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spaceplayer

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  1. http://www.nbcnewyork.com/news/local/gay-marriage-new-jersey-civil-rights-leader-138313104.html "Christie wants gay marriage put to a popular vote. The governor has vowed to veto the marriage bill making its way through the Legislature." Progress? Christie is no hero.
  2. "The fact that this nuclear plant was able to withstand this kind of blow and effectively keep the situation from turning into another nuclear disaster should be a ringing endorsement of the efficacy and safety of nuclear power, not a reason to abandon this technology that has so much value to offer us." While I appreciate the defense, it's too early to be ringing any bells... In this corner: JAPAN NUCLEAR DANGER IS NO CHERNOBYL And in this corner: Japan Atomic Crisis Reaches Chernobyl Level as Radiation Climbs And then there's Maude: Low levels of radiation in Pennsylvania r
  3. Superhero Babylon presents: The Silent Age. The Silent Age is a companion piece to A Show Of Hands: A Cautionary Tale of Heroes in Exile. Whereas A Show of Hands was a future-take on the cynicism towards heroism via the Marvel Universe, The Silent Age is a retro parody of the over-reliance and "god-like" worship of DC's "strange visitor from another planet." The basis for this story has been in my head for at least ten years now, inspired by my initial encounter with Ayn Rand's Atlas Shrugged, which got me thinking: "what if Superman went on strike?" (A theme that also inspired, but with d
  4. Jonathan: "I know of no Objectivist who has addressed their actual views on what abstract art is, and how it works." For what it's worth, here's my "objectivish" view on abstract art via and how it connects to music. It's not my original theory (it's a mix of discussions between Rand and John Hospers, plus the abstract/realist pyramid theory as demonstrated by Scott McCloud in Understanding Comics), but I'm sympathetic towards it. From Objectivish: "A Musical Tug Of War" This post is a companion piece to my last post on abstraction and concretes in Rand's theory of music. I've discu
  5. A head's up: There's a new smear going 'round today, that Ayn Rand is a hypocrite because she accepted government funds for her cancer under the assumed name "Ann O'Conner," and that the tea party should dump her. Nasty stuff.
  6. The last (planned) installment of my Rand-Rush Connection series: my review of Rush, Rock Music and the Middle Class: Dreaming in Middletown by Chris McDonald. Synopsis of the review: The thesis of McDonald's book is not about Rush and Rand per se, so this will not be a comprehensive book review; there are other topics discussed, such as musical analysis, that I found interesting, that are simply beyond the scope of this post. Rather, this will just serve to introduce the book into the discussion started by "Rand, Rush and Rock”. There is significant space dedicated to the topic, in the
  7. A couple more entries in The Rand-Rush Connection series, concerning the album Hold Your Fire: "Hold Your Fire", which discusses Neil Peart's drifting from reason in favor of "instinct," and "No, Neil, Hold YOUR Fire", a rebuttal of the accusations made by Peart towards Objectivism and Ayn Rand. Lyrics from Hold Your Fire is often quoted by Objectivists for its optimistic, seemingly individualistic approach. Those Objectivists may be surprised at the full context...
  8. Ok, so yesterday, I published at my blog on Rush and the New Music Express's 1978 hatchet job (which labeled Rush and Rand as fascists), and today the Classic Albums series released their 2112/Moving Pictures edition. I knew about that...what I wasn't expecting was how much time they would spend on...the NME hatchet job and the Randian influence. This was during discussion of making the track "2112," plus extra bits in the bonus features. Even more unexpected was the appearance of the ARI's John Ridpath (What? He's Canadian, too...) to summarize the history of Anthem. There was even Neil's rev
  9. I've started a series of posts at my personal blog, Objectivish, dealing with the Rand-Rush connection that I thought some here might find of interest. Three, so far: The first one discusses my first exposure to Rand, via the Rush edition of Rock'N'Roll Comics. The second deals with the "ominous parallels" of the smears of fascism against both Rand and Rush, by Whittaker Chambers and Barry Miles of the New Music Express. The latest discusses the recently release (9/28) of the Classic Albums series edition of 2112/Moving Pictures, which discusses the Randian influence (and included a
  10. You might like to take a look at my blog, superherobabylon.blogspot.com, particularly the essay "The Epic Song of Superman in Five Parts," "The Answer to Chaos is Not the Dark Knight," and "The Dark Knight: The Anarchist is King.". Good luck with your thesis.
  11. spaceplayer

    My Way

    For the uplifting version, watch Laverne and Shirley.
  12. Well then, if it was mistranslated, Allen better speak up and say so...and FAST.
  13. Heh, the impression I got was of Walt Disney...the sixties-era film, the "World of Tomorrow..." The mustache...
  14. That said, after seeing the movie...well, besides commenting on some superficially significant changes, (Big Daddy's origin twist is gone, and the guy gets the girl) it's pretty much the same, and I'd use the same review, with some additional points though... The picture of Atlas hanging on the wall of the hero: Not accidental; Mark Millar, writer of the comic, had Reed Richards of the Fantastic Four reject the notion of "shrugging" in the Marvel CIVIL WAR miniseries. And when the hero of KICK-ASS says that "with no power comes no responsibility...only that's not true...", the Atlas pictur
  15. Yes, I should have said it was a review of the book.
  16. Here's my review at Superhero Babylon, where I compare and contrast the book to Watchmen and Rand's The Romantic Manifesto. . Rand was dissecting Watchmen and Kick-Ass decades before they were written in her reviews of such "tongue-in-cheek thrillers" like The Avengers and the James Bond movie franchise, calling their creators out on their "bootleg Romanticism." Rand calls such tongue-in-cheek thrillers cowardice: "What are such thrillers laughing at? At values, at man's struggles for values, at man's capacity to achieve his values...at man the hero." "Kick-Ass: The Watchmen of the Myspa
  17. But then there's John Galt via Ayn Rand...
  18. Been there, done that. I had to find out the hard way, by dating, living together, watching, listening, observing. "Show, don't tell." . In my case, the tensions rose between the other person's stated beliefs and the true beliefs, and the truth came out.
  19. I was going to review Tim Burton's Alice in Wonderland for Superhero Babylon. I was going to say that Tim Burton did a good job visually. I was going to say that storytelling-wise, he added a point to a meandering story, infused with with a archetypal "hero's journey," but one mixed with Victorian romanticism that falls victim to the reason-emotion dichotomy. I was going to quote from Ayn Rand's Romantic Manifesto, the rejection of reason by the "Byronic" romantics, and explain how the links between creativity and madness in Burton's film are best understood as a rejection of the "classicism"
  20. I am not suprised to see the Rand/Hickman thing being brought out as a weapon against Rand's resurgence, it just shows how desperate the Left is right now. There's a certain irony here, too, involving hypocrisy on the Left's part. In Journals of Ayn Rand, Rand is presented as clearly drawing the line at where the "admiration" end (with the degeneracy and murders). Contrast that with Rand's criticism of the Left's "admiration" for the very same subject, not for the virtues, but FOR the degeneracy. From The Romantic Manifesto: "...to escape from guilt and arouse pity, one has to portray man
  21. It comes out quite a bit stronger in the movie, but also, a lot of this is mentioned in interviews with Waters. The famous incident that started THE WALL concept itself stems from the '77 Animals tour. A drunken fan was up front, yelling and screaming "play Money!" Waters called him over, and spit in his face. Waters was so horrified at what he had done, how he started to see himself, that he started to visualize the wall going between him and the audience. There's a scene that didn't make it into the film, at the end of "In the Flesh"...originally the concept was to have the audience "bl
  22. PINK FLOYD THE WALL is a compelling, first-hand take on the dangers of fame, from a rock star's point-of-view. The rock-star as fascist dictator whose fans will do anything to be in the "presence" of their idols, to the point of stampeding like a herd of cattle (sometimes fatally.) The movie scene for the song "In the Flesh" culminates in a Fascist rally where "Pink" becomes a dictator as the crowd applauds, even as he turns his ire against them ("If I had my way, I'd have all of you shot!"). Roger Waters wrote THE WALL after he grew disillusioned with the stadium touring, the loss of con
  23. Personally, I'm burned out on "social media," web 2.0, and the phrase "interactive art," because of the excessive flame wars, trolling, and the like. And I'm leery of "interactive art" because it reminds me of the scene in THE FOUNTAINHEAD, where the other architects "express their individuality" on Cortland Homes. Art, in the Objectivist sense, is a personal endeavor, first and foremost. But if I were to make a case for interactive art... I used to love the CHOOSE YOUR OWN ADVENTURE books when I was young...I think they make a case for "interactive art," since there is a story involved
  24. As for Machiavelli...George Will has said that "We honor Jefferson, but live in Hamilton's country, a mighty industrial nation with a strong central government." It's Hamilton who is called the American Machiavelli. The Prince was the bedtime storie for John Adams. "A Republic, if you can keep it," indeed... What to do about it? Rand never discussed Machiavelli specifically, as far as I know, but her novels detail what happens if one follows that road. Wynand and Keating are my favorite examples, and Atlas shows what really goes on at "The Top and the Bottom." How do you fight it without su
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