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Remember a few months back, to when some researchers announced that they had determined the average color of the Universe to be turquoise? And then, they had to backtrack because of a bug in the code they used to make this determination, and instead announced the color of the Universe to be a shade of beige?

Well, they have apparently decided on a name for the Color of the Universe: Cosmic Latte. (Yes, you read that right. Our Universe is the average color of a menu item at Starbuck’s.)

For details (including some techinical information behind the whole project), go here.

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During the glory days of the Buffalo Bills, when the team was dominating the AFC and then losing the Super Bowl each year (1990-1993), some of the more superstitious fans suggested that the Bills’ problems in the Super Bowl stemmed from their uniforms. In the first Super Bowl, which they lost by a single point when Scott Norwood missed a 47-yard field goal with ten seconds left, the Bills wore their white “road” jerseys. In the next three Super Bowls, though, the Bills wore their blue “home” jerseys — and were blown out in each game. Obviously, then, the team should wear the white whenever they get back to the Big Game. (For my part, I think they should try going to the Super Bowl with a good defense, something which they lacked in all four of their Super Bowl appearances.)

Why do I bring this up? Because when the 2002 season kicks off, the Bills will be sporting new uniforms. They can be seen here.

I liked the old uniforms better, to be honest. That said, I do like the new home jersey (although it looks a lot like the Denver Broncos’ home jerseys, with red substituted for orange in the side-stripe). The road jersey, however, leaves me cold. It looks too much like the Tennessee Titans’ uniforms, a look which I don’t like. Oh, well. At least they didn’t change the team colors to some horrible non-football scheme, like, oh, teal and orange (sorry, Dolphins).

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I’ve added a couple of links to blogs I have found in the last few days.

:: Shadow of the Hegemon takes its title from the Orson Scott Card novel of the same name, which is a part of Card’s “Ender” series of books (none of which I have yet read, though Ender’s Game seems to be permanently one of the five books I mean to read “any day now”). I can’t comment on how that title reflects the site’s content, but the site is a Warblog from a left-leaning standpoint. Just about every Warblog out there tends to operate on the right side of the political spectrum, which makes this one especially valuable. And it’s well written and well reasoned, to boot. (I learned about this one via this post by Stephen DenBeste on USS Clueless, to whose site Demosthenes provides a worthy counterpoint.)

:: I Love Everything, which seems to be exactly that: a grab-bag of nifty links (plus a really cool-looking design).

Permanent links can be found at right, under “Other Journeys”.

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I finished reading The Best of Times: America in the Clinton Years by Haynes Johnson today. Johnson is perhaps best known these days as one of the historians who regularly provides commentary for The NewsHour with Jim Lehrer on PBS (along with Michael Beschloss and, until her recent leave-of-absence following a plagiarism scandal, Doris Kearns Goodwin). He is also a Pulitzer Prize-winning journalist. In The Best of Times he presents an overview of the 1990s. The book, which came out in 2001, is very interesting in that it is one of very few books about that decade not written in the light of 11 September 2001. Many commentators since that horrible day have noted that the 1990s seem distant (even though they ended just two years ago), with the concerns of that decade appearing terribly unimportant now that issues of life, death and war have arisen. I don’t know that this is really the case, but there is still something strange about a book whose historical viewpoint is such that the Taliban government merits only one mention — for its infamous destruction of the Buddhist megaliths in Afghanistan — on the book’s second-to-last page.

Reading Johnson’s book, it quickly becomes apparent that he does not have a chronological overview of the events of the 1990s in mind. Instead, his aim is to provide a snapshot of where America stands as the new decade begins. This can be seen by observing Johnson’s treatment of President Bill Clinton, who — despite being named in the book’s title — only is central to a little more than half of The Best of Times. Persons of a more conservative bent might avoid the book because of Clinton’s mention in the title, and perhaps because of the title itself. This would be a mistake. The title that Johnson has chosen is an allusion to the opening sentence of Charles Dickens’s A Tale of Two Cities, which begins thusly:

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness….

The 1990s, for Johnson, are a time of dual nature; they are notable for the extraordinary economic boom in which tremendous wealth was created and unbelievable technological progress was achieved, but they are also amazing for the level of depravity evidenced in the items that rose to the top of popular culture and the scandals that dominated both American public attention and the American political system. No figure better illustrates this dichotomy than President Clinton, a politician of rare ability and a man with uncanny inability to avoid his worst instincts.

In avoiding a chronological retelling of the 1990s, Johnson divides his book into four sections, each devoted to a separate theme that he finds winding through the decade. First is what he calls TechnoTimes. Here Johnson chronicles the rise of the Internet and the figures that shaped it and the new economy. Beginning with the developments in the immediate post-World War II period that laid the foundations for the spectacular technological progress to come in the 1990s, Johnson describes how the United States committed to unprecedented investment in basic research — precisely the kind of research that led, years later, to the connectivity of computers (that formed the precursors of the Internet) and the miniaturization and speeding up of the processor (which led to the personal computer and to Steve Jobs and, finally, to Bill Gates). This is fascinating material, and here Johnson provides a cautionary note: in recent years, funding for basic research has declined. The TechnoTimes section of the book is enriched by the fact that Johnson does not limit himself to covering the Internet; he also delves into he Human Genome Project, a research project that is likely to have immense impact on public health and the pharmaceutical industry in years to come.

Next Johnson moves on to Tele-Times, in which he first delves into the O.J. Simpson trial. What Johnson finds remarkable is the way in which the entire Simpson case captivated the American public, leading to television executives adopting policies of “All O.J., all the time”. This goes on for the more than a year that transpires between the infamous slow-speed chase of the white Bronco to Simpson’s final acquittal, and for Johnson the trial points to some alarming facts about race in America: while a mjaority of whites believe Simpson to be guilty of the murders (as, frankly, do I), a majority of blacks believe him to be innocent. Johnson describes how Simpson’s lawyers embark on a defense based on racially-motivated conspiracy theories on the part of the LAPD, but he also reminds us that the raw material for such theories was easily found — witness Mark Fuhrman’s eventual unmasking as an unrepentant racist. Johnson writes: “Lost in such appeals to racial animosities is the idea that O.J. could be the victim of nefarious police tactics and guilty of the murders with which he’s charged.” (Also interesting is the title to Johnson’s chapter on the Simpson case: “The Trial of the Century, Part One”.) Johnson then explores other implications of Tele-Times, mostly concentrating on the increased corporate presence in the decision-making processes that determine which movies get made, which television shows are aired, and which books are published. Johnson quotes David Geffen: “[Ten years from now] I think we’ll be saddened by how much dumber culture is than it is now….every once in a while there will be a terrific movie, and we’ll be astounded by it. We’ll celebrate the person who makes it because it will be so much rarer than it once was.”

It is in the next section of the book, Scandal Times, that Bill Clinton takes center stage. This part of the book details the amazing effort that a large amount of individuals put into investigating nearly every facet of Clinton’s life, both personal and public, in an effort to discredit him at best and destroy him at worst. I won’t comment at length on this portion of the book, except to say that I found it fascinating and more than a little horrifying. Johnson is incredulous that Clinton — the Governor of a rural state who was known for centrism and dealing with both sides of the political aisle — could inspire such fierce hatreds as he did; but he is also amazed that Clinton would so often bungle his own affairs and end up playing directly into their hands.

The final section of the book is Millennial Times, in which Johnson directly explores the state of America as the new decade begins. This involves a chapter on the disputed election of 2000, a chapter on the bursting of the dot-com bubble, one about the shifting priorities of the younger generation (expectations of quick money-making, disinterest in education except as preparation for work, and complete distrust of public servants and politicians), and a chapter about the changing demographics of the American culture. He also details the stunning ineptitude Clinton displayed in his departure from the Presidency. In this section of the book Johnson points toward the problems that he sees are likely to confront America in the future. If this section of the book feels inadequate, it is because Johnson could not write about what was still in the future when he wrote it: the coming of terrorism and the resumption of Middle Eastern hostilities, the two forces combining to make war a reality for the new President and the new decade.

The structure that Johnson has chosen for his book makes for fascinating reading, although the book does at times feel like an unfinished portrait of America in the 1990s. A number of the seminal events of the Clinton years are either unmentioned or only mentioned in passing: the Waco debacle, the Oklahoma City bombing, the Columbine shootings, the military disaster in Somalia, the war in Kosovo, and others. I suspect that these events are left uncovered because they do not factor into Johnson’s larger analysis of the forces at work in the new decade; Johnson is, after all, not looking to fit every event of the 1990s into some larger framework but rather looking to paint, with a broad brush, the outlines of what he sees as the American direction as the new decade begins.

This is a very worthy book about a fascinating decade. Incomplete, but fascinating.

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My favorite television show of the 1980s was, without doubt, Magnum, PI. I loved the show’s humor, the chemistry amongst the cast (despite the fact that Larry Manetti, who played Rick, was a lousy actor), the Hawaiian locales which were more than just a nifty backdrop for a detective show, and the show’s versatility: sometimes it was a standard mystery show, sometimes an espionage thriller, sometimes a political thriller, occasionally a legal drama, and often times a riotous farce. There were hilarious episodes, such as the one where Magnum and Higgins engage in a war of pranks (complete with Magnum blowing up Higgins’s matchstick Bridge on the River Kwai, while whistling “Colonel Bogey” to Higgins over the phone). There were complex espionage episodes, such as the episode where Magnum realizes that his wife — whom he had married in Viet Nam, and whom he thought dead — is still alive. There were farcical episodes that paired Magnum with outrageous cohorts — gumshoe Luther Gillis (Eugene Roche), the daughter of a counterfeiter with whom Magnum is locked in a bank vault (Carol Burnett), and a Japanese-American policeman who insists on speaking in an awful John Wayne impersonation (Clyde Kusatsu). There were also intense, noir-style episodes, most notably one that featured Frank Sinatra in a guest role. Magnum, PI was an awfully good show. I’d love to see some kind of reunion special. This year we had LA Law and Laverne & Shirley get reunions; why not Magnum?

(The occasion for this bit of TV nostalgia is this Flash movie, which is a hilarious parody of Magnum, PI‘s opening credits sequence.)

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I can’t believe that it took me so long to discover the Naxos recording label. This classical label doesn’t merely present new recordings of the same old classical repertoire; instead, Naxos seems to concentrate on music that is less familiar to classical listeners. Thanks to Naxos, I have begun exploring the music of Norwegian composer Geirr Tveitt (1908-1981) and reacquainting myself with the two symphonies of Vasily Kallinikov (1866-1901). The nicest thing about Naxos is that their CDs are budget-priced, with a single-disc recording typically going for $7.99 or $8.99 (American dollars). This affordability makes it easier to explore the unfamiliar; people unwilling to risk $17.99 for a CD of, say, the music of Kurt Atterberg (Swedish composer, 1887-1974) might decide to explore the vast wealth of underheard music that is out there, rather than go with something safe like the umpteenth recording of Holst’s The Planets or yet another disc of Wagner excerpts. The recordings also tend to be by lesser-known orchestras and performers, such as the National Symphony Orchestra of Ukraine or (if I may indulge a bit of local pride) the Buffalo Philharmonic Orchestra.

The Naxos website is also well-done, containing a wealth of information about classical composers (with bios and Naxos discographies), information about performers, and commentary on the contemporary classical music scene. There is also a nice Learning Zone, containing a lot of helpful advice to persons wishing to begin exploring the world of classical music.

(Some stores have separate displays exclusively for Naxos recordings; others simply file them in with the other labels under the appropriate composer headings.)

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IMAGE OF THE WEEK





Princess Mononoke, Hayao Miyazaki, director.

This was Japan’s highest grossing film of all time until it was pushed into second place by Titanic. It is the story of a young Japanese warrior, Ashitaka, who kills a demon that is threatening his village but in so doing contracts the demon’s curse, forcing him to leave his home and journey to the west in hopes of learning who is behind the upset of the natural order. It is a beautiful film, steeped in Japanese myth and culture and full of some of the most breathtaking animated imagery I have ever seen. The score, by Joe Hisaishi, is likewise gorgeous — a wonderful example of symphonic storytelling not unlike Howard Shore’s recent Oscar-winning score to The Lord of the Rings: The Fellowship of the Ring. Princess Mononoke is one of the finest cinematic fantasies I have ever seen.

Miyazaki’s latest film, Spirited Away, is apparently going to be released in the United States later this year. The image above links to nausicaa.net, a site devoted to Miyazaki’s films.

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