Sometimes I wonder why, in the literary world, science fiction and fantasy are often entirely ignored. Some of the most important literary works are forebearers of the genres, if not the genres themselves -- Frankenstein IS about the effects of reanimating a piecemeal corpse, Dracula IS about vampires, 1984, Animal Farm, Faust, Dorian Gray, I mean the list goes on.
Fiction to me is comprised of two worlds, two possibilites -- that which has not happened, and that which can not happen.
And yes, I will admit that much of the works in Science Fiction are derivative and/or cliche, but can't the same be said for regular fiction? The basic rule of thumb is 90% of EVERYTHING is crap, no exceptions -- 90% of my posts are probably crap.
"Oh, but we can't possibly take anything seriously about anything with elves, dragons, or spaceships"
Oh, well I can't possibly take anything seriously about how difficult it is to be European upper class, but then I'd have to ignore War and Peace. You see, it can't be done.
"Oh, but Foundation is just about smart people trying to outsmart each other ... in space." Aside from space, how is that different from Othello or Much Ado About Nothing?
Maybe I should clarify my argument -- I am not defending science fiction or fantasy, per se, but I am saying that genre is not equal to quality. I think it's ridiculous that in order for a fantasy work to be taken seriously, it must be called "magic realism," or for a science fiction work to be taken seriously, it must be called "speculative fiction." Every genre has its merits, and to ignore them entirely, or let them in on technicalities and exceptions, is pompous, arrogant, snobbish, and ignorant.
-- Knuttel
Showing posts with label literature. Show all posts
Showing posts with label literature. Show all posts
1.24.2011
The Deadpool Cometh
Coming to the conclusion that I am ignorant of whatever Marvel is doing with Deadpool nowadays, I decided to find out.
The story begins with rocking an all you can eat sushi lunch special for 5 rolls at like 10 bucks. Dice, I know.
Moving on, the local comic shop is like right next to this sushi place, so I go in and check it out. I had forgotten how messy and unkempt these places can be, but that's exactly how they want them. Gotta keep out the outsiders, you know "hey, I just saw spiderman 3, can you show me some spiderman stuff, I like that venom guy, his face peels back when he talks, that is neat." Anyways, local businesses equal awesome businesses, usually (still gotta keep out the riff raff), and I'd rather support the community than some corporate headquarters in East St. Louis.
So I check out the Deadpool titles (yes, they are plural, they are legion).
The story begins with rocking an all you can eat sushi lunch special for 5 rolls at like 10 bucks. Dice, I know.
Moving on, the local comic shop is like right next to this sushi place, so I go in and check it out. I had forgotten how messy and unkempt these places can be, but that's exactly how they want them. Gotta keep out the outsiders, you know "hey, I just saw spiderman 3, can you show me some spiderman stuff, I like that venom guy, his face peels back when he talks, that is neat." Anyways, local businesses equal awesome businesses, usually (still gotta keep out the riff raff), and I'd rather support the community than some corporate headquarters in East St. Louis.
So I check out the Deadpool titles (yes, they are plural, they are legion).
4.04.2010
The Aesthetics of Music
Genres of music, I have found, are more often divided by their aesthetic than by their actual sound. Oddly enough, this proves to be more useful, as using the combination of sound with the aesthetics creates a more encompassing and complete definition of a particular style of music as an actual cultural movement or event.
Case in point -- hair metal is not metal.
Aesthetically, there are no similarities at all. Musically, there are distorted guitars, which also exist in other types of music. Culturally there is the lifestyle of debauchery, which while sometimes associated with metal, is really more indicative of the successes of popular music in general.
Its insistence that it is part of the metal scene bugs me to no end.
Let me put it this way. In America in the 1980s, there was mainly two styles of "metal" -- hair metal and thrash metal. Put on any Metallica/Megadeth/Anthrax/Slayer/Exodus/Testament album from 1982-1990 and compare it to the output of bands like Motley Crue and Poison from the same time period.
They are clearly not of the same genre, no matter how you look at it. Even with all of the wide encompassing definitions of metal music, hair metal is not metal.
The way I see it, metal is a type of music defined by a lack of comfort. It's loaded with dissonance and distortion, sometimes syncopation and staccato. It's meant to keep you on edge. Thematically, in fact, the lyrics are often on edge. Hair metal is the exact opposite of that. Not only is the music "comfortable" but it is often about getting more "comfort".
And again, radio has ruined the definition. The only kind of metal which regularly gets played on the radio is hair metal. The only thrash band that gets played is really Metallica, and even then its mostly their 90s rock stuff. Megadeth, really only the song "trust" in the year 1998 or whatever; Anthrax and Slayer, forget about it, unless some dude's been bugging the dj for about a week. And then besides that, really only the "classics", like Sabbath (but only the album Paranoid) or Zepellin (more of the classic rocky stuff, less of the metal stuff).
I could probably rant on this for alot longer, but im pretty tired. fuck. damn hair metal.
Now for some real fucking metal (pete, I don't think you can see these videos on buzz)
-- Knuttel
Case in point -- hair metal is not metal.
Aesthetically, there are no similarities at all. Musically, there are distorted guitars, which also exist in other types of music. Culturally there is the lifestyle of debauchery, which while sometimes associated with metal, is really more indicative of the successes of popular music in general.
Its insistence that it is part of the metal scene bugs me to no end.
Let me put it this way. In America in the 1980s, there was mainly two styles of "metal" -- hair metal and thrash metal. Put on any Metallica/Megadeth/Anthrax/Slayer/Exodus/Testament album from 1982-1990 and compare it to the output of bands like Motley Crue and Poison from the same time period.
They are clearly not of the same genre, no matter how you look at it. Even with all of the wide encompassing definitions of metal music, hair metal is not metal.
The way I see it, metal is a type of music defined by a lack of comfort. It's loaded with dissonance and distortion, sometimes syncopation and staccato. It's meant to keep you on edge. Thematically, in fact, the lyrics are often on edge. Hair metal is the exact opposite of that. Not only is the music "comfortable" but it is often about getting more "comfort".
And again, radio has ruined the definition. The only kind of metal which regularly gets played on the radio is hair metal. The only thrash band that gets played is really Metallica, and even then its mostly their 90s rock stuff. Megadeth, really only the song "trust" in the year 1998 or whatever; Anthrax and Slayer, forget about it, unless some dude's been bugging the dj for about a week. And then besides that, really only the "classics", like Sabbath (but only the album Paranoid) or Zepellin (more of the classic rocky stuff, less of the metal stuff).
I could probably rant on this for alot longer, but im pretty tired. fuck. damn hair metal.
Now for some real fucking metal (pete, I don't think you can see these videos on buzz)
-- Knuttel
2.12.2010
Dave Jr: back in Megadeth
Dave (Jr) Ellefson has made his return to the thrash metal band Megadeth. He was a founding member of the band, along with Dave (Sr) Mustaine, and remained with the band until Mustaine broke up the band due to an injury that was likely to prevent him from further playing in 2002. Mustaine re-formed the band in 2004 after getting over said injury, and due to tensions between the two, Ellefson decided not to be a part of this. Iced Earth bassist James Macdonaugh joined the band initially to replace him for the upcoming tour. In 2006 Macdonaugh and Mustaine parted ways due to personal differences, and he was replaced by versaitle bassist James Lomenzo (White Lion, Pride & Glory, David Lee Roth, Ozzy, Black Label Society). Lomenzo recorded two albums with Megadeth (United Abominations, Endgame) before Ellefson decided to come back to Megadeth a few days ago.
The story on their website
and now, one of the classic Dave Jr basslines. "Peace Sells" originally appeared as part of the highly influential second album of Megadeth Peace Sells ... But Who's Buying and gained further notoriety by becoming the theme music for MTV News for over a decade.
-- Knuttel
The story on their website
and now, one of the classic Dave Jr basslines. "Peace Sells" originally appeared as part of the highly influential second album of Megadeth Peace Sells ... But Who's Buying and gained further notoriety by becoming the theme music for MTV News for over a decade.
-- Knuttel
2.11.2010
Article
Psychologists are trying to take over the country.
I might put up a rant about this later, but I'm kinda tired and angry. damn blizzard.
http://www.washingtonpost.com/wp-dyn/content/article/2010/02/10/AR2010021000009.html?wpisrc=nl_headline
-- Knuttel
I might put up a rant about this later, but I'm kinda tired and angry. damn blizzard.
http://www.washingtonpost.com/wp-dyn/content/article/2010/02/10/AR2010021000009.html?wpisrc=nl_headline
-- Knuttel
1.10.2010
Non-Knuttel Poetry Time!!
This unit of time's entry is brought to us by Mastodon (under the presumptive influence of it's drummer, Brann Dailor)
Oblivion -- from Crack the Skye
I flew beyond the sun before it was time
burning all the gold that held me inside my shell
waiting for you to pull me back in
i almost had the world in my sight
lost love . bright eyes, fading . faster than stars falling
how can I tell you that I failed?
Falling from grace cause I've been away too long
leaving you behind with my lonesome song
now I'm lost in oblivion
I tried to burrow a hole into the ground
breaking all the fingers and the nails from my hand
the eyes of a child see no wrong
ignorant bliss, impending doom
Lost love . bright eyes, fading . faster than stars falling
how can I tell you that I failed?
Falling from grace cause I've been away too long
leaving you behind with my lonesome song
now I'm lost in
falling from grace cause I've been away too long
leaving you behind with my lonesome song
now I'm lost in oblivion
and now the video for reference
enjoy the three part harmonies as well
-- Knuttel
Oblivion -- from Crack the Skye
I flew beyond the sun before it was time
burning all the gold that held me inside my shell
waiting for you to pull me back in
i almost had the world in my sight
lost love . bright eyes, fading . faster than stars falling
how can I tell you that I failed?
Falling from grace cause I've been away too long
leaving you behind with my lonesome song
now I'm lost in oblivion
I tried to burrow a hole into the ground
breaking all the fingers and the nails from my hand
the eyes of a child see no wrong
ignorant bliss, impending doom
Lost love . bright eyes, fading . faster than stars falling
how can I tell you that I failed?
Falling from grace cause I've been away too long
leaving you behind with my lonesome song
now I'm lost in
falling from grace cause I've been away too long
leaving you behind with my lonesome song
now I'm lost in oblivion
and now the video for reference
enjoy the three part harmonies as well
-- Knuttel
11.29.2009
Knuttel poetry break
So for some incredibly inexplicable reason I decided to pick poetry back up. I know, I know, poetry goes on the other blog, but whatevs, that one's obsolete, forever tied to an obsolete email address (my psu account).
I never really was a fan of editing poetry, so here's the night's first attempt.
working title -- wrapped and bound (it really, really is a working title)
Upon the streets
I walk
Into the darkness
Until we meet
I sulk
Inside this sweetness
And when the day comes, forever madness
Fates have been judged by all we haven’t done
The setting sun
It sinks
Into its ashes
The rising moon
Shall glow
Inside the hollow
The hollow of the hallowed night is right
It burns inside our empty chambers now
We cannot be filled
We cannot be filled
The heavy are slow
The full cannot move
-- Knuttel
and for some real amusement, space cowboy
soon should be a post on the current state of college football
I never really was a fan of editing poetry, so here's the night's first attempt.
working title -- wrapped and bound (it really, really is a working title)
Upon the streets
I walk
Into the darkness
Until we meet
I sulk
Inside this sweetness
And when the day comes, forever madness
Fates have been judged by all we haven’t done
The setting sun
It sinks
Into its ashes
The rising moon
Shall glow
Inside the hollow
The hollow of the hallowed night is right
It burns inside our empty chambers now
We cannot be filled
We cannot be filled
The heavy are slow
The full cannot move
-- Knuttel
and for some real amusement, space cowboy
soon should be a post on the current state of college football
7.03.2009
Lady GaGa "The Fame" : a review
"Sweet Helen, make me immortal with a kiss.
Her lips suck forth my soul: see where it flies.
Come, Helen, give me my soul again."
The Tragical History of Doctor Faustus [V.2.191-199]
The glitz and glamor of every visual aspect of Lady GaGa is deliberately over the top, and for that very reason so very attention grabbing and stunning. But physical imagery does not a good album make.
So you get rid of that, and what do you have? Incredibly catchy pop songs with hooks that dig into you for days. But we've all known catchy pop songs that deliver nothing save empty sing-alongs.
So what happens when you get rid of that too?
You get one of the most well written and thought out albums of recent history.
She has said the album is about how anyone can be famous. Alas, that statement sells the album short. Really, it is a modern pop Faustian tale of selling ones soul and spiritual well being for untold amounts of fame and material well being. Frequently the lyrics cite the need to decide between whether to have love or fame -- specifically in the songs "Lovegame", "Beautiful Dirty Rich", and "Paparazzi", "Paparazzi" even going so far as to make it explicitly clear in the music video (really short movie) this point of not being able to have both (her "lover" sells her out to the papparazi who are hiding in the bushes around their house and he proceeds to push her over the edge of the deck to a nasty injury because she wouldn't cooperate and pose for the pictures while in their disingenuous love tangle).
Faust aside, the songs stand on their own and use very expressive and imaginative metaphors and verbal imagery. At first glance "Just Dance" is about dancing when you're drunk, but it suggests a much deeper struggle to hold onto that one fleeting moment of glory, even when it's since become impossible. "Poker Face" uses the imagery of gambling and bluffing to convey a standoff between two people who are possibly trying to proposition eachother but don't want to give anything away. "Lovegame" complicates this theme by adding a tinge of desparation.
Additionally, the album seems to take a sort of emblematic approach to this (our, GaGa included) generation, demanding entitlement to certain perks and privelages, not necessarily ready to deal with the responsibilities that go along with it. The rise and fall of American Youth never sounded so sweet.
And that's the other thing; musically, this album is very sound. Synths are nothing new, but they never seem over done. Alot of the songs use unorthodox structures, yet none of them really seem that odd or off, thus being subversively progressive and avant garde. Regrettably there is autotune on some of the songs, but it's confined to B-tracks that will likely not be released as singles, and seems to be done solely as an experiment. She doesn't really need it anyway, as several of the songs show off her vocal chops. In other words, where there is autotuning, it is deliberately to make that robot sound, not just some dude screaming into a mike and then changing it around afterwards to sound goofy.
All things said -- this is a fundamentally solid album by a talented songwriter with the hooks and imagery to take it really far. Here's hoping for a successful follow up.
A
-- Knuttel
Her lips suck forth my soul: see where it flies.
Come, Helen, give me my soul again."
The Tragical History of Doctor Faustus [V.2.191-199]
The glitz and glamor of every visual aspect of Lady GaGa is deliberately over the top, and for that very reason so very attention grabbing and stunning. But physical imagery does not a good album make.
So you get rid of that, and what do you have? Incredibly catchy pop songs with hooks that dig into you for days. But we've all known catchy pop songs that deliver nothing save empty sing-alongs.
So what happens when you get rid of that too?
You get one of the most well written and thought out albums of recent history.
She has said the album is about how anyone can be famous. Alas, that statement sells the album short. Really, it is a modern pop Faustian tale of selling ones soul and spiritual well being for untold amounts of fame and material well being. Frequently the lyrics cite the need to decide between whether to have love or fame -- specifically in the songs "Lovegame", "Beautiful Dirty Rich", and "Paparazzi", "Paparazzi" even going so far as to make it explicitly clear in the music video (really short movie) this point of not being able to have both (her "lover" sells her out to the papparazi who are hiding in the bushes around their house and he proceeds to push her over the edge of the deck to a nasty injury because she wouldn't cooperate and pose for the pictures while in their disingenuous love tangle).
Faust aside, the songs stand on their own and use very expressive and imaginative metaphors and verbal imagery. At first glance "Just Dance" is about dancing when you're drunk, but it suggests a much deeper struggle to hold onto that one fleeting moment of glory, even when it's since become impossible. "Poker Face" uses the imagery of gambling and bluffing to convey a standoff between two people who are possibly trying to proposition eachother but don't want to give anything away. "Lovegame" complicates this theme by adding a tinge of desparation.
Additionally, the album seems to take a sort of emblematic approach to this (our, GaGa included) generation, demanding entitlement to certain perks and privelages, not necessarily ready to deal with the responsibilities that go along with it. The rise and fall of American Youth never sounded so sweet.
And that's the other thing; musically, this album is very sound. Synths are nothing new, but they never seem over done. Alot of the songs use unorthodox structures, yet none of them really seem that odd or off, thus being subversively progressive and avant garde. Regrettably there is autotune on some of the songs, but it's confined to B-tracks that will likely not be released as singles, and seems to be done solely as an experiment. She doesn't really need it anyway, as several of the songs show off her vocal chops. In other words, where there is autotuning, it is deliberately to make that robot sound, not just some dude screaming into a mike and then changing it around afterwards to sound goofy.
All things said -- this is a fundamentally solid album by a talented songwriter with the hooks and imagery to take it really far. Here's hoping for a successful follow up.
A
-- Knuttel
6.24.2009
Iran: Still the transformers of 2009 (a review of transformers 2)
"... frailty, thy name is woman!"
[Hamlet I.2.150]
Why, Mickey Bay, why?
Overall Grade: F-
In short, the movie was too long, boring, unoriginal and unexciting.
There was climactic music, yet no climax. There was dramatic (written) dialogue, yet no drama.
Looking at the last two sentences, if that could be done, and the movie is still watchable, congratulations, that may be art, but alas, Mickey Bay could not do it.
In the end, not even Megan Fox running in slow motion from explosions in a tight, low cut shirt could save this movie.
The movie was about 2.5 hours long, and yet it had no coherent plot or storyline. From what I gather, there were about 5 or 6 storylines, yet none of them actually seem to dovetail into each other. Any transitions are clearly covered up in the ploy of deus ex machina. Oh yeah, that's right; the 2 and a half hour Mickey Bay suckfest contained no actual climax.
How are these transformers going back and forth between earth and their home planet so quickly and easily? Especially since most of them don't fly. How are they hacking into satelites so easily? If they can just merge with other machines, why don't they? Or why do they only have two shapes to transform between? Are there 18 wheel trucks on cybertron?
Ok, getting past that -- What's up with the comic relief robots? I found them just annoying. During the course of a 2.5 hour movie, i didn't see fit the need to decipher everything that was shredded up to sound like a robot. How did the other robots get so much inflection in their voice boxes? It seemed like every robot that wasn't cracking wise was trying to deliver a monologue about a lost childhood or something.
And what was the deal with the decepticon college girl? Am I to believe they created her years ago so she could go to school and attend a prestigious east coast university? I also found it odd her relentless pursuit of Shia Labeouf. A girl that attractive would just move on, one would think, especially if he was just writing symbols the whole time.
I often imagine what it looks like when Mickey Bay tried writing it.
"OMG, it's Shia Labeouf, I remember you from "Even Stevens". Weren't you in Holes too? How about you penetrate some of my holes..."
"Umm no, sorry, I'm busy writing down all these symbols I don't understand to creep out my roommate, I'm also obsessing over Megan Fox, so yeah"
"Is this about your car throwing up on me? Cos I'm cool with that."
"Um no, I just don't like you at all, I want you to leave."
"Ok, I'll just rape you instead."
-- Little did Shia know that she was just a robot who looked like a hot girl, like that chick from Terminator 3: Rise of the machines. She should also have a hot robot tongue for when I try making out with her. Wait, you mean she's not actually a robot, just an actress? Fuck, this writing thing is hard. Note to self, hire someone else to write this movie, but try and keep this scene. Another note to self, delete this, but later, you have some explosions to edit.
Which brings me to the explosions. They looked way too planned and simultaneous for a warzone type atmosphere.
Why all of the slo mo? Why all of the spinning? Who is actually responsible for the cinemetography?
Are Shia Lebeouf's parents there for any reason at all? They seemed to have somewhat of a minor part in the first movie, but here they just seemed tagged on. Cameos would've been fine.
The one question that still surrounds me the most is : Why was this movie made?
-- Knuttel
[Hamlet I.2.150]
Why, Mickey Bay, why?
Overall Grade: F-
In short, the movie was too long, boring, unoriginal and unexciting.
There was climactic music, yet no climax. There was dramatic (written) dialogue, yet no drama.
Looking at the last two sentences, if that could be done, and the movie is still watchable, congratulations, that may be art, but alas, Mickey Bay could not do it.
In the end, not even Megan Fox running in slow motion from explosions in a tight, low cut shirt could save this movie.
The movie was about 2.5 hours long, and yet it had no coherent plot or storyline. From what I gather, there were about 5 or 6 storylines, yet none of them actually seem to dovetail into each other. Any transitions are clearly covered up in the ploy of deus ex machina. Oh yeah, that's right; the 2 and a half hour Mickey Bay suckfest contained no actual climax.
How are these transformers going back and forth between earth and their home planet so quickly and easily? Especially since most of them don't fly. How are they hacking into satelites so easily? If they can just merge with other machines, why don't they? Or why do they only have two shapes to transform between? Are there 18 wheel trucks on cybertron?
Ok, getting past that -- What's up with the comic relief robots? I found them just annoying. During the course of a 2.5 hour movie, i didn't see fit the need to decipher everything that was shredded up to sound like a robot. How did the other robots get so much inflection in their voice boxes? It seemed like every robot that wasn't cracking wise was trying to deliver a monologue about a lost childhood or something.
And what was the deal with the decepticon college girl? Am I to believe they created her years ago so she could go to school and attend a prestigious east coast university? I also found it odd her relentless pursuit of Shia Labeouf. A girl that attractive would just move on, one would think, especially if he was just writing symbols the whole time.
I often imagine what it looks like when Mickey Bay tried writing it.
"OMG, it's Shia Labeouf, I remember you from "Even Stevens". Weren't you in Holes too? How about you penetrate some of my holes..."
"Umm no, sorry, I'm busy writing down all these symbols I don't understand to creep out my roommate, I'm also obsessing over Megan Fox, so yeah"
"Is this about your car throwing up on me? Cos I'm cool with that."
"Um no, I just don't like you at all, I want you to leave."
"Ok, I'll just rape you instead."
-- Little did Shia know that she was just a robot who looked like a hot girl, like that chick from Terminator 3: Rise of the machines. She should also have a hot robot tongue for when I try making out with her. Wait, you mean she's not actually a robot, just an actress? Fuck, this writing thing is hard. Note to self, hire someone else to write this movie, but try and keep this scene. Another note to self, delete this, but later, you have some explosions to edit.
Which brings me to the explosions. They looked way too planned and simultaneous for a warzone type atmosphere.
Why all of the slo mo? Why all of the spinning? Who is actually responsible for the cinemetography?
Are Shia Lebeouf's parents there for any reason at all? They seemed to have somewhat of a minor part in the first movie, but here they just seemed tagged on. Cameos would've been fine.
The one question that still surrounds me the most is : Why was this movie made?
-- Knuttel
6.20.2009
Iran: Transformers of 2009 (more than meets the eye)
"Something is rotten in the state of Denmark"
[Hamlet, I.4.100]
Here are the facts as they exist thus far
1. The official results (as validated by Ayatollah Khomeni) show Mahmoud Ahmadinejad winning re-election with a popular vote total nearing 65%.
2. Ahmadinejad is the head of the more radical Iranian party.
3. The more moderate candidate, the one pretty much every western publication said would eke out a victory, only garnered about 35% of the popular vote.
4. The President has little to no power in the Iranian government. He is mostly just a figurehead, with some say in foreign policy.
5. Ayatollah Khomeni and his elite council run the country in a theocratic government.
6. An Ayatollah has ruled over Iran since the Shah was deposed in 1979 for being too friendly to American interests.
7. Iranian-American relations have always been complicated.
8. Political parties do not have control over their constituents, and certainly do not control those with similar goals who are not constituents.
9. Glenn Beck is a retard (please stop confusing your idiocy with one of the greatest pieces of revolutionary writing of the 18th century. Thomas Paine IS rolling in his grave).
10. Riots are occurring everywhere across Iran in protest of the Presidential results, especially in the capital and largest city -- Tehran.
11. Ayatollah Khomeni issued a proclamation calling Ahmadinejad the winner, end of story, all protesters will be dealt with violently, and the more moderate party is to blame for their actions.
12. Seriously Glenn Beck, just stop.
What to make of all this?
The Ayatollah still officially runs things, but is feeling like he is losing his grip on the people. As their political interests become more secular, a theocracy becomes less appealing. The president doesn't really do much in Iranian affairs, but having someone who is not Ahmadinejad in office would be a small victory for the Iranian people (think the government of Kerensky in 1917 Russia).
American intervention in this matter must be very delicate, if at all, due to the longstanding complications in relations between the two nations. If America shows too much support for the moderate candidate, he may be viewed as a western lackey. Iranians must find democracy for themselves, but they may need some help along the way.
The riots won't stop until the Ayatollah makes some sort of concessions (whether it be in power or politically, by having a recount or even re-election). The moderate party has little to actually do with the riots. Because the riots are so widespread and affecting many demographics, they do not currently run the risk of doing what the yippies did in the late '60s, who ended up alienating an entire country from anything politically associated with hippies. (Tried taking over 1968 Democratic national convention in Chicago, but were never invited. Instead they just decided to antagonize the police all across Chicago. Trying to show the nation how right they were through police brutality, they just looked like a bunch of dicks. Funny part is they got a candidate they wanted, and he still lost -- to Dick Nixon.)
Glen Beck is a force that needs to be stopped and cancelled.
This situation still has alot of settling to do before we know what the true Iranian situation is going to be.
-- Knuttel
[Hamlet, I.4.100]
Here are the facts as they exist thus far
1. The official results (as validated by Ayatollah Khomeni) show Mahmoud Ahmadinejad winning re-election with a popular vote total nearing 65%.
2. Ahmadinejad is the head of the more radical Iranian party.
3. The more moderate candidate, the one pretty much every western publication said would eke out a victory, only garnered about 35% of the popular vote.
4. The President has little to no power in the Iranian government. He is mostly just a figurehead, with some say in foreign policy.
5. Ayatollah Khomeni and his elite council run the country in a theocratic government.
6. An Ayatollah has ruled over Iran since the Shah was deposed in 1979 for being too friendly to American interests.
7. Iranian-American relations have always been complicated.
8. Political parties do not have control over their constituents, and certainly do not control those with similar goals who are not constituents.
9. Glenn Beck is a retard (please stop confusing your idiocy with one of the greatest pieces of revolutionary writing of the 18th century. Thomas Paine IS rolling in his grave).
10. Riots are occurring everywhere across Iran in protest of the Presidential results, especially in the capital and largest city -- Tehran.
11. Ayatollah Khomeni issued a proclamation calling Ahmadinejad the winner, end of story, all protesters will be dealt with violently, and the more moderate party is to blame for their actions.
12. Seriously Glenn Beck, just stop.
What to make of all this?
The Ayatollah still officially runs things, but is feeling like he is losing his grip on the people. As their political interests become more secular, a theocracy becomes less appealing. The president doesn't really do much in Iranian affairs, but having someone who is not Ahmadinejad in office would be a small victory for the Iranian people (think the government of Kerensky in 1917 Russia).
American intervention in this matter must be very delicate, if at all, due to the longstanding complications in relations between the two nations. If America shows too much support for the moderate candidate, he may be viewed as a western lackey. Iranians must find democracy for themselves, but they may need some help along the way.
The riots won't stop until the Ayatollah makes some sort of concessions (whether it be in power or politically, by having a recount or even re-election). The moderate party has little to actually do with the riots. Because the riots are so widespread and affecting many demographics, they do not currently run the risk of doing what the yippies did in the late '60s, who ended up alienating an entire country from anything politically associated with hippies. (Tried taking over 1968 Democratic national convention in Chicago, but were never invited. Instead they just decided to antagonize the police all across Chicago. Trying to show the nation how right they were through police brutality, they just looked like a bunch of dicks. Funny part is they got a candidate they wanted, and he still lost -- to Dick Nixon.)
Glen Beck is a force that needs to be stopped and cancelled.
This situation still has alot of settling to do before we know what the true Iranian situation is going to be.
-- Knuttel
8.11.2008
12 minutes to Madden-night
In roughly an hour, there will be Madden opening parties at videogame selling stores across the country. How so much of our nation can follow such a folly escapes me truly.
The truth is, the game has ceased to be exemplary in any way. I don't wish to point to a specific year, but I want to say it is sometime around the McNabb cover that marks the downfall of the franchise. A more specific date would be the one where the NFL, NFLPA, and EA Sports got together and decided that this would be the only game made for professional American football.
Madden would become a videogame monopoly.
In some cases this has turned out relatively well. Other EA Sports franchises -- FIFA and NCAA Football come to mind -- have been dedicated to improving the game year in and year out, making adjustments to the new game easy instead of frustrating. Madden simply does little positive besides update rosters to some fixed date in the summer, while free agency is still very much open, and training camp drama is nowhere close.
Madden idles in its own state of languor. Competition is what made the franchise in the first place. FIFA and NCAA almost never had competition, at least in recent memory, and thus they were forced to improve themselves to remain relevant. Madden had several titles with which to compete, and ultimately came on top, I want to think because of its franchise mode. It seems from the moment they became sole owners of being able to make a NFL videogame, they gave up all hope on being able to create a good one. Having no other options leaves me with the only option of playing NCAA instead.
What really puzzles me is why people keep flocking to this game. Is an abusive relationship really that worth it? I mean, it left Terri in a coma.
Perhaps I'll post some more thoughts on this later. maybe.
oh, and the title is not a reference to Linkin Park. if you ever say that name in my presence I will shiv you.
It's also not a reference to Iron Maiden. But I'll at least accept that response.
It's a reference to an old scientific journal, I believe on atomic science, and they would get together and arbitrarily decide how close the world was to nuclear holocaust.
btw, when i first started writing this, it was maybe 10:30. not getting published until 11:15 is solely on the blame of people not being able to leave me the fuck alone when I'm writing.
-Knuttel
The truth is, the game has ceased to be exemplary in any way. I don't wish to point to a specific year, but I want to say it is sometime around the McNabb cover that marks the downfall of the franchise. A more specific date would be the one where the NFL, NFLPA, and EA Sports got together and decided that this would be the only game made for professional American football.
Madden would become a videogame monopoly.
In some cases this has turned out relatively well. Other EA Sports franchises -- FIFA and NCAA Football come to mind -- have been dedicated to improving the game year in and year out, making adjustments to the new game easy instead of frustrating. Madden simply does little positive besides update rosters to some fixed date in the summer, while free agency is still very much open, and training camp drama is nowhere close.
Madden idles in its own state of languor. Competition is what made the franchise in the first place. FIFA and NCAA almost never had competition, at least in recent memory, and thus they were forced to improve themselves to remain relevant. Madden had several titles with which to compete, and ultimately came on top, I want to think because of its franchise mode. It seems from the moment they became sole owners of being able to make a NFL videogame, they gave up all hope on being able to create a good one. Having no other options leaves me with the only option of playing NCAA instead.
What really puzzles me is why people keep flocking to this game. Is an abusive relationship really that worth it? I mean, it left Terri in a coma.
Perhaps I'll post some more thoughts on this later. maybe.
oh, and the title is not a reference to Linkin Park. if you ever say that name in my presence I will shiv you.
It's also not a reference to Iron Maiden. But I'll at least accept that response.
It's a reference to an old scientific journal, I believe on atomic science, and they would get together and arbitrarily decide how close the world was to nuclear holocaust.
btw, when i first started writing this, it was maybe 10:30. not getting published until 11:15 is solely on the blame of people not being able to leave me the fuck alone when I'm writing.
-Knuttel
7.17.2008
On the trickster
It has been a while since my last post, I know, but I had places to be, and places to be drunk, so without further ado, for which I hope more than nothing comes, some thoughts I had on the trickster in modern comics.
The trickster is commonly thought of, in a simplistic sense, as one who simply plays tricks. This is a misconception. The trickster is more than that. The trickster is a character/persona who is usually at some sort of disadvantage or discomfort by the system of rules/order which they reside, and seeks to escape this by creating their own set of rules or simply forcing those in power to abide by a separate set of rules.
The two most common tricksters I can think of are villains in the DC world -- The Flash villain - the Trickster, and the Batman villain - the Joker. There are others such as Superman's Mr. Mxysptlk and Thor's Loki, and the X-men's Arcade, but I know less about these characters. There are also villains who seem to be superficially goofy or tricksterish, but are not really tricksters at all, such as Batman's Riddler.
The Trickster
-The Flash
-Sees the line (rules) of morality and chooses to cross it in order to attain self and group (rogues) gain. Seeing the line both enables him to choose his own side, as he does reform for a bit of his career to not do evil, and it enables him to see how far he crosses it. He creates devices which force the Flash to rethink how he can stop him, as speed alone cannot usually accomplish the feat.
The Joker
-Batman
-Refuses to acknowledge any rule of law or morals and therefore cannot cross it. Furthermore he commits no wrongdoing by this logic. The anti-absurdist hero in a way. If Sisyphus's boulder always falls back down, there is no reason to keep pushing it back up the hill -- if within order there is always an element of chaos, then why is order pursued? The Joker is revolution in motion, but also without direction.
But why have only villains been tricksters in recent times? Traditionally this role was reserved for folk heroes and creators -- such as Renard the fox and Robin Hood. They represented the struggles of the lower classes. The rule of law heavily favored the upper classes. These characters circumvented or created their own rules in order to create their own sense of justice, not chaos or self-gratification.
America of the last 50 years has been on top of the world, controlling its industries. Even if you are poor in America, you have a better life than most of the rest of the world. So therefore villains have been the tricksters, not the heroes.
As the world is changing slowly, there may soon be a shift.
Candidates for future hero trickster treatment:
Deadpool, Cable, Silver Surfer, Green Arrow, Namor, Magneto (as future hero), the Flash, Ghost Rider, The Punisher, among others.
A shame I couldn't think of more DC, but that shows their general lack of depth. Note I included the Green Arrow, but not Batman. This is because of the manner in which they go about their work. The Green Arrow works independently and distrusts all higher organizations, even the Justice League occasionally. Batman tries to reclaim the system, working alongside commissioner Gordon and, until he became two-face, DA Harvey Dent.
But the main reason I picked those is because their sense of laws and morality differs from those who are in power, not just the villains they fight.
--Knuttel
The trickster is commonly thought of, in a simplistic sense, as one who simply plays tricks. This is a misconception. The trickster is more than that. The trickster is a character/persona who is usually at some sort of disadvantage or discomfort by the system of rules/order which they reside, and seeks to escape this by creating their own set of rules or simply forcing those in power to abide by a separate set of rules.
The two most common tricksters I can think of are villains in the DC world -- The Flash villain - the Trickster, and the Batman villain - the Joker. There are others such as Superman's Mr. Mxysptlk and Thor's Loki, and the X-men's Arcade, but I know less about these characters. There are also villains who seem to be superficially goofy or tricksterish, but are not really tricksters at all, such as Batman's Riddler.
The Trickster
-The Flash
-Sees the line (rules) of morality and chooses to cross it in order to attain self and group (rogues) gain. Seeing the line both enables him to choose his own side, as he does reform for a bit of his career to not do evil, and it enables him to see how far he crosses it. He creates devices which force the Flash to rethink how he can stop him, as speed alone cannot usually accomplish the feat.
The Joker
-Batman
-Refuses to acknowledge any rule of law or morals and therefore cannot cross it. Furthermore he commits no wrongdoing by this logic. The anti-absurdist hero in a way. If Sisyphus's boulder always falls back down, there is no reason to keep pushing it back up the hill -- if within order there is always an element of chaos, then why is order pursued? The Joker is revolution in motion, but also without direction.
But why have only villains been tricksters in recent times? Traditionally this role was reserved for folk heroes and creators -- such as Renard the fox and Robin Hood. They represented the struggles of the lower classes. The rule of law heavily favored the upper classes. These characters circumvented or created their own rules in order to create their own sense of justice, not chaos or self-gratification.
America of the last 50 years has been on top of the world, controlling its industries. Even if you are poor in America, you have a better life than most of the rest of the world. So therefore villains have been the tricksters, not the heroes.
As the world is changing slowly, there may soon be a shift.
Candidates for future hero trickster treatment:
Deadpool, Cable, Silver Surfer, Green Arrow, Namor, Magneto (as future hero), the Flash, Ghost Rider, The Punisher, among others.
A shame I couldn't think of more DC, but that shows their general lack of depth. Note I included the Green Arrow, but not Batman. This is because of the manner in which they go about their work. The Green Arrow works independently and distrusts all higher organizations, even the Justice League occasionally. Batman tries to reclaim the system, working alongside commissioner Gordon and, until he became two-face, DA Harvey Dent.
But the main reason I picked those is because their sense of laws and morality differs from those who are in power, not just the villains they fight.
--Knuttel
7.08.2008
Foreclosure of a literary classic
Or Arsenic killed Emma, the economy revived her.
Having recently finished reading Madame Bovary finally after starting it two years ago, I was semi-inspired to write an article about it. Sadly, I suppose I wasn't inspired enough, and I deleted it. Sentimental Education is better in my opinion. I dunno, just something I liked better I suppose. Though the end, with the debt collecting, and the downward spiral, it piqued my interest. And that was going to be the target of the article. I was reminded of the spiraling out of control of debt in our nation (with the federal gov't leading the way with a huge debt and deficit). People buying things they can't afford because they want them, using credit, and unable to pay once credit comes to collect. Perhaps it's just to say people should be more wise about their purchases. Or I suppose, we could make Emma a hero, and say the way to solve this problem is to take arsenic, and leave the debt to the rest of the family to take care of.
Well, the original article just fell apart, and I sense this one doing that too. Not being in school, therefore not writing this as a scholarly paper, and not even writing this itself seriously, I'm just not gonna invest time into organizing a paper, which I'm sensing will be very long.
So, I'll just leave you with those thoughts.
-- Knuttel
Remembering the day we floated away.
Having recently finished reading Madame Bovary finally after starting it two years ago, I was semi-inspired to write an article about it. Sadly, I suppose I wasn't inspired enough, and I deleted it. Sentimental Education is better in my opinion. I dunno, just something I liked better I suppose. Though the end, with the debt collecting, and the downward spiral, it piqued my interest. And that was going to be the target of the article. I was reminded of the spiraling out of control of debt in our nation (with the federal gov't leading the way with a huge debt and deficit). People buying things they can't afford because they want them, using credit, and unable to pay once credit comes to collect. Perhaps it's just to say people should be more wise about their purchases. Or I suppose, we could make Emma a hero, and say the way to solve this problem is to take arsenic, and leave the debt to the rest of the family to take care of.
Well, the original article just fell apart, and I sense this one doing that too. Not being in school, therefore not writing this as a scholarly paper, and not even writing this itself seriously, I'm just not gonna invest time into organizing a paper, which I'm sensing will be very long.
So, I'll just leave you with those thoughts.
-- Knuttel
Remembering the day we floated away.
7.04.2008
On Counter-culture, and the importance thereof
I find it fitting to write about this subject today; being the fourth of July, the American independence day. Indeed, the whole month celebrates this. The first of July (sometimes celebrated on the second) is Canada's version of independence day, called Canada day since the late 1970s, when some of the last vestiges of English influence were shed (now it is simply tied to the British Royal Crown, nothing connects it to Parliament or the like), but since the 1800s, it marked the day that this process was started. The fourteenth of July is France's Bastille day. While the revolution neither began nor ended on that day (I suppose much like America's Independence day), it is a pivotal moment in Frances, and Europe's, first transition from monarchical to constitutional/republican rule.
But what does this have to do with counter-culture?
Well, they all represented a time that a group of people forced their version of culture to replace the dominating version of culture -- to put it in terribly simple terms. It represents what was then the counter-culture taking over and becoming just culture. A revolution cannot happen without counter-culture. How can the system be replaced if there is nothing with which to replace it.
It is important to note that oftentimes, in fact most of the time, the counter-culture must make compromises if it wishes to become dominant. The minority must reach out and attempt to change itself in order to accept more followers. A radical force must be made to see the limits, and to push the limits, establish the limits, but the majority should never come close.
Hunter S Thompson is, to me, a good example of this. He pushed the limits of what American freedom is. No normal person would come close. He almost became sheriff of Aspen with his freak power party. But there was always an intent. He served to show what was really underlying in society; what was underlying both politically and culturally. Fear and Loathing in Las Vegas begins as a sports article (as it in fact did, commissioned by Sports Illustrated to cover a motor cycle race), but becomes the search for the American dream. Raoul Duke never finds it, he's simply too drugged out to realize anything. And I think that's the point. The hippies at the time had recently failed. They were close to changing from counter-culture to culture, and just couldn't do it -- doomed to permanently be on the fringes of society. Why? They had ideals, but were satisfied to get high and drop acid while talking about them. The few that practiced them simply became too few.
But what does this have to do with it? He showed by example. By being a member of the counter-culture himself, we could see through his eyes the inabilities of the movement itself to take over, to move on and progress. And you know what, the 60s counter-culture has not moved very far in 40 years. Politically they were unable to make compromises, and thus were unable to court older voters. Their political ideals were never realized.
PETA (and many other groups of the ilk) will encounter the same problem if they are unwilling to compromise. The total and complete separation from involvement with animals? Absurd. Without animals the human civilization could never have taken its first steps forward. Cattle became valuable as both a food source and a worker. Dogs became useful originally in hunting, and in many other things later. I mean, to take all of this away would simply be absurd. PETA doesn't even want blind people to have seeing eye dogs; its slavery apparently. You know what, yes, factory farming is awful and could potentially put us all in poorer health, but that's what's called a start. Start with that, and maybe see where that goes. Fur hunting, try and fix that too why not, just don't call anyone who opposed you a murderer.
If anything is to be accomplished non-violently in the political/social/cultural realm, and have lasting effects, it must be done slowly. It must be done in steps.
-Knuttel
But what does this have to do with counter-culture?
Well, they all represented a time that a group of people forced their version of culture to replace the dominating version of culture -- to put it in terribly simple terms. It represents what was then the counter-culture taking over and becoming just culture. A revolution cannot happen without counter-culture. How can the system be replaced if there is nothing with which to replace it.
It is important to note that oftentimes, in fact most of the time, the counter-culture must make compromises if it wishes to become dominant. The minority must reach out and attempt to change itself in order to accept more followers. A radical force must be made to see the limits, and to push the limits, establish the limits, but the majority should never come close.
Hunter S Thompson is, to me, a good example of this. He pushed the limits of what American freedom is. No normal person would come close. He almost became sheriff of Aspen with his freak power party. But there was always an intent. He served to show what was really underlying in society; what was underlying both politically and culturally. Fear and Loathing in Las Vegas begins as a sports article (as it in fact did, commissioned by Sports Illustrated to cover a motor cycle race), but becomes the search for the American dream. Raoul Duke never finds it, he's simply too drugged out to realize anything. And I think that's the point. The hippies at the time had recently failed. They were close to changing from counter-culture to culture, and just couldn't do it -- doomed to permanently be on the fringes of society. Why? They had ideals, but were satisfied to get high and drop acid while talking about them. The few that practiced them simply became too few.
But what does this have to do with it? He showed by example. By being a member of the counter-culture himself, we could see through his eyes the inabilities of the movement itself to take over, to move on and progress. And you know what, the 60s counter-culture has not moved very far in 40 years. Politically they were unable to make compromises, and thus were unable to court older voters. Their political ideals were never realized.
PETA (and many other groups of the ilk) will encounter the same problem if they are unwilling to compromise. The total and complete separation from involvement with animals? Absurd. Without animals the human civilization could never have taken its first steps forward. Cattle became valuable as both a food source and a worker. Dogs became useful originally in hunting, and in many other things later. I mean, to take all of this away would simply be absurd. PETA doesn't even want blind people to have seeing eye dogs; its slavery apparently. You know what, yes, factory farming is awful and could potentially put us all in poorer health, but that's what's called a start. Start with that, and maybe see where that goes. Fur hunting, try and fix that too why not, just don't call anyone who opposed you a murderer.
If anything is to be accomplished non-violently in the political/social/cultural realm, and have lasting effects, it must be done slowly. It must be done in steps.
-Knuttel
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