5/31/2003 07:27:00 AM|W|P|Greg Ross|W|P|

"Poets have been mysteriously silent on the subject of cheese."—G.K. Chesterton

|W|P|95117892|W|P||W|P|greg.ross@gmail.com5/30/2003 07:19:00 AM|W|P|Greg Ross|W|P|

I just stumbled on this amazing drum solo by Tony Royster Jr. I usually find drum solos boring—like guitar solos, they too often emphasize chops over musicality. Royster has chops, but he also has taste, and he understands the value of space, dynamics, pacing and variety.

Oh, and he's 12 years old.

|W|P|95075504|W|P||W|P|greg.ross@gmail.com5/29/2003 07:12:00 AM|W|P|Greg Ross|W|P|

"Life is tough. It's even tougher if you're stupid."—John Wayne

|W|P|95030350|W|P||W|P|greg.ross@gmail.com5/28/2003 07:21:00 PM|W|P|Greg Ross|W|P|

Stephen Colbert gives some pretty revealing Daily Show details in this Onion AV Club interview:

Oh, yeah. The olden days? We are pussycats, man. In the olden days, you wanted to take your soul off, put it on a wire hanger, and leave it in the closet before you got on the plane to do one of these pieces. We had deep, soul-searching discussions on flights out to do stories, going, "We don't want to club any baby seals. I don't want to hold this person down and kick him in the teeth comedically." And sometimes it would happen, because you had to come back with something funny. You try not to. These days, it's such a cakewalk for [interview subjects]. ...

I've been sued. Myself, the researcher, the producer, the editor, the show, and the network were all named in a suit. And it got thrown out, because the guy sued us on the basis that we claimed we were from CNN, which we don't do. We just don't. He got it into his head that we were from CNN. We said we were The Daily Show, a cable news show that does alternative news stories. And he figured, "Oh, CNN." And, boy, he had a pretty damn good case if he had just done any... We were a little nervous.

Also included are Rob Corddry, Ed Helms and Mo Rocca.

|W|P|94996871|W|P||W|P|greg.ross@gmail.com5/27/2003 08:42:00 PM|W|P|Greg Ross|W|P|

"I think war is a dangerous place."—Washington, D.C., May 7, 2003

"I don't bring God into my life to�to, you know, kind of be a political person."—Interview with Tom Brokaw aboard Air Force One, April 24, 2003

"You're free. And freedom is beautiful. And, you know, it'll take time to restore chaos and order—order out of chaos. But we will."—Washington, D.C., April 13, 2003

"Now, we talked to Joan Hanover. She and her husband, George, were visiting with us. They are near retirement�retiring�in the process of retiring, meaning they're very smart, active, capable people who are retirement age and are retiring."—Alexandria, Va., Feb. 12, 2003

|W|P|94964662|W|P||W|P|greg.ross@gmail.com5/26/2003 07:11:00 AM|W|P|Greg Ross|W|P|

Friedrich Lohm�ller's ray-traced graphics evoke M.C. Escher's experiments with recursion, mathematics, and visual paradox. His site includes some wonderful links to other computer graphics, including the results of the International Ray-Tracing Competition.

|W|P|94893625|W|P||W|P|greg.ross@gmail.com5/25/2003 07:57:00 PM|W|P|Greg Ross|W|P|

On The Hostess Page, Seanbaby presents postmodern literary deconstructions of 1970s Hostess Fruit Pie ads:

"I once got beaten so bad someone mistook me for peat moss. Once Luke Cage stuffed me in a mailbox with a box of bottle rockets. But I've never been punched so hard that I started smoldering. You, Hulk, got your ass KICKED. Oh good. You're running off to fight the same guys that almost killed you. I'm sure you'll do a lot better now that you're half dead and full of light, flaky crust and partially hydrogenated vegetable oil. And would you stop with the fucking random tree smashing? You're making a fool of yourself."

|W|P|94875233|W|P||W|P|greg.ross@gmail.com5/23/2003 06:52:00 PM|W|P|Greg Ross|W|P|

This is Kevin Gilbert. You've never heard of him. He co-wrote seven songs for Sheryl Crow's Tuesday Night Music Club, including "Leaving Las Vegas," and he shared her Grammy nomination for the single "All I Wanna Do." He also contributed to Madonna's "I'm Breathless" and Michael Jackson's Dangerous.

Those populist credentials belie his intelligence and subtlety. I've been listening to his latest release, The Shaming of the True, which is smart but not smug, challenging but not pretentious, and direct but not simple. He writes lyrics like this:

Champagne minds and cold duck hearts
And who knows where the bullshit starts
The biggest grins on the biggest sharks
In the only pond that pays
Mass distribution through master relations
Can you get a leg up on the favored nation
Can you count your long career in days

His style recalls Peter Gabriel and King Crimson without aping either, and he's backed by an anonymous, muscular band that reminds me of Tori Amos or the Wallflowers—though neither of those groups could pull off the amazing vocal counterpoint that takes place a few tracks into this disc.

The reason you've never heard of him is that he's dead. Shortly after finishing True he was found dead in his bed of undisclosed causes. He was 29.

I don't know what to say about that. If he was only gonna get 29 years, I'm glad he found such success in that time. But he deserved a lot more. This disc will stay in my CD player for a long time.

|W|P|94805938|W|P||W|P|greg.ross@gmail.com5/22/2003 06:20:00 PM|W|P|Greg Ross|W|P|

Young writers seeking advice are always told: Read good writers, and write a lot. To that I would add: Read bad writers. Not mediocre writers, but really terrible ones, ones whose work is rarely published. For a student, a bad example is often the most instructive. The Mona Lisa is a collection of great decisions; a bad stick figure shows why those decisions are great.

If I were teaching writing I would assign as a textbook The Traveler, a free paper in Mystic, Connecticut, written entirely by one Joseph Albano. Albano is the worst writer I have ever seen. In the weekly he rhapsodically flogs local businesses, presumably in exchange for their advertising, but the writing is so tortured it's a wonder they don't complain. A friend in Rhode Island first told me about him, and now sends me monthly samples of his work. Here's the latest:

  • "Nose dive into the passionate romance that comes from supporting the arts."
  • "The perilous love affair between Humphrey Bogart and Ingrid Bergman transcends humanism, dissolving like a kaleidoscope into the aesthetic parallel for which the magnificent Lyman Allyn Museum stands, a symbol housing rare and meaningful objects and collections."
  • "The Sandpiper, one of Saybrook shoreline's popular hotels, sports special sensibilities."
  • "Breathtaking is the luscious landscaping. Entering the dramatic driveway lends a serene calmness to its presence. Well manicured grounds define part of the veneer. A charming pond on the left with bubbling fountain enchants while ample convenient parking is within a stone's throw."
  • "'Hanging-in,' keeping abreast of the time and encouraging agglomerate cohesion were on the agenda of the 11th annual Mystic Coast and Country gathering held at the Grand Pequot Tower Hotel, Foxwoods."
  • "Driving traffic into the area is tantamount."
  • "Protruding the grand concourse with an open air counter in the Casino of the Sky is Ben & Jerry's."
  • "While of premium quality, it touts mixed that surpass basic intrinsic sensibilities."
  • "Coffee coolers entail coffee ice cream in their contents aligned with coffee syrup."
  • "Multi-faceted conceptuality can be confusing. To eliminate the possibility, branding entered the 'mind set', resulting in the name 'Mystic Places.'"

In Mark Twain's brilliant and hilarious criticism of James Fenimore Cooper's literary style, he puts his finger on the essential problem in bad writing:

When a person has a poor ear for music he will flat and sharp right along without knowing it. He keeps near the tune, but it is not the tune. When a person has a poor ear for words, the result is a literary flatting and sharping; you perceive what he is intending to say, but you also perceive that he does not say it.

Albano's writing is the best example of this I've ever seen. And it's free!

|W|P|94757275|W|P||W|P|greg.ross@gmail.com5/21/2003 08:25:00 PM|W|P|Greg Ross|W|P|

William Gibson addressed the Director's Guild of America on May 17 and posted his remarks on his blog. It's a very heady piece on the past and future of film—or, I suppose more properly, prepared experience. But this little digression into music is the best part:

Prior to the technology of audio recording, there was relatively little one could do to make serious money with music. Musicians could perform for money, and the printing press had given rise to an industry in sheet music, but great fame, and wealth, tended to be a matter of patronage.

The medium of the commercial audio recording changed that, and created industry predicated on an inherent technological monopoly of the means of production. Ordinary citizens could neither make nor manufacture audio recordings. That monopoly has now ended.

Some futurists, looking at the individual musician's role in the realm of the digital, have suggested that we are in fact heading for a new version of the previous situation, one in which patronage (likely corporate, and non-profit) will eventually become a musician's only potential ticket to relative fame and wealth. The window, then, in which one could become the Beatles, occupy that sort of market position, is seen to have been technologically determined. And technologically finite.

The means of production, reproduction and distribution of recorded music, are today entirely digital, and thus are in the hands of whoever might desire them. We get them for free, often without asking for them, as inbuilt peripherals.

I bring music up, here, and the impact the digital is having on it, mainly as an example of the unpredictable nature of technologically driven change. It may well be that the digital will eventually negate the underlying business model of popular musical stardom entirely. If this happens, it will be a change which absolutely no one intended, and few anticipated, and not the result of any one emergent technology, but of a complex interaction between several. You can see the difference if you compare the music industry's initial outcry against "home taping" with the situation today.

(Via Boing Boing.)

|W|P|94702172|W|P||W|P|greg.ross@gmail.com5/20/2003 10:13:00 PM|W|P|Greg Ross|W|P|

Raleigh has already declared May 16 "Clay Aiken Day," so I was sort of required to watch the last episode of American Idol. What interests me about that show is Simon Cowell, the former BMG Records exec who came to this after judging the U.K. version of the show, Pop Idol. I think he embodies a spirit of direct, honest criticism that's too much missing in certain areas of contemporary life, and it's interesting and sad that he's pilloried for it.

Cowell has spent more than 20 years in the music business, has produced more than 70 top-30 records, and has been involved with 17 No. 1 singles. He knows what he's talking about, more so than fellow judges Randy Jackson and Paula Abdul. He correctly pointed out that Aiken's voice is too highly trained for pop singing, and for this, as always, he was booed. This is all kind of pointless—the judges' opinions carry no weight, and the boos show that the voting audience has already made up its mind. But Cowell sticks to his responsibility to judge each performance honestly, and he won't back down.

"You know, the music business is about criticism," Cowell told The Pittsburgh Post-Gazette. "That's the reality."

"That was terrible, I mean just awful," he told a contestant in the first episode. When Jackson suggested she take singing lessons, Cowell said, "You have to have a talent to progress it. I don't believe Cassandra has a singing talent. She's completely wasting her money. Sorry."

He told another, "My advice would be if you want to pursue a career in the music business, don't."

The point is, he's right. He's only saying what everyone else is thinking. But somehow "being nice," preserving others' feelings even in a context that explicitly requires judgment, has become so important that he's cast as evil for being honest.

"The process makes you mean because you get frustrated," he says. "Kids turn up unrehearsed, wearing the wrong clothes, singing out of tune, and you can either say, 'Good job,' and patronize them, or tell them the truth, and sometimes the truth is perceived as mean."

He also gets big points from me for calling Paula Abdul "a pain in the ass." "What you're seeing on TV is faked because I'm trying to make it look like I like her. One of these days I might say what I really feel. She's just one of those irritating people. I agree with some of what she says, I disagree with a hell of a lot of what she says. I keep my time with her to a minimum."

|W|P|94663400|W|P||W|P|greg.ross@gmail.com5/18/2003 09:50:00 PM|W|P|Greg Ross|W|P|

Thomas Frank's cover story in the new issue of Harper's skewers the Bush tax cut neatly, though it's a little shrill. The main thing I'm wondering is ... why not eliminate programs to pay for the cut? If you believe tax cuts will stimulate the economy, great, cut 'em. Knock yourself out. But pay for the cuts. Especially if you believe that big government is bad anyway.

It seems a little fishy to put us so deeply in debt and then leave it to others to find the cuts. That might give the Republicans a lot of political cover if the cuts prove painful, but that can't be their intent. That would mean they were cynical, cowardly hypocrites, and we all know that's not true.

|W|P|94558012|W|P||W|P|greg.ross@gmail.com5/17/2003 09:10:00 PM|W|P|Greg Ross|W|P|

There have been a few breaks in the music drought of late—I'm finding a few things that are worth listening to more than once. It just requires casting the net a lot wider. Right now I'm listening to a bunch of live solos found via WinMX (Japanese guitarist Akira Takasaki, U.K. bassist Mark King, Irish guitarist Rory Gallagher, and some less imaginative choices: John Petrucci, Steve Vai, Stu Hamm, Steve Lukather, Randy Rhoads, David Paich) and a lot of a cappella groups: The Bobs, Brown Derbies, Glad, Wise Guys, Take 6.

One thing I've been noticing for a while: A lot of the music that I really love is made by devout Christians. It's not Christian music, as such, and it's not really informed by evangelical music or gospel, except sometimes lyrically. And in fact when I check out those genres I don't like them. I don't know what that means.

|W|P|94517616|W|P||W|P|greg.ross@gmail.com5/16/2003 07:44:00 AM|W|P|Greg Ross|W|P|

"Bart, stop pestering Satan!"

|W|P|94448359|W|P||W|P|greg.ross@gmail.com5/15/2003 09:58:00 PM|W|P|Greg Ross|W|P|

A creditable game against a weaker opponent. I've got to stop playing on Yahoo, or at least start playing stronger opponents. I'd go back to FICS but it's just so much harder to find a game there.


This browser is not Java-enabled.

I analyzed this briefly, and it's fairly clean. No major tactical errors on my part, but I could have ended it more quickly.

|W|P|94423860|W|P||W|P|greg.ross@gmail.com5/15/2003 06:50:00 AM|W|P|Greg Ross|W|P|

Here's another thing I'll lay at education's door: It taught me to read too fast. I've been noticing lately that any piece of really substantial writing takes a long while to read. Right now I'm reading Montaigne and Seneca—essays, dialogues and letters, nothing ponderous—and I find I have to put them down after every paragraph and really study their meaning in order to keep up. Robert Browning's "Caliban Upon Setebos" is about 2,500 words, and it took me 90 minutes to work through it, to really felt I understood it (if I did).

Nothing in my education prepared me for that. Quite the opposite. In school that poem, if it were assigned at all, would have been given as a homework assignment, and discussed for perhaps 10 minutes before we passed on to other things. I think the lesson I learned is that either you get it or you don't, and if you don't there's no help for you.

It wasn't until I stumbled across Mortimer Adler's How to Read a Book, on my own, many years later, that I came to understand that the really good books take work, because they're so dense or novel. Poetry even more so, because it's so compressed and figurative. But in school it seemed that a poem was just a paragraph that could be read in a minute, and was usually impenetrable. That taught me to hate poetry, because it made me feel stupid and inferior. Likewise Beethoven etc.

Mark Twain said he tried not to let school get in the way of his education. I'm beginning to understand what he meant.

|W|P|94382386|W|P||W|P|greg.ross@gmail.com5/14/2003 07:47:00 AM|W|P|Greg Ross|W|P|

Among the nine Democratic presidential hopefuls, so far I'm really most attracted to Howard Dean. And the more I learn about him, the better he sounds.

Dean served five terms as governor of Vermont. The state has only 600,000 people, but the highest annual murder total during his term was 25. The lowest was 5. He's a deficit hawk, he's pro-choice, he supports civil unions, and only Al Sharpton is a more strident opponent of the war in Iraq.

Even the off-the-cuff comments sound good, and seem appealingly genuine. �Judy and I don�t care much about material things.� �I�m a fanatic recycler.� �We believe the less TV, the better.�

His wife, Judy Steinberg, is a doctor who's more interested in her career than in his political life. If he's elected she'll practice medicine in Washington.

Of everything I've read, most revealing is the experience of a reporter from New York magazine who visited Dean's Burlington home in February:

He leads me up the stairs, covered with ripped ancient green shag carpet, to the sunny living area, with a soaring A-frame ceiling. He makes me a cup of herbal tea and introduces his gray three-legged cat, Katie (she had cancer). Excusing himself to join his son outside, Dean is half out of the room when he turns to say, "Feel free to look around."

This is such an astonishing offer from a man running for president that I toss it back at him: "You mean, look in the medicine cabinets and open the drawers?" Dean looks startled for a second, then grins and says, "I have no secrets." And then he leaves.

Four of the last five presidents have been governors, the last Democrat a dark horse from a small state. And Dean has his own blog!

|W|P|94322860|W|P||W|P|greg.ross@gmail.com5/13/2003 07:28:00 AM|W|P|Greg Ross|W|P|

It must be 25 years since I've seen Schoolhouse Rock, but I remembered all the tunes and words to "A Noun is a Person, Place, or Thing," "Unpack Your Adjectives," and "Conjunction Junction." I also remember "Lolly Lolly Lolly Get Your Adverbs Here," "Naughty Number Nine," "I'm Just a Bill"—to most people those were forgettable three-minute ditties, but to the generation that followed the baby boomers they made up one of the most memorable parts of childhood.

I did some digging and found that, like all generational touchstones, this one was an accident that surprised its creators. The guy who dreamed it up was Tom Yohe, a 34-year-old (younger than me now!) who was working at a New York advertising agency. His partner, David McCall, noticed that his sons could easily remember rock lyrics, and the pair thought they could make education memorable by putting it to music. Each segment was to be only three minutes long, so kids wouldn't catch on.

A 27-year-old Michael Eisner gave it the green light, and the series ran from 1973-1985, 5-6 times each Saturday morning on ABC. Eventually it was supplanted by more trendy stuff, and Yohe forgot about it until he was invited to a senior education symposium at Dartmouth and 900 Generation Xers filled the biggest auditorium on campus to sing along.

"That was the first time I realized what kind of impact it had on that generation," Yohe says. "That was my rebirth, my catechism. I realized, holy shit, we really affected this group because they all sang along.

"I think a lot of people love it just because it brings back fun memories of childhood or sitting in front of the TV on Saturday mornings. And a lot of people claim to have really learned something. And there's the recognition. You say to someone, 'Conjunction junction,' they say, 'What's your function?' That's purely a rote cultural thing, but I think it made learning very palatable."

|W|P|94258348|W|P||W|P|greg.ross@gmail.com5/12/2003 06:47:00 AM|W|P|Greg Ross|W|P|

With the possible exception of Paul Monette, I think Edna St. Vincent Millay has been the most consistently appealing writer I've found in my recent poetry jag. For such a strong and progressive-minded woman, she was born unfortunately early, in 1892. Her mother was apparently strong, too, kicking her husband out of the house when Edna was 7. Edna won her first poetry contest at age 20, and became involved in theater as well. Called "Vincent" by her friends, she was openly bisexual. She did eventually marry Eugen Boissevain, who acted as her manager, but Edna said they remained "sexually open" throughout their 26 years together.

What I like about her—and what I'm finding I like about artists in general—is her often painful honesty, particularly about personal weakness and vulnerability. This is from The Harp-Weaver and Other Poems, which won the Pulitzer Prize in 1923.

Departure

It's little I care what path I take,
And where it leads it's little I care;
But out of this house, lest my heart break,
I must go, and off somewhere.

It's little I know what's in my heart,
What's in my mind it's little I know,
But there's that in me must up and start,
And it's little I care where my feet go.

I wish I could walk for a day and a night,
And find me at dawn in a desolate place
With never the rut of a road in sight,
Nor the roof of a house, nor the eyes of a face.

I wish I could walk till my blood should spout,
And drop me, never to stir again,
On a shore that is wide, for the tide is out,
And the weedy rocks are bare to the rain.

But dump or dock, where the path I take
Brings up, it's little enough I care:
And it's little I'd mind the fuss they'll make,
Huddled dead in a ditch somewhere.

"Is something the matter, dear," she said,
"That you sit at your work so silently?"
"No, mother, no, 'twas a knot in my thread.
There goes the kettle, I'll make the tea."

|W|P|94195563|W|P||W|P|greg.ross@gmail.com5/11/2003 06:17:00 PM|W|P|Greg Ross|W|P|

Sharon and I saw The Two Towers again this afternoon, now that it's at the cheap theaters in Raleigh. I still didn't like it, and mostly for the same reasons. I think it squanders the first movie's careful investment in character and verisimilitude in favor of thrills. That's a little hard to understand, for two reasons. First, it was released in December, and summer is the traditional time for simple action pictures. Second, and more troubling, Peter Jackson was still editing this film when The Fellowship of the Ring hit big, and so he (and New Line) must have known that simple action wasn't necessary. But action is mostly what he's giving us here. That hasn't prevented imdb users from voting it the 14th best motion picture of all time, just behind Rear Window.

To give credit where it's due, I think Andy Serkis' rendering of Gollum is spot-on, and I think Bernard Hill's Theoden is a critically overlooked high point. I do want to see The Return of the King, which Peter Jackson says is his favorite of the three. In the meantime we'll buy the Fellowship of the Ring DVD and listen to the commentaries.|W|P|94167296|W|P||W|P|greg.ross@gmail.com5/10/2003 11:28:00 AM|W|P|Greg Ross|W|P|

Scott Mutter's striking installation at The Photography Museum shows what might have happened if Renee Magritte had access to PhotoShop. While the rest of us have been debating the ethics of digital imaging or just messing around with it, Mutter's experiments with juxtaposition show its power to create real art, in a medium that didn't exist 10 years ago.

"I began to think in terms of pictures from some inner force," he says. "I became, in a period of maybe a year and a half, intensely interested in looking at pictures, intensely determined to make pictures about, in a general way, the things that I studied [beginning with Chinese culture]. A culture—our contemporary, urban culture—its human part, its belief part, the things that it has built around it and the amazing unveiling of some of the forms of those things in relation to what they are [and what] we think of them as: I'm carrying thoughts and ideas from all that into wanting to make images about them. They become salted, of course, with a sense of imagination or a sense of fantasy."

Mutter wants his images to serve as "a way to carry information about something that is a reality, but not a physical reality. It's a reality about the way a culture does things, about the way we are, or a metaphor or analogy for these." Magritte said, "Surrealism is the knowledge of absolute thought."

|W|P|94106869|W|P||W|P|greg.ross@gmail.com5/09/2003 07:32:00 AM|W|P|Greg Ross|W|P|

A Canadian "resologist" who calls himself Mr. X says, "Way back in 1973, I conducted my own search of the U.S. Copyright Office records. I discovered that the original copyrights on [Charles] Fort's books lapsed at the end of their original 28-year period, as the copyrights were not renewed. Both Fort and his widow had died, and apparently no one bothered to renew the copyrights or knew their value (these would have been distributed in the estate of Fort's widow). I also discovered, many years later, that Fort directed that his notes and papers were to be made available to Fortean researchers. Simply put, all of Fort's work is in the Public Domain."

This is big news, because Mr. X has put the full text of all four of Fort's books—The Book of the Damned, New Lands, Lo!, and Wild Talents—up on his spare but efficient web site.

Reading Fort has been described as "a ride on a comet." He believed the science was too dogmatic, and tended to establish theories before it had collected sufficient data. Wrongheaded theories led researchers to overlook or disregard ill-fitting facts. He set out to prove this by collecting tens of thousands of documented events for which contemporary science could offer no explanation. Here's one of my favorites, in Fort's words:

Upon Dec. 12th, 1910, a handsome, healthy girl disappeared somewhere in New York City. The only known man in her affairs lived in Italy. It looks as if she had no intention of disappearing: she was arranging for a party, a tea, whatever those things are, for about sixty of her former schoolmates, to be held upon the 17th of the month. When last seen, in Fifth Avenue, she said that she intended to walk through Central Park, on her way to her home, near the 79th Street entrance of the park. It may be that somewhere in the eastern part of the park, between 59th Street and the 79th Street entrances, she disappeared. No more is known of Dorothy Arnold.

This day something appeared in Central Park. There was no record of any such occurrence before. As told, in the New York Sun, Dec. 13th, scientists were puzzled. Upon the lake, near the 79th Street entrance, appeared a swan.

The site also contains the full text of Fort's only novel, The Outcast Manufacturers, his autobiography, and correspondence with his oldest friend, Theodore Dreiser.

|W|P|94045773|W|P||W|P|greg.ross@gmail.com5/07/2003 07:56:00 PM|W|P|Greg Ross|W|P|

The Peters Projection Map is a cylindrical equal-area projection map. On it, all landmasses and bodies of water appear in correct size proportionally, though their shape, and the distances between points, may be distorted somewhat.

This is illuminating because it reveals the biases that underlie the seemingly objective world of mapmaking. The world is round, and any cartographer working in two dimensions must choose some compromises. His values may inform these decisions. On the traditional Mercator projection, which is increasingly inaccurate toward the poles, Greenland appears to be the same size as Africa, but Africa's land mass is actually 14 times larger.

Recognizing this "Greenland effect," many First World mapmakers remove Antarctica entirely, but this makes the Northern Hemisphere seem inordinately large. This made sense when these maps were first made, by European colonial powers, but today it can seem to marginalize developing nations. On a traditional map, Europe (3.8 million square miles) looks larger than South America (6.9 million square miles).

Here's a cool java applet that lets you play with different projections.

|W|P|93957366|W|P||W|P|greg.ross@gmail.com5/06/2003 07:26:00 PM|W|P|Greg Ross|W|P|

Innerviews: Describe the fateful day you decided to adopt "the look."

Tony Levin: It was one day in the early '70s when it was very hot. It was a heat wave in August, and I lived in New York City at the time. I said, "I'm getting rid of anything that is getting me warm," and I shaved my head, dealt with the sunburn and all that kind of stuff. By the end of the summer I kinda liked the way it looked. For a few years, I would grow all my hair and beard from the first cold day—September-October through the winter. As soon as it started getting warm in May, I would start shaving everything. I did that for maybe two years. In a streak of vanity, I felt I looked a lot better and certainly younger without the hair than I did with the beard and the long hair, so I stuck with this. I don�t remember when I grew a mustache. I never had a plan that "hey, it will be a look." I do remember that when I first did it kids would say "Hey!" Sometimes they would associate it with Yul Brynner. This will date me quite a bit. Later they would say "Hey, Kojak!" [Laughs.] This was particularly in Europe. First, when I shaved my head it was the Yul Brynner thing, then it was the Kojak thing. And in the years since then, I gotta say a lot of rock bands have bald heads. It had to happen. Every look has to recycle itself and be popular.

|W|P|93892301|W|P||W|P|greg.ross@gmail.com5/04/2003 08:18:00 PM|W|P|Greg Ross|W|P|

Sometimes on my lunch hour I'll drive over to the Durham library, just to get out of the office. I still have a Durham library card, but technically I don't think I can use it since we're not residents there anymore. That's a shame, because I keep stumbling on good books there. On my last visit I discovered Bertrand Russell's essay "Why I Am Not a Christian." He cuts up the religion pretty lucidly, though his arguments lack Mark Twain's outrage. Two points in particular struck me, from his discussion of the argument from design. Here's the first:

You all know the argument from design: everything in the world is made just so that we can manage to live in the world, and if the world was ever so little different we could not manage to live in it. That is the argument from design. It sometimes takes a rather curious form; for instance, it is argued that rabbits have white tails in order to be easy to shoot. I do not know how rabbits would view that application. It is an easy argument to parody. You all know Voltaire's remark, that obviously the nose was designed to be such as to fit spectacles. That sort of parody has turned out to be not nearly so wide of the mark as it might have seemed in the eighteenth century, because since the time of Darwin we understand much better why living creatures are adapted to their environment. It is not that their environment was made to be suitable to them, but that they grew to be suitable to it, and that is the basis of adaptation. There is no evidence of design about it.

That's true, of course, but the reason it struck me is that it seems to belie the anthropic principle, an almost mystical concept from cosmology and exobiology that says the universe sort of must have been created to accommodate us. I never could quite understand that reasoning—of course we find ourselves in a hospitable universe; where else could we find ourselves? But smarter people than I seem to accept it. I wonder how they'd respond to Russell's arguments.

Here's the other quote:

When you come to look into this argument from design, it is a most astonishing thing that people can believe that this world, with all the things that are in it, with all its defects, should be the best that omnipotence and omniscience have been able to produce in millions of years. I really cannot believe it. Do you think that, if you were granted omnipotence and omniscience and millions of years in which to perfect your world, you could produce nothing better than the Ku Klux Klan, the Fascisti, and Mr. Winston Churchill? Really I am not much impressed with the people who say: "Look at me: I am such a splendid product that there must have been design in the universe." I am not very much impressed by the splendor of those people. Moreover, if you accept the ordinary laws of science, you have to suppose that human life and life in general on this planet will die out in due course: it is merely a flash in the pan; it is a stage in the decay of the solar system; at a certain stage of decay you get the sort of conditions and temperature and so forth which are suitable to protoplasm, and there is life for a short time in the life of the whole solar system. You see in the moon the sort of thing to which the earth is tending -- something dead, cold, and lifeless.

I also found Bruce Sterling's Tomorrow Now, in which he takes a stab at predicting the next 50 years. The local Raleigh library purports to have that, but it ain't on the shelf. I'll keep checking.

|W|P|93769249|W|P||W|P|greg.ross@gmail.com5/02/2003 06:03:00 PM|W|P|Greg Ross|W|P|

"I'm the commander. I do not need to explain why I say things. That's the interesting thing about being the president. Maybe somebody needs to explain to me why they say something, but I don't feel like I owe anybody an explanation. ..."—G.W. Bush

|W|P|93675128|W|P||W|P|greg.ross@gmail.com5/01/2003 09:45:00 PM|W|P|Greg Ross|W|P|

I'm trying to learn to play "boring chess"—to simply defend a piece when it's attacked, to follow positional rules and to trade down immediately into an endgame when I'm ahead. Like everything else in life, it's easy to ignore the rules after you learn them.

Here's an example of what happens when I stick with old habits and play carelessly. I got the advantage here fairly easily against a player of about equal strength, but then I kept playing tactically instead of trading down. I declined his draw offer and then had to offer one of my own.

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Moral: Follow the rules. Play simple boring chess as much as possible. Don't attack until there's a clear reason, and steer for the endgame as soon as you have a lasting advantage (material, pawn structure, superior minor piece). In a nutshell: Play conservatively.

|W|P|93627735|W|P||W|P|greg.ross@gmail.com