4 Oct 2011, 12:01am
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  • Year 2, Month 10, Day 4: Hats Back On, Gentlemen — An Idiot.

    Hey, gang! Want to make fun of an idiot? Check out Norah Flanagan, in the Enid, Oklahoma, “News and Eagle.” You can’t make this shit up. Well, actually, you can:

    I would probably be a bit more concerned about belching cows heating up the atmosphere than I am if the people doing the so called tests and crying in their green tea weren’t treating the climate changes like a religion. Every time I hear anything about the subject I get this ultra nasty picture in my head of goofy looking Moonies (that cult that hands out flowers and plays tambourines on streets) I’ve never seen a Moony with my own two eyes, only pictures in magazines and on TV, but these climate people remind me of them. They’re goofy.

    Has the weather changed in the last few years? Yes it has. We’re cruising toward three seasons rather than four. Freeze your nostrils shut cold winter, monsoon season, and hot enough to fry eggs in the dirt at 6 a.m. summers. When you take into consideration that this area right here, the Canisteo Valley, was once a tropical rain forest, and that we had a mini ice age back in the Middle Ages, then it doesn’t take a big stretch for a thinking person to figure out that we’ve entered ANOTHER weather cycle. All things have a cycle, there’s light, there’s dark, there’s cold, there’s hot, there’s life, there’s death. Nothing stays the same. Absolutely nothing. So why in the world would people think that the weather should? Besides, Al Gore being the poster child for the Global Warming/ Moony freaks is a good nuff reason for me to shoot darts at the theory. I didn’t trust the guy back when he was Bill Clinton’s number 2 and now that he’s got those wiggly jowel thingies and does a comb over he creeps me out even worse.

    When it comes to Global Warming, it’s kinda like God, you either believe or you don’t. I’m just one of those skeptics who like to see the actual data right in front of me. I don’t need a nerd in a lab coat deciphering the numbers for me, I’m quite capable of reading graphs and numbers all by myself, and the last thing that I want to see when I’m looking at data is the word ‘projected’. What? Projected means in the future, not right now. Projected means maybe. I don’t want maybe. I want this is what has happened/this is what will result.

    The Enid News And Eagle only accepts letters in the mail — no email. So this one went off on Saturday morning, October 30. It’s been too long since I mocked an idiot.

    When it comes to climate change, Norah Flanagan doesn’t need a “nerd in a lab coat deciphering the numbers for me”), and deprecates words like “projected” as meaningless. How does this attitude work in other areas?

    One day her doctor finds a suspicious lump, but Norah feels fine — so she doesn’t care.

    She reads the numbers on her biopsy results, but doesn’t understand them. A big number is good. Or is it bad?

    A “nerd in a lab coat” (who happens, usefully, to be an oncologist) recommends a course of therapy and tells her the projected survival rate. But since she doesn’t want “maybe,” the advice goes unheeded. Plus which, the doctor has “wiggly jowl thingies” so she knows he’s a quack.

    I hope she would not be so reckless. Experts spend years mastering a subject or a skill; we trust mechanics with our cars and surgeons with our lives for this reason.

    Climate scientists (whom she compares to deluded cultists) have spent years learning to interpret the data on our planet’s health. If an overwhelming consensus of planetary diagnosticians tell us there’s a problem, dismissing them simply because their words are unwelcome (or because they’re funny-looking) is as foolish as ignoring an oncologist’s advice in the face of a metastasizing cancer.

    Warren Senders

    I will give an Antigravity CD to the first person to correctly identify the provenance of my headline.

    28 Jan 2010, 5:55pm
    India photoblogging:
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  • India Photoblogging: Pune, 1985-1991

    I took a lot of pictures while wandering around Pune in the mid-1980s and early 90s. I was using a Minolta SLR which I still have somewhere in a box; digital cameras have now taken over completely, so I haven’t looked through the lens of my 35mm camera in a very long time. Getting interesting results when you’re photographing scenes on an Indian street is not difficult; Indian streets are inherently interesting. Here are some of my favorites.

    Somewhere in City section; I have a vague recollection this was in the vicinity of Appa Balwant Chowk, but that’s probably just my senility kicking in.

    Shukrawar Peth, most likely. Probably somewhere close to Phule Market.
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    I was egosurfing…

    …and just found this review of “Boogie For Hanuman,” which I’d never seen before. Nice.

    Most fusions of Indian music and jazz have served merely to add Asian accents to pieces that are distinctly Western. Often they have even been timid as jazz, aiming at pretty and soft moods that are as authentic as 1950s albums of Hawaiian music with a full orchestra. Most have employed Indian instruments playing in European time signatures rather than really exploring the possibilities of Hindustani scales and singing styles. Boogie for Hanuman is different. This album makes no compromises with the form of Indian classical music but does add jazz instruments and ideas about soloing and improvisation. The result is definitely not easy listening. Most of these pieces feature driving, complex percussion rhythms overlaid with a tangle of shifting melodies on violin, sitar, and various flutes. To someone unaccustomed to Indian music this can sound cacophonous, but repeated listenings reveal a sonic landscape of vast intricacy and subtle shades. The throbbing title cut is pretty accessible, with sitar and guitar interplay that the CD notes aptly compare to an Indian Dick Dale. The piece is over seven minutes long, but is not at all overextended — there are plenty of ideas here, and they’re deployed in such a way that the new listener is drawn in. From there things get gradually more complicated. “The Mobius Man” has multiple parts of the same theme playing on different instruments — some parts soothing, others hectic and busy, but all somehow integrated into one piece. “This Melody No Verb” has two themes played simultaneously, neither of which seems to suggest the other when considered separately. To describe the latter two tunes in this manner may make them sound like a music student’s composition class final — something bloodless, moodless, and technical — but all three are surprisingly easy listening. From here on things are more challenging — if “Dark House-Midday” was the first cut on the CD, listeners might not be inclined to check out the rest. Hopefully, newcomers to Indian music will have their ears attuned by the time this piece and “Weaving Time” come along, because the frantic, at times chaotic group improvisation takes some getting used to. “G-Mu-Nu” comes as close as this album gets to straight jazz, while “Ishmael” closes things out with boisterous, high-energy fusion. Boogie for Hanuman is a real rarity, a jazz-rock/world fusion album that is true to several sets of roots. The musically adventurous are advised to seek high and low, because this is one fine album. ~ Richard Foss, All Music Guide