Richie Havens performed onstage at
the Woodstock Music and Arts Fair
in Bethel, New York, August 15, 1969.
Havens in Rolling Stone —
I thought, "Oh, God, they're going to kill me. I'm not going out there first. What, are you crazy?" It was about 2:30 or 3 p.m. on Friday afternoon, and the concert was already almost three hours late. I was supposed to be fifth on the bill, but the other entertainers were still at the hotel, seven miles away. I thought, "Jeez, they're gonna throw beer cans at me because the concert's late." So I did a little fast talking, a little rap, and then I did a nearly three-hour set, until some of the others finally showed up. My bass player, Eric Oxendine, had gotten caught in the traffic on the New York State Thruway. He abandoned his car 30 miles away and walked, and he arrived just as we got offstage. When we left the festival, there wasn't another car on the thruway except ours. For 75 miles cars were parked five deep. That was the most surrealistic thing I've ever seen in my life. My fondest memory was realizing that I was seeing something I never thought I'd ever see in my lifetime — an assemblage of such numbers of people who had the same spirit and consciousness. And believe me, you wouldn't want to be in a place with that many people if they weren't like-minded! It was the first expression of the first global-minded generation born on the planet. Live Aid was a baby Woodstock, a child of Woodstock, which I call Globalstock. The history of the be-in is interesting. Originally it wasn't just about music. It was: "Let's go out to the park and throw Frisbees and be with each other." It went from that to the Monterey Pop Festival, which was a nonprofit concert in 1967, and from that came the hint: "Let's try to do one of these things, but let's try to make some money." That's where their heads were at, but that didn't happen. It turned into the world's largest be-in, which I call the Cosmic Accident. It was totally unexpected. The organizers thought that if it were like Monterey Pop — which drew 50 to 60,000 people — they'd make off like bandits. However, there were about 400,000 people the first afternoon, and it was free before it started. The only people who made off like bandits was Warner Bros., who got the movie rights. So the merits of Woodstock being love, peace, and harmony still stand on pillars of "Let's make money." That's what it was in the beginning. The consciousness was realized afterward. The movie chronicled that consciousness. It didn't make a big deal out of the music. You saw some of the musicians playing a song or two, but it was less than half the musicians who performed. So it wasn't a true depiction of what happened onstage, but you did see members of the older generation, like the police chief, saying, "Leave the kids alone, the kids are great, they're not bothering anybody." That was much more influential than the music on the people who went to see it. Woodstock wasn't just sex, drugs and rock & roll. Thank God for the movie, because the people who saw it got a touch of the Woodstock spirit, the spirit of people just being people.
A version of this story was originally published in the August 24th, 1989 print edition of Rolling Stone.
Those less than thrilled by Qualley's highly energetic,
but very unclassical, dance may review the Log24 post Raiders of the Lost Images (Feb. 27, 2018).
“We have to restore the role of reason and logic and rational debate,”
Gore said. “Every night on the news is like a nature hike through the
Book of Revelation.” — Harvard Gazette reporting Class Day 2019
"Cinderella's turnin' up with Snow White
It's where the wild things are
It's where the wild things are (Ooh-ooh-ooh-ooh, woo)
It's where my heart's gon' start (Ooh, ooh-ooh)
It's where the wild things are (Ooh) Put your fucking glasses up (Ooh-woo)"
Wer liest, lebt doppelt Arbeiten mit Ganzschriften im Religionsunterricht
Meist werden Text (auszüge) im RU eingesetzt.
Dabei hat das Erschließen von 'Ganzschriften'
einen besonderen Reiz….
Who reads, lives twice Working with full scripts in religious education
Most of the time, text (excerpts) are used in RU.
The opening up of 'whole scripts' has
a special charm….
"At age eighteen, Ensslin spent a year in the United States,
where she attended high school in Warren, Pennsylvania.
She graduated in the Honor Group at Warren High School
in 1959." — Wikipedia
"Of course, presentation of the effect in the cause
is exactly what blending the Buddhist Monk's
two journeys provides. The cause is the dynamics
of the two input journeys; the effect is the existence
of a location on the path they occupy at the same time
of day. In the blend, the location and the encounter are
presented directly as part of the causal dynamics of motion."
— Page 78 in The Way We Think: Conceptual Blending ,
by Fauconnier and Turner, Basic Books, 2002.
The Source —
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“Art is another way to try to exercise your imagination
at connecting incongruous things,” Anthony Doerr said.
“It’s a way to say, hey, reader, let’s work together and
practice and train our imagination to connect things
that you don’t readily think of as connected.”
Comments Off on Adventures in Mix-and-Match Reality . . .
"When we say a thing is unreal, we mean it is too real,
a phenomenon so unaccountable and yet so bound to
the power of objective fact that we can’t tilt it to the slant
of our perceptions." — DeLillo, 2001
O Merlin in your crystal cave
Deep in the diamond of the day,
Will there ever be a singer
Whose music will smooth away
The furrow drawn by Adam's finger
Across the memory and the wave?
Or a runner who'll outrun
Man's long shadow driving on,
Break through the gate of memory
And hang the apple on the tree?
Will your magic ever show
The sleeping bride shut in her bower,
The day wreathed in its mound of snow
and Time locked in his tower?
Q — "Did you ever practice a religion?" A — "I’m mixed heritage. I was bar mitzvah-ed.
My mother’s side of family is Protestant. I was
rejected as a witness at a wedding of one of
Benny Goodman's cousins because I wasn't Jewish
because of my mother. I'm still mad about that.
If you really go back, my mother’s father was
a church organist."
"Over the years, she’s had key roles on
'Mad Men,' 'Rectify,' 'True Blood' and 'Timeless.'
Spencer is repped by Untitled Entertainment
and United Talent." — Kate Aurthur in Variety ,
Sept. 7, 2021, 11:15 am PT.
"What modern painters are trying to do,
if they only knew it, is paint invariants."
— James J. Gibson in Leonardo
(Vol. 11, pp. 227-235.
Pergamon Press Ltd., 1978)
An example of invariant structure:
The three line diagrams above result from the three partitions, into pairs of 2-element sets, of the 4-element set from which the entries of the bottom colored figure are drawn. Taken as a set, these three line diagrams describe the structure of the bottom colored figure. After coordinatizing the figure in a suitable manner, we find that this set of three line diagrams is invariant under the group of 16 binary translations acting on the colored figure.
A more remarkable invariance — that of symmetry itself — is observed if we arbitrarily and repeatedly permute rows and/or columns and/or 2×2 quadrants of the colored figure above. Each resulting figure has some ordinary or color-interchange symmetry.
This sort of mathematics illustrates the invisible "form" or "idea" behind the visible two-color pattern. Hence it exemplifies, in a way, the conflict described by Plato between those who say that "real existence belongs only to that which can be handled" and those who say that "true reality consists in certain intelligible and bodiless forms."
"Eight miles from charred front lines of the fire, a cluster
of Vegas-style hotels on the California-Nevada border
has morphed into a base camp for emergency workers."
A Letterman introduction for Plato's Academy Awards:
"Cunning, Anna. Anna, Cunning." (Rimshot.)
But seriously . . .
"This work [of Wierzbicka and colleagues] has led to
a set of highly concrete proposals about a hypothesized
irreducible core of all human languages. This universal core
is believed to have a fully ‘language-like’ character in the sense
that it consists of a lexicon of semantic primitives together with
a syntax governing how the primitives can be combined
(Goddard, 1998)." — Wikipedia, Semantic Primes
Goddard C. (1998) — Bad arguments against semantic primitives. Theoretical Linguistics 24:129-156.
“Once Knecht confessed to his teacher that he wished to
learn enough to be able to incorporate the system of the I Ching into the Glass Bead Game. Elder Brother laughed.
‘Go ahead and try’, he exclaimed. ‘You’ll see how it turns out.
Anyone can create a pretty little bamboo garden in the world.
But I doubt the gardener would succeed in incorporating
the world in his bamboo grove’ ” (P. 139).
— Hermann Hesse, The Glass Bead Game (Magister Ludi) .
Translated by Richard and Clara Winston ( London, Vintage, 2000).
Comments Off on “The Home Cube, Where the Couple Reside”
" The lawsuit was dismissed in a 4-3 decision
by the New York State Supreme Court.
Justice Edward Greenfield stated that
the pictures were 'not erotic or pornographic'
except to 'possibly perverse minds….' "
"… flights of rhetoric were a hallmark of the thousands
of opinions Justice Greenfield crafted during his three
decades on the trial bench. He died on Aug. 26 at his home
in Manhattan, his son Mark said. He was 98."
— Katharine Q. Seelye of The New York Times online today
"The number 9, that is to say, relates traditionally
to the Great Goddess of Many Names (Devi,
Inanna, Ishtar, Astarte, Artemis, Venus, etc.)
as matrix of the cosmic process, whether in the
macrocosm or in a microcosmic field of manifestation."
" In 2017, Milioti appeared in the fourth season of
the sci-fi anthology show Black Mirror in the episode
"USS Callister" as Nanette Cole, a newly employed
game developer whose digital recreation becomes
trapped in a virtual simulator game.[16]"
Wikipedia — "For the 72nd Primetime Emmy Awards,
Damon Lindelof and Cord Jefferson won the award
for Outstanding Writing for a Limited Series, Movie,
or Dramatic Special for this episode."
"What if Shakespeare had been born in Teaneck, N.J., in 1973?
He would call himself Spear Daddy. His rap would exhibit a profound,
nuanced understanding of the frailty of the human condition, exploring
the personality in all its bewildering complexity: pretension, pride,
vulnerability, emotional treachery, as well as the enduring triumph of love.
Spear Daddy would disappear from the charts in about six weeks."
An image from Bedrock, a post on May 19, 2011, "Hilary Knight Day" —
Fact check —
Related entertainment —
“There are dark comedies. There are screwball comedies.
But there aren’t many dark screwball comedies.
And if Nora Ephron’s Lucky Numbers is any indication,
there’s a good reason for that.”
— Todd Anthony, South Florida Sun-Sentinel
Throughout Schwartz's poetry a question of belief is central. He thought we could not live without an interpretation of the whole of life, and that modern social orders were inevitably deficient in satisfying this need. He wrote studies and poetry explicitly concerned with the decline of Christian belief and the impossibility of any belief whatsoever. He read Rimbaud's ''Season in Hell,'' Valery's ''Cimetiere Marin,'' Arnold's ''Dover Beach,'' Hardy's ''Oxen,'' Stevens' ''Sunday Morning'' as poems forged in just such a dilemma. His own preferred poem, ''Starlight Like Intuition Pierced the Twelve,'' continued this argument.
See also Log24 posts tagged Central Myth, and the following image:
"Something invisible and pernicious seems to be preventing
even good literary men from either reaching for books with
women’s names on the spines, or from summoning women’s
books to mind when asked to list their influences. I wonder
what such a thing could possibly be."
"It seems no coincidence that all of these titles
are written by women, for a primary angle of Gunpowder Milkshake is one that tries its best
to promote 'feminism'… in a Quentin Tarantino
sort of way."
There are geometries in which lengths are not invariant
because they are not relevant — for instance, projective
geometry, finite geometry, and of course finite projective
geometry.
"I am not a scholar. I am not in the least an intellectual, which is not to say that when I hear the word 'intellectual' I reach for my gun, but only to say that I do not think in abstracts. During the years when I was an undergraduate at Berkeley I tried, with a kind of hopeless late-adolescent energy, to buy some temporary visa into the world of ideas, to forge for myself a mind that could deal with the abstract.
All I knew then was what I wasn’t, and it took me some years to discover what I was.
In short I tried to think. I failed. My attention veered inexorably back to the specific, to the tangible, to what was generally considered, by everyone I knew then and for that matter have known since, the peripheral. I would try to contemplate the Hegelian dialectic and would find myself concentrating instead on a flowering pear tree outside my window and the particular way the petals fell on my floor. I would try to read linguistic theory and would find myself wondering instead if the lights were on in the Bevatron up the hill. When I say that I was wondering if the lights were on in the Bevatron you might immediately suspect, if you deal in ideas at all, that I was registering the Bevatron as a political symbol, thinking in shorthand about the military-industrial complex and its role in the university community, but you would be wrong. I was only wondering if the lights were on in the Bevatron, and how they looked. A physical fact.
I had trouble graduating from Berkeley, not because of this inability to deal with ideas—I was majoring in English, and I could locate the house-and-garden imagery in The Portrait of a Lady as well as the next person, 'imagery' being by definition the kind of specific that got my attention—but simply because I had neglected to take a course in Milton. For reasons which now sound baroque I needed a degree by the end of that summer, and the English department finally agreed, if I would come down from Sacramento every Friday and talk about the cosmology of Paradise Lost , to certify me proficient in Milton. I did this. Some Fridays I took the Greyhound bus, other Fridays I caught the Southern Pacific’s City of San Francisco on the last leg of its transcontinental trip. I can no longer tell you whether Milton put the sun or the earth at the center of his universe in Paradise Lost , the central question of at least one century and a topic about which I wrote ten thousand words that summer, but I can still recall the exact rancidity of the butter in the City of San Francisco’s dining car, and the way the tinted windows on the Greyhound bus cast the oil refineries around Carquinez Strait into a grayed and obscurely sinister light. In short my attention was always on the periphery, on what I could see and taste and touch, on the butter, and the Greyhound bus. During those years I was traveling on what I knew to be a very shaky passport, forged papers: I knew that I was no legitimate resident in any world of ideas. I knew I couldn’t think. All I knew then was what I couldn’t do. All I knew then was what I wasn’t, and it took me some years to discover what I was."
"I knew that I was no legitimate resident in any world of ideas."
— Joan Didion, December 5, 1976
"In the 1988 interview with Scripps Howard, Mr. Poynter mused
about the device he wanted to invent for his own tombstone.
'When you walked up to it,' he said, 'you’d activate
an electronic voice. And it would say, "Come on down."’”
