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Political Spectrum Quiz

My Political Views
I am a center-left moderate social libertarian
Left: 1.92, Libertarian: 2.57

Foreign Policy:
On the left side are pacifists and anti-war activists. On the right side are those who want a strong military that intervenes around the world. I scored: -4.21
My Foreign Policy Views
Score: -4.21

Culture:
Where are you in the culture war? On the liberal side, or the conservative side? This scale may apply more to the US than other countries. I scored: -4.32
My Culture War Stance
Score: -4.32

Political Spectrum Quiz

Posted in politics and society.


I really should be studying for an exam…

… but there was just way too much to think about today.

Great concert in the black box last night, featuring Laura Tsaggaris. I can’t convey how freaking cool it is to have one of my favorite musical artists play in the black box theatre that is built into my house. Pretty sweet. Well, the upshot is, I heard a lot of beautiful , thought-provoking music, and also had a great discussion with Laura before and after the concert about our respective artistic philosophies.

Over a beer and sizzling fajitas at Don Juan’s, we talked about striking the balance between “putting yourself out there” as a performer versus creating art solely for oneself. Because yeah, as a musician or as an actor, dancer, whatever…. you are basically asking people to stare at you for a couple hours. An object – to be admired, detested, analyzed, critiqued, displayed, and commented on.

On the other hand, if what is created is not personal and designed solely for consumption by others, it fails to be genuine; the beauty of art yields to the packaged superficiality of entertainment.  True art, of any medium, must come from within and convey an element of the artist’s own humanity. Yet, taken to the extreme, too much focus on the self in art can make it selfish, incomprehensible, or irrelevant.

I believe that the arts have a duty, a service to perform; to make all of us as human beings reflect on our shared humanity – to provide an insight into the human condition.

Genuine reflection on, and emotional connection to, the soul of humanity requires a personal approach. The art must be honestly motivated from within, or it will fall flat. But in addition, the completion of the art is knowing that it is appreciated and absorbed. The apprehension of a work of art’s effect on one’s fellow human being.  Beyond the in-the-moment joy of creating art, I think that the realization, or even just the hope, that the art has brought someone somewhere to a greater understanding of themselves or others is the true return.

Is that a utilitarian view?  To measure a work of art’s worth by the effect it has on our fellow human being? Because the arts are an expression of who we are as humans, this argument then becomes dangerously parallel to stating that the value of a person is tied to the value of that person to society. In the same manner that we must accept a fundamental, if unquantifiable, worth of every person (even if we don’t like them), then must we similarly acknowledge a fundamental worth to anything that anyone calls art (even if we don’t like it)?  Unresolved questions for me.  But I’ll keep thinking about it.

Bottom line, Laura’s music really made me think. She is a musician who writes from her soul, and is willing to let us share in it, for whatever it’s worth to us. She is confident in what she means by her music, but remains open to each individual’s personal relationship with what she creates. She takes joy in seeing her work affect others positively, but holds on to creating art that comes from within.  There are musicians, and there are musical artists; it was an honor to host this example of the latter category in our black box.

Photos and a podcast with sound clips are posted on the AVT blog.

And don’t worry, I totally got some studying in as well.

Posted in introspection, music.


The Interrogation of Nathan Hale

Antelope Valley Thespians‘ production of THE INTERROGATION OF NATHAN HALE (BY CAPTAIN JOHN MONTRESOR OF HRM EXPEDITIONARY FORCES) runs September 17-24, Fri/Sat 8pm, Sun 2pm, in Quartz Hill, California.  Listen to a podcast interview with actor Kevin J. Hogan, or visit www.avthespians.org for more information.

It is the morning of September 22, 1776. Nathan Hale is waiting to be hanged as a spy. A British captain, John Montresor, invites him into the captain’s tent.   What is freedom? What is courage? What is the value of a life? Touching on lofty themes through a startlingly raw portrayal of these historical figures, this is a play that seeks to understand the values of our nation using both points of view -that of cynic and idealist – to try to understand who we are.

From the Producing Director:

The stories of our country’s founding often cross into the realm of legend.  Our favorite heroes of the American Revolution are idealized, made artificially pure; and the ugliness that accompanies war is easily washed clean by nostalgic patriotism. This play is, by design, a rude awakening. But through the grit, I have found a deeper and more solemn respect for the Freedom we are quite apt to take for granted in our modern lives.

The many-layered character of Captain Montresor is very much a dramatization of history; in his notes, the writer offhandedly apologizes for such a dark portrait. In this way, however, Montresor serves to represent in my mind something much broader than simply a British captain — he is Cynicism, the realist and ever-present counterpoint to those who would view the world positively.

In Nathan Hale we find that Optimism — the tireless, idealistic, and, we must admit, somewhat naïve view of the world which our history textbooks teach us is the truth of our founding. Yet despite Hale’s ingenuousness, his character is an eloquent statement that what America represents is in many ways more important than what it is at any given point in time.

It has been a pleasure to work with Kevin and Marcus on these potent characters. I am also very proud of my first-time stage manager Juliana, and wish to extend my thanks to AVT’s new Artistic Director, Kara, as well as the entire technical team for their tremendous effort and dedication to a wonderful final product.

~N.R.

Posted in theatre.


South-Asian / American

[A dusty desert dive bar in the Antelope Valley. A clean-shaven  South Asian gentleman enters wearing a collared shirt and jeans.  He nods, cocksure, to the bartendress, who recognizes him and smiles. He takes a seat at a dark corner table, gestures to order a glass of merlot, and begins to read his Nook by the light of a neon Coors Light sign.  After some time, a large, tattooed man with an eagle emblazoned on his cap approaches with his bottle of beer and another glass of wine.]

AMERICAN:  Howdy.

[The South Asian gentleman looks up, oblivious to the man's approach.  Assessing the other's demeanor and moderate inebriation, and further recognizing that he is quite literally in a corner, the South Asian switches to his default defensive mode - completely frank, yet artificially composed and forcing a calm eloquence. What will happen, will happen - might as well face it, internally nervous as one may be.]

SOUTH ASIAN:  Sir.

AMERICAN – Well I got you this. Corinne — (he gestures to the bartendress, who flashes an apologetic look)– said  this was what you was drinking.

SOUTH ASIAN:  Well thank you.

AMERICAN:  I’ve got a question for you.

SOUTH ASIAN:  [nods at the second, brimming glass of merlot] You’ve earned the right to ask it.

AMERICAN:  Well, I see you here. You know, walk in all quiet-like, sitting by yourself.  And, you know, let me just say up front, I’m an ultra-conservative, so let me just get that out there.

SOUTH ASIAN:  I see.

AMERICAN:  There’s people around, you know. That I’ve seen and met.  And, you know, I don’t want to offend you or nothing, so, tell me when to leave, I swear, I’ll leave you alone.  But you know, here we have all this terrorism.  And I’m curious. So, some people would say, here’s a guy who fits a certain profile. And they look at you. And I’m wondering, do you notice that?

SOUTH ASIAN:  (swirls his glass thoughtfully, nervously) Sometimes.  I grew up in Idaho.

AMERICAN:  Born there?

SOUTH ASIAN:  Raised. I was born in Seattle.  (pause) This is my country, I have never lived anywhere else.

AMERICAN: (chuckles) No man, you don’t have to justify anything to me. I’m just curious, thats all.

[The bartendress comes over.]

BARTENDRESS:  Norm, please.  He’s got his glass of wine, he’s reading. You shouldn’t bother him.  Your wife is waiting at home, now come on, finish up and get home.

AMERICAN:  She’s OK. Hey, I’m being polite. Sir, am I being polite?  Corinne, I’m having a conversation. Now let me have my conversation.

SOUTH ASIAN:  I’m fine. It’s fine. He has been OK by me so far.

[With a significant look, the bartendress returns to her other duties.]

AMERICAN:  So, I just wanted to know, have you felt that?

SOUTH ASIAN:  Felt what?

AMERICAN:  That everyone’s watching you.  You know, I’ve seen it, I know it happens.

SOUTH ASIAN:  Well, now? Certainly. And like I said, I grew up in Idaho.

AMERICAN:  You think it’s unfair? And man, just tell me to shut up, I’ll leave. I’m not trying to cause trouble.

SOUTH ASIAN:  Well.  I’ve never been the subject of malicious racism. Ever.  But I’ve been there where people just don’t understand.  They are hurtful, but not intentionally so.  They just don’t understand.

AMERICAN:  Like how?

SOUTH ASIAN:  Well… like growing up in a rural state.  No brown people there, right?  (chuckles nervously) Like after 9/11. I think I was “randomly searched” about 10 times in a row.  It became a joke to me, I would already have my shoes off, luggage open when they called me, and I’d step forward like I was expecting it, which I was. Got some red faces, made it worth it.  Might as well find a laugh.

AMERICAN:  Well, you know, you’ve got the look.

[A beat.]

SOUTH ASIAN:  I can’t argue with that.

AMERICAN:   I’m a Marine.

SOUTH ASIAN:  Ah. Presently?

AMERICAN:  (irritated) No.  now I’m a trucker.  But once a Marine, always a Marine,. (pointedly) You understand that?

SOUTH ASIAN: (quickly) Of course, sir. I appreciate your service.

AMERICAN:  (just as pointedly) And have you served?

SOUTH ASIAN:  I… I am not quite cut out to be a soldier, sir.  But I do work for the U.S. Government.  I am an engineer.  I… have sworn an oath, as you have.  To uphold the public interest, and research things of benefit to the nation and the world.

AMERICAN:  Hmm. Well, I appreciate your service too then.  So.  You hunt up there in Idaho?  Good hunting. that’s what my friend says.

SOUTH ASIAN:  I loved the freedom, the relaxed pace, and the presence of the outdoors, sir.  But I’m not really much of a hunter or fisher.  Raised Buddhist; not much of one for weapons. (quickly) I’m not much of one for preventing others from having weapons either, mind you.  I’m just not fond of them myself.

AMERICAN:  Yeah?  (the South Asian gulps, wondering if he spoke too frankly) Well you’re honest.  I respect that.  And you look me in the eye.  You believe that don’t you?  You really do.

SOUTH ASIAN:  Well…. yes.

AMERICAN:  Huh.  Well, I disagree.  I disagree, you hear?

SOUTH ASIAN:  Yes, sir.

AMERICAN:   But you know, that’s what America’s about, you know?  I’m a man.  You’re a man.  We look each other in the eye, and speak our minds.  And we’re here in a bar having a drink together.  That’s honesty, and damn the consequences.  That’s American.

SOUTH ASIAN:  Yes.

[Pause.]

AMERICAN:  I like that.  You know, I grew up… I grew up, back then.  And I remember my parents saying, “hey, there’s a nigger.”  That’s just what they said, you know?  I so I grew up with that.  And so, this black kid, on my block – I grew up in south L.A. – so this black kid, man, he was like my best friend.  And, just from what my parents said, I remember I said to him one day, “hey nigger.”  And he got all upset, and I remember that sinking feeling, like I did something really wrong, but I couldn’t understand.  And his parents, they come out and yell at me.  I didn’t know.  I just knew that you call black people niggers.

[The South Asian carefully swallows some wine, as if to buy time on his response.]

SOUTH ASIAN:  (carefully) You cannot be blamed for what you didn’t know.

AMERICAN:  Exactly, right?  And so, later I read up on all this.  And you know, he is one of my best friends, ok?

SOUTH ASIAN:  Of course.

AMERICAN:  I just said what I knew.

SOUTH ASIAN:  (cautiously) America… we are not perfect, but we certainly speak our minds, eh?

AMERICAN:  (laughs) Haha! Yes we do. Fuck.

SOUTH ASIAN:  We have problems, but we talk about them… we face them.  I’ve traveled, and –

AMERICAN:  Hey, I’ve traveled.  I’m a Marine.  I know.

SOUTH ASIAN:  Of course, sir.  Then you know, that other countries, even some of those that criticize us for having these racial issues, have worse issues themselves.  They just don’t face it.  They hide it.  Or pretend its something else.  Or their country is too homogenous to even have the issue come up.  I studied in France for a few months, I love France –

[The American nearly gags on his beer as he sputters all over the table.]

SOUTH ASIAN:  (quickly) — but, I also noticed they refuse to look at their own racial problems.  They don’t even keep demographics on that.  The problem doesn’t exist.  Americans take it, and face it, and at least try to improve on what was honestly a shaky idea.  ”All men are created equal.”  How long did it take to live up to that?

AMERICAN:  Yeah well.  We still ain’t.

SOUTH ASIAN:  (laughs) Ok!

AMERICAN:  Nobody’s perfect, man.  But yeah.  Strive to live up to that shit.  You think they even knew?  Those founding fathers.  What we face today, you know?

SOUTH ASIAN:  I doubt it.

AMERICAN:  Yeah.  It’s weird man.  Well. One more question, I promise.   And then I’ll leave you alone.  And you don’t have to answer this. So today, when we have a President, that… well, I’ll say it, he’s not really our President, and I’ve got proof. You know, he was actually born in… in Kenya. And so we have this situation.  When shit hits the fan… And I’m not saying it will, but if it does.  Whose side are you on?

[Pause.]

SOUTH ASIAN:  Well, like I said, I’ve sworn an oath, to the office of the President, and whoever sits in that that Office.

AMERICAN:  Yeah, but forget that.  He’s not our President.  So what’s right?  Forget about your job, man, I won’t tell nobody, hell, I don’t even know your name.  Just man to man.  Whose side are you on?

SOUTH ASIAN:  Forget about my job?  That ties into it though.  I am a citizen, this is my country.  And more, here I have sworn an oath.  That is in my personal ethics to uphold.

AMERICAN: (grudgingly) Yeah well.  I know about oaths.  I guess I have to respect that.  (long pause) You won’t answer.  OK.  You don’t have to.  More than enough from me anyways.  (pause) Thanks for putting up with me.

[He puts out his hand, which the South Asian shakes.]

SOUTH ASIAN: Sir.  Thanks for the wine.

AMERICAN: I can’t stand the shit.  This here is a cold beer.  But you’re welcome.  Hey thanks.  I enjoyed this.  I’m just honest that’s all.  Hope I didn’t scare you out of coming back here.  You try the steak?  Or you Hindu or something?

SOUTH ASIAN:  Buddhist.  And I love the steak here.

AMERICAN: Not a good Buddhist, are you?

SOUTH ASIAN:  (laughs) Fair point, sir.

AMERICAN:  Ok.  Well it’s good steak.

SOUTH ASIAN:  I know.

BARTENDRESS: (awkwardly piping up from the bar, while pretending she wasn’t listening to every word) He’s told me before it’s the best in the valley.

[The American turns slowly, as she laughs awkwardly.]

AMERICAN:  Am I closed out, honey?

BARTENDRESS: It’s on your tab, Norm.  And there’s a taxi outside.  Your wife’s waiting.

AMERICAN:  Yeah.  (glances back at the South Asian) Hey, I’ll see you later.  Thanks.

[The American exits.  The South Asian watches him go, then gestures for his check.  The bartendress walks over.]

BARTENDRESS:  I’m sorry. You ok?  He asked. I was watching the whole time, I promise.

SOUTH ASIAN:  No worries.  Not the first time.  Could I get the check?

BARTENDRESS:  I think you’re just fine.

SOUTH ASIAN:  He brought over one of those right?  Did he get both?

BARTENDRESS: I think you’re just fine.

[A beat.]

SOUTH ASIAN:  Thank you.  (he responds to her smile) Good night.

BARTENDRESS:  Good night.  And see you next time?

SOUTH ASIAN: Sure.

[The South Asian exits into the desert night.]

scene.

Posted in introspection, politics and society.

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Review of “The Wind in the Willows”

The Wind in the Willows The Wind in the Willows by Kenneth Grahame

My rating: 5 of 5 stars

I have vague memories of the animated movie; fleeting images come to mind that seem mostly centered on being frightened at the crazed look in Mr. Toad’s eyes as he wildly careens down the road reveling in his addiction, the speed of his motor-car. Yet when I came across The Wind in the Willows while browsing the Barnes and Noble Classics series on my Nook, it occurred to me with a start that I had never actually read this classic set of bedtime stories, written by Kenneth Grahame for his son. I expected a quick read that would do little more than check an as-of-yet-overlooked box.

Perhaps I simply did not understand the many-layered beauty of the story as a child, or maybe I was too frightened of Mr. Toad at whatever age it was that I saw the movie to remember anything else, or maybe the film was not really up to the task of conveying what I now find exquisite about this work of children’s literature. I suspect a combination of all three. What I can say is, that I have emerged from reading this book straight through as one wakes from a pleasant dream.

Sudden and magnificent, the sun’s broad golden disc showed itself over the horizon facing them; and the first rays, shooting across the level water-meadows, took the animals full in the eyes and dazzled them. When they were able to look once more, the Vision had vanished, and the air was full of the carol of birds that hailed the dawn [108].

Grahame uses evocative and flowing language, always centered on the natural world and the importance of its connection and rhythms. The animals’ intuitive closeness with their surroundings form the backdrop of a series of adventures by the protagonist Mole and his friends, Water Rat, Badger, and Toad. As improbable and silly as the plot turns often were, I found myself willingly suspending disbelief in exchange for the privilege of absorbing more of the beautiful expressions as fast as I could:

Their old haunts greeted them again in other raiment, as if they had slipped away and put on this pure new apparel and come quietly back, smiling as they shyly waited to see if they would be recognized again under it [105].

Interspersed with the lovely, poetic dialog of nature and animals are insightful remarks on human society and behavior. These run not only along the lines of commentary on mankind’s impermanence upon the backdrop of the world – “ ‘Who can tell?,’ said the Badger. ‘People come – they stay for a while, they flourish, they build – and they go. It is their way. But we remain.’” [73] – but also in caricature of very human types.

Mole’s naïve, wide-eyed view of the world; Water Rat’s moody, poetic musings and sharp cunning; the earthy, country simplicity of Badger’s generosity and strength; Toad’s outrageously inflated conceitedness, masking affable charm and landed refinement – in these portraits we easily find parts of ourselves, shades of others we know, and perhaps a bit of who we aspire to be. I have, I admit, perhaps a bit more of Toad in me than I’d like; but I still connected most eagerly with the Rats – both the major character of Water Rat, as well as in the following urging by a lesser character, the Sea Rat:

Take the Adventure, heed the call, now ere the irrevocable moment passes! ‘Tis but a banging of the door behind you, a blithesome step forward, and you are out of the old life and into the new! Then some day, some day long hence, jog home here if you will, when the cup has been drained and the play has been played, and sit down by your quiet river with a store of goodly memories for company [135].

There is even a gem for actors, composed as succinctly as Boleslavsky might have done in admonishing his Creature to strive for “[…:] that happy grace which is the last thing the skilled actor shall capture – the natural grace which goes with perfect unconsciousness of observation” [77].

If you did read this book as a child, I must say I envy you a bit; I would love to know how I would have perceived it had I read it without whatever present perspective I have. If you have not, please do yourself a favor and track down a copy. Even if you did read it as a child, read it again, for the sake of what insights you may have missed in your younger years.

Having now read this book and written this review all in one sitting, I am tempted to either read or write again immediately. But I think shall instead yield to Mole’s ways in this instance, pause to simply reflect on life: “[…:] and with his ear to the reed-stems he caught, at intervals, something of what the wind went whispering so constantly among them” [18].

What a marvelous book. Maybe I just read it in a good mood or read way too much into it, but I make no hesitation in giving it a full five-star rating.

View all my reviews >>

Posted in books and literature.

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