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Daily Archives: July 25, 2017
Butter Robots, Szechuan Sauce & Roy: The Philosophy of ‘Rick And … – moviepilot.com
Posted: July 25, 2017 at 12:02 pm
(Spoilers for Rick And Morty ahead, squanchers).
With all the talk about the golden age of television, people often forget the golden age we are actually in: The golden age of cartoons. Adult cartoons that is. The likes of The Simpsons, Family Guy, and Futurama have broken ground in the mega popular sphere in the last couple of decades, Aqua Teen Hunger Force and Ugly Americans are breaking through with the help of the internet in more cult spheres.
We now have adult cartoons that just offer crazy amounts of fun, like Archer or Bob's Burgers, following the evolution of South Park from fart jokes to the most on-point cultural and political satire, now we are gifted with horrendous examinations of the current human condition (using animals) on Bojack Horseman, deep moments in a kid's cartoon with Adventure Time and finally science fiction and philosophy in Rick And Morty.
There's no denying that Justin Roiland and Dan Harmon's genius #AdultSwim cartoon #RickandMorty is deep. If you've seen the show you've no doubt come to that realisation already, probably very quickly. Season 3 is just around the corner so let's have a look at some of the philosophical concepts in Rick and Morty, squanchers.
Nihilism is, in its simplest terms, the belief that life has no meaning and that there is none to be found. This Nietzschean focus is pretty consistent with a number of the characters, but none better than this little butter-fetching guy above. Rick makes a robot, for some reason bestows it with intelligence and self-awareness and then gives it the one function of passing him butter. Later on the sad little robot lets Rick know that he "is not programmed for friendship" when Rick tries to watch a movie with the clever little guy.
Most of us yearn for a purpose that somehow exceeds our basic functions, so meaning alone doesn't carry enough weight for an intelligent existence. Here, without Rick (God) having assigned the robot meaning that carries something sublime, the poor slave-bot is left only with his tiny purpose and a level of intelligence and emotion that allows him to lament it. Sound familiar?
The shows often swings between nihilism, existentialism, and absurdism, so here's a quick (and super reductive) explanation of some key differences between the concepts: An existentialist will look to make their own meaning of life; a nihilist will simply accept that there is no meaning; and an absurdist will overcome the fact that there is no meaning in life by embracing the absurd relationship between the human mind and the rest of the Universe.
'The Absurd' refers to the dissonance between the human need to seek value in life, and the constant feeling that none is ever found. If we come to understand that there is no intrinsic meaning in life, then we can suggest three possible answers to this problem:
1. Existentialism - To attempt to find meaning through religion, love, nature etc. Or perhaps even your grandkids.
2. Nihilism - Suicide. Rick appears to try this on one occasion (Auto Erotic Assimilation), and seemingly turns to God at a time when he really does think he is going to die (A Rickle in Time).
3. Absurdism - To rebel and embrace the absurdity of life. To become an absurd hero.
The guys over at Wisecrack recently made a video about absurdism and Rick's love affair with Szechuan sauce. At the end of season two there's a touching moment when Rick hands himself into the authorities so his family can head back to earth in peace, rather than life on a strange tiny planet, or a planet where everything is on a cob. This sacrifice and genuine emotion is replaced at the beginning of season three (big spoilers for The Rickshank Rickdemption ahead) with Rick's quest for Szechuan sauce: a dipping sauce McDonald's released to promote Disney's Mulan in the nineties. Rick also dangles an emotional origin story in front of our eyes and then snatches it away, almost laughing at us for daring to care.
From the excellent Jared at Wisecrack: Its not just that Rick and Morty evades meaning, the writers seem to get a perverse joy in playing with our desire to search for hope and meaning. As if Camus was making his point in the style of an internet troll.
Another time, after Rick and Morty's planet has been destroyed (by none other than Rick and Morty, of course) Rick finds them a new planet in the multiverse. Rick chooses a planet where that Earth's Rick and Morty happen to just have died from a science experiment gone wrong, so this Rick and Morty can take their place. They both have to then bury their own dead bodies, in the garden. When Summer has had a bad day (she found out that she was nearly aborted), Morty tells her this story and vocalises the meaningless of life.
This speech, captured in the above GIF, perfectly encapsulates absurdism. There is no point to anything, there is no reason for anyone being here, we're all going to die. So lets embrace the meaninglessness of life. And watch TV, of course.
Free will is one of the most contentious debates in philosophy and has been for centuries. It can also be very hard to discuss or think about because of the knee jerk reaction it can provoke; everybody reacts with indignation if some smug bird-person tries to tell them they don't have control over their actions because everything they'll ever do is pre-determined by external and internal factors.
In Rick And Morty the multiverse means that there are nearly infinite versions of Rick, Morty, every other character, as well as infinite crazy versions of Earth check out Rixty Minutes, where the fam spend most of the episode watching inter-dimensional cable. Rick installs the inter-dimensional cable box so the family can watch all the incredible things that are going on throughout the multiverse. Jerry becomes obsessed when he spots a movie star version of himself famous and being badass, very unlike the pathetic, snivelling Jerry we are used to.
Similarly, in the version of Earth that has been totally Cronenbergerised, Jerry become a badass, patriarchal caveman that threatens to kill Rick. So why can't Jerry always be this impressively tenacious? He's not presented with the circumstances in which he can evolve into the Jerry he would want to be in every Universe. Jerry, like everyone else in the Universe, is determined by the circumstances of the Universe that are hosting his Jerry-like essentialism. Jerry's actions are determined by whichever universe he's in no free will. We don't get badass Jerry, we get pathetic Jerry in our Earth. Sorry other Jerrys, but snivelling Jerry is the best.
I previously wrote about metamodernism and La La Land here. Metamodernism is possibly the cultural and philosophical movement to follow from postmodernism (prevalent since the end of the Second World War).
I previously would have, and did, say that Rick and Morty is a prime example of metamodernism. Since the season three opener (and currently the only episode from season three), The Rickshank Rickdemption, this looks a lot less likely. Rick shuns his emotions in this episode for the worthy pursuit of McDonalds' Mulan Szechuan Sauce (although this may all change shortly when we get the rest of season three).
This is potentially completely defunct after The Rickshank Rickdemption. Metamodernism has all the irony and nihilism of postmodernism, as well as a lot of the characteristics (pastiche, being self aware, etc), but genuine emotion as well. There's a good chance Rick has just been teasing us about the genuine emotion, but we will see.
Long description of postmodernism and metamodernism here:
Metamodernism is the name for the movement that has possibly come after postmodernism. Postmodernism is characterised by irony, self-referentiality, and cynicism. Perfect examples are shows like It's Always Sunny in Philadelphia, with the gang's never-ending narcissistic exploits without any feeling or sincerity (e.g. the insistent of not dealing with Frank being Charlie's father), and movies like American Psycho, a film that destroys grand concepts like truth using black humour but ending in nihilism. Nothing learned and nothing sincere. Metamodernism calls back to the sentimentality and sincerity from before postmodernism, but keeps the lessons learned from postmodernism (e.g. the destruction of meta-narratives). Metamodernism often speaks with the language of postmodernism irony, self referencing, cynicism but what is said is sincere and affecting. Oscillation is also a defining factor of metamodernism think of every time you've seen something on the internet that would appear truthful and reputable, only to see the exact opposite of that thing a few minutes later.
Popularised by Vanilla Sky (and the much better Spanish original Open Your Eyes), Robert Nozick's thought experiment of the Experience Machine (or the Pleasure Machine) asks the question: if there was a machine that could allow you to have any experience you desire, would this be preferable to real life?
Roy the video game that Rick is obsessed with, is almost a perversion of an experience machine. Instead of anything you could desire, you play out the life of a carpet salesman but the game is immersive to the point that went Morty takes off the headgear (after he has died at the pathetic age of 55) he asks where his wife is. Instead of having any experience you wish, like to Experience Machine thought experiment, you get to try and make the best life within the parameters of a normal world and all the pressures that come with it (hence football star, to husband, to carpet salesman, to dead). Rick of course manages to mix things up, taking Roy "off grid." No surprise there.
What philosophical concepts have you spotted in Rick and Morty?
(Source: Wisecrack (and again), Smash.com, Daniel Miessler, Tom Rowley)
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Butter Robots, Szechuan Sauce & Roy: The Philosophy of 'Rick And ... - moviepilot.com
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How True Blood’s supernatural hedonism changed genre television – The Guardian
Posted: at 12:01 pm
Jessica Lange in American Horror Story, Francois Arnaud in Midnight, Texas and Anna Paquin in True Blood. Composite: REX/Getty Images/HBO
Ryan Murphy. Shonda Rhimes. Noah Hawley. Equally deserving of a place alongside these architects of modern television is Charlaine Harris perhaps an odd choice, considering the fact that the longtime novelist has never directly gotten her hands in the TV game. But as the writer behind the hot and heavy fantasy novels on which True Blood and the upcoming Midnight, Texas, are based, shes done a lot to shape the current landscape of the supernatural on the small screen. For better and, eventually, for worse her approach to longform storytelling has colored much of what followed True Blood in its genre. And as the next major Harris adaptation touches down on the network airwaves, it can learn from the successes and shortcomings of its enchanted, perpetually horny forebears.
True Blood had the good fortune of arriving during a time when national interest in vampires and their lore had spiked at an all-time high, but the skill with which it sold itself set it apart from a large pack. The hothouse romance between Sookie Stackhouse and vampire hunk Bill Compton fused the supernatural amusements of Buffy the Vampire Slayer with a soap opera structure that favored season-long arcs over monster-of-the-week paranormal-procedural fare. But the real secret to the shows success laid in creator Alan Balls undying quest to top the last provocation. He capitalized on the elasticity of magic, a concept that essentially eliminated all narrative restrictions on his over-the-top hedonistic style. The show began with the spotlight on vampires, but their weird universe rapidly grew in size, eventually incorporating werewolves, werepanthers, erotic fairies and parallel dimensions. Whenever things threatened to get stale, Ball could just throw a new occult variable into the equation for added freshness.
This worked like a charm, until it didnt. The hazard of this anything-goes ethos of storytelling, which orients itself around the spectacle of novelty, is that it can only outdo itself so many times before spinning out of control. Unmoored from any laws governing its world, the show lost all sense of grounding and went haywire. Plot twists were freely doled out and undone when they became inconvenient, character traits were established then contradicted, and the supernatural elements eventually lost their luster as well. The shows final years were sloppy and scattershot, a far cry from the inspired lunacy of its sophomore season (also known as the orgy season).
This method of constant reinvention to hold viewer interest motivated the recent anthology boom as well. American Horror Story, for one, followed True Bloods same path, but with a series-long decline in quality condensed to each individual season. By beginning anew with a fresh premise and fresh cast every year, Ryan Murphy gave himself a reset button that could wipe away any and all writerly convolutions with a season finale. As such, every new batch of American Horror Story episodes begins bizarre and thrilling, only to eventually sputter into total incoherence about seven or eight hours in. The anthology structure freed Murphy up to cover more ground in the realm of the supernatural, but more than that, it gave him an escape route.
Other shows have devised ways to make the inevitable muddling of internal logic into a feature rather than a bug. After 12 seasons and 264 episodes, Supernatural is still going strong because its embraced its quirks of continuity to the point that the staggeringly complicated storyline has grown into a joke of its own. To make it work, the shows been forced to retreat into its insular fanbase, but that same core viewership has been devoted and sizable enough to render the show viable seemingly indefinitely. If a shows going to have to occupy a niche, its in that shows best interest to fully ensnare its audience.
Midnight, Texas, is already at a disadvantage. NBCs standards and practices department wont let fly half of what True Blood got away with on HBO, meaning one of supernatural fictions most reliable generators of intrigue and titillation has been taken off the table. But theyve still got plenty of lurid material to hold viewers interest, from psychics to witches to, yes, vampires. Now, the show lives or dies by the extent to which it can control itself while still maintaining that out-of-control feeling. Striking that elusive balance between the illusion of total narrative anarchy and an underlying sense of order requires delicacy and discipline. Historically, those have not been defining traits of Charlaine Harris bustling imagined world, a new series and new creative team means a new lease on serialization. Instead of hooking viewers by striving to do it all, perhaps this series can learn to keep them hooked by doing a few things expertly.
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How True Blood's supernatural hedonism changed genre television - The Guardian
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Letter: Encourage open debate of secularism – Columbus Alive – Columbus Alive
Posted: at 12:01 pm
There are some who think there is no God, but the evidence for God is overwhelming (Movement on the move, Faith & Values article, Friday). Nevertheless, they hold onto that belief because it gives liberty to hedonism.
Hedonism is rejected by many atheists, but for no good reason. Bertrand Russel once wrote, We feel that the man who brings widespread happiness at the expense of misery to himself is a better man than the man who brings unhappiness to others and happiness to himself. I do not know of any rational ground for this view.
Russell was a secularist; what values did he hold and, for that matter, for what reason did he hold them? His daughter, Katharine, took these words from his autobiography, thus an accurate conveying of a despairing sentiment, suggesting the values of a secularist have no foundations and are fluid.
In the battle of ideas, especially on college campuses, secularism and theism should be made available to each student to choose on his and her own. Let the debates begin, and let not the campuses shut them down because one might be conservative and the other progressive/liberal.
The Rev. Ron Thomas
Sunrush Church of Christ
Chillicothe
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Letter: Encourage open debate of secularism - Columbus Alive - Columbus Alive
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I thought I was a beat, but I was just a boy, part 5 – centraljersey.com (blog)
Posted: at 12:01 pm
I thought I was a beat, but I was just a boy
Notes on Re-Reading Kerouac in my 50s
I think one of the reasons the novel is attractive to readers in their early 20s, in particular, is it's simplistic anti-establishment bias.
Consider the section in which Sal and the fang visit Old Bull Lee. Bull -- the book version of William S. Burroughs -- is a libertarian-anarchist junkie who loves his guns, experiments with all manner of drugs, reads voraciously, and is an aggressive skeptic, a pessimist of the first order, who trusts no one and nothing. He did things "merely for experience" (143), had multiple personalities and a
sentimental streak about the old days in America, especially 1910, when you could get morphine in a drugstore without a prescription and Chinese smoked opium in their evening widows and the country was wild and brawling and free, with abundance and any kind of freedom for everyone. (144-145)
He hated bureaucracy, which I think is a common human feeling, but he also hated "liberals; then cops," an all-purpose dislike of anything that might interfere with fulfilling one's desires. Remi Boncoeur, Sal's old prep-school buddy, has a similar world view, an ingrained antipathy toward authority. Remi's term for authority figures who impose limits is Dostioffski -- a bastardization of Dostoevski, who Sal has been reading. The Dostioffskis of the world are there to keep you down; they are "the man," the straight world, parental. They interfere with the hedonism that drives Sal and his friends, which is all about kicks.
There is a scene in San Francisco that allows me to how my view of the book has changed over the years, perhaps more than any other. Sal is staying with Remi, who is working as a security guard. He gets Sal a job, but there is not enough money coming in so they supplement their income by stealing food and supplies from the former military camp at which they work. Sal and Remi break into the barracks cafeteria, which they do frequently to stock up on supplies. Once inside, Sal goes "to the soda fountain."
Here, realizing a dream of mine from infancy, I took the cover off the chocolate ice cream and stuck my hand in wrist-deep and hauled me up a skewer of ice cream and licked at it. Then we got ice-cream boxes and stuffed them, poured chocolate over and sometimes strawberries too, then walked around in the kitchens, opened ice boxes, to see what we could take home in our pockets. (70)
Sal views these break-ins as risky, but justified. He doesn't necessarily put this justification in words, but he does describe it as part of a bigger adventure, as just another necessary experience. And the younger me thrilled to this, understood implicitly the anti-establishment, anti-authority motivation. Stick it to the man, my younger self says.
My older self, my 54-year-old self, cringes at this simplistic reading. There is injustice -- the camp is paying starvation wages, which makes the theft necessary -- but Remi and Sal's actions are still morally suspect, at best, and exist outside of politics when what is needed to address the issue is a political response. This individual act of rebellion, as satisfying as it may be, will do nothing to alter the broader dynamics and, in fact, may leave a worse situation for those who come after Remi and Sal are long gone.
This comes up through out the book -- authority and rules exist as impediments and nothing more, without distinction, without any sense that some may be necessary. It is very much an American mode of thought, a bowdlerization of Emerson on self-reliance or Thoreau's jeremiad in "Civil Disobedience" against immoral government power. Sal, Old Bull, Remi, Dean view authority itself as immoral, because it interferes with their pleasure or their intellectual curiosity.
Sal, for instance, walks by themselves to one of the levees of the Mississippi, near Old Bull Lee's house.
I wanted to sit on the muddy bank and dig the Mississippi River; instead of that I had to look at it with my nose against a wire fence. When you start separating the people from their rivers what have you got? "Bureaucracy!" says Old Bull; he sits with Kafka on his lap, the lamp burns above him, he snuffs, thfump. His old house creaks. And the Montana log rolls by in the big black river of the night. "Tain't nothin but bureaucracy. And unions! Especially unions!" (148)
less a cornerstone work of environmental literature than the original cabin porn: a fantasy about rustic life divorced from the reality of living in the woods, and, especially, a fantasy about escaping the entanglements and responsibilities of living among other people.
It is a fanatic's book, a "paean to living purely, with all the moral judgment that the word implies" (Schulz). Walden was published nearly a decade after Thoreau's seminal political essay, "Civil Disobedience," which has been used as the foundation protest movements as varied as the push for India independence to the American civil rights movement.
It is a solitary protest, a personal protest. It is steeped in American individualism, and ultimately lacks the force the effect change. It is a personal complaint absent a movement, though it is built upon the same moral questioning one finds in Erich Fromm's On Disobedience and the writings of the Rev. Dr. Martin Luther King Jr.
The Beats constantly rage against the straight world, against the impositions of authority, but they rarely -- at least in the decade after World War II -- fully consider what amounts to true injustice and what it takes to push back. Small individual protests and minor criminal acts stand in for a declaration of individuality, and it is rare that Sal or Dean, in particular, consider how their actions create ripples in the universe, that they affect others in ways they do not foresee or perhaps care to see.
This is hedonism run amok. Hedonism as a philosophy seeks to maximize pleasure, but it also has an eye on the way our actions affect others. It is an extreme form of utilitarianism, which seeks to maximize good -- an action is judged as positive if it creates more good than bad, if more people benefit than are hurt. Hedonism functions the same way, but the Beats, many among the Sixties generation, many of the Masters of the Universe on Wall Street, ignore the damage that can be left in their wake.
This is a young-man's attitude, but it has infected the broader culture -- think of all the dopey t-shirts available in t-shirt shops that glorify the act of getting falling down drunk or proclaiming the right to be an unmitigated asshole.
Im automatically attracted to beautiful women I just start kissing them, its like a magnet. Just kiss. I dont even wait. And when youre a star, they let you do it. You can do anything," he said in the 2005 conversation. "Grab 'em by the pussy."
And this sums up our current cultural moment, one in which rich and powerful men like Trump and Bill Cosby, Bill Clinton, Ben Rothlesberger, R. Kelly and so many other feel as if there are no limits, as if everything including women's bodies and minds are their's regardless of whether there is consent.
But I've gone off on a tangent -- I'm not implying that Sal and/or Dean or the rest of the On the Road gang operate in this way. But we can't ignore the selfish elements of their world view -- or I can't today.
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AIF reveals details of 2017 Festival Congress – Music Week
Posted: at 12:01 pm
The Association Of Independent Festivals (AIF) has announced the return of its flagship Festival Congress to Cardiff for its fourth year from October 31.
Selling out every year since its inception, this year'sconference at Wales Millennium Centre will be based around the theme ofPseudoscience to play homage to experiments made by scientists and festival promoters alike.
The two-day event, which accommodates 400 delegates, will be led by a keynote by artistic director and CEO of Manchester International Festival, John McGrath, in addition to quick fire talks from author Zoe Cormier about her book Sex, Drugs and Rock N Roll: The Science Of Hedonism And The Hedonism Of Science, and Creative Industries Federation CEO John Kampfner, who will speak about creative industry red lines on Brexit.
Were back for a fourth year with Festival Congress, the ultimate conference and festival party for the independents," said AIF co-founder Rob Da Bank (pictured). "Were proud of how essentia this event has become and all at AIF HQ are buzzing to be joining the dots between festival promotion and science this year, in what promises to be a packed and extremely fun couple of days in Cardiff.
Elsewhere, Dr Julia Jones of Found In Music will discuss her forthcoming book The Rock N Roll Guide To Staying Alive, exploring the lifelong effects of music on human behaviour and the positive effects that music has on well being.
There will also be a Question Time-style panel exploring political issues in relation to festivals and featuring some leading lights of the independent festival world, with other key topics at the conference including event security, welfar booking processes, up scaling small festivals and creative production. Another headline panel discussion will explore the next steps of AIFs Safer Spaces campaign, which reiterated the zero tolerance approach that festivals have to sexual assault with a 24-hour coordinated website black out in May.
Attendees include festival organisers from the likes of Glastonbury, Bestival, Boomtown Fair, Kendal Calling, Shambala, End of the Road and Liverpool Sound City.
The full conference programme will be announced in September. Tickets are on sale now; priced at 100 for AIF members, 135 to Friends of AIF and 200 general sale exclusively through headline event Gold sponsor The TicketSellers.
Read Music Week's exclusive interview with AIF general manager Paul Reed here.
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Move Aside, Parents, We’re Talking Sex to the Kids – NewBostonPost (blog)
Posted: at 12:01 pm
By Kevin Thomas | July 25, 2017, 7:08 EDT
Printed from: http://newbostonpost.com/2017/07/25/move-aside-parents-were-talking-sex-to-the-kids/
Im starting to understand the arguments against school choice.
Why give parents a say in their childrens education when, obviously, there are experts who know better?
Thank heavens (and I mean that rhetorically; please, take no offense) that we have the Massachusetts State Senate and Planned Parenthood League of Massachusetts watching out for our childrens welfare.
If youve been reading New Boston Post, you know of the Massachusetts sex education bill that has beenintroducedand nowpassedby the Senate. NBP has alreadyeditorializedabout it.
If you are not up to speed, the bill titled An Act Relative To Healthy Youth (who could be against that, right?) supposedly offers comprehensive sex education. Among the curriculum is a program called Get Real, aimed at middle school students. It is published by the Planned Parenthood League of Massachusetts (such a pro-child group).
According to Andrew Beckwith, who first wrote about this for NBP, the Get Real workbook for seventh graders gives instructions on how to perform oral and anal sex. As Andrew writes, let that sink in.
There are other programs, including role-playing between children who want to have sex.
The state Senate passed the bill. Hey, theyre the ones who know whats best. And no problem using tax dollars for such programs, because we know schools have so much money.
Of course, citizens cannot spend tax dollars in religious-themed schools. Instead of Get Real, our impressionable children might learn the Ten Commandments, or the Beatitudes, or even the definition of the word chastity.
The title Get Real has just the right message. Who would ever think of being chaste? Hedonism is where its at. Get real.
It appears the only controversy about the Senates vote was a proposed amendment requiring parental permission to take part in the program.
That would require school districts to chase down the parents of every single student, complained Senator John Kennan of Quincy.
Why would a school district want to communicate with parents?
What the senators and the educators wont say is that some parents could care less. And, bottom line, isnt that a key to our public school woes? The continued collapse of family structure means children come to school less prepared and less disciplined. They are not being taught values at home, nor are they read to; let alone hearing about the birds and the bees.
Enter the lower-the-bar mentality. Our society is several generations into the sexual revolution. Instead of combatting that with messages of chastity, dignity, and true respect, there is resignation. The children supposedly cant control themselves when it comes to sex, so we might as well show them how to do it, safely.
The sex-ed bill is now headed to the state House of Representatives.
There is a better way, but I know it is not trendy, nor considered realistic. In the sexual ethics section of the morality class I taught high school students, we did not discuss sex as an inevitable event in their young lives. We did speak of the inherited beauty of sex, with its role in life and true love. (Yes, I can picture the eye-rolls from the enlightened crowd.)
For an introduction, we talk a lot about the value of friendship, which is not a collection of Facebook followers, but people who care about you. You care about your friends, you dont use them. (This is where I mention thecourtship of the woman I married.)
Next comes the sex talk. (Not that sex talk I defer to the biology class.) Natural reasoning tells us that there are three factors in sex.
One, openness to life. (It happens, see your biology notes.)
Two, a lifelong commitment between the man and woman. (To take care of the life that may come along.)
Three, pleasure.
I-know, I-know, I-know that our advanced society wants to bypass one and two, and go straight to three. (See Hedonism). I opted for truth.
Before we were so advanced, there were mothers and fathers committed for a lifetime, to themselves and their children. These groups were called families and they took responsibility for their children, teaching them morals, while also making sure they were ready for school.
Now, schools and politicians assume too much of a role. Maybe they think they must. But institutions cannot replace family. There must be boundaries. Programs like An Act Relative To Healthy Youth step over the line, especially when they want to keep parents out.
My cynical side thinks this is about control. Although I pay taxes, I cannot use that money for the school I want my children to attend. The government decides. That same government creates school programs that I consider immoral and not healthy at all.
Is it any wonder why homeschooling becomes more popular every year?
Kevin Thomas is a writer and former teacher, living with his wife and children in Standish, Maine.
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This Wellness Pro’s Health Mantra Is One You Can Actually Get Behind – Greatist
Posted: at 12:01 pm
If you've been reading Greatist for any length of time, you know we're big proponents of the #healthyish lifestyle. And there's no one who reps it better than blogger and private chef Phoebe Lapine.
After being diagnosed with an autoimmune disease at 22, Lapine began healing herself with healthy comfort foods. And by that we don't mean quinoa and kale. We're talking loaded baked potato beets, mushroom Bolognese, Paleo "ramen" burgers, and mac and cheese. Her mantra is "healthy hedonism," which she describes as "balancing the things that nourish you on all cylinders with the things that nourish your body." Sign us up!
In this video, she shares her key to healthy livingand her recipe for beef larb lettuce wraps, a healthier version of a traditional Thai dish, which is full of fresh herbs, green veggies, tangy lime juice, and lean ground beef.
Recipe by: Phoebe Lapine Makes: 4 servings
INGREDIENTS 2 tablespoons jasmine rice (or any type of white rice) 2 tablespoons hemp seeds 1 tablespoons vegetable or coconut oil 4 garlic cloves, thinly sliced 1 pound lean (93 percent) ground beef 1 tablespoon honey 2 Thai or serrano chili peppers, thinly sliced 3 tablespoons fresh lime juice 3 tablespoons fish sauce 1 large shallot, thinly sliced 2 cups finely chopped green beans (about 1/2 pound) 1 cup roughly chopped basil, cilantro, or mint leaves (or all three) 1 head lettuce leaves separated, for serving (Boston, Bibb, or romaine work best) 3 cups cooked, short-grain brown or cauliflower rice, for serving
DIRECTIONS 1. In a large nonstick wok or skillet, toast the jasmine rice over medium heat until golden brown, about 3 minutes. Like nuts, rice can go from brown to burnt very quickly, so keep an eye on it.
2. Remove the toasted rice and place in a coffee or spice grinder. Add the hemp seeds and pulse until it becomes a fine powder. Set aside.
3. Heat oil in the skillet. Cook garlic over high heat until golden brown, 1 to 2 minutes. Add beef and cook, breaking apart with a spatula, until no pink remains (about 5 minutes).
4. Stir in honey and chilis, then continue to cook until the beef begins to brown, 3 more minutes. Stir in lime juice, fish sauce, shallot, and green beans, and stir-fry 1 minute more, until the vegetables are heated through.
5. Remove from heat, add herbs, and taste for seasoning. Transfer to a serving bowl and garnish with the toasted rice-hemp mixture.
6. Serve warm alongside lettuce leaves, cooked brown rice, and lime wedges.
LAPINE'S RECIPE NOTES
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If Uni Life Was Game Of Thrones – Junkee
Posted: at 12:01 pm
It's every man for himself.
Ever wanted to be inside the world of everyones favourite medieval softcore porn show,Game Of Thrones?If youre at uni, you kind of already are. As long as you replace ale with beer, swords with academic ridicule, and the word hodor with fucking parking inspectors dammit shit!
If you fall down here, no ones going to help you up. Whether youve been given an involuntary amputation or stranded without a computer in the library, you can expect bystanders to keep right on walking. And so they should.
Ruthlessness is survival, my friend.
Group assignment? Reclaiming the Riverlands for House Stark? Expect in-fighting, ceaseless suspicion of glory-stealing, and the odd leadership challenge. Personally, I hearThe Rains Of Castamereevery time I see that contact sheet.
Surely, could I not give less than half a groat for the meandering pomposity of yonder professor? Does he not shrivel ones ears? His vaunted tales of workforce maturation are as nipples on breastplates to me.
Oh, my sweet summer child! So you came down from the safety of your parents house and expected life in this bustling metropolis to be just dandy, did you? To quote someones creepy uncle: Life is not a song, sweetling.
Sure, the drinks are cheap, but every courtier hides a dagger in their smile, and every professor a penalty mark.
Do authority figures ever get tired of telling us that the case study is imperative or that winter is coming? I mean, it all sounds very grim and impressive at first, but eventually you just start tuning it out.
Yeah, yeah. My assessment is one month overdue. The Others march on Westeros. Whatever.
When it comes to uni, parents love to assume that youll be drawn into a world of orgiastic hedonism the likes of which Tyrion himself could not conceive. Then they see good oldGoTon your laptop and all their worst fears are confirmed.
But thats just intergenerational bias. We dont watch it for the nudity, we watch it for character development and cultural subtext! Right guys?
Right?
I swear by Tyrions broken bedsprings, in every crowd theres at least one smartarse who thinks its cool to act all big and start waffling on about the history of the Seven Kingdoms or this weeks mandatory tutorial chapters. And then they have thenerveto tell us what will happen next week.
Some of us prefer to be left in suspense. Thanks a lot, arsehole.
Theres so much foreshadowing and just not a lot else. I mean, everyone keeps talking about throwing insane parties and reclaiming their birthright, but it seems like most people just sit around and wait for someone else to do it.
Seriously, were this far in already and no-ones done a keg stand? Daenerys is still in Meereen? Just what the hell is this?
Though maybe not quite on the level of Jaime and Cersei Lannister, after the initial awkwardness of the first few tutes, your classmates will begin to notice each other. It starts off civil enough, but all it takes is onepub crawl, and suddenly everyone starts pairing off for the winter break.
Kind of gives gross new meaning to the words of House Stark.
Joel Svensson
Business major, journalism minor and sometime voice-actor, Joel Svensson pretends to be smart at La Trobe University in Melbourne.
(Lead image:Official HBOGame Of Throneswebsite)
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EXCLUSIVE: Rodriguez Unveils New Inhumans Designs for Marvel’s Royals – CBR (blog)
Posted: at 12:00 pm
The title characters of the Marvels Royals are an eclectic group of Inhumans who are on an intergalactic quest to find the missing element that imbued members of their culture with superhuman powers. The initial leg of their journey has brought them to the devastated home world of the Kree, the empire that created the Inhumans, and soon theyll head into the far reaches of space.
RELATED: Inhumans: How ABCs Maximus Differs from His Comics Incarnation
Come October, artist Javier Rodriguez joins writer Al Ewing on the series with Royals#9, a Marvel Legacy arc that introduces the title characters to the Progenitors, a brand-new alien race with ties to both the Kree and the Inhumans. CBR spoke with Rodriguez about designing the Progenitors, their wondrous home world, and his love for the Inhumans and the legendary Stan Lee and Jack Kirby comics they debuted in.
CBR: In Doctor Strange and the Sorcerers Supreme, you got to visit a number of otherworldly locations and bring to life a diverse cast of human and fantastic creatures. It feels like with the protagonists of Royals embarking on a cosmic odyssey into the farthest reaches of the Marvel Universe, youll get the chance to continue to let your imagination run wild. Is that what drew you to this series?
Javier Rodriguez: Yes! Comics mean to me a constant dialogue with the readers. I lay down my visual input, the audience fills the gaps and connects the dots. Their interpretation builds their rapport with the comic. This is when the story comes to life. Its the main reason for me to love this language; particularly the fantasy or sci-fi genre. I love Kirbys Fantastic Four run it might be my favorite comic ever. In my opinion, Inhumans are the best characters in it. I have no words to express how much I love them.
Two of the most prominent characters in Royals are Medusa and Maximus the Mad. Theyre both in interesting situations in this series with Medusa apparently being ill, and Maximus having successfully swapped positions with his brother. Whats your sense, as an artist, of Medusa and Maximus? Which of their qualities did you really want to capture in your depictions of them?
Medusa is my favorite Marvel character. To me, she represents the terrestrial forces, unlike Black Bolt. He reigns in the sky with his infinite power. He is a king, Medusa is the ground, the rationalism versus the divine. She is the question, not the answer. Her power is tangible, visually speaking, connected with the earth. Her red hair evokes hot lava, whipping red veins moving under her control. I wanted to show an empowered Medusa. Knowing that she is not under the best circumstances, she goes through some predicament. The best stories emerge from conflict.
And of course, Maximus is capital to understanding the Inhumans. He has a Shakespearian antagonist role. In my opinion, he represents the Marvel foundation. The essence of the Lee and Kirby origins, where the bad guy could be grey. Not evil per se, often a victim of the environment. He can work with the heroes at times I love him.
RELATED: Royals Marvel Legacy Arc Reveals Secret Origin of the Kree
What was it like bringing to life your other cast members? Which of these characters did you especially enjoy drawing? Were there any characters that were hard to get a handle on?
As a Fantastic Four lover, Crystal and Gorgon are special to me. Im really enjoying the chance to do my own take on characters that I loved and followed since I was kid. On the other hand, the Nuhumans and Marvel Boy are fresh concepts. I wouldnt say hard when I refer to the art. But it is true that they deserve lots of attention to detail. Their costumes and behavior were new to me, but it was interesting. I know by experience, that often, these kinds of characters, the ones with less background, all the sudden become a huge thing. It happened with Roger in Spider-Woman, and with Nina and Kushala in Doctor Strange and the Sorcerers Supreme. So lets see!
One of the biggest elements youll be bringing to life, both metaphorically and literally, is the Progenitors. The designs Ive seen indicate theyre a pretty diverse species in terms of appearance, but they all share a few common traits: theyre giant-sized when compared to humans, they have both mechanical and biological traits, and they dont appear to have necks. What inspired you to give them these shared traits?
The background and clues come from Al. He gave me lot of info, character stories, and a lot of room for me to be creative. One of the most interesting features were the floating heads. It is random and seems out of place, but makes them quite interesting. Are they living beings? Artificial? They live in a hi-tech environment, isolated from the rest of the galaxy. Is their task to control the wild nature of space? Research the knowledge hidden in the coffins of the universe? Are they good? Evil? All of these elements were on my mind. That, and that I love to draw big characters, giants. Artistically speaking, you need ample spaces to show where they live. This allowed me to play around with a group of characters like the Royals.
What inspired some of the unique traits and looks of the Progenitors we saw on the cover of Royals #9?
Wil Moss gave me an idea. We are suggesting that the Progenitors are behind the Inhumans origin. Michelangelos Creation of Adam was an inspiration. That cover should show that the Progenitors are beyond the galaxy and knowledge; some puzzling space creatures doing their business. Black Bolt represents the Inhumans, looking for answers, pushing the wall of wisdom.
We have about five Progenitor designs, and each of them have a task, a reason to exist that affects the design.
ABCs New Inhumans Posters Unleash Medusas Hair
Concept art is just a starting point. The way the story evolves. How to tell the story through panels effects a lot of the character design. I always try to keep them flexible, visually speaking. Same applies to the other characters. The mood and the narrative thread have a huge impact on the way that you reveal the characters. Using their appearance is a key. One of my achievements, is to show that character development when I have a chance to draw more than one issue.
Finally, the Progenitors are still shrouded in mystery at this point but we do know theyre capable of astounding seemingly technological feats like The World Farm. What was your reaction when you heard about that? What was it like bringing to life something so big and crazy as the World Farm?
When I read the script I thought to myself, How am I gonna portray this astounding, mind-boggling world? It is a big deal because the Progenitors world is fascinating. I dont want to spoil it, but its not only a task for me, the penciller. It requires lots of work by lvaro Lpez. Doing a detailed and clean ink job plus the wonderful color work that Jordie Bellaire does. Youll see what Im talking about in the last pages of #9.
It is a pleasure to work on a book with some of my most loved Marvel characters and all under the talent of Al Ewing. To me hes one of the most interesting and brilliant writers in business right now. I love the way he build the characters. On the art side Im delighted to have the Sorcerers Supreme team together again. I love to collaborate with lvaro and Jordie, they make everything easy and beautiful.
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ACLU says LePage is violating free speech protections by deleting … – WCSH-TV
Posted: at 11:59 am
Beth McEvoy , WCSH 1:36 PM. EDT July 24, 2017
AUGUSTA, Maine (NEWS CENTER) The ACLU of Maine says Governor LePage is violating free speech protections by deleting comments or blocking people from commenting all together on his officialverified Facebook page.
The ACLU sent a letter to the Governor on Monday, saying he must stop selectively deleting comments posted by constituents and reinstate commenting privileges to all people who have been improperly blocked.
The governor doesnt get to decide who speaks and who doesnt, based on whether they are praising him or disagreeing with him, said Zachary Heiden, legal director at the ACLU of Maine.
The First Amendment protects the right of all people to express their opinions to the government. Social media may be a relatively new forum for public speech, but the Constitution still applies.
The ACLU says courts have affirmed that First Amendment's significance of social media.
NEWS CENTER reached out to Governor LePage's office but has yet to hear back.
ACLU letter to Gov. LePage by NEWSCENTER26 on Scribd
2017 WCSH-TV
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