Now boarding….

Orchard Park Library

I’ve waxed poetic about the library in my town a bit over the years. Truth to tell, one of my favorite places in any town is the library, and whenever I’ve moved, finding the local library has always been something I do very early on. So the Orchard Park Library has been a major part of my life — our lives, I should say — for all of the seven years we’ve lived here.

That photo, above, is the view I had a couple of weeks ago when I packed up the laptop and went to the library for an afternoon of writing and whatnot. I hadn’t planned to take the photo, actually, but I did when I realized that I’d never seen the library from that vantage point before. Because the library doesn’t have a ton of seating places that are in close proximity to power outlets, I had to sit way over on the far wall, by the fire exit. That’s over in the Children’s section, actually, which is another reason why I don’t spend much time over there. (The Daughter does, but I don’t.) Anyway, the vantage point struck me, the way the carpet pattern seems to mirror the grid of the new drop ceiling. (Our library was remodeled a year ago.)

After I left, when the library closed for the day, I decided to spend a few minutes exploring a place that I’ve often noticed but never really investigated. The library building is directly adjacent the old Orchard Park railroad station, which was pretty rundown when we moved here but has since received a lot of volunteer-based restoration work.

On the Fence

Behind me there is the library itself (and farther behind that, if I weren’t in the way, is my church). If I’d had more foresight that day, maybe I’d have worn the more railroad-appropriate hickory-striped overalls over there, but we can’t have everything, right? To the station itself:

The old railroad station in Orchard Park

Walking around the corner there, I found myself standing on the boarding platform, looking southeast:

Toward the South...Olean, maybe?

And, of course, the trains running the other way would go toward Buffalo, because all roads lead to Buffalo:

Toward Buffalo

Here’s the front of the station:

The front of the station

The station has a second, smaller building, which is now the permanent home of an old passenger car and a box car. I assume this was a freight depot:

OPRR: The Freight Depot

I love the way the light is, on a late wintry afternoon when it’s snowing so that the air looks like it has bits of starlight in it:

Posing at the old train station

By this point I was cold enough, and decided to go warm up with some soup at Panera Bread. But I kept thinking about the old trains that ran through here, so when I got home, to see where the trains ran, so I pulled up Google Maps. The first view is here, but here’s a grab:

It’s a bit hard to see from this resolution, but I wanted to give a hint of a few miles of train route here. On the screen grab, find South Buffalo St; the library and train station are located just up and left of the ‘St.’ label. You can see the train route very clearly, then, tacking off to the southeast, forming, for a short time, the northern boundary of the Orchard Park Country Club.

Tracing the train route from there, using Google Maps’s satellite view, turned out to be a pretty interesting exercise, as the rail route is clearly not in use today. This means that as the route heads into the rural country south and east of the Buffalo-Niagara region, the rail route shows up as a line tracing thinly through forests and at the border of farm fields and so on. At times it seems to disappear altogether, such as where it comes into the small town of Colden. More than a few times I found that I was no longer following a train route and had instead found a stream or some other land feature, and had to double back.

The trick became obvious, once I thought of it: trains can’t turn sharply, so train routes tend to make their curves very widely. This means that when the train route seems to vanish, all one really has to do to find it again is look in a straight line from where it disappeared. Then, finding a faint feature that might be the straight line of an old railroad right-of-way, all you do is follow that feature until you confirm it. Here’s a good spot: note how the automobile road, Route 24, sticks close to the stream there, forming almost a right angle, while our railroad route makes the hypotenuse through the sudden forest there!

The train line stays easy to follow, for the most part, through much of the countryside. I love the way it looks in this spot, a few miles north of Springville, a town at the very southern edge of Erie County, where the Southern Tier begins (if you’re heading south, that is; coming north, Springville is where the Southern Tier ends and Buffalo-Niagara begins). The route is marked by a double line of trees on each side of the rail line. Were those trees planted along the line like that? Or was that just natural tree-growth by virtue of farmers obeying limits on their fields bounded by the trains?

Exiting Springville, I lost the line again, because the terrain down there is hillier and because there are more distractions like roads and rights-of-way for power lines. I almost assumed the train there ended at Springville, but that just seemed odd to me — surely a southbound train wouldn’t stop there, for no apparent reason, and sure enough, it didn’t. Part of my error was again assuming the trains would have run somewhat along the route traced by US Route 219, which it actually doesn’t; a mile or two south of Springville, 219 jigs west a bit while our train route turns east, and crosses the Cattaraugus Creek gorge on a trestle that I never knew was there, even though I’ve driven Route 219 through that area more times than the best hypnotist could get me to remember:

I’ve always tended to assume that when the automobile arose, the roads tended to follow train routes pretty closely; I’d never really considered what now seems pretty obvious, that train routes would often wind through regions now almost never frequented by car. When I started following this route online, I figured the route would likely trace one of the two main southward routes out of the Buffalo-Niagara region, US 219 or NY 16 (which runs about ten miles east of 219). It turns out that the trains ran roughly between them, through towns I have rarely visited in nearly thirty years of living in this area.

Continuing south, I puzzled over the odd fixture here, just south of a town called West Valley. In addition to our railroad right-of-way, it appears that there used to be a couple of spurs that came off the line and back onto it. Those curving interchange-like lines must be artificial; they’re too perfect to be natural. But I can’t see any evidence of what must have once existed at that spot for trains to enter and exit the main line. Was there a factory here? A big granary? A mine? Who knows? If anyone in my readership is familiar with the history of West Valley, NY, let me know!

Anyway, our railroad line continues south until it “ends”, not in a town, but at a junction of a larger rail line, which runs southwest into Ellicottville or northeast to…well, I didn’t follow it that far. But again my assumptions were thwarted; I assumed that this train route out of Orchard Park might lead all the way to Olean in the Southern Tier, but it doesn’t. It just goes to a spot in between, ending in another rail line somewhere in the middle of the hills of the Southern Tier.

I wish the trains still ran.

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Something for Thursday

Japanese composer Joe Hisaishi is one of my favorite composers working today. He is best known as the composer of the music for all of Hayao Miyazaki’s films, and he is as central to there emotional fabric as John Williams is to Stephen Spielberg’s or George Lucas’s films. Here is a wonderful piano and solo violin arrangement of a theme Hisaishi wrote for My Neighbor Totoro, called “Tunnel of Wind”:

Here’s another version that is much closer to what is actually heard in the film:

Interesting to hear the difference, eh?

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Aim High! Leave yourself an out!

I just know that you, Dear Readers, have always wondered what I look like when I’m driving. So here are some photos taken whilst driving recently.

I’m a pretty paranoid driver, tending to assume the very worst about everyone else on the road. To my way of thinking, the only reasonable stance when driving is to adopt the belief that every other person on the road is a ne’er-do-well or, worse, a just plain malevolent soul looking to smash me with their vehicle. That leads me to looking like this:

Paranoid driver is paranoid.

I don’t trust any of you. Nothing personal, but when you’re on the road at the same time that I am on the road, you are now the enemy!

Now, one thing that frustrates me is when I get behind the Hesitant Turner. This is the person who is extremely hesitant about, you guessed it, turning. They’ll sit at the intersection until there is absolutely zero traffic in either direction, rather than make a judgment on when they can go based on their knowledge of their own vehicle’s ability to accelerate quickly. These people annoy me to no end, which leads to scenes like this, as I shout “GO GO GO GO GO!”

GO GO GO GO GO!!!

I’ve already established my loathing of people who refuse to turn right on red. Here’s the look I tend to give such folks, hoping they’ll look in their rear-view mirror and see the laser beams coming from my eyes to fry their brains, but they never do….

Stuck in slow driver hell

And here’s the bored look I get when I’m stuck on a long straightaway behind a lot of slow-moving traffic:

Aim high, leave yourself an out, ummm....

The title of this post is taken, of course, from the “Rules of Driving” that many of us learned in Driver’s Ed. (At least, those are the two I remember; the rest are here.) Try as I might, I don’t recall Mr. Wilcox (my Driver’s Ed teacher) telling me to not make contorted faces of extreme disdain at my enemy drivers, but he didn’t say not to, either. So….

(OK, in all honesty, I didn’t take any of these photos while the car was in motion. Heck, it wasn’t even in “Drive”; the car was stationary at the time. No, I’m not driving around taking self-photos of me making goofy faces while I’m actually handling a car in motion!)

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Answering a few more!

OK, this round of answers will be a bit more positively toned than yesterday’s. But hey, someone asked a question about a topic guaranteed to set me a-rantin’ — kind of like the year someone basically gave me an engraved invitation to rip on the New England Patriots. Nobody did that this year! (And nobody asked any questions about overalls, either — I think that’s a first.)

Anyway, Charlie asks: What movie would you say is most soundtrack dependent (in other words, which movie would you most lose enjoyment of if you watched a soundtrack-free version)?

This is…a very hard question. The Star Wars and Lord of the Rings movies would be terribly different with different scores, and if they were music-free, both franchises might well be disastrously unemotional. But the same can be said of many, many films with fine scores — a musicless Ben Hur would be staggeringly silly, no?

To say that a film would be “soundtrack dependent” would be to say that without the music, the film would collapse like a house of cards. Obviously this would be true of any musical, so we’ll just set those aside for the purposes of this discussion.

Lots of movies don’t even have scores, but just collections of pop songs used in various places throughout the films. Sometimes these are of the “lather rinse repeat” variety; virtually any teen comedy suffices for mention here, where you could just switch out songs at random and the movie wouldn’t suffer at all. But other films, where the pop songs are chosen by the filmmakers for specific reasons? Those obviously would suffer. Pulp Fiction, Love Actually, When Harry Met Sally…, and Sleepless in Seattle would all be laughable without their music, precisely because those films feature songs that are chosen with extreme care.

To return to traditional filmscores for a moment, when I was active in various fora online in discussing film music, there was one kind of topic that cropped up fairly often that always annoyed me, which generally took the form of “Who would you have liked to have scored [Film XXX]?” This always annoyed me a lot, because it would invariably devolve into various expressions of hero worship, especially from the Jerry Goldsmith fans, who tend to be keenly aware that their hero scored more than his fair share of crappy movies. So, in those threads you’d hear a lot of “What if Goldsmith had done the Indiana Jones movies!” or “What if Jerry had done Lord of the Rings!” To me, this always seemed about as useful a line of discussion as a bunch of football players discussing what the Bills might have been like if they’d managed to draft Drew Brees. Who cares? They didn’t. Why talk about what might have happened?

All this is basically my way of admitting that I just don’t have a good answer for Charlie’s question. Truthfully, a movie without music would just be weird. Any movie. I found it unsettling when the Mimi Rogers film The Rapture closed with credits scrolling over no music at all. Which, I suppose, was entirely the point.

(Roger posted about movie music the other day and seeks comments.)

Speaking of Roger and speaking of film music, Roger asks: How do respond to people who think all of John Williams’ scores sound alike?

Generally, I either roll my eyes, or say something pithy like “Get back to me when you get cochlear implants.” It’s a frankly idiotic thing to say. For a brief demonstration, one could just listen to the clips in this post of mine from earlier in the month.

Now, there are similarities in sound from one work to the next. How could there not be? Williams is an artist, and of course there will be stylistic similarities to be found. I do hear them, same as I hear stylistic similarities amongst the works of Berlioz, and Wagner, and, heck, the Beatles. But the idea that all Williams scores sound alike is one of those notions that just doesn’t stand up to any serious scrutiny whatsoever.

The clips I chose in that post linked above are from different eras in Williams’s work, but one doesn’t even have to do that. One can listen to Williams scores from the same era and not hear anything more than superficial stylistic similarities. It would take a pretty sophisticated listener to recognize the main theme of Star Wars and the main theme of Dracula as coming from the pen of the same composer, and only two years separate those scores.

More answers to come!

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Do it! All the cool kids are!!!

Buffalo News columnist Jerry Sullivan goes public with his addiction today:

Thank you for joining me today. Many of you have come to know me through the years. You have supported me in good columns and bad. Now, you have good reason to be critical of me. All I can say is I’m sorry for my irresponsible and foolish behavior.

I’m addicted to Sporcle.

Perhaps you’ve never heard of Sporcle.com. If so, it’s only a matter of time. Sporcle is an on-line trivia site which is infiltrating the minds of tens of thousands of innocent, well-meaning people. Log on to it at your peril.

Do it. You know you want to. I’ll even make it easy by giving you a link: Sporcle.

Click it and you’ll be one of us!!!

(Sporcle’s lots of fun. Really. If you have any love of trivia at all, you’ll enjoy it.)

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Fixing the Prequels: Attack of the Clones (part ten)

part nine
part eight
part seven
part six
part five
part four
part three
part two
part one

OK, Star Warriors, we’re back into Attack of the Clones. After the Naboo sequences, which needed quite a bit of fixing, we’re into the sections of the film that I consider the strongest; thus, we should be able to quicken the pace somewhat.

When last we left our adventurers in space, Anakin had (in my version) just thwarted another attack on Padme and made the Executive Jedi Decision to take her away from Naboo, since the assassins know she’s there. Remember, though: he hasn’t mentioned to her, yet, his fears about his mother. Plus, back on Kamino, Obi Wan has been ordered by Yoda to bring Jango Fett in for questioning.

That’s where we start: with Obi Wan on his way to arrest Jango Fett. In the film, we cut right to Obi Wan charging onto the landing platform as the Fetts are about to leave, but in the script, there’s a bit where Obi Wan goes back to the Fett’s apartment and finds the place empty and looking like the Fetts have left in a hurry. I would have left that in, but I don’t think the film suffers without it. And for all that, the fight scene between Obi Wan and Jango Fett is one of my favorite parts of the film; it’s exciting and well-staged, and I like how evenly-matched Obi Wan and Jango are, even though Jango’s is more a function of his having the niftiest utility belt since Batman and having his kid at the firing controls of his spaceship on the same platform. I can’t think of a single thing I’d change in this sequence.

What’s so nice about this is the fact that it illustrates anew that Jedi aren’t superhuman warriors who can’t be defeated. It further illustrates a fact that will later come back to haunt the Jedi badly: that while they can slice their way through armies of battle droids (unless they are undone by sheer numbers), fighting against humans is far less of a given.

After Slave I flies off, with Obi Wan’s homing beacon secure about its hull, we cut to Tatooine, where a chrome-hulled Naboo ship is landing. Anakin and Padme venture out to find Watto, in order to seek out Shmi Skywalker. When they find Watto, he’s not in his shop but just sitting in a little stall on the street of Mos Espa. He looks like hard times have befallen him. I actually like this little scene, and after a bit of consideration, I really wouldn’t change it, except for a couple of tiny things:

ANAKIN and PADMÉ get down. Sitting on a stool in front of the shop is WATTO. He is using a small electronic screwdriver on a fiddly DROID. THREE PIT DROIDS are chattering away and are trying to help him, but they seem only to make him madder.

WATTO: (yelling, in Huttese) No, not that one – that one!

ANAKIN: (in Huttese) Excuse me, Watto.

WATTO: (in Huttese) What?

ANAKIN: (in Huttese) I said excuse me.

WATTO turns to the chattering PIT DROIDS.

WATTO: (in Huttese) Shut down.

The PIT DROIDS snap into their storage position.

ANAKIN: Let me help you with that.

ANAKIN takes the fiddly piece of equipment and starts to play with it. WATTO blinks in surprise.

WATTO: (continuing, in Huttese) What? I don’t know you…What can I do for you? You look like a Jedi. Whatever it is… I didn’t do it.

WATTO drops the screwdriver and curses loudly in Huttese.

ANAKIN: I’m looking for Shmi Skywalker.

WATTO looks at him suspiciously. He stares at PADMÉ, then back to ANAKIN.

WATTO: Annie?? Little Annie?? Naaah!!

Suddenly, the fiddly piece of equipment in Anakin’s hands WHIRS into life. WATTO blinks at it.

See, in the movie, this doesn’t happen! The thing that Anakin fixes just sits there, doing nothing. It’s a very weird detail for George Lucas and company to have completely missed. Something needs to happen there! (I’m indebted to D. Trull for pointing this out.)

WATTO: You are Annie! It is you! Ya sure sprouted! Weehoo! A Jedi! Waddya know? Hey, maybe you couldda help wit some deadbeats who owe me a lot of money…

ANAKIN: My mother…

WATTO: Oh, yeah. Shmi… she’s not mine no more. I sold her.

ANAKIN: Sold her?

WATTO: Years ago. Sorry, Annie, but you know, business is business. Sold her to a moisture farmer named Lars. Least I think it was Lars. Believe it or not, I heard he freed her and married her. Can ya beat that? Always wondered where he got the money for her….

That last bit is something I threw in there, in order to highlight something that will come in to play later on.

ANAKIN: Do you know where they are?

WATTO: Long way from here… someplace over on the other side of Mos Eisley, I think…

ANAKIN: I’d like to know.

Anakin holds out a small bag of coins, which Watto takes and examines.

WATTO: Republic credits? Annie, you know these aren’t no good out here–

He stops when he sees that ANAKIN’S grim look means business, and gets the hint quickly.

WATTO: Yeah… sure… absolutely. Republic credits will be fine. Let’s go look in my records. Too bad you can’t stay, eh? I just got in a YT-1300 freighter that needs some engine work….

PADME follows as ANAKIN and WATTO go into the shop.

I have to confess that Watto has always been one of my favorite supporting characters in the Prequel Trilogy. He’s not mean or sadistic, but he’s greedy enough to make him willing to make himself a pain in the ass on occasion, even if his greed never leads him to anything more than being a dealer in junk. (Of course, those of us out there who are self-programmed to find offensive things wherever we go might see Watto’s big nose and his obvious monetary greed and assume therefore that George Lucas is making a statement about Jews. I’m not willing to see things that way and am uninterested in discussing that line of thought.)

Immediately after this, we cut to the planet Geonosis, where Slave I comes out of hyperspace and heads down toward the planet. (Geonosis is, by the way, beautiful from space: a red, ringed world.) Behind him, Obi Wan arrives in his own ship. Jango’s scanners pick up Obi Wan’s ship, and Jango decides to try to lose Obi Wan in the asteroid field (the rings). What ensues is a fairly brief action sequence that obviously has some echoes of the asteroid field chase in The Empire Strikes Back, but this one is briefer and more of a high-speed cat-and-mouse game. Also interestingly, the first two-thirds of the scene is unscored; no music at all. I wondered at this when I first saw it, until I heard the sound produced by the “seismic charges”, which are for my money one of the coolest weapons ever unleashed in Star Wars.

Moments like this are why my general response to people who utter the constant refrain of SF whiners the world over, “There’s no sound in space!”, is basically “Oh, suck it.”

(By the way, I love the way Boba Fett laughs evilly and plays “backseat driver” as his Dad tries to fight off a Jedi knight.)

Anyway, I love this action sequence, which ends quickly with Obi Wan making Jango believe he’s been blown to bits and then hiding on an asteroid as Jango goes down to the planet surface. Obi Wan follows, and I like what follows here, as Obi Wan discovers during his flyover that Jango Fett has come to a planet where a lot of Trade Federation (the bad guys from The Phantom Menace) ships are landed. Then Obi Wan lands and proceeds to explore the happenings on Geonosis on foot.

We cut back to Tatooine, where Anakin and Padme arrive at the Lars homestead to learn that Shmi Skywalker has been abducted by Sandpeople. This all works very well for me; I love how the whole scene is shot near sunset, imbuing the scene with a sense that something is ending here on Tatooine. I also like the actor who plays Cliegg Lars, Shmi’s husband; he’s got this great grizzled and weary air about him. This whole sequence plays very well, with a sense of foreboding and impending doom. This whole subplot (an homage to the classic Western The Searchers) is very well done.

Anyway, Anakin decides that he’s going after the Sandpeople who kidnapped Shmi, which leads to this brief scene of farewell between Anakin and Padme:

EXTERIOR: TATOOINE, HOMESTEAD, MOISTURE FARM – LATE DAY

ANAKIN stands looking across the desert. PADMÉ comes running out of the homestead after him. ANAKIN turns to PADMÉ.

ANAKIN: You are going to have to stay here. These are good people, Padmé. You’ll be safe.

PADMÉ: Anakin…

PADMÉ hugs him. ANAKIN walks over to OWEN’S speeder bike, which is standing close by.

ANAKIN: I won’t be long.

ANAKIN swings onto the bike. The engine fires. He takes off across the desert. PADMÉ watches him go.

Again, in the context of the actual film, this is a very nice little scene. Visually it’s inventive: Lucas doesn’t show Anakin and Padme hugging, but rather he shows only their shadows, cast by the setting suns on the side of the white-domed Lars homestead farm building, as they embrace. I do need to make a change, though, owing to the fact that in my version of the film, Anakin has never actually told Padme that he’s been dreaming about his mother.

EXTERIOR: TATOOINE, HOMESTEAD, MOISTURE FARM – LATE DAY

ANAKIN stands looking across the desert. PADMÉ comes running out of the homestead after him. ANAKIN turns to PADMÉ.

ANAKIN: You are going to have to stay here. These are good people, Padmé. You’ll be safe.

PADME: You know something like this was happening, didn’t you?

ANAKIN: I…I feared it.

PADME: You saw it, didn’t you? You saw it through the Force. Those dreams you’ve been having…that’s why you brought me here.

ANAKIN: I brought you here to protect you.

PADME: But also to protect her.

She steps closer to him and takes his hand.

PADME: You know you can trust me, Anakin. You could have told me why you wanted to come here, of all the worlds you could have taken me to. I’d have come.

ANAKIN struggles for words, but finds he has none.

ANAKIN: I have to go. While it’s still light.

PADMÉ nods and hugs him. ANAKIN walks over to OWEN’S speeder bike, which is standing close by.

ANAKIN: I won’t be long.

ANAKIN swings onto the bike. The engine fires. He takes off across the desert. PADMÉ watches him go.

PADME: May the Force be with you.

I’ve always thought that a big part of Anakin’s fall to the Dark Side stems from his desire to do the right thing coupled with his confusion about what the right thing actually is. He’s in love with Padme, but he’s not entirely trusting with her, either; he doesn’t always let her in, until things have turned disastrous in the end. It would be entirely in keeping with his character to not tell her his underlying motivation for bringing her to Tatooine.

So Anakin speeds off on the speeder bike, whipping across the sands of Tatooine in search of the sandpeople who took his mother. This is very brief in the movie: a couple of shots of Anakin on the speeder bike, then Anakin conferring with some Jawas, and then we cut back to Obi Wan. In the script, however, there’s a little more: Anakin comes across a campsite where three moisture farmers have been slaughtered by Sandpeople. Not surprisingly, I’d have left this in.

Also in the script is a brief scene where a worried Padme talks to C-3PO about her growing confusion over her feelings for Anakin. I wouldn’t restore this, actually – it’s a pretty clunkily-written scene, after all – but I would show Padme at night, gazing in the direction Anakin has gone, maybe again holding that little pendant he’d carved for her in TPM. For purposes of information, though, here’s the scene as written:

INTERIOR: TATOOINE, HOMESTEAD – GARAGE (FULL MOON) – NIGHT

PADMÉ enters the garage where C-3PO sits working.

C-3PO: Hello, Miss Padmé.

PADMÉ: Hello, Threepio.

C-3PO: You can’t sleep?

PADMÉ: No, I have too many things on my mind, I guess.

C-3PO: Are you worried about your work in the Senate?

PADMÉ: No, I’m just concerned about Anakin. I saidthings… I’m afraid I may have hurt him. I don’t know. Maybe I only hurt myself. For the first time in my life, I’m confused.

C-3PO: I’m not sure it will make you feel any better Miss Padmé, but I don’t think there’s been a time in my life when I haven’t been confused.

PADMÉ: I want him to know I care about him. I do care about him.

C-3PO: Don’t worry about Master Annie. He can take care of himself. Even in this awful place.

Yeah, not the best thing in the world. As noted, I wouldn’t have included this entire thing — a nicely shot scene with no dialogue at all would have served fine — but its existence in the original script indicates that originally, Padme’s feelings for Anakin didn’t progress as quickly as they seem to in the finished film. Again I find myself wishing that George Lucas had realized that story should determine a film’s running time, and not the other way around.

One last quibble: in the film, we cut from Anakin conferring with the Jawas back to Obi Wan on Geonosis. The problem here is that the Tatooine landscape and the Geonosis landscapes are pretty similar, so it takes a few seconds before we realize we’re looking at Obi Wan and not Anakin (he’s shown from a distance). I think that cutting back there after showing a worried Padme would help the transition a bit, making it less confusing.

And that’s where we’ll leave things for this time. Next time, the Sandpeople discover that if you kidnap a human woman, you’d best make sure her son isn’t a Jedi Knight with a hair-trigger temper. Ah, the wisdom of Star Wars!

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Answering some more!

More queries to answer from Ask Me Anything! 2010. Hooray!!!

Mark asks: Given a choice between Yes or the Who for a Super Bowl halftime show, who would you say yes to?

Huh?

Roger asks: You have a nom de plume. But now your Facebook page, with your real name, shows up on your blog. So Jaquandor wasn’t an attempt at some pseudonym-driven privacy?

It was, originally. I “came of age” on the Internet during the 90s, when pseudonym use was a lot more prevalent. When I launched the blog, I planned to write about a fairly narrow range of topics — books, movies, and the occasional sports-related item if the whim struck. Problem was, that felt a bit limiting, so I started writing about more and more personal stuff, and over time, the need for pseudonymity and that type of privacy felt less and less important.

Additionally, in 2003 I started writing reviews for Green Man Review under my real name, and I wanted to specifically link my reviews there from my stuff on the blog and vice versa, so that’s when I “officially” ditched “Jaquandor” as a permanent pseudonym, or as the only way I identified myself online.

I didn’t ditch the name entirely, though, mainly because I liked the name, and plenty of other folks online — in Blogistan and outside of it — have done pretty much the same thing. So, basically, at this point it’s pretty much of an affectation, although I have just now realized that by putting that Facebook widget on the blog, this is the first time my name has directly appeared here. (But it’s always been present on The Promised King, demonstrating the somewhat ephemeral nature of this sort of thing.)

LC Scotty tempts me with a query about Ayn Rand: I know you have little but contempt for Ayn Rand. I’d be curious to hear your take on this criticism of her work?

It’s an interesting article, I thought. Basically I read it as “Rand was on something of a right track, but she takes it way too far.” A sampling:

While she was hardly the first philosopher to advocate a morality of individualism and rational self-interest, she formulated it in a uniquely accessible way and a uniquely passionate one, not as a dry economic construct but as a bold vision of struggle, creative achievement and romanticism.

All this accounts for much of Rand’s appeal. But that appeal is severely limited by the flaws of her world-view.

One of those flaws is Rand’s unwillingness to consider the possibility that the values of the free market can coexist with other, non-individualistic and non-market-based virtues–those of family and community, for example. Instead, Rand frames even human relations in terms of trade (our concern for loved ones is based on the positive things they bring to our lives) and offered at best lukewarm support for charitable aid. When charity is mentioned in Rand’s fiction, it is nearly always in a negative context. In Atlas Shrugged, a club providing shelter to needy young women is ridiculed for offering help to alcoholics, drug users, and unwed mothers-to-be.

Family fares even worse in Rand’s universe. In her 1964 Playboy interview Rand flatly declared that it was “immoral” to place family ties and friendship above productive work; in her fiction, family life is depicted as a stifling swamp.

Saying, as Scotty does, that I have “little but contempt” for Rand is something of an understatement. I consider Rand’s philosophy to be utterly loathsome; I find Rand’s writing to be appallingly bad both from a technical standpoint and from her nauseating view of human nature; and from what I’ve read of Rand as a person, she was a spectacularly horrible human being. (I’m not sure what word would best categorize her fascination with child murderer William Edward Hickman, but were I to learn that a living author today exhibited the same feelings for a criminal of today, that writer’s books would almost immediately find their way off my bookshelves, were I to own any.)

More irritating — or, I used to find them more irritating, before I just decided they were laughable — are Rand’s accolytes, most of whom I’ve encountered cite Rand in much the same way that certain fundamentalist Christians will ask “Have you spoken to Jesus today?” To hear Randites tell the tale, Western Philosophy can be reduced to a line connecting Plato, Aristotle, and then Rand. If Godwin’s Law holds that as any Internet discussion gets longer the probability of Hitler or the Nazis being mentioned approaches one, a similar law could be made of Objectivists: as any discussion with an Objectivist progresses, the probability of the Objectivist saying “A can not be not-A!” approaches one. This always amuses me, as it nearly always demonstrates that at the heart of Objectivism lies a particularly childlike notion of duality. A or not-A are the only choices; the idea that a thing can embody qualities of A and not-A at the same time is not to be entertained at all. Randians, or “Randroids” as I like to think of them, simply pronounce themselves adherents to Pure Reason, and therefore, all their conclusions are automatically logical, valid, and informed by reason. Sure. Whatever.

The writer’s take here seems to be that Rand is admirable in some way, but she goes too far. I suspect it’s pretty obvious that I wouldn’t credit Rand with even that much; I find in Rand a general contempt for humanity and a stunning lack of concern for human well-being that couldn’t be more at odds with my own worldview. I also find in her a childlike faith in the notion that where a person ends up in life is a function of their own efforts. We Americans love to adhere to varying degrees of this notion, but the older I get, the more terrifying I find the degree to which pure, dumb luck dominates our lives. (Example: I have a good job now where I’m learning a lot of new skills. Yes, I work hard both to get my jobs done and to learn those skills, but had I not been lucky enough to put in my application at a time when my predecessor was someone who sucked, I’d be doing something else right now.)

The writer of the piece lauds Rand’s status “as a promoter of the ideas of individual liberty, reason, and the free market”. I find nothing admirable in Rand in any of those categories; her concept if individual liberty is infantile, “reason” for her is nothing more than a blunt instrument that leads to predetermined conclusions, and I can’t see where anything good has ever come of worshiping the free market as a good inherent in itself.

Ultimately, I would respond to the RealClearPolitics article by quoting two others. First:

We all live every day with the victory of this fifth-rate Nietzsche of the mini-malls. Alan Greenspan was one of her strongest cult followers and even invited her to the Oval Office to witness his swearing-in when he joined the Ford administration. You can see how he carried this philosophy into the 1990s: Why should the Supermen of Wall Street be regulated to protected the lice of Main Street?

The figure Ayn Rand most resembles in American life is L. Ron Hubbard, another crazed, pitiable charlatan who used trashy potboilers to whip up a cult. Unfortunately, Rand’s cult isn’t confined to Tom Cruise and a rash of Hollywood dimwits. No, its ideas and its impulses have, by drilling into the basest human instincts, captured one of America’s major political parties.

And second:

Rand’s particular intellectual contribution, the thing that makes her so popular and so American, is the way she managed to mass market elitism — to convince so many people, especially young people, that they could be geniuses without being in any concrete way distinguished. Or, rather, that they could distinguish themselves by the ardor of their commitment to Rand’s teaching. The very form of her novels makes the same point: they are as cartoonish and sexed-up as any best seller, yet they are constantly suggesting that the reader who appreciates them is one of the elect.

And I saw this just recently:

Unfair? Maybe…but it seems to me that the main freedom Rand symbolizes is nothing more than the freedom to be a boorish asshole. Sure, you have the freedom to be just that, but if you exercise that freedom, well…you’re a boorish asshole. As for the Randroids, as I once responded to someone who told me that I shouldn’t judge the book (Atlas Shrugged) by its cult, I’m not — I’m judging the cult by its book.

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I AM happy, darn it!!!

Redsneaks tags me with something about being happy. I’m supposed to list ten things that make me happy.

He notes that his blog probably presents a more morose tone to his life than is accurate (with good reason — he’s been through a lot). I note that I probably seem happier on the blog than I do in real life! Not that I’m unhappy, but I seem to have the kind of face that defaults to an expression that seems to display unhappiness that I don’t feel. I’ve noticed that when I take self-portraits of myself (such as are visible over on Flickr), if I’m not outright grinning or making some other face, basically if I’m just sitting there doing stuff, I look annoyed or “in the dumps” or something. It’s not at all uncommon for people to see me walking around my day and ask me if something’s bothering me or what I’m pissed at, and my response is, “Huh? I’m fine! Really!”

So I’m not a person who makes internal peace outwardly obvious. Oh well. Maybe I’ll work on that…or maybe not.

Oh yeah, I was supposed to do some kind of list for this post. Ten things that make me happy (minus the obvious mentions of The Wife, The Daughter, and Star Wars):

1. Hot pizza
2. The pleasant feeling after consuming a couple of adult beverages
3. That feeling when a really nifty idea pops into my head while writing
4. Get Fuzzy
5. The Olympic Games
6. Pies in the face
7. Fried chicken (hot for dinner, cold the next day for lunch)
8. The way used bookstores smell
9. The way hardware stores smell
10. Bib overalls!

And there you go. I’m not going to tag anyone, but I wouldn’t mind seeing this one spread out through Blogistan!

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The official site of Kelly Sedinger: Reader, writer, photographer, and dreamer

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