#steven roget

[drethanramslay]

Might probably flunk but damn... Can't get it out of my head

[boowoomuu]

Someone here is a fan of Marvel, I see🤔

[whitlocksfoundry]

Some of these names are really clever

[bijoumikhawal]

RE: my assertions regarding the Jem'hadar origins, these are all quotes from the alpha canon wiki

"Wolfe was even aware of some backstory explaining what had happened to the Jem'Hadar prior to this. "I think we all agreed that the Jem'Hadar were originally like the Mongols," he remembered. "They were some incredibly nasty, conquering subculture on a world of their own, but without all the genetic engineering; they didn't grow up in three days and all that stuff. The Founders got a hold of them and said, 'We'll make you the ultimate killing machines, what do you think?' And they said 'YEAH!' They just volunteered."" The word Mongol is basically a flashing warning light to me that someone is racist at this point; this is a really disgusting and over simplistic view of Mongolians at any point in their history.

"The Jem'Hadar's strong sense of loyalty was based on historical examples. "We used the model of the Roman legionnaire. We also thought about the British soldiers in India, who were really just doing it for the Empire or the U.S. Green Berets. That was sort of our model," recalled Robert Wolfe. "We wanted to go for something we hadn't seen before in Star Trek, which was the consummate professional soldier."" To clarify this is not what I mean when I say they used some inspiration from Indian soldiers, I'm including it for completion.

"Another way the writers tried to differentiate the Jem'Hadar from most of the other major races in Star Trek was by deciding to make them drug addicts. The writers did so primarily to demonstrate that the Jem'Hadar were fundamentally violent and were only obedient to the Founders. (Star Trek: The Magazine Volume 1, Issue 13, p. 58) Ira Steven Behr remembered, "From the very beginning, when we first sat around and talked about the Jem'Hadar – even before we had a name for them – we talked about them being mercenary drug addicts." (Cinefantastique, Vol. 27, No. 4/5, p. 95) Behr continued, "We came to view them as junkies. We came to view them as slaves, as people who were almost not worthy of a name because there wasn't much personality difference between them." Consequently, Behr believed the Jem'Hadar were more like the Borg than the Klingons. He commented, "They were stripped of their humanity. Not because they were machines, but because the drug was their raison d'etre."" I don't like bioessentialism and this is a disgustingly unsympathetic view of enslaved persons.

"Whereas the typical science fiction attitude would have been to make the Jem'Hadar much less aggressive and no longer villainous or loyal to the Dominion if their addiction was broken, the DS9 creative team opted for a more unusual idea. "What we wanted to say was: 'If you break them of the addiction to the white, then you take away what little control anyone has over them, and they'll do what they always wanted to do, which is run around and kill everybody they can get to.' I'm not entirely sure that's just because of the genetic engineering," Wolfe mused. "I think the loyalty to the Founders was probably programmed in there, but I suspect they'd be difficult to reason with in any case."" Again: I don't like bioessentialism being treated as fact, especially not when applied to a fictional group that's racialized as nonwhite in multiple ways.

 ""We [the DS9 writing staff] named the Jem'Hadar together. We sat there with a 'Roget's Thesaurus' and looked under soldier. Jem'Hadar is a rank in the Indian army; it's first lieutenant or something like that." (Star Trek: The Magazine Volume 1, Issue 13, p. 57) In fact, the name of this species comes from Jemadar, an Urdu term for armed officials of the zamindars (lords) later adopted by the British as a military rank." This is what I mean when I mention the Indian soldier thing: I'm not a military history person nor am I especially well versed in Indian military history specifically, but Jemadar/Jamadar to my knowledge was not held by British officers, it was a rank for Indian soldiers before, during, and a little bit after British Imperial rule.

Anyway I'm going to remember the content but try to once more forget the specific wording of these quotes like I did last time, and leave you with this final gem and invitation to join my campaign to ban white people from writing Star Trek:

"Fellow writing staffer Peter Allan Fields disapproved of the name, commenting it "sounds like 'mah-jongg,' or some kind of card game!""

[dthbyathsndcuts]

steven roget, natalia romanoffa, clint burton and karol denver 👀

[haydens-new-name-is-viz]

Seriously guys? Karol Denver. Steven Roget. Natalia Romanoffa. Clint Burton. And honestly. If anything, Natasha Romanoff should have Olivia's picture not Madeline.

[aremenyegybudoskurva-blog]

Best 80s Tv Shows List

Star Trek: The Next Generation

Original Run: 1987 94 Creator: Gene Roddenberry Stars: Patrick Stewart, Brent Spiner, Jonathan Frakes, LeVar Burton, Gates McFadden, Michael Dorn, Marina Sirtis Network: Syndicated The original collection was groundbreaking. Deep Space Nine and Voyager had their occasions. But TNG was head-and-shoulders the Star Trek franchise. Jean Luc Picard. Data. Worf. The holodeck. The Borg. Gene Roddenbury mustn't have had a cynical bone in his human anatomy, and as I watched his characters explore unusual new worlds, look for new life and new civilizations, and boldly go where no one h-AS gone before, I didn’t either.

The Cosby Show

Original Run: 1984-1992 Creators: Bill Cosby. Weinberger and Michael Leeson Stars: Bill Cosby, Phylicia Rash? d Malcolm-Jamal Warner, Tempestt Bledsoe, Keshia Knight Pulliam, Sabrina Le Beauf, Geoffrey Owens, Joseph C. Phillips Network: NBC George Jefferson may happen to be moving on up, but The Cosby Present gave the nation a mo-Re relatable glimpse of the expanding middleclass among African-Americans but much mo-Re usually, dealing with all the trials that we all faced. Inspired by Cosby’s own family encounters which had been a staple of his stand-up routine, the show dominated the 2nd half of the ’80s, topping the Neilsen scores from 1985-90 and averaging more than 3-0 million viewers in the ’86-87 period. Cosby’s legacy might currently be in shambles, but the display was bigger compared to the man.

Magnum, P.I.

Original Run: 1980 88 Creator: Donald P. Bellisario, Glen A. Larson Stars: Tom Selleck, John Hillerman. Mosley, Larry Manetti Network: CBS When every other adolescent male of the ’80s and I grew up, we needed the li Fe of Tom Magnum, performed by Tom Selleck and his mustache: dwelling in an opulent Hawaii beachhouse as a guest of a never-current millionaire novelist and driving his Ferrari 308 GTS; wracking up a never-to-be-paid tab a T the country club run by one war-vet buddy and bumming helicopter rides from still another; and periodically solving mysteries using a mixture of smarts, toughness and mostly chutzpah. I never did figure out the way to walk that particular career path, but it was fun to dream.

TV Boxed Sets DVDs

At the Movies

Original Run: 1982-2010 Creator: Gene Siskel Stars: Roget Ebert, Gene Siskel Network: Syndicated Two different exhibits, both titled In The The Films from various production companies, the combination of Gene Siskel and Roger Ebert completely revolutionized the notion of movie criticism. Greatly admired for his or her ability to succinctly sum up the newest films together with their honesty and integrity in sparring with each other when opinions differed, the pair were also criticized by many for degrading the integrity of film criticism by decreasing it to arbitrary “thumbs up“or “thumbs down“gestures. Such was the legacy of Gene Siskel and Roger Ebert and the duality of the show. They were among the only film critics whose thoughts an “average American“could often be expected to respect and did much for legitimizing the idea of film criticism outside of a class-room environment. Some might nonetheless criticize the idea of a two-outcome rating program, but it was the approachable eloquence of the hosts that created the format work.

Taxi

Original Run: 1978 83 Creators: James L. Ed, Brooks, Stan Daniels, David Davis. Weinberger Stars: Carol Kane, Judd Hirsch, Danny DeVito, Marilu Henner, Tony Danza, Andy Kaufman, Christopher Lloyd, Jeff Conway Network: ABC/NBC Let’s just pause for a moment and remember that somebody once confident a community to set Andy Kaufman to the air. I just wish it'd been live TV. Like M*A*S*H, Taxi frequently tackled serious social problems like drug and gambling addiction, but did it with an incredibly unusual cast of characters from the alien-like Latka Graves (Kaufman) to drugged-out hippie Reverend Jim (Christopher Lloyd) to misanthrope Louie De Palma (Danny DeVito).

St. Elsewhere

Original Run: 1982 88 Creator: Joshua Brand, John Falsey Stars: William Daniels, Ed Flanders, Norman Lloyd Network: NBC The seminal hospital drama of the 1980s, St. Elsewhere was never resoundingly productive in the ratings, but it racked in Emmys over the years for its practical, frequently-dark tone and occasions of humor. Its big, ensemble forged carried on several long and had a number of cross overs together with the Hill Street Blues that are related - serialized story-lines, type, leading to fantastic character development within the course of the series. Needless to say, it’s today often remembered for a different cause: For having perhaps the single-most WTF finale moment in TV history. At the conclusion of the final St. Else Where episode, the characters are revealed as having all been the creation of the autistic Tommy Westphall, who owns a snow globe wherein the imaginary St. Eligius hospital exists. Moreoever, because so many other exhibits and characters overlapped with St. Elsewhere, some followers posit this signifies that everything from Hill Avenue Blues and Murder: Life on the Road to The X-Files all take invest the “Tommy Westphall Universe“by extension.

Pee-Wee’s Playhouse

Original Run: 198690 Creator: Paul Reubens Stars: Paul Reubens, Laurence Fishburne, Lynne Marie Stewart Network: CBS There are two types of folks within my life: Those who like Pee Wee Herman and enemies. Years ago, I was gifted the total collection of Pee-Wee’s Playhouse DVDs. Over the years, I’d created a point to watch Pee-Wee’s Big Adventure and Big Top Pee-Wee whenever the feeling was correct. As much as I loved this show as a child, I only expected to get a great kick from an episode here and there, but I found myself inhaling these DVDs. Pee-Wee’s Play-House is joyous morning viewing (over a bowl of Mr. T cereal, of course) or a great way to unwind at evening (I’d recommend taking a drink from a good beer whenever somebody says the “secret word“ only if your day was exceptionally hard). To get a display that had a cast of breakfast plates and genies, cowboys, puppet couches, pterodactyls, clocks, I think Playhouse still makes sense in 2014. It’s a fully realized vision of Pee-Wee’s whimsical, wacky world—puppet strings and all—and the collection is just pithy enough to pull in adults that are ready to go on the ride, too. Paul Reubens is a comedy icon and master of timing, and it’s unusual that a well-placed Peewee gurgle or squeal doesn’t get a chuckle out of me. If you can’t find any joy in all of that, we’ve got to re Consider our friendship.

Wonder Years

#s#The Original Run: 1988-93 Creators: Neal Marlens, Carol Black Stars: Fred Savage, Dan Lauria, Alley Mills, Olivia d’Abo, Jason Hervey, Danica McKellar, Josh Saviano Network: ABC The Wonder Years is a family present, and yes, a few of its episodes inch dangerously shut to after school-unique territory, but make no error: revisiting this late-’80s/early-’90s staple as a grown-up is just as—if perhaps not more—enjoyable than observing it the first time around. It’s unabashedly nostalgic, but it chronicles the ups and downs of Kevin Arnold’s, Winnie Cooper’s and Paul Pfeiffer’s adolescence from the backdrop of the Vietnam era and our nation’s changing social landscape with a maturity most exhibits geared towards kiddies absence. The small childhood moments that stay with us are treated with the respect they deserve. We laugh when Kevin’s brother Wayne gets him in a headlock and calls him “scrote“for the umpteenth time (attempt sneaking that by the Nick a T Nite censors today!) or when Kev squares off along with his mortal enemy Becky Slater, and we cry when Kevin’s periodically distant father struggles to relate solely to his teen-age children. And sorry, but if you don’t hold your breath when Kevin puts that letterman jacket over Winnie’s shoulders, you’re lifeless within. Music geeks will enjoy the amazing sound track as well.

Family Ties

Original Run: 1982-89 Creator: Gary David Goldberg Stars: Meredith Baxter-Birney, Michael Gross. Fox, Justine Bateman and Tina Yothers Network: NBC We were given the Keatons by one of the finest family sit-coms of our time; these were were our family. Liberal working parents Steven (Michael Gross) and Elyse (Meredith Baxter) raised their three children—smart and conservative older brother Alex (Michael J. Fox), flighty and trendy middle kid Mallory (Justine Bateman) and sarcastic younger sister Jennifer (Tina Yothers)—with love, compassion and limits. Fox, whose job was introduced with all the collection, made Alex’s Republicanism humorous yet not cliched. The collection is still remembered for the very special episode, “A my name is Alex,“ where Alex struggled to accept the sudden death of his friend. Today family comedies continue to try to capture the magic that was Family Ties

[pjpsaint66]

Friday 6 September 2019       Hanover to Wardenburg

We had a slow start to the day with a late breakfast and some shopping in Hanover. Finally, out of the hotel and on the road at 11am.

About 70 kms to the north of Hanover is the Becklingen War Cemetery. This cemetery, a rather unusual triangular site, is a collection of graves from sites around the area.  Included in the 2,400 graves are 79 Australians and one is Flight Sergeant Donald Kerr (OW1930) RAAF 401646 No. 12 Squadron (RAF). Age 26 when died 3 March 1943.

In March 1941 he joined the RAAF, formerly a bank clerk with the National Bank. 6 foot 2.5 inches he was an active sportsman. After training in Australia and Canada he arrived in the UK on 15 April 1942 and assigned to 12 Sqn on 10 October 1942 as a Lancaster navigator

On 3 March 1943, his Lancaster W4855 took off from RAF Wickenby to bomb Hamburg. Nothing was heard from the aircraft after take-off and it failed to return to base. The aircraft crashed near Rotenburg (between Hamburg and Bremen) and the crew of seven (including four Australians) were killed.

Don was a well-regarded hockey player for the Old Wesley Collegians Hockey Club. Following his death, a trophy was created in his honour to the ‘Best Clubman’ of the year. In 1976 I received this award; my brother and his son have also earned the award. In 1976, I received an inscribed pewter mug. Today, I had that mug with me and drank a toast to Don. I remember back in the 70’s being told by men who had known him, what a good man he was and a top hockey player. It was a special experience to travel to this cemetery and visit his grave.

Looking at the graves we also came across Capt Ian Liddell of the Coldstream Guards. A Victoria Cross awardee for his bravery in capturing a bridge on 3 April 1945. Unfortunately, killed on 21 April 1945.

We then headed 180 kms or so in a westerly direction and after dealing with heavy traffic, we arrived at the Sage War Cemetery, near Wardenburg. A simple cemetery layout containing about 1,000 graves. Here is the grave of Wireless Operator Geoffrey Stevens (OW1934) RAAF 400160. Age 24, died 20 June 1942. Sqn 460, the unit same as Ray Roget and two days before Roget’s death.

When he enlisted in 1940, Stevens was a warrant clerk in the Bonds and Stock Department at the Commonwealth Bank in Melbourne. Stevens trained at No.5 Elementary Flying Training School at Narromine before leaving for Canada in October 1940 as part of the Empire Air Training Scheme. He attended wireless schools at Calgary and Montreal before being sent to the UK in May 1941 where he joined 460 Sqn. He was the Wireless Operator/ Air Gunner on a Wellington bomber (Z 1486) which took off from RAF Base Breighton (near York) on the night of 19 June 1942 to attack Emden, Germany. His aircraft crashed into a sandbank near the village of Rysum, seven miles west of Emden in the Ems River estuary. http://www.memorial.act.gov.au/search/person/stevens-geoffrey-lovell.

Tonight we are staying in the nearby town of Wardenburg.

[nofomoartworld]

Hyperallergic: How Pirate and Parrot (Mis)Understand One Another

In Eugene Ostashevsky’s book-length sequence of formally varied poems, The Pirate Who Does Not Know the Value of Pi, a pirate and his parrot go a-raiding, partying and punning their way across the high seas:

They raided packet boats, pedal boats and boats at once packet and pedal, palanders, pirogues, pontoons, and gondolas made of metal, dhows, dinghies, baidarkas, catamarans and clippers, feluccas, garrookuhs, tankers, bathtubs and bathroom slippers!

(“The Ballad of the Pirate and His Parrot,” 11)

“We’ll pester people for piasters, those irrational stars, As we sail seas unsoiled both near and far With our Jolly Roget and our fun pun 2πARRRGH!”

(“Pirate Parrot Love (feat. Israel Hands),” 46)

Like Robinson Crusoe (or the crew of the Minnow, from Gilligan’s Island), the pair find themselves shipwrecked on a deserted island – yet, as the Parrot points out to the Pirate, “It can’t be deserted if we’re on it.” (76)

Although he spins his tale in outrageous and hilarious rhymes across several languages, including English, Greek, sign, logic, math, and Russian, Ostashevsky is deadly serious. He’s a father of two young daughters and a fan of Dr. Seuss, and he no longer thinks it is “possible to write anything serious that is not funny.” The pun is one of his preferred tools:

For me, the heart of language is the pun. Puns are its opacity and materiality. They at once obstruct meaning and multiply it … Puns are about non-understanding and plural understanding, and understanding with unresolved contradictions. What they are not about is the one-truth model. (Interview, May 2012, with Jack Little. Ofi Press Magazine, Mexico City, No. 20.)

While we laugh as the piratical pair contemplate “whether booty actually is truth,” at the core of these poems lie the opacity, instability, and deep pleasures of language; the tragic and comic encounters between discoverer and “native” and between self and Other; and the unreliability of translation or communication. “Hello, nice weather we’re having, says the parrot. How do the grammatical structures of your language affect your experience of it?” (“The Island of the Sapir-Whorf Hypothesis,” 111)

Eugene Ostashevsky (photo by Natasha Nisic)

These matters are the crux of Ostashevsky’s project. They were likewise central to his previous book, The Life and Opinions of DJ Spinoza (New York: Ugly Duckling Presse, 2008), in which our Pirate and Parrot made their first, brief cameo appearances. These questions also haunt the Russian OBERIU poets of the 1920s and ’30s, such as Daniil Kharms and Alexander Vvedensky, whose work Ostashevsky has edited and translated. If we speak different languages, if your native language is one I have acquired, do we experience the same thing in the same way? If, upon my arrival, you suddenly become “the other,” can we communicate at all? Does the effort to acquire and use another language change what we see? If the ultimate “other” is a member of another species, then can beasts reason? Do they have souls? How can you tell? In Ostashevsky’s book, Meliboeus and Tityrus (characters from Virgil’s Eclogues 1) debate the question here, and Descartes weighs in with a definitive answer (which Ostashevsky draws from a letter Descartes wrote to the Marquess of Newcastle on November 23, 1646):

The only way a man shows his body is not just a self-moving machine, but harbors a soul with thoughts, is by using words or other signs that stand for particular concepts and yet do not express any passion. A parrot can be taught to say hello to its master only by making the utterance of this word the expression of one of its passions. Thus if it is trained to say hello with a cracker, its hello will express its desire to eat one…. It is because animals have no thoughts but only passions that they cannot speak. Having no thoughts, they have no souls.

(“The Nudnik Who Became a Jihadnik: III. Cartesian Meditations,” 61)

Yet here’s a fragment of the conversation between our castaways, as they relax on the beach of their island:

Where does happiness come from, asks the parrot.

Where does your happiness come from, asks the pirate.

I feel happy when I am having an abstract thought, says the parrot. But that occurs very rarely.

Why, asks the pirate.

Because I’m not so intelligent, says the parrot. This is my Great Inner Grief.

You’re much more intelligent than me, says the Pirate Who Does Not Know the Value of Pi.

I know, says the parrot. But that’s not enough.

(“Happiness,” 86)

The existential difficulties rooted in language; the intimate but circular conversations fraught with gaps, frustrations, and misunderstandings; the risks and hope behind each attempt to communicate with another are present and enacted in the poems. We are faced with the loneliness of trying to make meaning in a world which, like the value of pi, is infinite yet offers neither pattern nor sequence. We can respond with both humor and beauty:

Of ARRRGHs and the pirate I sing and of the parrot and entailments.

The pirate tells a tale of great odds. The day ends. The nearsighted evening,

evening out all prizes, all signs of shipping, dissolves what cut on the horizon

harbors his pie. The parrot ponders what his tale meant.

(“Of ARRRGHs and the Pirate I Parrot,” 95)

In addition to fragments of Shakespeare, Poe, Keats, Stevens, Russian poets and Yiddish songs, embedded in the poems are texts of 16th and 17th-century explorers, describing their encounters with “natives” and “beasts,” both of which suddenly become “indigenous” upon the ship’s arrival. A glossary of words and phrases compiled in the late 16th century by explorer John M. Davis feels both utilitarian and utterly opaque, both languages unfamiliar to the modern reader:

Kesinyoh, Eate some.

Madlycoyce, Musicke.

Aginyoh, Go fetch.

Yliaoute, I mean no harme.

Ponameg, A boat.

Paaotyck, An oare.

Asanock, A dart.

Sawygmeg, A knife.

(“Particular Natives,” 117)

In this collection language is examined and experienced as a source of bafflement, tragedy, and pleasure. The poems are deftly woven from a variety of languages, traditions, and texts. Ostashevsky, whose first language is Russian, spins his song from the displacements and discoveries of his own voyages for our reading pleasure. Even the pirate and the parrot step out of the frame and away from the text to converse on matters existential:

“What a beautiful song,” said the pirate. “I wish I knew all the ship-names in it.”

“Shhh,” said the parrot. “We’ll look ’em up later.”

“Later when?” asked the pirate.

“When this book is over,” said the parrot.

The pirate fell into deep thought.

“Will we exist when this book is over?” he suddenly asked.

“If it’s a good book,” said the parrot.

(“The Ballad of the Pirate and His Parrot,” 12)

Despite being buffeted by storm and shipwreck and existential questions, our pirate and parrot never lose their balance. Neither does Ostashevsky in this hilarious, deeply serious, collection.

*   *   *

NOTE: In the interests of full disclosure, the author confesses that she has lived for 42 years with a yellow-naped Amazon parrot named George, who, upon hearing it read aloud, also fell in love with the book. He objects to the fact that Ostashevsky’s references to Hafiz, al-Ghazali, and parrots in Persian literature are excluded from this review. All his other suggestions have been incorporated.

Eugene Ostashevsky’s The Pirate Who Does Not Know the Value of Pi (2017) is published by New York Review books and is available from Amazon and other online booksellers.

The post How Pirate and Parrot (Mis)Understand One Another appeared first on Hyperallergic.

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