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October 5, 2010 at 2:07 AM
Shanna Gutierrez recently had the opportunity to interview Norman Carol, the concertmaster of the Philadelphia Orchestra from 1966-1994. Mr. Carol performed under several conductors including Eugene Ormandy and Riccardo Muti. Prior to Philadelphia, Mr. Carol was a member of the Boston Symphony Orchestra and the Minneapolis Symphony. Mr. Carol is currently on the faculty of the Curtis Institute of Music where he teaches Orchestral Repertoire.
Shanna conducted the interview on behalf of Ovation Press, a music publisher for which Mr. Carol has edited eight full-length orchestral parts for violin. Ovation Press offers string musicians an unparalleled resource for fully-edited orchestral parts, unique transcriptions, exclusive historical editions and more, all available to purchase at its online store and print at home. We discussed his view on the role of the concertmaster, his advice for new members of an orchestra, his current career as a teacher and highlights of his time with the Philadelphia Orchestra.
Shanna Gutierrez: How did you come to the violin?
Norman Carol: My older sister played violin, and in those early days there was no such thing as a babysitter, so my mother used to take me along to the lessons. My sister's violin teachers saw another 'victim' in me, thus I played the violin.
SG: Were your parents involved in your musical education?
NC: They were very much involved. There are some musicians far back in the family, but as far as my father and mother, they were not musicians. Although my father didn't play nor read music, his whole life, his whole life was centered around music. He went to all kinds of concerts, and eventually he took my sister and me to concerts. Music was a very, very important part of his life.
SG: How did your musical career begin?
NC: I started playing at the age of nine although I don't remember much of it. I did quite a bit of solo playing. I guess everybody has aspirations of a solo career, and I did for a while. However, I soon got married and found out that, if you want to eat and do other things in life, solo careers aren't always as wonderful as they look. Thus, I decided to audition into an orchestra and become concertmaster.
SG: What are some important responsibilities of being a concertmaster of an orchestra?
NC: There are so many important aspects to the concertmaster position in the orchestra. I think what is very important is to make sure the bowings you choose are something everybody in the section can play. It doesn't do very much good if only the concertmaster and a few other musicians can play the parts, unless everybody in the section is able to do it. I know in my case I happened to get "struck by lightning" on five different occasions when either a soloist was not able to play or something happened in their family which caused him or her not to play. I was asked to fill in; one time with just a few hours notice. That's part of the excitement of that particular position. In general, I also think the concertmaster has to establish a certain musical regimen in the orchestra which even goes beyond the conductor or the music director of the orchestra.
SG: How does a concertmaster establish a regimen in an orchestra?
NC: It is done mainly by how you yourself perform. I don't happen to believe that you actually have to turn around or get up and make a speech to the rest of the section or to the orchestra. I think that leading by example works a lot better--at least I always thought it did. In a major orchestra, as in my case the Philadelphia Orchestra, I think the standard of playing is so high that there is really very little you have to say or do. Occasionally you may want to demonstrate where on the bow something should be played when you see it is not being played correctly. In that circumstance, you do not even need to turn around, just lift your violin rather high and people catch on fairly quickly.
SG: Why are excellent bowings so important?
NC: I think bowings not only help phrasing in a particular piece but they also help the sound of the music. In the case of Brahms or Wagner, where there are huge phrase marks which would be impossible to play with just one bow for phrases that long, it is important to bring out the phrase and quality of the phrase. It is the concertmaster's responsibility to divide up bowings so that the phrase remains intact, but you're able to express it better by using different bowings. Of course, every concertmaster has his/her own ideas of what the bowings should be, and each one is right and each one is wrong.
SG: Did you have a special ritual or warm-up routine before concerts? Did it change over the years?
NC: I've been retired for a while but I do remember a certain routine I had. Unlike many of today's young musicians in the orchestra, I always believed in getting to a concert at least an hour before the performance. Not only to give myself a chance to warm up but just in case anything dramatic was about to happen like someone was sick or couldn't show up for a performance and I had to make adjustments and so forth. I also have my own routine about playing scales and all that sort of thing which I usually do at home before I even go to a concert. It's a routine I started when I was very young and I still do today even when I pick up the violin for the first time during the day. It is really too involved to go through here but it has to do with playing scales and listening to the sound, etc.
SG: What do you feel conductors and orchestras can learn from each other?
NC: I think that if musicians are willing to approach every conductor with an open mind, you can learn quite a bit from them, no matter what their caliber; over a long career, I've played under many very, very good and very, very bad ones. I think, in the case of conductors, if they are really smart themselves they can learn an awful lot from the orchestra too. Especially young conductors who come through and conduct in front of a major orchestra for the first time. They are astounded at the quality of sound that comes out, and some conductors are even smart enough to mention that. Generally speaking, I think it's a give and take. I think it's a matter of courtesy on the part of the musicians and conductor. As far as the conductor is concerned, most good conductors learn rather quickly that they don't have to talk to an orchestra as much as some of them do. How conductors demonstrate with their hands and body movement is certainly enough for a good orchestra.
SG: Can you speak about highlights in your experience with Ormandy and Muti in particular?
NC: There is a series of what we call "Ormandy-isms" that have made the rounds over the years. He very innocently came up with some rather strange and very funny remarks from time to time like: "who's sitting on that empty chair?" Over the years we've collected these things, however, one of Ormandy's really outstanding skills was his ability to accompany a soloist, whether the soloist was standing in front or sitting within the orchestra. For instance, in my own experience, during all the numerous times we played Ein Heldenleben or other works with huge concertmaster solos, Ormandy was always willing to adjust if I played a little differently one night. Occasionally if a player did something a little tricky, he would even turn around and give you one of his "you thought you could fool me?" stares, but he was always, always there with you. In the case of Muti, I really don't know of any other conductor from whom I learned more (and this was at a later stage in my career). Not only about music but philosophy, history, politics, you name it. He was quite an inspiration on almost every level; musically because we were able to do a number of concert opera performances with him and he truly understood the meaning of opera, especially Verdi, Puccini, the Italian repertoire. He was quite astounding in his knowledge and how he made even the orchestra rehearsals for opera extremely interesting.
SG: What do you think have been the biggest changes in orchestras over the years?
NC: There is a much greater knowledge of the repertoire today. Young people just generally receive a better and more thorough orchestral experience while they attend school. For example, I teach at the Curtis Institute of Music and not only do we have an orchestra, but also orchestral repertoire classes for strings and woodwind and brass. Usually these are directed by either the concertmaster of the orchestra, in my case it was me, or the leading wind player. Students have a chance to play through orchestral repertoire and study carefully with someone who has been there and played through these pieces a million times. A lot of people who come and audition for orchestral openings are extremely well prepared simply because they were fortunate enough to have thorough instruction and advice. I often say to young string players who are working on a particular piece that they'd better know this or that specific passage inside and out because this could well be the difference between earning a living or not. When I was younger, it was during the war years and for a time we didn't even have an orchestra because many people were away. I speak for my own background here, but I don't think too many people at that time were fortunate enough to have studied orchestral repertoire and some of the solos that have to be played like Ein Heldenleben, Scheherazade, Le Bourgeois Gentilhomme, etc. When I teach today I insist that my students learn the orchestral solo repertoire along with the regular repertoire of concerti and sonatas, etc. Not only is it a matter of learning something that is extremely difficult, and in a number of cases even more difficult than any concerto, but it is learning something musically interesting as well.
SG: How does someone prepare to become concertmaster?
NC: Most of the time it just happens. You hear of an opening and take the audition. I was lucky enough to have had 3 years as a member of the Boston Symphony way, way back before doing some solo work. When I heard about an opening as a concertmaster I took the audition. I think it was, as far as I'm concerned, the smartest thing I ever did because I not only was able to make a very decent living at it but musically I had all kinds of challenges, not only performing but leading various people and getting involved with the audition process.
SG: Does experience as a member of the section benefit a future concertmaster?
NC: I think it probably helps but there are some young people who really have their heart set on being concertmaster right away. Some of them are fortunate enough to go right from school into a smaller orchestra as concertmaster. I know of several students from Curtis who only played in an orchestra at school and then wound up as concertmaster of an orchestra.
SG: For young musicians joining a major orchestra for the first time, what do they need to know?
NC: You need three sets of eyes: 1) you have to always watch the conductor, 2) you need another set of eyes to look at the music, 3) maybe the most important thing, you need a third set of eyes to watch the leader of the section. If you're in the violin section watch what the concertmaster is doing. I think it's extremely important to be able to play in the same part of the bow in which you see the concertmaster or section principle playing. This is extremely important not only for a successful career but also in order to learn how and where you should be playing the music. If possible, you can even have a fourth set of eyes to observe what kind of fingerings the concertmaster is using. Although it is not always physically possible, it helps if you can do it.
SG: What does the first-time concertmaster need to know in order to fulfill that position's responsibilities?
NC: First of all, I would say know the part cold before you even come to the first rehearsal. I don't think there is anything more demoralizing to a section if they see that the concertmaster is not quite up to snuff as far as the part is concerned. I would also think that, somewhere along the line, you present some ideas as far as bowings are concerned even if that means asking another concertmaster for advice. I hate to use the term "listening to recordings" but for young people today that seems to be their modis operandi--listening to recordings. Just generally, use your musical instincts to play something correctly. However, above all else, the most important thing is preparedness: to be ready and just be so knowledgeable about the music and what is in the part. Another thing you have to learn, depending on the standard of the orchestra, is to communicate with the musicians in the orchestra and to be able to understand as quickly as possible what the conductor wants out of the music.
SG: Which of your own teachers had an especially large impact on you as a musician?
NC: I had two teachers that had an enormous impact, neither of whom were violinists. One was William Primrose probably the greatest violist that ever lived, although he started out as a violinist. I had Primrose for chamber music when I was a student at Curtis, and I learned more from him than any other person. The other teacher that had an enormous influence on me was Marcel Tabuteau, principle oboe of the Philadelphia Orchestra. Tabuteau taught our string class at Curtis and by his own admission he knew nothing about the technical details of how strings play, but what he knew about music and phrasing was unbelievable. He was quite a character. We had the fear of God in us when we walked into his classes. As a young student at Curtis, and I was very young when I attended Curtis, just walking down the street, if Tabuteau happened to be on the other side of the street, for us it was like seeing God walk there. What an impact he had on us! The ironic thing is that we used to have those classes on Wednesday from 4:30 to 6:30 and for about maybe 35 years or so now I have had that same class. When I walk up the steps at Curtis I always get a chill, not believing that 35 years later, here I am doing the same thing Tabuteau did when I was a student.
SG: How has teaching impacted your career?
NC: Maybe most people won't admit this, but I think teaching becomes a very selfish thing. I know when I first started teaching and needed to suggest something to the student, all of a sudden I would have to think: how do you do this, or why do you do this, and so forth. Then over the years you just learn to explain all of these things. This is why I've always believed that it becomes a very selfish commodity, because from teaching you learn so much yourself. Another crucial point to remember is no matter what the level of the student is, it is very important that the teacher approach the student with a great amount of courtesy. I think we forget perhaps some of the frustrations we had as young people trying to learn these stupid instruments we play, and this young person is going through the same things themselves. I think patience is very important with students, although I must admit I lose mine at times.
SG: What career advice do you give to students?
NC: I seem to repeat the same little speech to my students every year: "Every one of you here expects to have an unbelievable solo career. You're gonna be the greatest violinist, violist, cellist, bassist in the world, but just in case that doesn't happen, you are probably going to form one of the greatest string quartets in the history of music making and you're going to have a fantastic career. Well, in case that doesn't happen, there's always the orchestra.
SG: Is chamber music experience important for orchestral musicians?
NC: I believe it's the most important form of music they can play, because playing chamber music as a young student is really the precursor to playing a larger chamber piece like an orchestral work. It not only teaches you how to phrase but also how to analyze the music and accept suggestions and criticism from your colleagues. For people who play in an orchestra, I think perhaps it becomes frustrating that they don't have enough time to play chamber music. I was very fortunate in being exposed to chamber music at a very early age; we go back to Primrose for that. I was always able to find time to learn and perform chamber music. As a matter of fact, when I finally did retire from the orchestra, I played in the Philadelphia Piano Quartet. A former colleague of mine in the Philadelphia Orchestra left the orchestra a number of years before I did and he decided to go to Florida to retire. He had this idea of inviting me down for a concert to see how it went and his wife was the pianist and we had a very fine violist. As a matter of fact, the violist's name was LaMar Alsop, father of Marin Alsop the conductor. And that's how it started. I went down just to play one concert. We hit it off and decided to put on a monthly series which lasted for about 11 years.
SG: What did you enjoy most about playing with this group?
NC: The four of us got along extremely well. We had a lot of fun together and we really enjoyed the repertoire that we were playing. It was not only a piano quartet but many times we had a soloist with the group. Doriot Anthony came down to play with us a couple of times, and Dale Clevenger, from the Chicago Symphony. We were able to expand to quintets and sextets and so forth. Occasionally we all did some solos on the chamber concert program. It was really a potpourri of music and very enjoyable. A lot of fun. We didn't have a conductor to bother us either.
SG: Can you share a couple of the most memorable moments from your orchestral career?
NC: There have been so many experiences! Although I never really enjoyed touring that much, we had some wonderfully glorious moments. I remember the first time Muti took us to Naples, Italy to play. Naples was his home town, and on the very first time he came walking out on the stage, they wouldn't let him start the program. The applause and the insanity was just unbelievable. Every time it calmed down, somebody would say something causing another eruption. That was wonderful. We had to go on for maybe 8 or 10 minutes before we were able to play the first note. I've met a lot of interesting people on tour. I met Madam Mao on my first to China, and on two different occasions. If you know a little about Chinese history, the first time the Philadelphia Orchestra was in China was in 1973. We were the first Western orchestra to go. It was just at the end of the Cultural Revolution and people were really starving for classical music at that time. On that tour we were not allowed to play certain composers such as Tchaikovsky. We went again in 1993 exactly 20 years later. Things had changed so dramatically in China. We went from seeing no automobiles on the street to streets having traffic jams with automobiles.
SG: What was one of the funniest moments playing in the orchestra?
NC: This is a true story. We were playing a summer concert up in Saratoga Springs where the orchestra was in residence for three or four weeks. In the middle of the performance we suddenly heard what we first thought was a gunshot sound. Those of us who were string players knew better. The strings are held on top of the bridge by a piece of gut that stretches very, very tightly on the back of the violin. And occasionally from age or wear and tear, this thing snaps, makes a huge noise, everything, everything falls apart. The strings are relaxed, the bridge falls, you can't play. The gentleman whose violin this was just sat there with the violin on his lap. Ormandy continued to conduct and then he leans over to this man and said, "Don't play."
A very insightful interview. Thank you for sharing this one!
Thanks! Very interesting!
he has twin grandsons whom i went to highschool with!
how interesting
An enlightening interview with a great master. Thank you Michael for sharing !
I flew thePhiladelphia Orchestra a few times. they were very gregarious. Some member(s)of the orchestra also was fond of snakes. I'll shut up here before I get or get someone in hot water. LOL. Remember "Snakes on a Plane?" No harm done and it was sort of funny.
I need to get all my students to read this interview! Heavens, it covers so much, so well, in a relatively small space (and quite clearly).
His incredible lack of ego is amazing....especially when you consider his role in the making of about 500 definitive recordings of the world's greatest orchestral literature !
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NEW YORK – Rihanna, Amal Clooney and Donatella Versace will join Vogue editor Anna Wintour in chairing next year's star-studded Met Gala, which will take on a religious theme: "Fashion and the Catholic Imagination."
The Costume Institute at the Metropolitan Museum of Art announced the news on Wednesday, explaining that the annual spring exhibit and the May 7 gala launching it will examine "fashion's ongoing engagement with the devotional practices and traditions of Catholicism," combining works of fashion with works of religious art, including approximately 50 ecclesiastical masterworks on loan from the Sistine Chapel sacristy at the Vatican.
Those items, which will be on view in the Anna Wintour Costume Center galleries, will include papal vestments and accessories, such as rings and tiaras, from the 18th to the early 21st century, the museum said. The items encompass more than 15 papacies.
"Fashion and religion have long been intertwined, mutually inspiring and informing one another," Andrew Bolton, head curator of the institute, said in a statement. "Although this relationship has been complex and sometimes contested, it has produced some of the most inventive and innovative creations in the history of fashion."
The 150 fashion ensembles will come from a slew of designers, including Cristobal Balenciaga, Coco Chanel, John Galliano, Karl Lagerfeld, Givenchy, Christian Lacroix, Thierry Mugler, Raf Simons, Thom Browne and Gianni and Donatella Versace, among many others.
The exhibition, which will run May 10 through Oct. 8, is a collaboration between the Costume Institute and the Department of Medieval Art and The Cloisters.


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Cooking is a messy task, but it is easily controlled with quick daily cleanups. Grease is one of the major culprits behind the grime that accumulates on cooktops. But we'll show you how to tackle grease and other culprits that mess up your cooktop.
Ceramic Cooktops
The ceramic cooktop is a glass cooktop with electric heating elements under the glass. While smooth tops may appear to be easy to clean, special care must be taken to avoid damaging or discoloring the ceramic surface.
The best way to clean a ceramic cooktop is to sprinkle a nonabrasive cleanser or baking soda over the surface and rub with a synthetic scouring pad or sponge. Rinse well with clear water, and buff with a soft cloth for a clean finish. Here are a few other handy suggestions:
- Wait until the top cools to wipe up spills. Never use a wet sponge or cloth on a hot panel.
- Don't set soiled pots or pans on the surface; they can mar it permanently.
- Abrasive cleaning products will scratch the surface, discoloring it and making it difficult to keep clean.


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Quick Look: Sidi Diablo GTX shoes offer serious winter protection and precise fit
Diablo GTX winter shoes offer performance fit, with enough room for thicker socks
Heading out the door? Read this article on the new Outside+ app available now on iOS devices for members! Download the app.
The lowdown: Serious winter riding boots with a competitive edge
Pros: Lightweight, waterproof, roomy enough for thick socks while still fitting precisely
Cons: The heel doesn't fit very tightly and slips when running
Ordinary mountain bike shoes just don't cut it for extreme cold. Thick socks make a performance fit too tight, preventing feet from receiving enough circulation; shoe covers reduce traction when walking or running.
Sidi's Diablo GTX winter shoes are a no-frills, winter-specific boot that have a performance fit and feel, and should be able to keep the elements out on nasty days.
From afar, the Diablo GTX looks superficially like Sidi's Duran mountain bike shoe, which features three velcro straps. The Diablo has a fourth, stretchy velcro strap well above the ankle that seals the top of the neoprene enclosure. For improved protection from the elements, Sidi recommends rain pants or tights outside of the boot.
Plenty of companies have a winter boot offering, and they each take different approaches to weatherproofing. 45North's Wolvhammer is modeled after mountaineering boots and uses everything from natural rubber to a Cordura outer. Another heavy-duty winter boot, the Lake MXZ302, uses neoprene and leather. A four-layer upper on the Diablo GTX is Sidi's solution to balancing breathability, insulation and protection from the elements. Most importantly, the shoe has a seamless Gore-Tex booty and an integrated tongue that prevents water from leaking in.
So long as water doesn't find its way in above the ankle, the boots should keep socks dry in the nastiest of winter slush, although I haven't yet had a properly wet day to put them to an extended test. I'll report back later in the winter on how the Diablo GTX holds up in full conditions.
The Diablo GTX is designed with a roomy fit, banking on the need for thick socks in extreme conditions. Mine were roomy enough in my standard size to wiggle my toes while wearing thick socks, but still contoured nicely to my feet.
The top velcro strap has a lot of stretch around the ankle, though, and I never feel like I can cinch it down as tightly as I would like. My heels don't slip in my older version of the current Spider, but slip enough in the Diablo that I don't like running my bike in them, even though the Competition MTB Sole has good traction and the option of toe spikes. Unless the conditions are truly sloppy and "running" translates to "slogging," I warm up in these and switch to standard mountain bike shoes to race.
On a really mucky day they make fine cyclocross shoes for slogging through mud and slush — despite the heel lift — but on days that I just want the warmth, I warm up in them, then switch to my standard mountain bike shoes with neoprene socks for the race.
The Diablo GTX and its road bike equivalent, the Sidi Hydro GTX, both retail for $300.


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Belviq: The FDA Approved Diet Drug With Tons of Side Effects
Belviq is the first prescription diet drug to be approved by the Food and Drug Administration in over 13 years. This diet pill controls appetites by stimulating the receptors of the brain towards secreting serotonin, a neurotransmitter that elicits feelings of satisfaction so that there is no willingness to eat food. The drug is manufactured by Arena Pharmaceuticals. Belviq was a weight loss drug created to help Americans wage war against obesity. Statistics show that 1 in every 3 Americans is overweight.
Users of the drug have said that the efficacy of the drug is in serious doubt. According to a clinical trial, only 47% of people who used the drug reported a loss of over 5% of their total body weight in a year. To put this in perspective, what this means is that a person who weighs 200 pounds will only lose 7 pounds in 365 days.
However, there is another school of thought, where users of the drug are told to complement it with a healthy diet and exercise regime. Furthermore, they are told to desist from usage if they fail to lose at least 5% of their body weight in 12 weeks. The argument is that treatment over a longer duration will not lead to any substantial weight loss. In other words, the drug does not work for everybody.
Despite the mixed reactions over the effectiveness of the Belviq drug. It is the symptoms that are major drawbacks. The prominent side effects of Belviq include dizziness, constipation, nausea and tiredness. Patients with diabetes might experience additional side effects like back pain, low blood sugar, cough and heart-related complications. A similar diet drug known as fenfluramine was taken off the market because of these symptoms.
Recently, FDA rejected the approval of Belviq for public use because of the heart problems, breast tumor development and increase brain functions that were associated with the drug. The pharmaceutical company refused to modify the drug. They only submitted research papers that showed that Belviq was not a risk factor if it was taken in little doses.
But even that poses a huge risk in itself. Belviq is highly addictive as people think that taking sizable doses in the absence of a healthy diet or working out hastens the weight loss process. It is surprising that the FDA has vetoed the use of this drug. Despite the health concerns this diet drug poses to people.
Belviq is not the only drug that has been certified by the FDA. Qnexa has also been recommended for approval even though documentation shows that it causes heart problems and birth deformities. Alli is another diet pill up for review, even though the side effects include oily excreta, vitamin deficiencies and potential liver damage.


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I SEE, rising out of darkness, a lotos in a vase. Most of the vase is invisible; but I know that it is of bronze, and that its glimpsing handles are bodies of dragons. Only the lotos is fully illuminated: three pure white flowers, and five great leaves of gold and green,--gold above, green on the upcurling under-surface,--an artificial lotos. It is bathed by a slanting stream of sunshine;--the darkness beneath and beyond is the dusk of a temple-chamber. I do not see the opening through which the radiance pours; but I am aware that it is a small window shaped in the outline-form of a temple-bell.
The reason that I see the lotos--one memory of my first visit to a Buddhist sanctuary--is that there has come to me an odor of incense. Often when I smell incense, this vision defines; and usually thereafter other sensations of my first day
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in Japan revive in swift succession with almost painful acuteness.
It is almost ubiquitous,--this perfume of incense. It makes one element of the faint but complex and never-to-be-forgotten odor of the Far East. It haunts the dwelling-house not less than the temple,--the home of the peasant not less than the yashiki of the prince. Shintô shrines, indeed, are free from it;--incense being an abomination to the elder gods. But wherever Buddhism lives there is incense. In every house containing a Buddhist shrine or Buddhist tablets, incense is burned at certain times; and in even the rudest country solitudes you will find incense smouldering before wayside images,--little stone figures of Fudô, Jizô, or Kwannon. Many experiences of travel,--strange impressions of sound as well as of sight,--remain associated in my own memory with that fragrance:--vast silent shadowed avenues leading to weird old shrines;--mossed flights of worn steps ascending to temples that moulder above the clouds;--joyous tumult of festival nights;--sheeted funeral-trains gliding by in glimmer of lanterns;--murmur of household prayer in fishermen's huts on far wild
{p. 21}
coasts;--and visions of desolate little graves marked only by threads of blue smoke ascending,--graves of pet animals or birds remembered by simple hearts in the hour of prayer to Amida, the Lord of Immeasurable Light.
But the odor of which I speak is that of cheap incense only,--the incense in general use. There are many other kinds of incense; and the range of quality is amazing. A bundle of common incense-rods--(they are about as thick as an ordinary pencil-lead, and somewhat longer)--can be bought for a few sen; while a bundle of better quality, presenting to inexperienced eyes only some difference in color, may cost several yen, and be cheap at the price. Still costlier sorts of incense,--veritable luxuries,--take the form of lozenges, wafers, pastilles; and a small envelope of such material may be worth four or five pounds-sterling. But the commercial and industrial questions relating to Japanese incense represent the least interesting part of a remarkably curious subject.
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Curious indeed, but enormous by reason of its infinity of tradition and detail. I am afraid even to think of the size of the volume that would be needed to cover it. . . . Such a work would properly begin with some brief account of the earliest knowledge and use of aromatics in Japan. it would next treat of the records and legends of the first introduction of Buddhist incense from Korea,--when King Shômyô of Kudara, in 551 A. D., sent to the island-empire a collection of sutras, an image of the Buddha, and one complete set of furniture for a temple. Then something would have to be said about those classifications of incense which were made during the tenth century, in the periods of Engi and of Tenryaku,--and about the report of the ancient state-councillor, Kimitaka-Sangi, who visited China in the latter part of the thirteenth century, and transmitted to the Emperor Yômei the wisdom of the Chinese concerning incense. Then mention should be made of the ancient incenses still preserved in various Japanese temples, and of the famous fragments of ranjatai (publicly exhibited at
{p. 23}
Nara in the tenth year of Meiji) which furnished supplies to the three great captains, Nobunaga, Hideyoshi, and Iyeyasu. After this should follow an outline of the history of mixed incenses made in Japan,--with notes on the classifications devised by the luxurious Takauji, and on the nomenclature established later by Ashikaga Yoshimasa, who collected one hundred and thirty varieties of incense, and invented for the more precious of them names recognized even to this day,--such as "Blossom-Showering," "Smoke-of-Fuji," and "Flower-of-the-Pure-Law." Examples ought to be given likewise of traditions attaching to historical incenses preserved in several princely families; together with specimens of those hereditary recipes for incense-making which have been transmitted from generation to generation through hundreds of years, and are still called after their august inventors,--as "the Method of Hina-Dainagon," "the Method of Sentô-In," etc. Recipes also should be given of those strange incenses made "to imitate the perfume of the lotos, the smell of the summer breeze, and the odor of the autumn wind." Some legends of the great period of incense-luxury should be cited,--such as the story of
{p. 24}
Sué Owari-no-Kami, who built for himself a palace of incense-woods, and set fire to it on the night of his revolt, when the smoke of its burning perfumed the land to a distance of twelve miles. . . . Of course the mere compilation of materials for a history of mixed-incenses would entail the study of a host of documents, treatises, and books,--particularly of such strange works as the Kun-Shû-Rui-Shô, or "Incense-Collector's-Classifying-Manual";--containing the teachings of the Ten Schools of the Art of Mixing Incense; directions as to the best seasons for incense-making; and instructions about the "different kinds of fire" to be used for burning incense--(one kind is called "literary fire," and another "military fire"); together with rules for pressing the ashes of a censer into various artistic designs corresponding to season and occasion. . . . A special chapter should certainly be given to the incense-bags (kusadama) hung up in houses to drive away goblins,--and to the smaller incense-bags formerly carried about the person as a protection against evil spirits. Then a very large part of the work would have to be devoted to the religious uses and legends of incense,--a huge subject in itself. There would also have to be considered the
{p. 25}
curious history of the old "incense-assemblies," whose elaborate ceremonial could be explained only by help of numerous diagrams. One chapter at least would be required for the subject of the ancient importation of incense-materials from India, China, Annam, Siam, Cambodia, Ceylon, Sumatra, Java, Borneo, and various islands of the Malay archipelago,--places all named in rare books about incense. And a final chapter should treat of the romantic literature of incense,--the poems, stories, and dramas in which incense-rites are mentioned; and especially those love-songs comparing the body to incense, and passion to the eating flame:--
Even as burns the perfume lending my robe its fragrance,
Smoulders my life away, consumed by the pain of longing!
. . . The merest outline of the subject is terrifying! I shall attempt nothing more than a few notes about the religious, the luxurious, and the ghostly uses of incense.
{p. 26}
The common incense everywhere burned by poor people before Buddhist icons is called ansoku-kô. This is very cheap. Great quantities of it are burned by pilgrims in the bronze censers set before the entrances of famous temples; and in front of roadside images you may often see bundles of it. These are for the use of pious wayfarers, who pause before every Buddhist image on their path to repeat a brief prayer and, when possible, to set a few rods smouldering at the feet of the statue. But in rich temples, and during great religious ceremonies, much more expensive incense is used. Altogether three classes of perfumes are employed in Buddhist rites: kô, or incense--proper, in many varieties--(the word literally means only "fragrant substance");--dzukô, an odorous ointment; and makkô, a fragrant powder. Kô is burned; dzukô is rubbed upon the hands of the priest as an ointment of purification; and makkô is sprinkled about the sanctuary. This makkô is said to be identical with the sandalwood-powder so frequently mentioned in Buddhist texts. But it is only the true
{p. 27}
incense which can be said to bear an important relation to the religious service.
"Incense," declares the Soshi-Ryahu,[1] "Is the Messenger of Earnest Desire. When the rich Sudatta wished to invite the Buddha to a repast, he made use of incense. He was wont to ascend to the roof of his house on the eve of the day of the entertainment, and to remain standing there all night, holding a censer of precious incense. And as often as he did thus, the Buddha never failed to come on the following day at the exact time desired."
This text plainly implies that incense, as a burnt-offering, symbolizes the pious desires of the faithful. But it symbolizes other things also; and it has furnished many remarkable similes to Buddhist literature. Some of these, and not the least interesting, occur in prayers, of which the following, from the book called Hôji-san[2] is a striking example:--
--"Let my body remain pure like a censer!--let my thought be ever as a fire of wisdom, purely consuming the incense of sîla and of dhyâna,[3]--
[1. "Short [or Epitomized] History of Priests."
2. "The Praise of Pious Observances."
3. By sîla is meant the observance of the rules of purity {footnote p. 28} in act and thought. Dhyâna (called by Japanese Buddhists Zenjô) is one of the higher forms of meditation.]
{p. 28}
that so may I do homage to all the Buddhas in the Ten Directions of the Past, the Present, and the Future!"
Sometimes in Buddhist sermons the destruction of Karma by virtuous effort is likened to the burning of incense by a pure flame,--sometimes, again, the life of man is compared to the smoke of incense. In his "Hundred Writings" (Hyaku-tsû-kiri-kami), the Shinshû priest Myôden says, quoting from the Buddhist work Kujikkajô, or "Ninety Articles":--
"In the burning of incense we see that so long as any incense remains, so long does the burning continue, and the smoke mount skyward. Now the breath of this body of ours,--this impermanent combination of Earth, Water, Air, and Fire,--is like that smoke. And the changing of the incense into cold ashes when the flame expires is an emblem of the changing of our bodies into ashes when our funeral pyres have burnt themselves out."
He also tells us about that Incense-Paradise of which every believer ought to be reminded by the
{p. 29}
perfume of earthly incense:--"In the Thirty-Second Vow for the Attainment of the Paradise of Wondrous Incense," he says, "it is written:--'That Paradise is formed of hundreds of thousands of different kinds of incense, and of substances incalculably precious;--the beauty of it incomparably exceeds anything in the heavens or in the sphere of man;--the fragrance of it perfumes all the worlds of the Ten Directions of Space; and all who perceive that odor practise Buddha-deeds.' In ancient times there were men of superior wisdom and virtue who, by reason of their vow, obtained perception of the odor; but we, who are born with inferior wisdom and virtue in these later days, cannot obtain such perception. Nevertheless it will be well for us, when we smell the incense kindled before the image of Amida, to imagine that its odor is the wonderful fragrance of Paradise, and to repeat the Nembutsu in gratitude for the mercy of the Buddha."
{p. 30}
But the use of incense in Japan is not confined to religious rites and ceremonies: indeed the costlier kinds of incense are manufactured chiefly for social entertainments. Incense-burning has been an amusement of the aristocracy ever since the thirteenth century. Probably you have heard of the Japanese tea-ceremonies, and their curious Buddhist history; and I suppose that every foreign collector of Japanese bric-â-brac knows something about the luxury to which these ceremonies at one period attained,--a luxury well attested by the quality of the beautiful utensils formerly employed in them. But there were, and still are, incense-ceremonies much more elaborate and costly than the tea-ceremonies,--and also much more interesting. Besides music, embroidery, poetical composition and other branches of the old-fashioned female education, the young lady of pre-Meiji days was expected to acquire three especially polite accomplishments,--the art of arranging flowers, (ikébana), the art of ceremonial tea-making
{p. 31}
(cha-no-yu or cha-no-é),[1] and the etiquette of incense-parties (kô-kwai or kô-é). Incense-parties were invented before the time of the Ashikaga shôguns, and were most in vogue during the peaceful period of the Tokugawa rule. With the fall of the shôgunate they went out of fashion; but recently they have been to some extent revived. It is not likely, however, that they will again become really fashionable in the old sense,--partly because they represented rare forms of social refinement that never can be revived, and partly because of their costliness.
In translating kô-kwai as "incense-party," I use the word "party" in the meaning that it takes in such compounds as "card-party," "whist-party," "chess-party";--for a kô-kwai is a meeting held only with the object of playing a game,--a very curious game. There are several kinds of incense-games; but in all of them
[1. Girls are still trained in the art of arranging flowers, and in the etiquette of the dainty, though somewhat tedious, cha-no-yu. Buddhist priests have long enjoyed a reputation as teachers of the latter. When the pupil has reached a certain degree of proficiency, she is given a diploma or certificate. The tea used in these ceremonies is a powdered tea of remarkable fragrance,--the best qualities of which fetch very high prices.]
{p. 32}
the contest depends upon the ability to remember and to name different kinds of incense by the perfume alone. That variety of kô-kwai called Jitchû-kô ("ten-burning-incense") is generally conceded to be the most amusing; and I shall try to tell you how it is played.
The numeral "ten," in the Japanese, or rather Chinese name of this diversion, does not refer to ten kinds, but only to ten packages of incense; for Jitchû-kô, besides being the most amusing, is the very simplest of incense-games, and is played with only four kinds of incense. One kind must be supplied by the guests invited to the party; and three are furnished by the person who gives the entertainment. Each of the latter three supplies of incense-usually prepared in packages containing one hundred wafers--is divided into four parts; and each part is put into a separate paper numbered or marked so as to indicate the quality. Thus four packages are prepared of the incense classed as No. 1, four of incense No. 2, and four of incense No. 3,--or twelve in all. But the incense given by the guests,--always called "guest-incense"--is not divided: it is only put into a wrapper marked with an abbreviation
{p. 33}
of the Chinese character signifying "guest." Accordingly we have a total of thirteen packages to start with; but three are to be used in the preliminary sampling, or "experimenting"--as the Japanese term it,--after the following manner.
We shall suppose the game to be arranged for a party of six,--though there is no rule limiting the number of players. The six take their places in line, or in a half circle--if the room be small; but they do not sit close together, for reasons which will presently appear. Then the host, or the person appointed to act as incense-burner, prepares a package of the incense classed as No. 1, kindles it in a censer, and passes the censer to the guest occupying the first seat[1], with the announcement:--"This is incense No. 1" The guest receives the censer according to the graceful etiquette required in the kô-kwai, inhales the perfume, and passes on the vessel to his neighbor, who receives it in like manner and passes it to the third guest, who presents it to
[1. The places occupied by guests in a Japanese zasbiki, or reception-room, are numbered from the alcove of the apartment. The place of the most honored is immediately before the alcove: this is the first seat; and the rest are numbered from it, usually to the left.]
{p. 34}
the fourth,--and so on. When the censer has gone the round of the party, it is returned to the incense-burner. One package of incense No. 2, and one of No. 3, are similarly prepared, announced, and tested. But with the "guest-incense" no experiment is made. The player should be able to remember the different odors of the incenses tested; and he is expected to identify the guest-incense at the proper time merely by the unfamiliar quality of its fragrance.
The original thirteen packages having thus by "experimenting" been reduced to ten, each player is given one set of ten small tablets--usually of gold-lacquer,--every set being differently ornamented. The backs only of these tablets are decorated; and the decoration is nearly always a floral design of some sort:--thus one set might be decorated with chrysanthemums in gold, another with tufts of iris-plants, another with a spray of plum-blossoms, etc. But the faces of the tablets bear numbers or marks; and each set comprises three tablets numbered "l," three numbered "2," three numbered "3," and one marked with the character signifying "guest." After these tablet-sets have been distributed, a box called the "tablet-box "is placed
{p. 35}
before the first player; and all is ready for the real game.
The incense-burner retires behind a little screen, shuffles the flat packages like so many cards, takes the uppermost, prepares its contents in the censer, and then, returning to the party, sends the censer upon its round. This time, of course, he does not announce what kind of incense he has used. As the censer passes from hand to hand, each player, after inhaling the fume, puts into the tablet-box one tablet bearing that mark or number which he supposes to be the mark or number of the incense he has smelled. If, for example, he thinks the incense to be "guest-incense," he drops into the box that one of his tablets marked with the ideograph meaning "guest;" or if he believes that he has inhaled the perfume of No. 2, he puts into the box a tablet numbered "2." When the round is over, tablet-box and censer are both returned to the incense-burner. He takes the six tablets out of the box, and wraps them up in the paper which contained the incense guessed about. The tablets themselves keep the personal as well as the general record,--since each player remembers the particular design upon his own set.
{p. 36}
The remaining nine packages of incense are consumed and judged in the same way, according to the chance order in which the shuffling has placed them. When all the incense has been used, the tablets are taken out of their wrappings, the record is officially put into writing, and the victor of the day is announced. I here offer the translation of such a record: it will serve to explain, almost at a glance, all the complications of the game.
According to this record the player who used the tablets decorated with the design called "Young Pine," made but two mistakes; while the holder of the "White-Lily" set made only one correct guess. But it is quite a feat to make ten correct judgments in succession. The olfactory nerves are apt to become somewhat numbed long before the game is concluded; and therefore it is customary during the Kô-kwai to rinse the mouth at intervals with pure vinegar, by which operation the sensitivity is partially restored.
To the Japanese original of the foregoing record were appended the names of the players, the date of the entertainment, and the name of the place where the party was held. It is the
{p. 37}
{p. 38}
custom in some families to enter all such records in a book especially made for the purpose, and furnished with an index which enables the Kô-kwai player to refer immediately to any interesting fact belonging to the history of any past game.
The reader will have noticed that the four kinds of incense used were designated by very pretty names. The incense first mentioned, for example, is called by the poets' name for the gloaming,--Tasogaré (lit.: "Who is there?" or "Who is it?")--a word which in this relation hints of the toilet-perfume that reveals some charming presence to the lover waiting in the dusk. Perhaps some curiosity will be felt regarding the composition of these incenses. I can give the Japanese recipes for two sorts; but I have not been able to identify all of the materials named:--
Recipe for Yamaji-no-Tsuyu.
(To 21 Pastilles)
Jinkô (aloes-wood)
4 mommé
(½ oz.)
Chôji (cloves)
4 mommé
Kunroku (olibanum)
4 mommé
Hakkô (artemisia Schmidtiana)
4 mommé
Jakô (musk)
1 bu
(½ oz.)
Kôkô (?)
4 mommé
(½ oz.)
{p. 39
Recipe for Baikwa.
(To 21 Pastilles)
Jinkô (aloes)
20 mommé
(2½ oz.)
Chôji (cloves)
12 mommé
(1½ oz.)
Kôkô (?)
8 1/3 mommé
(1 1/40 oz.)
Byakudan (sandal-wood)
4 mommé
(½ oz.)
Kanshô (spikenard)
2 bu
(¼ oz.)
Kwakkô (Bishop's-wort?)
1 bu 2 shu
(3/16 oz.)
Kunroku (olibanum)
3 bu 3 shu
(15/22 oz.)
Shômokkô (?)
2 bu
(¼ oz.)
Jajô (musk)
3 bu 2 shu
(7/16 oz.)
Ryûnô (refined Borneo Camphor)
3 shu
(3/8 oz.)
The incense used at a Kô-kwai ranges in value, according to the style of the entertainment, from $2.50 to $30.00 per envelope of 100 wafers--wafers usually not more than one-fourth of an inch in diameter. Sometimes an incense is used worth even more than $30.00 per envelope: this contains ranjatai, an aromatic of which the perfume is compared to that of "musk mingled with orchid-flowers." But there is some incense,--never sold,--which is much more precious than ranjatai,--incense valued less for its composition than for its history: I mean the incense brought centuries ago from China or from India by the Buddhist missionaries, and presented to princes or to other persons of high rank. Several
{p. 40}
ancient Japanese temples also include such foreign incense among their treasures. And very rarely a little of this priceless material is contributed to an incense-party,--much as in Europe, on very extraordinary occasions, some banquet is glorified by the production of a wine several hundred years old.
Like the tea-ceremonies, the Kô-kwai exact observance of a very complex and ancient etiquette. But this subject could interest few readers; and I shall only mention some of the rules regarding preparations and precautions. First of all, it is required that the person invited to an incense-party shall attend the same in as odorless a condition as possible: a lady, for instance, must not use hair-oil, or put on any dress that has been kept in a perfumed chest-of-drawers. Furthermore, the guest should prepare for the contest by taking a prolonged hot bath, and should eat only the lightest and least odorous kind of food before going to the rendezvous. it is forbidden to leave the room during the game, or to open any door or window, or to indulge in needless conversation. Finally I may observe that, while judging the incense, a player is expected to take not less than three inhalations, or more than five.
{p. 41}
In this economical era, the Kô-kwai takes of necessity a much humbler form than it assumed in the time of the great daimyô, of the princely abbots, and of the military aristocracy. A full set of the utensils required for the game can now be had for about $50.00; but the materials are of the poorest kind. The old-fashioned sets were fantastically expensive. Some were worth thousands of dollars. The incense-burner's desk,--the writing-box, paper-box, tablet-box, etc.,--the various stands or dai,--were of the costliest gold-lacquer;--the pincers and other instruments were of gold, curiously worked;--and the censer--whether of precious metal, bronze, or porcelain,--was always a chef-d'œuvre, designed by some artist of renown.
Although the original signification of incense in Buddhist ceremonies was chiefly symbolical, there is good reason to suppose that various beliefs older than Buddhism,--some, perhaps, peculiar to the race; others probably of Chinese or Korean derivation,--began at an early period
{p. 42}
to influence the popular use of incense in Japan. Incense is still burned in the presence of a corpse with the idea that its fragrance shields both corpse and newly-parted soul from malevolent demons; and by the peasants it is often burned also to drive away goblins and the evil powers presiding over diseases. But formerly it was used to summon spirits as well as to banish them. Allusions to its employment in various weird rites may be found in some of the old dramas and romances. One particular sort of incense, imported from China, was said to have the power of calling up human spirits. This was the wizard-incense referred to in such ancient love-songs as the following:--
"I have heard of the magical incense that summons the souls of the absent:
Would I had some to burn, in the nights when I wait alone!"
There is an interesting mention of this incense in the Chinese book, Shang-hai-king. It was called Fwan-hwan-hiang (by Japanese pronunciation, Hangon-kô), or "Spirit-Recalling-Incense;" and it was made in Tso-Chau, or the District of the Ancestors, situated by the Eastern Sea. To summon the ghost of any dead person--or
{p. 43}
even that of a living person, according to some authorities,--it was only necessary to kindle some of the incense, and to pronounce certain words, while keeping the mind fixed upon the memory of that person. Then, in the smoke of the incense, the remembered face and form would appear.
In many old Japanese and Chinese books mention is made of a famous story about this incense,--a story of the Chinese Emperor Wu, of the Han dynasty. When the Emperor bad lost his beautiful favorite, the Lady Li, he sorrowed so much that fears were entertained for his reason. But all efforts made to divert his mind from the thought of her proved unavailing. One day he ordered some Spirit-Recalling-Incense to be procured, that he might summon her from the dead. His counsellors prayed him to forego his purpose, declaring that the vision could only intensify his grief. But he gave no heed to their advice, and himself performed the rite,--kindling the incense, and keeping his mind fixed upon the memory of the Lady Li. Presently, within the thick blue smoke arising from the incense, the outline of a feminine form became visible. It defined, took tints of life,
{p. 44}
slowly became luminous; and the Emperor recognized the form of his beloved. At first the apparition was faint; but it soon became distinct as a living person, and seemed with each moment to grow more beautiful. The Emperor whispered to the vision, but received no answer. He called aloud, and the presence made no sign. Then unable to control himself, he approached the censer. But the instant that he touched the smoke, the phantom trembled and vanished.
Japanese artists are still occasionally inspired by the legends of the Hangon-kô. Only last year, in Tôkyô, at an exhibition of new kakemono, I saw a picture of a young wife kneeling before an alcove wherein the smoke of the magical incense was shaping the shadow of the absent husband.[1]
Although the power of making visible the forms of the dead has been claimed for one sort
[1. Among the curious Tôkyô inventions of 1898 was a new variety of cigarettes called Hangon-sô, or "Herb of Hangon,"--a name suggesting that their smoke operated like the spirit-summoning incense. As a matter of fact, the chemical action of the tobacco-smoke would define, upon a paper fitted into the mouth-piece of each cigarette, the photographic image of a dancing-girl.]
{p. 45}
of incense only, the burning of any kind of incense is supposed to summon viewless spirits in multitude. These come to devour the smoke. They are called Jiki-kô-ki, or "incense-eating goblins;" and they belong to the fourteenth of the thirty-six classes of Gaki (prêtas) recognized by Japanese Buddhism. They are the ghosts of men who anciently, for the sake of gain, made or sold bad incense; and by the evil karma of that action they now find themselves in the state of hunger-suffering spirits, and compelled to seek their only food in the smoke of incense.
{p. 48}


text:
Coyoty, also known as Coyoty Wright and Coyoty Dave (previously known as Centaur, Gentaur, and SF-CENTAUR; real name Dave Wright, born March 1, 1961), is a furry artist and fursuiter who lives in Hartford, Connecticut, USA, and works as a IT specialist.
Coyoty collects comic bookss, reads and watches a lot of science fiction and fantasy, and hangs out with furries. He writes quite a bit online but never gets around to publishing anything professionally. He drives a bronze Subaru Forester with the license plate COYOTY.
He has appeared in the music video Higher Than the Stars by the indie pop band The Pains of Being Pure at Heart.
Fandom involvement[edit]
Coyoty was the administrator of Bestiaria (discontinued), a furry/anthropomorphic/mythological/improbable beastie resource website, maintained with the help of Wulfraed. As SF-CENTAUR, Coyoty was a moderator in the Science Fiction RoundTable on the now-defunct online service GEnie, and a member of the Beastie Board, which originated there before becoming part of the Comics RoundTable.
On FurryMUCK, Coyoty has a superpower: Whenever someone hugs him, he transforms to a coyote-ish version of the hugger's species.
He orchestrates the First Friday Furmeets at the Town Line Diner in Rocky Hill, Connecticut.
His suits are a full suit made by SPark, and a zombie canine partial from Zrcalo (Coyoty 1 in the photo has been retired). His current head is a realistic coyote by Inerri Creatures. He appears in costume at conventions (FurFright and Anthrocon), plus volunteer events as a member of Hi-4! Entertainment.
Convention attendance[edit]
- Anthrocon - ?
- FurFright - ?
External links[edit]
|This person is a WikiFur user:
- Coyoty.net - Coyoty's personal home page
- CoyotyDave on Twitter
- Dave Wright on Facebook
- Coyoty Wright on Google+
- Coyoty on LiveJournal
- Coyoty Wright on YouTube
|This stub about a person could be expanded.


text:
Everybody who's shocked — shocked, you say! — that Keith Olbermann contributed to Democratic candidates, please stand up.
I thought so.
The problem with Olbermann's contributions is not that he made them but that he hid them — it's the coverup that always gets you in trouble [pace R. Nixon] — and that MSNBC made him hide them. The problem with MSNBC suspending Olbermann is that it heads down transparency road in exactly the wrong direction, toward continued opacity. And the problem with MSNBC's policy that makes contributing to candidates a suspendable offense is that it prevents journalists from acting as citizens of the communities they are to serve.
It's not as if Olbermann was objective. It was his job not to be. We all know where he stood. I say he should put his money where is mouth is. He just shouldn't have hidden it or be made to do so.
And I agree with Matt Welch that news organizations should reveal the votes of their staffs. When I retweeted that thought, some tweeters twitted me, saying that keeping one's vote confidential is a right. Yes. They should not be forced out. But self-respecting journalists should consider it an obligation to be transparent. Self-respecting news organizations should be honest with their communities and reveal the aggregate perspectives of their staffs. It's relevant.
We have the ethic of journalism exactly reversed from what it should be: Journalists should be the most open, the most transparent, a model of honesty.
We have the relationship of the journalist to the community also inside-out: They should see themselves as members of their communities like anyone else but with the special privilege of being able to ask questions and get answers on everyone's behalf.
Put those two together and you have true citizen journalists.
But liberal (yes, liberal) news organizations — MSNBC and NPR, not to mention the New York Times and others — have gotten this all bolloxed up lately, continuing to separate their journalists and commentators — Juan Williams and now everyone at NPR else out of fear — from their communities. They all refused to let their journalists attend the Rally to Restore Sanity, which turned out not to be a political event at all but a repudiation of media — including most of Fox News plus Olbermann himself… a lesson all their journalists should have heard.
They do this because they want to stand above Fox News as objective. What they do instead is stand apart from their communities as — what? — sterile, gutless, distant. Fox News comes off as caring to its audience ("Fox News speaks for us," say the tea drinkers. "Fox News understands"). MSNBC comes off as… what? Don't we liberals deserve our Fox News, but with intelligence, sanity, openness? That was its promise. But like NPR, it is now a place where opinions and action are verboten.
: LATER: Henry http://www.businessinsider.com/why-msnbc-suspended-olbermann-2010-11
on this as a bad business strategy.


text:
Published May 16th 2017 by Tor Teen
New York Times and USA Today bestselling author Veronica Rossi's new fantasy adventure in the Rider series—Seeker .
When Daryn claimed she was seeing visions during her sophomore year of high school, no one believed the truth. She wasn't losing her mind, she was gaining the Sight the ability to see the future. If she just paid attention to the visions, they'd provide her with clues and show her how she could help people. Really help them. Daryn embraced her role as a Seeker. The work she did was important. She saved lives.
Until Sebastian.
Sebastian was her first and worst mistake.
Since the moment she inadvertently sealed him in a dark dimension with Samrael the last surviving demon in the Kindred guilt has plagued her. Daryn knows Sebastian is alive and waiting for help. It's up to her to rescue him. But now that she needs the Sight more than ever to guide her, the visions have stopped.
Daryn must rely on her instincts, her intelligence, and on blind faith to lead the riders who are counting on her in search of Sebastian. As they delve into a shadowy realm where nothing is as it seems and where Samrael is steadily amassing power, Daryn faces the ultimate test. Will she have to become evil to destroy evil? The very fate of humankind rests in the answer.
Praise for THE SEEKERS
"The feeling of imminent danger and the constant battles with terrifying creatures help bring this vivid story to life. However, the depth of characterization is what will make readers connect to this small group of teens on a mission to save humanity. Gideon and Daryn display a powerful chemistry from their very first meeting, while the personality conflicts between Gideon and his fellow horsemen keep this adventure both intense and humorous."―RT Book Reviews, Top Pick!
a Rafflecopter giveaway
Her second series for young adults will begin with RIDERS (published February 16, 2016), the story of four modern day teens who become incarnations of the four horsemen of the apocalypse, and the prophetic girl who brings them together.
Veronica completed her undergraduate studies at UCLA and then went on to study fine art at the California College of the Arts in San Francisco. She is a lifelong reader and artist. Born in Rio de Janeiro, Brazil, she has lived in Mexico, Venezuela, and all over the United States, to finally settle in Northern California with her husband and two sons.
When not writing, Veronica enjoys reading (it's worth repeating), painting, and running. She does NOT like anything involving numbers, the addition of them, subtraction of them, you name it. They terrify her. Her obsessions generally lead to fictional works. Currently, she's exploring New York City during the Revolutionary War.
Don't tread on me. (If you know what that means, then you are my people!)
What else? This is getting more fun, isn't it?
She–okay, I–am a huge fan of the SF Giants and the Golden State Warriors. I know, I know. Book types and sporty types shouldn't be one in the same, but what can I say? I'm breaking the mold. Continuing. I have an irrational love of elephants. They make me cry, but it's the best kind of cry. On other end of the spectrum, I abhor the shrill squeak styrofoam makes when it's coming out of a box. Just typing that sentence made me want to scream. Needless to say, Christmas is great, but also really tough on me.
It's probably time to wrap this up. If you're here, it's likely because you've read one of my books, or because you're thinking about reading one of my books. Either way, thank you. Writing fulfills me like nothing else and I feel exceedingly fortunate to also call it my profession.
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You have until the end of November to stop by the Rapha Cycle Club and check out "Uncle Charlie and Other Stories of North Cal. Cyclocross" — an art exhibit dedicated to the Northern California Cyclocross community.
The group exhibit includes work by fourteen Bay Area artists, story tellers and contributors. The eclectic show is filled with photography, writing, collage, painting, sculpture as well as historical pieces. Contributors include: Willie K. Bullion, "Pineapple" Bob Kurosawa, Pamela Palma, Jeff Hantman, Stevil Smith, Ray Stafford, Chris McNally, Paul Sadoff, Tom Simpson, Mike Ferrentino, Ezra Manners, Jim Gentes, Jeff Clark and Brian Vernor.
The Rapha Cycle Club is located at 2198 Filbert St in San Francisco, CA. They are open from 7 a.m. – 7 p.m. on weekdays, and 7 a.m. – 6 p.m. on weekends. The Cycle Club serves Four Barrel Coffee, Starter Bakery goods and also carries the full offering of Rapha products. "Uncle Charlie and Other Stories of North Cal. Cyclocross" will be displayed in their art gallery through November 30th.
Find out more at Rapha's site.
Check out some photos from the opening night, and some of the art they have on display:


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Yellowstone National Park, was established by US Congress on March 1,1872, and is America's first national park. It is located primarily in the state of Wyoming, with small sections located in Montana, and Idaho.
We spent three days visiting the park, and I took hundreds of photos. It was hard to chose just a few of them to show in my blog, so I've decided to make this part of a three part post, so that I can display the special highlights of our visit in an easier viewing format.
A view of Yellowstone Lake. Yellowstone has numerous recreational opportunities, including hiking, camping, boating, fishing and sightseeing. Paved roads provide close access to the major geothermal areas as well as some of the lakes and waterfalls. During the winter, visitors often access the park by way of guided tours that use either snow coaches or snowmobile.


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HOLLYWOOD, CA – Julia Roberts pulled in a generous paycheck for her new movie and she didn't even break a sweat!
Julia Roberts, who stars alongside an all-star cast for the movie Valentine's Day, used her reputation to cash on an unbelievable payday. Roberts is in the movie for a grand total of six minutes. Those six minutes of work brought the star a $3 million dollar paycheck.
Aside from Pretty Women and arguably Erin Brockovich, Roberts' movies haven't exactly wowed at the box office. Non the same, she remains a Hollywood A-lister. Valentine's Day, which released today, contains other notable actors such as Jamie Foxx, Bradley Cooper, Jessica Biel, and Ashton Kutcher, just to name a few. Not a single one of them can brag that they got as sweet a deal as Roberts.
For those of you that like math, we have it. Julia Roberts salary, when broken down, netted her $500,000 per minute on screen and about $11,982 a word – give or take a couple of dollars. But who's counting? One more little nugget for thought, the whole entire movie only cost $50 million to make. This has to go down as the best six minutes of work that anyone has ever put in. Period. Bravo Julia Roberts! Bravo!
HOLLYWOOD, CA – Julia Roberts pulled in a generous paycheck for her new movie and she didn't even break a sweat!


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Current Consensus of Disease Outcomes
Pemphigus and pemphigoid are chronic illnesses that, with rare exception, do not improve without active treatment. Treatment approaches include a control phase and then a maintenance phase, with the possibility of complete remission or disease relapse (flare). Current consensus of disease outcomes during treatment are:
- Baseline: Defined as the day that therapy is started.
- Control of disease activity: defined as the time at which new lesions cease to form and established lesions begin to heal. The expected interval of time to reach the control of disease activity is on the order of weeks.
- End of the consolidation phase: defined as the time when the majority of lesions have healed, and the clinician feels it is possible to taper steroids. The timeframe varies by patient.
- Late Endpoints of disease activity are identified as complete remission off therapy: defined as the absence of new or established lesions while the patient is off all systemic therapy for at least two months.
- Complete remission on therapy: Defined as the absence of new or established lesions while the patient is receiving minimal therapy.
In addition:
- Minimal therapy is defined as less than, or equal to, 10 mg/day of prednisone (or the equivalent) and/or minimal adjuvant therapy for at least two months.
- Minimal adjuvant therapy is defined as half of the dose required to be defined as treatment failure (see below).
- A partial remission off therapy: defined as the presence of transient new lesions that heal within one week without treatment and while the patient is off all systemic therapy for at least two months.
- A partial remission on minimal therapy: defined as the presence of transient new lesions that heal within one week while the patient is receiving minimal therapy, including topical steroids.
- Relapse/Flare. A relapse of disease and a flare of disease are synonymous. They are defined by the appearance of 3 or more new lesions a month that do not heal spontaneously within 1 week, or by the extension of established lesions in a patient who has achieved disease control.
- Treatment Failure: Failure of therapy is defined as the failure to control disease activity (i.e., relapse/flare, or continued development of new lesions, continued extension of old lesions, or failure of established lesions to begin to heal) with full therapeutic doses of systemic treatments. This includes 3 weeks of therapy on 1.5 mg/kg/day prednisone equivalent with or without.
- Cyclophosphamide 2 mg/kg/day for 12 weeks.
- Azathioprine 3 mg/kg/day for 12 weeks (if TPMT level is normal).
- Methotrexate 20 mg/week for 12 weeks.
- Mycophenolate mofetil 3 gm/day for 12 weeks.
The methotrexate and mycophenolate mofetil doses are based on an individual of 75kg. These doses reflect the fact that additional therapies may be beneficial and a consideration for patients who are considered to be a failure of therapy.


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Road Trip: Route 66
Get your kicks on Route 66 and experience the ultimate all-American road trip from Illinois to California.
They say driving Route 66, the iconic 2,400-mile road connecting Chicago with Santa Monica, sneaks us into a bygone America, an era of neon signs and mom-and-pop diners. This waits for us, just off the interstate. Right?
That may be true about the route, but that's not the only reason to take it.
"It's [more than] nostalgia, '57 Chevys, and James Dean," says Michael Wallis, a Route 66 lifer and author of Route 66: The Mother Road, which helped spark a 66 renaissance in the '90s.
"The real adventure is that it's unpredictable. There's this feeling of excitement, of almost danger that you can't get on the interstates," Wallis tells me by phone from his home in Tulsa, where he can see Route 66 from his window. "You go into some greasy spoon and [don't] know what you're going to get."
Often that's a bond made with the folks you meet. Or just finding the pie of a lifetime.
From the get-go of its opening in 1926, Route 66 has been a celebrity. Other highways crossed the country too, but only the "Main Street of America" had John Steinbeck's attention (with The Grapes of Wrath), an iconic soundtrack—"(Get Your Kicks on) Route 66"—and the ability to continue winning new hearts (via Pixar's Cars).
You can see how it earned its star status if you take it slow rather than "scoot and shoot" (local parlance for snapping photos from car windows and zooming off). The full trip, which winds on and off five interstates, requires at least two weeks. If you have less time, consider cherry-picking some areas to explore. Here are a few to help you get started.
Cozy Dogs, Springfield, Illinois
The family-run Cozy Dog Drive In has been serving corn dogs, or what they call hot dogs on a stick, in Lincoln's hometown since the '40s. The $1.95 dogs sizzle fresh from 8 a.m., when locals come to chat over coffee. You should linger to (digest and) take in the Robert Crumb-inspired artwork of the road by late family member Bob Waldmire.
Funks Grove Pure Maple Sirup, Shirley, Illinois
Illinois Funks have been selling their hand-tapped "sirup"—as syrup without sugar used to be known—from their grove of maples here since 1891, offering a rare Route 66 souvenir that actually predates the road. A good time to come is early March, when frozen sap thaws and drips into hanging buckets. Old school, as always.
Chain of Rocks Bridge, Illinois-Missouri Border
Before making the drive across the Mississippi into Missouri on the Chain of Rocks Bridge, walk it. Built in 1929 with a unique 22-degree angle partway across, the bridge faced an uncertain future not too long ago. Fortunately, Trailnet converted it into a walk-and-bike trail, connecting riverfront trails in both states.
The Loop, St. Louis
Over the past 40 years, the Delmar Loop, located a couple of miles off the road, has transformed from a drug den to an entertainment district with an eye on the past. The hub is Blueberry Hill, a buzzing, pub-style joint with memorabilia (original Beatles dolls, vintage jukeboxes) and a good burger. Its biggest claim to fame comes once monthly, when 87-year-old hometown hero Chuck Berry plays the basement Duck Room. Go early and you can get a front row seat.
Meramec Caverns, Missouri
Missouri's limestone bedrock is dotted with over 6,000 caves, but the most popular one is hard to miss. Advertised by painted barn tops along Route 66 (and I-44), the 4.6-mile Meramec Caverns has lured road-trippers since 1935. Much ado is made about Jesse James supposedly hiding out here.
Munger Moss Motel, Lebanon, Missouri
"Everyone's happy on Route 66," according to Iowan transplant Ramona Lehman, who runs Lebanon's classic Munger Moss Motel with her husband. "Because everywhere you go, it's people talking to people." Fond of spinning yarns herself, Lehman can point you to another place for chatting up locals—the epic Elbow Inn Bar, set on a wild bend of the Big Piney River known as Devil's Elbow. Add another day to canoe the waterways here. The Ozarks are gorgeous.
Tulsa's Brady District
Across the tracks from downtown, the revitalized Brady District gives the best sense of Tulsa's 66 era. You can catch a show at the ever present Cain's Ballroom, where Bob Wills housed his Western Swing in the '30s, and visit its new neighbor, the Woody Guthrie Center, to learn how Guthrie's "This Land Is Your Land" served as a leftist rebuttal to "God Bless America."
Rock Cafe, Stroud, Oklahoma
A highlight of the approximately 120-mile, land-hugging ride between Tulsa and Oklahoma City is Stroud's Rock Cafe, which has been here since the '30s, returning from a 2008 fire with gusto. Owner Dawn Welch, who inspired the Sally Carrera character in Cars, once chose to live in Stroud over Costa Rica. "Here I can have the world come to me, and we can slow down in each other's company," she says. "Who wouldn't want that every day?" Get the peach cobbler.
Route 66 Museum, Clinton, Oklahoma
"People in Clinton will not ever let go of their highway," Michael Wallis writes of this western Oklahoma town. A handful of 66-era motels and diners prove the point, along with the Oklahoma Route 66 Museum, a modern collection featuring donated knick-knacks. While you're in Clinton, grab some beef jerky from the oversize shack at Jiggs Smokehouse.
Palo Duro Canyon State Park, Texas
True, cars poke out from the cattle-country soil at Amarillo's Cadillac Ranch, but detour south and you'll find a bigger surprise: the Lone Star State's "grand canyon." About 30 miles southeast of Amarillo, the grasslands suddenly drop 800 feet at the 120-mile-long Palo Duro Canyon. You can stay in rustic New Deal-era cabins that lured Route 66 travelers of old; plus, in summer there's a fun cliffside production of Texas, sort of the state's rebuttal to Oklahoma!
Overnight in Tucumcari, New Mexico
Follow the iconic "Tucumcari Tonite" signs for a serious way-out-there vibe. A good place to start is the historic coral-and-sky-blue Blue Swallow Motel, a 12-unit place with a cozy courtyard to take in the big sunsets. "It's really cool to see what happens," says Michigan transplant Nancy Mueller, who runs the motel with her husband, Kevin. "People from all parts of the world sit here, talk, drink wine, listen to the neon buzz. Sometimes they end up traveling together."
Some head over to the just renovated Odeon Theatre open since 1936. Owner Robert Lopez, a local cotton farmer, used to bring dates here. "Everyone in Tucumcari does," Lopez says. "It's the only place you can go."
El Morro National Monument, New Mexico
Before Route 66 came around, over 2,000 trailblazers passed this way, carving their names on the base of a 200-foot-high sandstone questa. At El Morro National Monument, a detour via Hwy 53 from Grants, you can see Native American petroglyphs of bighorn sheep, birds, and lizards that date back seven centuries. Also here are marks left from Don Juan de Oñate, the colonizer who conquered the pueblo at nearby Acoma. He wrote his name here on April 16, 1605—right on top of a petroglyph.
Meteor Crater, Arizona
- Nat Geo Expeditions
You don't have to believe in UFOs to believe in the extraterrestrial. Particularly not at this longtime Route 66 attraction. About 50,000 years ago, a meteor about half the size of a football field crashed here, leaving a nearly mile-wide crater you can tour on a guided hike. And, hey, Elvis liked it.
Seligman to Kingman, Arizona
The 85-mile stretch of Route 66 bends (and bends) past sagebrush, rugged mountains, and ranchland before passing a '57 Corvette and a couple dozen old cars. This is the Hackberry General Store, a makeshift Americana museum run by Tacoma transfer Thurston Pritchard. In 1998 his parents—big-time collectors—spotted a house filled with snakes, rats, and "hippie" artist Bob Waldmire. They made him an offer. Inside you'll see Waldmire's parting gift, a wall mural of Route 66 and a ceiling's worth of donated license plates (the snakes and rats are gone). "Visitors walk in and go, 'oh my god, it's like another time. It even smells old in here,'" says Thurston.
Oatman, Arizona
For "a truer sense of being alone," per Route 66 writer Tom Snyder, take the wild road west from Kingman past saguaro cacti and loose boulders. It leads to a terrifically weird place: Oatman, an old gold-mining town that persists only because it's gone camp. Descendants of abandoned burros beg for carrots (sold locally), staged gunfights appear daily (at gift shops), and you can eat at the 1902 Oatman Hotel (supposedly frequented by Clark Gable).
Needles, California
"Oh gosh," says Needles native Don Rupe. "That river is a big calling when it's 115 degrees out." He speaks of the Colorado River, a refreshing spot that lures locals, as it did the Joads in The Grapes of Wrath. You can get in at Jack Smith Park. Afterward pay a visit to El Garces, an iconic hotel and train station that dates to 1908. The pillared building has been under renovation for years and reopens in May 2014 to eventually receive wee-hour Amtrak trains.
Wigwam Motel, Rialto, California
The approach of the mighty sprawl of metropolitan L.A. doesn't mean the ride's over. Just past San Bernardino, as the cityscape takes over, this kid-friendly motel is the best of the three remaining "wigwam" motels that appeared in the '30s, '40s, and '50s. And even if you ignore their infamous sign ("Do it in a teepee"), it's worth stopping for a night. Each concrete room is well kept up and faces a palm-dotted lawn with a pool.
Will Rogers State Historic Park, Los Angeles
A plaque for the Will Rogers Highway in Santa Monica's Palisades Park marks Route 66's unofficial end—the real one was buried by a freeway ramp at Lincoln and Olympic Boulevards. The plaque pays tribute to Rogers, an Oklahoma native who found fame via the Mother Road. At the nearby Will Rogers State Historic Park, you can tour his ranch, hike mountains overlooking the Pacific, and ponder his quip that the Dust Bowl immigration of Okies to California "raised the average intelligence of both states."
Robert Reid is National Geographic Traveler's Offbeat Observer. He grew up in Tulsa and regularly takes Route 66 to Oklahoma City because it's so great—and to beat the $4 toll.


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Is This the Key to Vastly Better Batteries?
Researchers are experimenting with a handful of ideas that could make batteries vastly better than they are today, which could lead to more affordable electric cars and cheaper ways to store solar power to use at night. But many of these approaches have one thing in common: they aren't practical because of the shortcomings of existing battery electrolytes.
Jerry Martin, CEO and cofounder of a small startup in Colorado, says his company—Boulder Ionics—is developing a way of making a type of electrolyte that would enable high-performance batteries. The electrolyte, made from ionic liquids—salts that are molten below 100 ⁰C—can operate at high voltages and temperatures, isn't flammable, and doesn't evaporate. Ionic liquids are normally expensive to produce, but Boulder Ionics is developing a cheaper manufacturing process.
Replacing conventional electrolytes with ionic liquids could double the energy storage capacity of ultracapacitors by allowing them to be charged to higher voltages. That could make it possible to replace a starter battery in a car with a battery the size of a flashlight, Martin says.
The electrolytes could also help improve the storage capacity of lithium-ion batteries, the kind used in electric vehicles and mobile phones; and they could help make rechargeable metal-air batteries practical. In theory, such batteries could store 10 times as much energy as conventional lithium-ion batteries.
Boulder Ionics, which is a year-and-a-half old, has built and demonstrated the key pieces of equipment needed for its process and used them to make evaluation samples for battery manufacturers. Earlier this year, it raised $4.3 million in venture capital.
Martin says his company's process could actually make ionic liquids that are cheaper than conventional electrolytes per watt-hour of energy storage in the batteries they enable.
The company is reducing the cost of making them in two main ways. First, it's switching from a batch process to a continuous one. This is far faster—it takes six minutes to make ionic liquid electrolyte, compared to three days for a conventional process—and allows the company to produce more material with a given-size piece of equipment, which reduces capital costs. Instead of building a large chemical plant, it would be possible to make enough ionic liquid for 100,000 electric cars in a space the size of a living room, Martin says.
The continuous process also gives Boulder Ionics more precise control over the chemical reactions involved, which reduces impurities. Martin says this makes costly purification steps unnecessary. Scaling up continuous production could prove a challenge, however.
For use in ultracapacitors, the new ionic liquid electrolyte can simply replace a conventional one. "It's a nearly drop-in replacement, compatible with existing production lines," Martin says. But battery makers will need to switch to new electrode materials that operate at higher voltages to take advantage of the high-voltage resistance of ionic liquids in lithium-ion batteries.
Ionic liquids are suitable for rechargeable metal-air batteries because the electrolyte in such a battery is exposed to the air, and ionic liquids do not evaporate. At least one company, Fluidic Energy, is hoping to make metal-air batteries practical by using ionic liquids.
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Dandelion is an extremely beneficial plant, which effectively detoxifies the liver, treats allergies, has diuretic properties, lowers cholesterol, stimulates the formation of bile, and is extremely useful for pregnant and postmenopausal women.
The ideal time for picking dandelion is the beginning of April, and you should find it in places which are not much polluted, away from the town and far from roads.
All its parts have medicinal properties, so it would be best to pick it from its root with a knife.
Its leaves are great for a salad, and you can mix them with eggs and potatoes. This salad is higher in vitamins than tomatoes and spinach.
Dandelion effectively detoxifies the liver, treats allergies, lowers cholesterol, stimulates the formation of bile, has diuretic properties, and is extremely useful for pregnant and postmenopausal women.
Moreover, it has more carotene than carrots and is abundant in various other minerals and vitamins.
The dandelion stem purifies the blood, relieves stomach issues, regulates the metabolism and stimulates the gallbladder function.
It is also recommended by the folk medicine as a powerful remedy against diabetes, and the milk from the stem, which is believed to be harmful, is very healing and is used for removing warts.
Its flowers are used in the preparation of dandelion syrup, also known as honey, which purifies the blood, strengthens it, improves digestion, and relieves a cough.
This is how to prepare dandelion syrup:
You should pick 400 yellow dandelion flowers and pour 3 liters of cold water over them. Then, add 4 lemons and 4 oranges cut in slices, and leave the mixture for 24 hours.
Afterward, strain the mixture through cheesecloth, and transfer the resulting liquid in a pot. Add 2 cups of sugar and cook for about an hour and a half, frequently stirring.
As soon as it boils, and it is thick enough, reduce the heat and pour the hot syrup in hot, sterilized jars. This syrup is excellent in the treatment of a cough, cold, bronchitis, and it can be also given to children.
Dandelion tea:
Pick dandelion plants, and dry them on the air. The dried leaves are used in the preparation of dandelion tea. Drink it always fresh, and you can also sweeten it with some honey. However, add it with a wooden or plastic spoon, and never use a metal one.
Dandelion root cures cancer
The powerful medicinal properties of dandelion have been known and appreciated for centuries. Moreover, newest scientific research has shown that its root can cure cancer. Therefore, in order to prepare the root of this plant in order to keep it for future use, you should peel it, cut it in equally small parts and dry them in the fresh air.
Namely, you should spread the root on some suitable surface, placed in a cool dry place with good air flow. Leave the dandelion roots to dry for 13-14 days. As soon as they become brittle under the fingers, they are dry enough. Then, store them in a jar, and keep it in a dry, dark place or up to a year.
The root of dandelion cleanses the kidneys, gallbladder, liver, and lymph. Therefore, it is also used in the treatments of numerous health issues, like gallstones, arthritis, constipation, rheumatism, hepatitis, acne and edema.
Furthermore, dandelion root is extremely useful in the case of women's diseases, particularly in the prevention and treatment of numerous breasts issues, s like cancer, cysts, tumors, and issues related to breast milk and breastfeeding.
Dandelion tea recipe:
Mix 60 grams of the fresh mixture and 30 grams of dried dandelion root and add their combination to a pan with 2.5 ounces of water with a pinch of salt. Bring the liquid to boil, cover the pan and let it simmer for 20 minutes. Then, strain it and consume three cups of this tea on a daily basis.
Dandelion root tea- recipe:
Dry some dandelion leaves, chop them finely and mince them. Store them in a jar for future use. Every day, add a ½ teaspoon in a glass of water and drink it regularly.
Thanks for taking the time to read this article. If you found this information helpful, please share it with your friends and family. Your support in our endeavor of sharing free information would be much appreciated.
Source: www.mycentralhealth.com


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As I picked up the ridiculously large Secret Wars II omnibus, I thought I'd post an entry about this infamous 1985 miniseries.
Wednesday, May 20, 2009
1985 - Return of the Beyonder!
As I picked up the ridiculously large Secret Wars II omnibus, I thought I'd post an entry about this infamous 1985 miniseries.
7 comments:
Believe it or not, I devoured this with great glee back when I was eight, when the obvious conceptual and dialogue problems flew right over my head! it was a great proper introduction to the Marvel Universe though, especially as the crossovers introduced me to John Byrne's Fantastic Four, Roger Stern's Avengers, Denny O'Neill's Iron Man, Chris Claremont's X-Men etc...ReplyDelete
the should have called this series "The Beyonder Retuens". Secret wars II was kinda misleading. i think it was the Beyonder tie-ins into other titles that made this series at all worth while.ReplyDelete
- Sparky RyanFebruary 3, 2012 at 8:17 PM
Damn it!! Secret Wars 2 gets such a bad rap. This was a great comic for KIDS, providing lots of mindless fight scenes and colourful characters all in the one book.As a 9-10 year old child I gobbled it up. although I had to rely on amatuerish british reprints to follow it. Many of the crossovers were pretty damn good; Uncanny X-Men #202 & 203 where Phoenix sets out to kill the Beyonder were very good with a real dark feel to them. I loved captain America #308 where Beyonder takes on the physical form of Cap and Gruenwald gives one of the greatest descriptions of what it is that sets Cap apart from the rest of Marvel's heroes through the eyes of the Beyonder. the issues of Amazing & Spectacular Spider-Man where the Puma tries to fulfil his destiny by killing big B. These were all highlights for me. I don't think it is complete nostalgia that has me feeling this way. I still think that it is a fun read and a lighthearted romp. I just wouldn't expect to much intellectual stimulation from these comics. This series reminds me that comics used to be fun.ReplyDelete
I ate these up as a kid, and still have a soft spot for them, logic be damned. That being said, all of your criticisms are correct. Secret Wars 1 and 2 were panned on Usenet in the 1980s, although the kids loved them. Even though I was a kid at the time, I had issues with the Beyonder being omnipotent yet having the need to build the machine. Then again Thanos had the same problem in the 1990s.
The main problem I had was the lack of coherency from issue to issue- the crossovers were necessary and a gimmick for me to collect everything. By issue 4 no one was really talking about SW2 at my school. The FLOW of SW1 was much better. SW2 and Crisis don't flow from issue to issue.
Even with the flaws, I still find SW2 better than Secret Invasion and Siege. It was FUN. The cosmic beings were FUN.
I don't see any public sales figures for Secret Wars I vs Secret Wars II on Comichron to make an informed judgement on if SW2 was a financial failure, however. Out of curiosity, where is your source for sales?
Sorry Damian, I went over my notes, I couldn't find anything about the sales. I try to keep better track of my sources these days. :)ReplyDelete
I read every issue of the first SECRET WARS, but after the first couple of issues of SWII, I skipped it until the Spider-Man crossover issues came out, then picked up the last couple of parts.ReplyDelete
Some say CRISIS ON INFINITE EARTHS was a rip-off of the first SECRET WARS, but, after committing to read CRISIS, I wasn't in the mood for another mini-series 'event' with a ton of crossovers.
Growing up I loved Secret Wars II; however, now I can definitely see the faults with the story. Some of the crossover issues were interesting like the Amazing Spider-man and Uncanny X-men issues. If nothing else the series gave us Boom Boom, and that makes it okay in my book. :)ReplyDelete