

These alien tribes seek to destroy physical objects and systems valued on Planet America. They perceive time differently. They treat other life forms more harshly than we do. Their own lives are shorter, with different arcs. They quite like our weapons, though .

This is a “war of the worlds” in the cultural sense, a head-on collision between civilizations from different galaxies.

And the aliens don’t come in peace.

Read the whole thing.

Jason Brown, Chairman of the Mathematics Department at Dalhousie University, applies math to solving a musical mystery.

Wall Street Journal

It is here, in a cluttered mathematician’s office, under blackboards jammed with equations and functional analysis, that one of Western culture’s greatest mysteries has finally been solved: Why has no one been able to replicate the first chord in The Beatles’ pop hit “A Hard Day’s Night”? ...

Mr. Brown realized he could use a discrete Fourier transform, a mathematical technique for breaking up complicated signals into simpler functions and known as DFT. He used digital equipment to show the chord as a series of numbers, tens of thousands per second, and then applied a DFT to convert the chord into dozens of simpler functions, each representing a single sound frequency.

Mr. Brown knew there is no such thing as a pure tone: Each instrument emits one sound for the note played and then sounds that are multiples of that note’s frequency, as the string vibrates back on itself. Of his dozens of frequencies, some were background noise and some—the ones he wanted to ferret out—were the notes the Beatles struck.

The professor started making deductions. The loudest notes were likely Mr. McCartney’s bass. The lowest had to be the original note played, since a string can generate waves along half or a third of its length, but not twice its length. But no matter how he divvied up the notes, something didn’t fit.

It is well-documented that Mr. Harrison played a 12-string guitar for the recording of “A Hard Day’s Night.” For every guitar note played, there had to be another one octave higher, since his guitar strings were pressed down in pairs.

But three frequencies for an F note were left, none of which were an octave apart. Even if Mr. Brown assumed Mr. Lennon played one F note on his six-string guitar, Mr. Brown still had two unexplained frequencies.

After weeks of staring at six-decimal-place amplitude values, Mr. Brown suddenly remembered how, as a child, he used to stick his head inside his parents’ grand piano to see how it worked. He ran to a nearby music shop, and poked his head inside the Yamahas there.

Sure enough, there were three strings under the F key, corresponding to the three sets of harmonics he had seen. Buried under the iconic guitar chord was a piano note.

Other problems have since yielded to Mr. Brown’s mathematics. Fans have always marveled at Mr. Harrison’s guitar solo in “A Hard Day’s Night,” a rapid-fire sequence of 1/16th notes, accompanied on piano, that seemed to require superhuman dexterity.

Mr. Brown noticed that a piano is strung differently in its lower octaves, with two strings, rather than three, under each hammer. He saw only two frequencies for each piano note in the guitar solo, suggesting that the solo had been played one octave lower than the recorded version sounded. It had also been played at half-speed, he concluded, then sped up on tape to make the released version sound as if had been played faster and at a higher octave.

2:33 video

New 53 minute video with Jim Harrison, Thomas McGuane, Russell Chatham, and the late Richard Brautigan. Music by Jimmy Buffet.

Guy de la Vadene was one of the film makers.

Tip from Steve Bodio.

Theodore Dalrymple, in New English Review, deplores the estrangement of contemporary art from tradition, technique, values, and beauty.

From having talked to quite a number of art students, it seems that art school these days resembles a kindergarten for young adults, where play is more important than work. The lack of technical training is painfully obvious at the shows the students put on. Many of the students have good ideas, but cannot execute them successfully for lack of technical facility. Indeed, their technical incompetence is only too painfully obvious.

It is very striking, too, how few art students have any interest in or knowledge of the art of the past. Do you visit galleries, I ask them?

No, they reply, a little shocked at the very suggestion, and as if to do so would inhibit them in their creativity or to condone plagiarism.

As for art history, they are taught and know very little. This is all part of the programme of disconnecting them radically from the past, of making them free-floating molecules in the vast vacuum of art.

It is true that they are sometimes taught just a little art history. I had what was for me a memorable conversation with an art student when she was my patient. She was in her second year of art school, and told me that one of the things she enjoyed most about it was art history. I asked what they taught in art history.

‘The first year,’ she said, ‘we did African art. But now in the second year we’re doing western art.’

I asked what particular aspect of western art they were doing.

‘Roy Liechtenstein.’

Hat tip to Karen L. Myers.

A short which has appeared at 34 film festivals and received 17 awards. Too warm and fuzzy for my taste, but some people may enjoy it.

16:23 video

Andrew Breitbart’s new group blog forum for film industry conservatives launched yesterday. First day’s posters include Andrew Klavan, John Nolte, Orson Bean, Melanie Graham, and “Veritas Obviam” (who obviously does not want to lose his career). Perhaps this one will fill the badly needed role of main conservative outlet for commentary on new movie releases and the ideological excesses of the establishment film industry.

Stephen Roberts and the King’s College Choir, from St. Paul’s Cathdral, 1:34 video.

Leonardo da Vince, The Virgin and Child with St. Anne, oil on wood, circa 1508, Louvre, Paris

Reuters:

A curator at the Louvre Museum in Paris has stumbled upon some unknown drawings on the back of a painting by Leonardo da Vinci that look like they might be by the Italian master himself, the Louvre said on Thursday.

The extraordinary find was made by chance, when Louvre staff unhooked Leonardo’s “The Virgin and Child with Saint Anne” from the museum wall as part of a broad programme of study and restoration of paintings by Leonardo, including the “Mona Lisa.”

“When the work, which is painted on wood, was unhooked, a curator noticed two barely visible drawings on the back of the painting, showing a horse’s head and half a skull,” the museum said.

It was such an astonishing discovery that other Louvre staff present at the time could not believe it and initially said the marks on the wood must be stains.

“The Virgin and Child with Saint Anne” was painted in the early 1500s and no one had previously noticed the drawings—at least not to the knowledge of the Louvre.

After the initial find, the museum conducted detailed tests on the back of the painting. Photographs taken with an infrared camera revealed that there were not two but three drawings. The third one is of a Child Jesus playing with a lamb.

“This is an exceptional discovery because drawings on the back of paintings are very rare and no example by Leonardo was previously known,” the Louvre said.

It said the drawings recalled some of Leonardo’s known works and suggested that the child and lamb could have been sketches for the painting on the other side of the piece of wood.

Sketches visible on reverse of painting

1:58 London Times video

Sketch of horse’s head

The inimitable George Leonard Herter

Back in the 1950s and the 1960s, the annual two-inch thick telephone directory-sized Herter’s catalogue, arriving from far off, exotic Waseca, Minnesota was, for sportsmen, and for small boy aspiring sportsmen, not just a standard source of fishing tackle, camping, handloading, fly tying, trapping, and taxidermy supplies, the Herter’s catalogue was a long term reading treasure providing fodder for countless hours of theoretical expedition planning and equipment acquisition and maintenance.

Paul Collins, in a recent New York Times Book Review, pays tribute to the long-extinct Herter’s catalogue and its colorful and eccentric author. George Leonard Herter’s infamous “Bull Cook and Authentic Historical Recipes and Practices” providing the recipes for the Virgin Mary’s favorite creamed spinach, Joan of Arc’s pate de fois gras, and Stonewall Jackson’s barbecued ribs (among many others) is his personal favorite example of Herteriana.

Starting in 1937 from atop his father’s dry-goods shop in Waseca, Minn., Herter over the next four decades built a mail-order sporting goods juggernaut. The arrival of the Herter’s catalog was like Christmas with bullets. Need a bird’s-eye maple gunstock? Check. How about a Herter’s Famous Raccoon Death Cry Call? Just two dollars. Fiberglass canoes? Got you covered. The catalog, which the former Waseca printer Wayne Brown recalls started as three-ring binder supplements, grew so popular — about 400,000 or 500,000 copies per run, he estimates — that Brown Printing became one of the country’s largest commercial printers.

“Herter wrote all the copy for the catalogs,” Brown said in an e-mail message, and each item was described in loving, haranguing, Barnum-esque detail. No Herter item was merely good: it was World Famous, Patented, Special, “made with infinite care by our most expert old craftsmen,” or — my favorite — “actually made far better than is necessary.” The corollary was that his competitor’s products were worthless — or, as he put it, “like they were made by indifferent schoolgirls.”

But as good as much of his gear was, talk about Herter always comes around to one thing: his books. His enchantingly bombastic catalogs included listings for more than a dozen of his self-published works, bound in metallic silver and gold covers, and bearing titles like “How to Get Out of the Rat Race and Live on $10 a Month.”

My understanding is that Herter was put out of business in the 1970s over Jungle Cock. The eyed neck feathers of the Grey Jungle Fowl, Gallus Sonneratti, have long been an essential ingredient in the construction of artificial flies for fishing. The eyed feathers serve as eyes on streamer fly imitations of minnows, and as crucial decorative elements in the visually elaborate salmon fly attractor patterns originated in the Victorian era.

Federal enforcement of a ban on the trade in feathers of endangered species took no cognizance of material stockpiles dating to periods long before the ban, and George Leonard Herter was a classic American individualist and a hard core sportsman who simply could not bow to irrational regulation. The reports I heard were that federal lawsuits and seizures, based on one small particular type of feather entirely legally owned and acquired in the first place, ruined the famous company and broke its proprietor’s heart. He never even tried to revive his business.

Had it survived, just imagine how enormous a business Herter’s would be today! Herter’s would be today’s Cabela’s and more.
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Hat tip to Karen L. Myers.

TopNews reports on the latest struggle for the rights of man in the City of Light.

A huge number of models in Paris, who pose in the buff and perform as muses for artists, took to the streets in a nude march on December 15 to protest the fact that they are not respected or paid enough.

The models went on strike and posed naked in freezing temperatures in front of Paris city hall’’s culture department to shame the state, and their demand was a pay increase, proper contracts and, most of all, respect for their craft.

A shivering male model was heard shouting out through a megaphone that the disrespect shown to the models was “proof that something is badly wrong with French society”, while artists, students and art teachers sat sketching them in support.

The protest had started after Paris city hall, which runs an array of life-drawing classes, banned the tradition of the “cornet”, which is a piece of art paper rolled into a cone and passed round for tips as a model gets dressed after class.

The models, who have to survive on a minimum wage with no fixed contracts, holiday pay, security cover or job security, said the tips allowed them to survive.

In France life modelling is widely seen as a serious career choice, and the models wanted to quash the misconception that it was merely something students and retired people did for pocket money.

“This is a craft that should be respected, not just anyone can take their clothes off and hold a pose,” the Guardian quoted Deborah, 28, one of the strike organisers, who has worked as a full-time life model for four years, as saying.

“It is artistic and physically demanding work,” she stated.

To commemorate the US release next month of Stephen Soderbergh’s Che biopic starring Benicio Del Toro, Reason’s Nick Gillespie takes a skeptical look at the community of fashion’s love of Communists used as iconography.

8:33 video

Clara Moskowitz describes how Hollywood updates message Sci Fi cinema. In the end, audiences will find that Keanu Reeves is no Michael Rennie.

If aliens ever visit Earth, they’ll be coming to reprimand us for bad behavior.

That’s the premise of the 1951 classic sci-fi film “The Day the Earth Stood Still,” as well as the brand-new Fox remake of the same name, in theaters Friday. In the intervening 50 years, humanity hasn’t gotten any better, the filmmakers seem to conclude—we’ve just switched to new transgressions.

In the mid 20th century our most pressing concern about ourselves was the threat of humans annihilating each other with nuclear weapons. The original film follows Klaatu, a human-looking alien who comes to Earth with his bodyguard robot Gort, to warn people to cease and desist with the nukes before we contaminate the rest of the Galaxy with them.

The new version of the film focuses on a more contemporary preoccupation: the threat of climate change and environmental degradation. The new Klaatu, played by Keanu Reeves, couldn’t care less if we blew ourselves to bits, but would we mind not taking out the rest of the species on Earth, as well as our rare habitable planet, with us? ..

..It falls to astrobiologist Helen Benson (Jennifer Connelly) and her stepson Jacob (Jayden Smith, son of Will Smith) to convince Klaatu that humans aren’t beyond redemption, that we really can change our gas-guzzling, trash-dumping ways.

“In re-imagining this picture, we had an opportunity to capture a real kind of angst that people are living with today, a very present concern that the way we are living may have disastrous consequences for the planet,” (deep-thinker Keanu) Reeves said. “I feel like this movie is responding to those anxieties. It’s holding a mirror up to our relationship with nature and asking us to look at our impact on the planet, for the survival of our species and others.”

In a sign of its own commitment to change, Fox designated “The Day the Earth Stood Still”as its first “green” production. Though some trees were doubtless harmed in the making of this film, the studio endeavored to produce the picture with the smallest possible environmental impact. That meant less paper printing of photo stills for the art department, the use of recyclable materials and biodegradable products to create sets and props, and lumber from sustainably-managed forests.

The studio even enforced an “idle-free mandate,” whereby any member of the crew sitting in a production vehicle for more than three minutes had to cut the engine rather than idle while waiting.

In another grand gesture, Fox plans to transmit the entire film into space on Friday via dish antenna through the Orlando, Fla.-based Deep Space Communications Network firm. In what the studio is calling “the world’s first galactic motion picture release,” the movie will be broadcast in the direction of the closest star system, Alpha Centauri, where eager aliens waiting with popcorn could view it by 2012, when the signal arrives.

Some might suggest that physically transmitting the complete set of distribution prints into deep space would be even better.

0:21 video

Benjamin Ivry addresses Deutsche Grammaphon’s decision to stop recording Yundi Li with splendid indignation.

The question is whether the classical-music market has narrowed to the point where only a Chinese Liberace or “Chopinzee” (to adopt the term that James Huneker used to describe the 1920s exhibitionistic keyboard antics of Vladimir de Pachmann) can survive. Is it possible for fine artistry to coexist at a time when dazzling, if empty, display is exalted? In the era of the ubiquitous Hollywood star pianist José Iturbi (1895-1980), audiences still flocked to see sober, unflashy pianists like Rudolf Serkin or Benno Moiseiwitsch, masterly musicians who would never be mistaken for pop performers.

Deutsche Grammophon’s dismissal of Yundi Li is only the latest in a series of cases where musical achievement does not equal a recording contract. About a decade ago, Sony Classical dismissed the supremely refined Taiwan-born violinist Cho-Liang Lin (b. 1960), according to Mr. Lin himself, because he was unwilling and/or unable to record the quasi-pop “crossover” works that have kept the cellist Yo-Yo Ma on the Billboard charts.

Everyone else is getting a bailout from Bushobama, why not Scrooge & Marley? The firm’s dramatic salary raises, benefit expansions, and a sudden wave of charitable contributions beginning just after the holidays last year have placed a serious strain on profitability just at the time mortgage securities came into question and world financial markets collapsed.

DOTPenn.com:

Officials from the Bush administration and members of president-elect Barack Obama’s economic team are finishing up a proposal to bail out the world’s biggest counting house, Scrooge & Marley.

Once a financial powerhouse with a sterling balance sheet, the firm has reportedly fallen into wasteful spending practices, heaping money on extra lumps of coal for the employee’s personal heater and providing a luxurious medical plan for the family of Scrooge & Marley’s number two man, Bob Cratchit.

Scrooge & Marley’s CEO and co-founder, Ebeneezer Scrooge, who oversaw a phenomenal runnup in the company’s worth, has seen his personal wealth and influence diminish following recent dismal business practices.

Derwood Umple, a financial analyst for CNBC’s Dickensian desk, said that while rents have lapsed, Scrooge also reportedly bet heavily in global sub-prime markets.

“He has several properties in the seedier sections of town,” Umple said. “Word on the street says his management practices have been minimal, at best, and he is either unable or unwilling to collect on loans and rents.”

In addition, Umple said federal authorities had been looking at Scrooge & Marley’s charitable contributions.

“It’s obviously a tax-reduction scam,” said Umple. “He was tossing money at every request from chubby charity men while government prisons and work houses have fallen into considerable state of disrepair.”

The top hat-wearing CEO hasn’t missed too much on the party scene, though. He was seen attending a holiday party at his nephew’s home shortly before the bailout announcement and making quite merry, paparazzi suggested.

The second batch (David Lynch and M. Night Shyamalan) is much better than the first.

I think of myself as a cinemaphile, but I had no idea who Diablo Cody, Jason Reitman, Kevin Smith, and Wes Anderson were. Once I looked them up, I had at least heard of their films.

Second batch: Diablo Cody/Jason Reitman David Lynch, M. Night Shyamalan 4:11 video

First batch: John Woo, Kevin Smith, Wes Anderson 3:18 video

Why not Quentin Tarrantino and the Coen Brothers?

Via LabRat.

Hat tip to Karen L. Myers.

The Telegraph reports an especially flagrant case of Hollywood partisanship.

The studio has temporarily blocked the release of the DVD version of the 1987 film Hanoi Hilton, which will feature an interview with John McCain, the Republican presidential candidate, about his imprisonment in Hoa Lo prison during the war.

The film, which gave a favourable portrayal of US prisoners, will now be released on November 11 – a week after the election.

Warner Brothers’s decision is likely to raise suggestions that it did not want to aid Mr McCain’s campaign by highlighting his wartime acts. The Republican candidate, who was a Navy pilot, was tortured during his imprisonment after being shot down over North Vietnam in October 1967.

Barry Meyer, the company’s chairman and chief executive, last month attended a fundraising dinner for Barack Obama, Mr McCain’s Democratic opponent.

The move has angered Lionel Chetwynd, the film’s writer and director, who is a well-known conservative.

“Finding someone in Hollywood who says they don’t want to affect the election is like finding a virgin in a brothel,” Mr Chetwynd told the New York Times.