How the Voice might work

Sunday, August 24th, 2025

Dune presents an order of highly trained experts in using the Voice, but I’ve seen little discussion of how this might work:

Your tone, pace, and even the pitch of your voice generate psychological responses. We’re wired to respond emotionally even before we process the words.

How to be taken seriously

People perceive lower voices as more confident and trustworthy, because we associate a lower pitch with authority. So, if you want to be taken seriously, like in a negotiation or conflict, drop your pitch just slightly and speak from your diaphragm.

[…]

How to sound in control

Now, if you want to sound in control, speak at a slower pace. Fast-talkers sound nervous. Slow your speech by 10 to 15 percent, and you’ll come across as more thoughtful, more powerful, and way more in control.

[…]

How to ask for a favor

But, if you want to ask for a favor, or if you’re trying to de-escalate tension, warmth and vocal smile actually matter more than confidence. Add just a touch of softness and upward inflection, and you’re good to go.

[…]

And you don’t have to be a pro voice-actor to do this. You just have to be intentional. And if you’re already doing this naturally, you’re actually using performance psychology.

The astronomer, like the Shinto priests, must climb his mountain

Thursday, August 21st, 2025

Percival Lowell (1855 – 1916), the founder of the Lowell Observatory, inspired Martian romances like A Princess of Mars in multiple ways:

Lowell, the liberally bankrolled son of a New England manufacturing dynasty, led an eccentric but not unproductive life, devoting himself in his twenties and thirties to the study of Far-Eastern religious practices and in the last half of his life to the study of the planet Mars. More people know of Lowell’s Martian obsession than know of his interest in the shamanic practices of the Koreans and Japanese, but the earlier fascination thoroughly informs the later one. Lowell’s theory of the fourth planet as the home of an immensely ancient and philosophical civilization in turn informs the generic Martian Romance, beginning with Burroughs’ “John Carter” trilogy, whose writer-imitators found their venues in the pulpy purveyances of commercial fiction, the bright covers of which would beckon to hungry souls from the display rack. Lowell wrote up his ethnological forays in a series of books, among them Chosön – the Land of Morning Calm (1886), Noto – an Unexplored Corner of Japan (1891), and Occult Japan – Shinto, Shamanism, and the Way of the Gods (1894). Occult Japan begins with Lowell’s first-hand description of a shamanic ritual at the crater-edge of Ontake, a dormant volcano in Kagoshima prefecture. Two young monks help a third to enter a trance whereupon an ancestral spirit possesses and speaks through the medium. “The veil was thrown aside,” Lowell writes; “we stood face to face with the gods.”[xii] Occult Japan ends with a long chapter, “Noumena,” wherein Lowell goes in quest of “that innermost something that each of us calls ‘I,’” “the essence of the Ego,” or “the Self.”[xiii] Perhaps the gods and the Self are, in fact, one.

The symbolic features of the Shinto landscape recur in Lowell’s books about Mars. Lowell built his observatory in 1894 on what came to be known as Mars Hill in the then non-populous desert-town of Flagstaff, in the Arizona Territory. The astronomer, like the Shinto priests, must climb his mountain. He must, as well, alter his perspective. In The Evolution of Worlds (1910), Lowell writes that, whereas “astronomy is usually thought of as the study of the bodies visible in the sky” and is thought to concern itself only with “the present state of the universe”; the astronomer in fact “attempt[s] to peer into [the universe’s] past and to foresee its future.”[xiv] The astronomer deals, counter-intuitively, less with the visible than with “the contemplation of the invisible” through apperception “by the mind’s eye.”[xv] In Mars and its Canals (1906), having proven by his own lights the inhabited status of that world, Lowell writes that the Martians must qualify as “life of a high order,” in that “where the conditions of life have grown more difficult, mentality must characterize more and more its beings in order for them to survive.”[xvi] A certain rather Puritanical attitude might, Lowell grants, determine that “the very strangeness of Martian life precludes for it an appeal to human interest,” but quite the opposite is the case: “The less the life there proves a counterpart of our earthly state of things, the more it fires fancy and piques inquiry as to what it be.”[xvii] It matters little to Lowell whether the intellectual establishment acknowledges his argument. He quite candidly reveals himself as more the seer and adventurer than the staid man of science. It might be significant that in his youth, before his independence, he spent six years running a cotton-mill for his father. Lowell declares, and in so doing fuses himself with the science-fiction aficionado transfixed by a magazine cover on a high rack, that, in aging, “we but exchange… the romance of fiction for the more thrilling romance of fact,” and “the stranger the realization the better we are pleased.”[xviii]

Evil, when it appears, is distinguished by refinement and good breeding

Monday, August 4th, 2025

The rise of the young-adult novel is the most significant literary event of this century, Tanner Greer argues:

The story takes place in a world not quite modern. Different devices might be used for this purpose. In some series, this means a future so dystopic that the earth has retrogressed to an earlier age; in others, fully modern settings serve as camouflage for a clandestine society whose language, dress, and grooming evoke a more aristocratic past. Thus, Harry Potter’s wizarding world has steam locomotives but not a single television set, Bella’s love interest is literally an Edwardian gentleman, and the dystopian landscape of The Hunger Games is a pastiche of Dust Bowl America and interwar Europe. Other YA series take the genre’s love affair with the turn of the twentieth century even further, placing their teenage heroes in a steampunk-inspired or magic-infused Victorian past. In all cases, the fictional society of the YA novel is classy. Beneath its repressed social rules and rigid social hierarchies is an elegance not found in the mundane humdrum of twenty-first-century America. Evil, when it appears, is distinguished by refinement and good breeding.

From Harry Potter onward, the speculative YA novelist has been enthralled by dreams and nightmares of the clandestine. Under the surface of normal life exists a hidden world more vital, dazzling, and dangerous than most people ever realize. The YA heroine may enter this society as a stranger, but eventually discovers that she (more often, the hero is female) is the fulcrum upon which this new world turns — and becomes aware of the many powerful individuals in this world plotting to use her to turn it.

This is the defining feature of the YA fictional society: powerful, inscrutable authorities with a mysterious and obsessive interest in the protagonist. Sometimes the hidden hands of this hidden world are benign. More often, they do evil. But the intentions behind these spying eyes do not much matter. Be they vile or kind, they inevitably create the kind of protagonist about whom twenty-first century America loves to read: a young hero defined by her frustration with, or outright hostility toward, every system of authority that she encounters.

[…]

The modern-day fairy tale is not at peace with HR. Our fairy realm’s preoccupation with the problems of the micromanaged life resonates. Its paranoia reflects a culture that has lost faith in its own ruling class. The YA novel’s adolescent attitude toward authority speaks to the experiences of the many millions shaken by their own impotence. The mania for dystopia is a literary sensation custom-made for the frustrations of our age.

Not only do they prohibit discrimination on the grounds of race, creed, and color, but also on the grounds of ability

Tuesday, July 29th, 2025

Tom Lehrer just passed away at the age of 97. I associate him with “New Math” and “Werner von Braun,” but Matthew Petti of Reason says he’s best known for his periodic table song and his Harvard fight song:

Lehrer’s comedic career took off in the 1950s, in between his military service and his mathematics studies at Harvard. Then, suddenly, he retreated from the public eye, refusing all publicity—except for an occasional sarcastic take about how pointless everything is. “Political satire became obsolete when Henry Kissinger was awarded the Nobel Peace Prize,” he quipped after Kissinger won the prize in 1973. “I don’t want to satirize George Bush and his puppeteers, I want to vaporize them,” Lehrer declared in 2003.

[…]

“Every great war produces its great hit songs…It occurred to me that if any songs are going to come out of World War III, we’d better start writing them now. I have one here,” Lehrer said in the introduction to “So Long Mom,” a song by a nuclear bomber pilot promising to see his mother “when the war is over, an hour and a half from now.”

An even more nihilistic variation on the same theme, “We Will All Go Together When We Go,” promises the end of all suffering, because “if the bomb that drops on you/gets your friends and neighbors too/there’ll be nobody left behind to grieve.”

Some of Lehrer’s songs touch on a very specific anxiety of the early Cold War, the sense of whiplash from watching (West) Germany transform from an enemy into an ally. “Once all the Germans were warlike and mean/But that couldn’t happen again/We taught them a lesson in 1918/And they’ve hardly bothered us since then…Heil—uh, hail, the Wehrmacht—I mean the Bundeswehr,” he sang in “Multilateral Force Lullaby.”

There was a rumor that Wernher von Braun, the ex-Nazi rocket scientist turned NASA manager, sued Lehrer for singing that von Braun was “a man whose allegiance is ruled by expedience” and should receive some credit for “the widows and cripples in old London town who owe their large pensions to Wernher von Braun.” Lehrer later clarified that the lawsuit never happened.

[…]

Given the frequent nuclear themes in his songs, many had assumed that Lehrer’s military service had to do with nuclear weapons, especially because he spent time at Los Alamos National Laboratory. But Lehrer revealed in a 1994 interview that he had actually been drafted into the National Security Agency (NSA), the shadowy electronic eavesdropping organization that Edward Snowden blew the whistle on decades later.

At the time Lehrer worked there, the very existence of the NSA was classified information. (NSA stands for “No Such Agency,” he joked to his former Harvard classmate Jeremy Bernstein, who wrote about the quip in Quantum Profiles.) While the NSA values mathematicians for their codebreaking skills, Lehrer was not exactly the model intelligence officer.

When he learned that alcohol would be banned at his base’s Christmas party, Lehrer and a friend mixed vodka into gelatin to get drunk on the sly. The event is often considered the invention of the Jell-O shot, though Lehrer himself laughed off the idea that he should get all the credit.

“The Army has carried the American democratic ideal to its logical conclusion in the sense that not only do they prohibit discrimination on the grounds of race, creed, and color, but also on the grounds of ability,” Lehrer said in the introduction to “It Makes a Fellow Proud to Be a Soldier,” his proposed new U.S. Army anthem.

The subterranean humanity was nonsense

Friday, May 30th, 2025

Invented to make beef last through a long voyage, Bovril became a famous British kitchen staple:

Less well-known is its link to an odd, pioneering science fiction novel.

A stout black jar of Bovril with a cheery red top lurks in many a British kitchen, next to tins of treacle and boxes of tea. The gooey substance, made of rendered-down beef, salt and other ingredients, can be spread on toast or made into a hot drink, but what many people don’t realise is that this old-fashioned comfort food has a surprising link to science fiction.

The “Bov” part of the name is easy enough to decipher — from “bovine”, meaning associated with cattle. But the “vril” bit? That’s a different story, literally.

In 1871, an anonymous novel was published about a race of super-humans living underground. The narrator of The Coming Race, who has fallen into their realm during a disastrous descent into a mine shaft, is shocked to learn that they are telepathic, thanks to the channeling of a mysterious energy called vril.

“Through vril conductors, they can exercise influence over minds, and bodies animal and vegetable, to an extent not surpassed in the romances of our mystics,” the narrator realises. Vril gives them strength, as well, rendering them capable of incredible feats. The people call themselves the Vril-Ya, and their society seems in many ways superior to that of the surface dwellers.

The Coming Race was a runaway bestseller. It eventually became clear that the anonymous author was Edward Bulwer-Lytton, the prominent politician and writer (and, to give you a sense of his prose, the first person to start a novel: “It was a dark and stormy night…”). It became such a cultural touchstone that 20 years later, the Royal Albert Hall in London played host to the Vril-Ya Bazaar and Fete, to raise money for a school of massage “and electricity”.

In 1895, a writer for The Guardian newspaper started a review of a new novel with this statement: “The influence of the author of The Coming Race is still powerful, and no year passes without the appearance of stories which describe the manners and customs of peoples in imaginary worlds, sometimes in the stars above, sometimes in the heart of unknown continents in Australia or at the Pole, and sometimes below the waters under the earth.” The work under review? The Time Machine, by H G Wells.

And so you can see how, in the 1870s, when John Johnston, Scottish meat entrepreneur, was coming up with a name for his bottled beef extract, “vril” was a tip-of-the-tongue reference.

[…]

Johnston and other makers of the substance were responding to a demand for beef products in Europe, where raising cattle was prohibitively expensive, and the growth of cattle ranches in South America, Australia and Canada.

There was no way to get fresh meat from these far-flung places to Europe. But rendering the meat down into a paste and sealing it in jars yielded a shelf-stable product that could make the long journeys involved. (Johnston was not the only player in the meat extract game — Justus von Liebig, one of the founders of organic chemistry, founded Leibig’s Extract of Meat Company to commercialise his process. The company later went on to produce Oxo bouillon cubes and Fray Bentos pies.)

How do you make a salty meat paste sound nourishing? By linking it to a fantastical substance with great powers. An excitable advert for Bovril in the program from the Vril-Ya Bazaar reads, “Bo-VRIL is the materialised ideal of the gifted author of ‘The Coming Race’… it will exert a marvellous influence on the system, exhilarating without subsequent depression, and increasing the mental and physical vitality without taxing the digestive organs. It is a tonic as well as a food, and forms the most Perfect Nourishment known to Science.”

[…]

Members of the theosophy movement, including the spiritualist medium Madame Blavatsky, claimed that vril was real. Willy Ley, a German rocket enthusiast writing about conspiracy theories in Germany during the rise of the Nazis in the magazine Astounding Science Fiction, said there was a society in Berlin that believed in vril: “They knew that the book was fiction, Bulwer-Lytton had used that device in order to be able to tell the truth about this ‘power’.

“The subterranean humanity was nonsense, Vril was not. Possibly it had enabled the British, who kept it as a State secret, to amass their colonial empire.”

I have discussed the pursuit of the almighty vril before.

The FBI did, in fact, visit Ben Affleck’s house

Monday, March 31st, 2025

Zach Baron of GQ interviews Ben Affleck about his life in the public eye:

GQ: One story I read this week, speaking of tabloids, was that the FBI visited your house.

Ben Affleck: Good example. As it turns out, the FBI did, in fact, visit my house. But this is pretty revealing, right? So I come home and I see there’s a story with sources that say, “Hey, the FBI was at your house.” I’m like, “Well, this is strange.” So I call them and say, “Hey, FBI, were you at my house? Do you want to talk to me?” “Oh, we don’t know.” I get transferred along. Finally somebody who is actually responsible for what was happening was like, “Oh, we had no idea that was your house.” There was a break-in of a federal official’s home in that area. So the FBI went around and whoever lived there, the FBI rang their bell, but because there are photographers sitting outside and these guys have their FBI jackets on, then it’s: The FBI has visited your house. Whoever wrote the story made up something about how it was related to an investigation about a drone that I guess did crash into one of the helicopters two or three miles up Mandeville Canyon. Turns out, no, it wasn’t about that. In fact, we were very far from where the drone was. So it’s like: You’ve seen this event about the FBI at my house. I had no idea. My only involvement was to track it down, figure it out.

He and Wilson had pledged allegiance to the “Golden Penetrators”

Saturday, March 15th, 2025

Chaos by Tom O’Neill The story of Charles Manson and Terry Melcher, Tom O’Neill explains (in Chaos: Charles Manson, the CIA, and the Secret History of the Sixties), starts with Dennis Wilson, the drummer for the Beach Boys:

By the summer of 1968, Wilson, then twenty-three, had reached an impasse. He’d become world famous as the drummer for the Beach Boys, helmed by his brother Brian; now the band was in decline, edged out by more subversive acts. He and his wife, Carole, had recently divorced for the second time. She wrote in court filings that he had a violent temper, inflicting “severe bodily injury” on her during his “rampages.”

The couple had two young children, but Dennis decided to rusticate as a bachelor. He moved into a lavish, Spanish-style mansion in Pacific Palisades, once a hunting lodge owned by the humorist Will Rogers. The home boasted thirty-one rooms and a swimming pool in the shape of California. He redecorated in the spirit of the times — zebra-print carpet, abundant bunk beds — and hosted decadent parties, hoping to have as much sex as possible.

Beach Boys 20-20If we look back at the late-60s Beach Boys, Dennis Wilson is clearly the one member of the band who looks like he’d be right at home in a hard rock band.

In Once Upon a Time in Hollywood, it’s Brad Pitt’s character who does this:

One day, Wilson was driving his custom red Ferrari down the Pacific Coast Highway when two hitchhikers, the Family’s Ella Jo Bailey and Patricia Krenwinkel, caught his eye. He gave them a quick lift. When he saw them again soon afterward, he picked them up a second time, taking them back to his place for “milk and cookies.” History hasn’t recorded what kind of cookies they enjoyed, or whether those cookies were in fact sex, but whatever the case, the girls told Manson about the encounter. They weren’t aware of Wilson’s clout in the music industry — but Manson was, and he insisted on going back to the house with them.

After a late recording session, Wilson returned to his estate to find the Family’s big black bus parked outside. His living room was populated with topless girls. Whatever alarm he felt was eased when their short, intense, unwashed leader, Manson, sunk to his knees and kissed Wilson’s feet.

This night ushered in a summer of ceaseless partying for Wilson. Manson and the Family set up shop in his home, and soon Manson recruited one of the group’s deadliest members, Tex Watson, who picked him up hitchhiking. The Family spent their days smoking dope and listening to Charlie strum the guitar. The girls made the meals, did the laundry, and slept with the men on command. Manson prescribed sex seven times a day: before and after all three meals and once in the middle of the night. “It was as if we were kings, just because we were men,” Watson later wrote. Soon Wilson was bragging so much that he landed a headline in Record Mirror: “I Live with 17 Girls.”

Talking to Britain’s Rave magazine, Wilson offered disjointed remarks about his new friend, whom he called “the Wizard.” “I was only frightened as a child because I didn’t understand the fear,” he said. “Sometimes ‘the Wizard’ frightens me. The Wizard is Charles Manson, who is a friend of mine who thinks he is God and the devil. He sings, plays and writes poetry and may be another artist for Brother Records,” the Beach Boys’ label.

This last bit excited Manson, who was desperate to leverage his connection with Wilson into a music career. The two cowrote a song, “Cease to Exist,” whose lyrics claimed that “submission is a gift.” (Later that year, the Beach Boys recorded it as a B side, changing the title, finessing the lyrics, and dropping Manson’s songwriting credit — a snub that fueled his anger toward the establishment.) Manson fraternized with some of the biggest names in music. Neil Young remembered meeting him and the girls at Wilson’s place. “A lot of pretty well-known musicians around L.A. knew Manson,” Young later said, “though they’d probably deny it now.”

Among these was Terry Melcher. He and Wilson had pledged allegiance to the “Golden Penetrators,” a horny triumvirate they’d formed with their friend Gregg Jakobson. The Penetrators, who’d painted a car gold to celebrate themselves, aimed to sleep with as many women as they could. Wilson’s ex-wife referred to them as “roving cocksmen.” Obviously, then, Melcher would want to rove over to Wilson’s house — it was full of promiscuous young women. Sometime in that summer of ’68, at one of Wilson’s marathon parties, he crossed paths with Manson for the first time. After another such party, Melcher rode back to Cielo Drive with Wilson, and Manson came along in the back seat. As Melcher later testified, Manson got a good look at the house from the driveway.

When the end of summer came, things went south with Wilson, who’d finally grown tired of footing the bill for the endless party: upward of $100,000 in food, clothes, and car repairs, plus gonorrhea treatments. According to Bugliosi, Wilson was too frightened of Manson to throw him out. Instead, he simply up and left in the middle of the night, leaving the messy business of eviction to his landlord.

But it must’ve been more complicated than that. Wilson gave three interviews in which he raved about Manson and the girls — and all of those interviews date to the winter and summer of 1969, nearly a year after he and the Family had supposedly parted ways.

When it comes to comics in America, there is the Big One

Tuesday, March 4th, 2025

Amulet by Kazu KibuishiWhen it comes to comics in America, forget the Big Two:

Dab Pilkey’s Dog Man: The Scarlet Shedder released in March sold just under 1.3 million copies, the best selling children’s book of the year. Dog Man and, to a lesser extent, Cat Kid dominated, with two Dog Man releases in 2024 topping sales, with the backlist filling much of the rest of it. But also a strong presence for the Amulet, Baby-Sitters Club and Wings Of Fire graphic novels, with Five Nights at Freddy’s and Smile making it in. And every single one published by Scholastic/Graphix, at this stage establishing them as the biggest publisher of print comics in the world. Forget the Big Two, when it comes to comics in America there is the Big One.

Books are celebrated for being provocative, but the readers being provoked are almost never people who belong to the same social and political tribe as the reviewer

Sunday, February 2nd, 2025

Why is there so much conventionality in what the book media celebrates?, Freddie deBoer asks:

For one thing, books take a long time to read and review, much longer than a movie or album. This means that people within book reviewing circles often feel pressure to devote their limited reading time to the same small number of titles each year.

[…]

The books that receive a great deal of attention often do so because the publishing company has decided to invest enough resources and effort into willing that outcome into being. Most critics follow the crowd when it comes to their opinion on a given book, and when they embrace their inner contrarian they tend to do so in predictable ways. (Some people love to be the one lonely voice in the wilderness, calling out a beloved book as a fraud, but if you’re motivated to be that voice rather than by your organic feelings about a book, then you’re still beholden to the crowd, still captive to other people’s tastes.) Books are celebrated for being provocative, but the readers being provoked are almost never people who belong to the same social and political tribe as the reviewer. (Please direct your provocations only towards those the reviewer would like to see provoked, thank you.) Certain kinds of ideas and certain kinds of stories are privileged, and much more than that, certain kinds of writers.

Vengeance Most Fowl

Friday, January 24th, 2025

I recently watched Wallace & Gromit: Vengeance Most Fowl (on Netflix), which features the return of the villainous penguin Feathers McGraw (from The Wrong Trousers). Like Blofeld, he is one of cinema’s great villains.

Feathers McGraw and Ron Seal

At one point, Feathers McGraw plays J.S. Bach’s Toccata and Fugue in D Minor on the organ, a clear reference to Captain Nemo‘s playing in the 1954 movie 20,000 Leagues Under The Sea — which I realized I’d never seen. (I had read the book.)

When I went to watch it, I immediately thought, wait, when did the first nuclear submarine get christened Nautilus?

On 12 December 1951, the US Department of the Navy announced that the submarine would be called Nautilus, the fourth U.S. Navy vessel officially so named.

[…]

Nautilus‘s keel was laid at General Dynamics’ Electric Boat Division in Groton, Connecticut, by Harry S. Truman on 14 June 1952. She was christened on 21 January 1954 and launched into the Thames River, sponsored by Mamie Eisenhower. Nautilus was commissioned on 30 September 1954, under the command of Commander Eugene P. Wilkinson, USN.

The fictional Nautilus of the movie is apparently nuclear almost a century ahead of our timeline’s nuclear Nautilus, but the fictional Nautilus of the book is not:

Electricity provided by sodium/mercury batteries (with the sodium provided by extraction from seawater) is the craft’s primary power source for propulsion and other services. The energy needed to extract the sodium is provided by coal mined from the sea floor.

Also, the book’s submarine has a less ornate, more practical hull design:

It’s a very long cylinder with conical ends. It noticeably takes the shape of a cigar, a shape already adopted in London for several projects of the same kind. The length of this cylinder from end to end is exactly seventy meters, and its maximum breadth of beam is eight meters. So it isn’t quite built on the ten–to–one ratio of your high–speed steamers; but its lines are sufficiently long, and their tapering gradual enough, so that the displaced water easily slips past and poses no obstacle to the ship’s movements.

Nautilus from 20,000 Leagues (1954)

Ralph Bakshi’s animated Lord of the Rings is an oddly inconsistent movie

Monday, January 20th, 2025

I recently watched Ralph Bakshi’s animated Lord of the Rings for the first time in ages, and it is an oddly inconsistent movie:

Bakshi’s LOTR adaptation has a unique look, employing an animation style barely used in modern times — Rotoscoping. This was a technique used extensively in the early days of animation, with artists tracing over live-action footage. It worked wonderfully for this film, giving the characters dynamic energy and a sense of perpetual motion, but Bakshi went one step further. To keep the budget down, the team used live-action special effects rather than animating them by hand, giving many scenes an ethereal look. He also implemented a technique known as solarization, which essentially flipped the light and dark areas on film so they’re reversed, resulting in a stark high-contrast image.

This is most notable in any of the Fellowship’s clashes against the orcs or the Balrog fight in the caves of Moria, and especially in the finale, the Battle of Helm’s Deep. When paired with the bold graphical look and flat colors of these monsters, the ominous effect changes the entire mood, giving it an eerie feeling with a painterly quality. If the backgrounds of this LOTR movie are dreams, then these sections are nightmares! It’s one-part pop art, and one-part grainy classic film, but these visuals stick with you to add gravitas of the large-scale skirmishes that otherwise would take months to draw by hand.

That description is generous. Dan Olson goes into exhausting detail about how Bakshi progressed from Fritz the Cat to Lord of the Rings. You might want to skip ahead 22 minutes, to when he discusses the actual Lord of the Rings, or 29 minutes, to where he discusses pseudo-solarization and the odd mix of animation styles:

The rotoscoped art, traced over live-action footage, looks remarkably different from the pseudo-solarized art, which resembles a bad photocopy that’s been colored:

Lord of the Rings Hobbits Hiding from Black Rider

Lord of the Rings Nazgûl

The final story from Heavy Metal, where Taarna rides her pteranodon over the desert landscape, was actually animated using a similar technique, with a physical model of the landscape painted with lines along its edges, so they could fly the movie camera over the terrain and then produce high-contrast photocopies of the film, which could then be painted for the final animation:

Bakshi can get pretty defensive about The Lord of the Rings. He was certainly bitter that they dropped the “Part One” from the title. His earlier Wizards isn’t good, but it is oddly compelling. His later Fire and Ice isn’t a good film, either, but it does feature some amazing rotoscoped action sequences atop beautifully lush background paintings.

So the kids’ shows are slop, and now adult shows will be slop too

Wednesday, January 15th, 2025

Erik Hoel notes that big tech corporations have recently been doing quite a few things that can be described as “pretty evil” without hyperbole:

What’s weird is how open all the proposed evil is. Like bragging-about-it-in-press-releases levels of open.

A few examples suffice, such as the news this month (reported in Harper’s) that Spotify has been using a web of shadowy production companies to generate many of its own tracks; likely, it’s implied, with AI. Spotify’s rip-offs are made with profiles that look real but are boosted onto playlists to divert listeners away from the actual musicians that make up their platform.

Meanwhile, child entertainment channels like CoComelon are fine-tuning their attention-stealing abilities on toddlers to absurdly villainous degrees.

[…]

More recently, it was revealed that Netflix will be purposefully dumbing down its shows so people can follow along without paying attention.

[…]

So the kids’ shows are slop, and now adult shows will be slop too as characters narrate their own actions and repeat everything twice to make up for lapses in attention as people scroll on their phones.

And then, right on the heels of this, it turned out Meta has been filling up Facebook and Instagram with bots on purpose, like this new AI “Momma of 2,” in order to flatter us with fake attention.

[…]

To provide context for the criticisms of these moves here: I’m not normally someone who gets mad at companies for just existing. I don’t hate commerce.

Both “Elton” and “van” were added much later

Saturday, January 11th, 2025

Voyage of the Space Beagle by A. E. van VogtI recently went back and read “Black Destroyer,” a science fiction short story by Canadian-American writer A. E. van Vogt, first published in Astounding SF in July 1939 and later combined with several other short stories to form the novel The Voyage of the Space Beagle, because the protagonist of the story, Coeurl — pronounced “curl”? — is a large, intelligent, black, cat-like alien that inspired D&D’s displacer beast.

The monster was introduced in the game’s first supplement, Greyhawk (1975), as “a puma-like creature with six legs and a pair of tentacles which grow from its shoulders,” a physical description that matches the story’s, but there the similarity ends.

Displacer Beast 1E Stat BlockThe story’s anti-hero is intelligent, if hungry and impulsive, and easily controls “vibrations,” a term that seems to include radio waves, the electricity in the ship’s electronics, the vibrations emitted by the human explorers’ weapons, and even the structure of space-age metal walls. It craves id, its term for phosphorus, which it drains from its victims. (The later novel changes this to potassium.)

One exotic power Coeurl does not have is the one the Dungeons & Dragons monster is named for, its ability to appear to be several feet away from its actual position. I don’t know where that came from.

Anyway, “Black Destroyer” arguably kicks off the Golden Age of Science Fiction:

The same July 1939 issue of Astounding also contained Isaac Asimov’s first story to appear in the magazine, “Trends”, while the next issue included the first story by Robert A. Heinlein, “Life-Line”, and the next, Theodore Sturgeon’s, “Ether Breather”. As a result, this issue is described as the start of the Golden Age of Science Fiction.

I recognized A. E. van Vogt‘s names as one of the old masters of sci-fi, but I was never sure how to pronounce his seemingly Dutch name properly:

Alfred Elton van Vogt (/væn vo?t/ VAN VOHT; April 26, 1912 – January 26, 2000) was a Canadian-born American science fiction writer. […] The Science Fiction Writers of America named him their 14th Grand Master in 1995 (presented 1996).

[…]

Alfred Vogt (both “Elton” and “van” were added much later) was born on April 26, 1912, on his grandparents’ farm in Edenburg, Manitoba, a tiny (and now defunct) Russian Mennonite community east of Gretna, Manitoba, Canada, in the Mennonite West Reserve. He was the third of six children born to Heinrich “Henry” Vogt and Aganetha “Agnes” Vogt (née Buhr), both of whom were born in Manitoba and grew up in heavily immigrant communities. Until he was four, van Vogt spoke only Plautdietsch at home.

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He added the middle name “Elton” at some point in the mid-1930s, and at least one confessional story (1937′s “To Be His Keeper”) was sold to the Toronto Star, who misspelled his name “Alfred Alton Bogt” in the byline. Shortly thereafter, he added the “van” to his surname, and from that point forward he used the name “A. E. van Vogt” both personally and professionally.

Plautdietsch?

Plautdietsch (pronounced [?pla?t.dit?]) or Mennonite Low German is a Low Prussian dialect of East Low German with Dutch influence that developed in the 16th and 17th centuries in the Vistula delta area of Royal Prussia.

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Plautdietsch was a Low German dialect like others until it was taken by Mennonite settlers to the southwest of the Russian Empire starting in 1789. From there it evolved and subsequent waves of migration brought it to North America, starting in 1873.

Another van Vogt story that went into The Voyage of the Space Beagle, “Discord in Scarlet,” describes an alien boarding a human ship to implant parasitic eggs in their stomachs. Van Vogt brought a case against 20th Century Fox for Alien copying his work. They settled out of court.

We keep everything we used to have and add some more

Friday, January 10th, 2025

In Praise of Commercial Culture by Tyler CowenWhen Bryan Caplan first read a draft of Tyler Cowen’s In Praise of Commercial Culture 15 years ago, he thought Cowen was mostly crazy:

A combination of my reverence for classical music and Randian contempt for modern culture made me strongly reject Tyler’s claim that the state of the arts has never been better.

Fifteen years later, I have to admit that he was largely right. From the standpoint of the consumer, the supply of great art has clearly never been better. And even from the standpoint of the producer, it is easy to argue that, overall, this is the best of times

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First with digitization, and now with the Internet, consumers’ situation practically has to improve every year, because we keep everything we used to have, and add some more.

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When I was a kid, if it wasn’t at the local store, you basically couldn’t get it. You probably wouldn’t even hear about it. This is truly an area where the Internet has changed everything.

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If your goal is to communicate with informed, thoughtful people who share your tastes, the Internet has made that incredibly easy. It’s probably a lot easier to find someone to discuss Mahler today than it was during Mahler’s heyday.

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One of Tyler’s best points: The past often looks better than the present if you compare the best to the best. There is no living composer as great as Bach. Nevertheless, the present looks much better than the past if you compare the fifth-best to the fifth-best. Who even wants to listen to the fifth-best Baroque composer? But the fifth-best punk rock band (say, the Dead Kennedys) is excellent.

The Romantic Era never ended

Tuesday, January 7th, 2025

Fans of classical music often lament the modern implosion of the genre, Bryan Caplan explains:

We had the Baroque Period, usually dated from 1600-1750. We had the Classical Period, usually dated from 1750-1825. We had the Romantic Period, usually dated from 1825-1900. Ever since, we’ve been stuck in the Modern Period: 1901-present.

When the characteristically atonal music of the Modern Period first appeared, many predicted that fans would eventually come to love it, but almost no one sincerely has. The only widely beloved post-1900 composers in the classical repertoire are Late Romantics like Rachmaninoff and Shostakovich. Since their heyday, classical fans periodically curse the stars: “How come no one continues to compose in the greatest of all musical genres?”

It’s true, I’ll grant, that over the last century, little notable music has been written in the genres of 1600-1825. The Romantic Era, however, is still going strong. […] Though they’re rarely performed live, billions of people enjoy them on screens big and small.

I’m speaking, of course, of soundtracks. And while it’s tempting to dismiss them as insufferably low-brow “background music,” I maintain that the best soundtracks of the post-war era compare favorably to notable compositions of the official Romantic Period. While I doubt that any soundtrack equals or exceeds the peaks, many are at the 80th or even the 90th percentile of quality of 19th-century compositions.

His recommendations:

  • Cloud Atlas (2012), composed by Johnny Klimek, Tom Tykwer and Reinhold Heil
  • The Lord of the Rings (2001–2003), composed by Howard Shore
  • 127 Hours (2010), composed by A.R. Rahman
  • The Last of the Mohicans (1992), composed by Trevor Jones
  • Lawrence of Arabia (1962), composed by Maurice Jarre
  • Flukt (2012), composed by Magnus Beite
  • The Shrine (2010), composed by Ryan Shore
  • Gladiator (2000), composed by Hans Zimmer and Lisa Gerard
  • The Red Violin (1999), composed by John Corigliano
  • X2: X-Men United (2003), composed by John Ottman
  • The Usual Suspects (1995), composed by John Ottman
  • The Good, the Bad, and the Ugly (1966), composed by Ennio Morricone
  • Snow White and the Huntsman (2012), composed by James Newton Howard
  • Legends of the Fall (1995), composed by James Horner
  • Star Wars (1977), composed by John Williams

I would add Conan The Barbarian (1982), composed by Basil Poledouris: