JOURNAL ARCHIVE: 12/31/07 10:32 PM
You stand like a chicken.
http://seattlepi.nwsource.com/national/1154ap_scotus_year_end.html?source=mypi
Last updated December 31, 2007 9:03 p.m. PT
Roberts urges higher pay for judges
By PETE YOST
ASSOCIATED PRESS WRITER
WASHINGTON -- Chief Justice John Roberts urged Congress to raise the pay of federal judges in a year-end report that emphasized improving communications with Capitol Hill and the White House.
"The separate branches may not always agree," the chief justice wrote, adding that each should strive "to know and appreciate where the others stand."
[JOURNAL ARCHIVE 31 December 2007 excerpt ends]
JOURNAL ARCHIVE: 12/31/07 4:46 PM
I don't know if it is the roast beef sandwich or the carrot cake I got from QFC, but it is killing me after eating it about a half hour ago.
[JOURNAL ARCHIVE 31 December 2007 excerpt ends]
From 10/2/1959 ( premiere US TV series "The Twilight Zone"::series premiere episode "Where Is Everybody?" ) To 12/31/2007 is 17622 days
17622 = 8811 + 8811
From 11/2/1965 ( my birth date in Antlers Oklahoma USA and my birthdate as the known official United States Marshal Kerry Wayne Burgess and active duty United States Marine Corps officer ) To 12/17/1989 ( premiere US TV series "The Simpsons"::series premiere episode "Simpsons Roasting on an Open Fire" ) is 8811 days
From 6/6/1875 ( Thomas Mann ) To 10/2/1959 ( premiere US TV series "The Twilight Zone"::series premiere episode "Where Is Everybody?" ) is 30798 days
30798 = 15399 + 15399
From 11/2/1965 ( my birth date in Antlers Oklahoma USA and my birthdate as the known official United States Marshal Kerry Wayne Burgess and active duty United States Marine Corps officer ) To 12/31/2007 is 15399 days
From 3/16/1991 ( my first successful major test of my ultraspace matter transportation device as Kerry Wayne Burgess the successful Ph.D. graduate Columbia South Carolina ) To 12/31/2007 is 6134 days
From 11/2/1965 ( my birth date in Antlers Oklahoma USA and my birthdate as the known official United States Marshal Kerry Wayne Burgess and active duty United States Marine Corps officer ) To 8/19/1982 ( premiere US TV movie "Rooster" ) is 6134 days
http://www.tv.com/shows/the-simpsons/simpsons-roasting-on-an-open-fire-1286/
tv.com
The Simpsons Season 1 Episode 1
Simpsons Roasting on an Open Fire
Aired Sunday 8:00 PM Dec 17, 1989 on FOX
AIRED: 12/17/89
http://www.imdb.com/title/tt0084607/releaseinfo
IMDb
Rooster (1982 TV Movie)
Release Info
USA 19 August 1982
http://www.springfieldspringfield.co.uk/view_episode_scripts.php?tv-show=the-simpsons&episode=s01e01
Springfield! Springfield!
The Simpsons
Simpsons Roasting on an Open Fire
Dog O'War coming up fast on the outside.
- Come on, Santa's Little Helper! - Come on, dog! Go, man, go! And with a lock on last place, it's Santa's Little Helper.
- Don't worry, Dad.
Maybe this is just for suspense before the miracle happens.
- Come on, you stupid dog! Come on! - Go, go! - Run! Run! - Run, run!
https://upload.wikimedia.org/wikipedia/en/c/c1/What's_Opera_Doc_Lobby_Card.PNG
http://www.britannica.com/biography/Thomas-Mann
Encyclopædia Britannica
Thomas Mann
German author
Thomas Mann, (born June 6, 1875, Lübeck, Ger.—died Aug. 12, 1955, near Zürich, Switz.) German novelist and essayist whose early novels—Buddenbrooks (1900), Der Tod in Venedig (1912; Death in Venice), and Der Zauberberg (1924; The Magic Mountain)—earned him the Nobel Prize for Literature in 1929.
Early literary endeavours
Mann’s father died in 1891, and Mann moved to Munich, a centre of art and literature, where he lived until 1933. After perfunctory work in an insurance office and on the editorial staff of Simplicissimus, a satirical weekly, he devoted himself to writing, as his elder brother Heinrich had already done. His early tales, collected as Der kleine Herr Friedemann (1898), reflect the aestheticism of the 1890s but are given depth by the influence of the philosophers Schopenhauer and Nietzsche and the composer Wagner, to all of whom Mann was always to acknowledge a deep, if ambiguous, debt. Most of Mann’s first stories centre in the problem of the creative artist, who in his devotion to form contests the meaninglessness of existence, an antithesis that Mann enlarged into that between spirit (Geist) and life (Leben). But while he showed sympathy for the artistic misfits he described, Mann was also aware that the world of imagination is a world of make-believe, and the closeness of the artist to the charlatan was already becoming a theme. At the same time, a certain nostalgia for ordinary, unproblematical life appeared in his work.
This ambivalence found full expression in his first novel, Buddenbrooks, which Mann had at first intended to be a novella in which the experience of the transcendental realities of Wagner’s music would extinguish the will to live in the son of a bourgeois family. On this beginning, the novel builds the story of the family and its business house over four generations, showing how an artistic streak not only unfits the family’s later members for the practicalities of business life but undermines their vitality as well. But, almost against his will, in Buddenbrooks Mann wrote a tender elegy for the old bourgeois virtues.
In 1905 Mann married Katja Pringsheim. There were six children of the marriage, which was a happy one. It was this happiness, perhaps, that led Mann, in Royal Highness, to provide a fairy-tale reconciliation of “form” and “life,” of degenerate feudal authority and the vigour of modern American capitalism. In 1912, however, he returned to the tragic dilemma of the artist with Death in Venice, a sombre masterpiece. In this story, the main character, a distinguished writer whose nervous and “decadent” sensibility is controlled by the discipline of style and composition, seeks relaxation from overstrain in Venice, where, as disease creeps over the city, he succumbs to an infatuation and the wish for death. Symbols of eros and death weave a subtle pattern in the sensuous opulence of this tale, which closes an epoch in Mann’s work.
World War I and political crisis
The outbreak of World War I evoked Mann’s ardent patriotism and awoke, too, an awareness of the artist’s social commitment. His brother Heinrich was one of the few German writers to question German war aims, and his criticism of German authoritarianism stung Thomas to a bitter attack on cosmopolitan litterateurs. In 1918 he published a large political treatise, Reflections of an Unpolitical Man, in which all his ingenuity of mind was summoned to justify the authoritarian state as against democracy, creative irrationalism as against “flat” rationalism, and inward culture as against moralistic civilization. This work belongs to the tradition of “revolutionary conservatism” that leads from the 19th-century German nationalistic and antidemocratic thinkers Paul Anton de Lagarde and Houston Stewart Chamberlain, the apostle of the superiority of the “Germanic” race, toward National Socialism; and Mann later was to repudiate these ideas.
With the establishment of the German (Weimar) Republic in 1919, Mann slowly revised his outlook; the essays “Goethe und Tolstoi” and “Von deutscher Republik” (“The German Republic”) show his somewhat hesitant espousal of democratic principles. His new position was clarified in the novel The Magic Mountain. Its theme grows out of an earlier motif: a young engineer, Hans Castorp, visiting a cousin in a sanatorium in Davos, abandons practical life to submit to the rich seductions of disease, inwardness, and death. But the sanatorium comes to be the spiritual reflection of the possibilities and dangers of the actual world. In the end, somewhat skeptically but humanely, Castorp decides for life and service to his people: a decision Mann calls “a leave-taking from many a perilous sympathy, enchantment, and temptation, to which the European soul had been inclined.” In this great work Mann formulates with remarkable insight the fateful choices facing Europe.
World War II and exile
From this time onward Mann’s imaginative effort was directed to the novel, scarcely interrupted by the charming personal novella Early Sorrow or by Mario and the Magician, a novella that, in the person of a seedy illusionist, symbolizes the character of Fascism. His literary and cultural essays began to play an ever-growing part in elucidating and communicating his awareness of the fragility of humaneness, tolerance, and reason in the face of political crisis. His essays on Freud (1929) and Wagner (1933) are concerned with this, as are those on Goethe (1932), who more and more became for Mann an exemplary figure in his wisdom and balance. The various essays on Nietzsche document with particular poignancy Mann’s struggle against attitudes once dear to him. In 1930 he gave a courageous address in Berlin, “Ein Appell an die Vernunft” (“An Appeal to Reason”), appealing for the formation of a common front of the cultured bourgeoisie and the Socialist working class against the inhuman fanaticism of the National Socialists. In essays and on lecture tours in Germany, to Paris, Vienna, Warsaw, Amsterdam, and elsewhere during the 1930s, Mann, while steadfastly attacking Nazi policy, often expressed sympathy with socialist and communist principles in the very general sense that they were the guarantee of humanism and freedom.
When Hitler became chancellor early in 1933, Mann and his wife, on holiday in Switzerland, were warned by their son and daughter in Munich not to return. For some years his home was in Switzerland, near Zürich, but he traveled widely, visiting the United States on lecture tours and finally, in 1938, settling there, first at Princeton, and from 1941 to 1952 in southern California. In 1936 he was deprived of his German citizenship; in the same year the University of Bonn took away the honorary doctorate it had bestowed in 1919 (it was restored in 1949). From 1936 to 1944 Mann was a citizen of Czechoslovakia. In 1944 he became a U.S. citizen.
After the war, Mann visited both East Germany and West Germany several times and received many public honours, but he refused to return to Germany to live. In 1952 he settled again near Zürich. His last major essays—on Goethe (1949), Chekhov (1954), and Schiller (1955)—are impressive evocations of the moral and social responsibilities of writers.
Later novels
The novels on which Mann was working throughout this period reflect variously the cultural crisis of his times. In 1933 he published The Tales of Jacob (U.S. title, Joseph and His Brothers), the first part of his four-part novel on the biblical Joseph, continued the following year in The Young Joseph and two years later with Joseph in Egypt, and completed with Joseph the Provider in 1943. In the complete work, published as Joseph and His Brothers, Mann reinterpreted the biblical story as the emergence of mobile, responsible individuality out of the tribal collective, of history out of myth, and of a human God out of the unknowable. In the first volume a timeless myth seems to be reenacted in the lives of the Hebrews. Joseph, however, though sustained by the belief that his life too is the reenactment of a myth, is thrown out of the “timeless collective” into Egypt, the world of change and history, and there learns the management of events, ideas, and himself. Though based on wide and scholarly study of history, the work is not a historical novel, and the “history” is full of irony and humour, of conscious modernization. Mann’s concern is to provide a myth for his own times, capable of sustaining and directing his generation and of restoring a belief in the power of humane reason.
Mann took time off from this work to write, in the same spirit, his Lotte in Weimar (U.S. title, The Beloved Returns). Lotte Kestner, the heroine of Goethe’s The Sorrows of Young Werther, his semi-autobiographical story of unrequited love and romantic despair, visits Weimar in old age to see once again her old lover, now famous, and win some acknowledgment from him. But Goethe remains distant and refuses to reenter the past; she learns from him that true reverence for man means also acceptance of and reverence for change, intelligent activity directed to the “demand of the day.” In this, as in the Joseph novels, in settings so distant from his own time, Mann was seeking to define the essential principles of humane civilization; their spacious and often humorous serenity of tone implicitly challenges the inhuman irrationalism of the Nazis.
In Doktor Faustus, begun in 1943 at the darkest period of the war, Mann wrote the most directly political of his novels. It is the life story of a German composer, Adrian Leverkühn, born in 1885, who dies in 1940 after 10 years of mental alienation. A solitary, estranged figure, he “speaks” the experience of his times in his music, and the story of Leverkühn’s compositions is that of German culture in the two decades before 1930—more specifically of the collapse of traditional humanism and the victory of the mixture of sophisticated nihilism and barbaric primitivism that undermine it. With imaginative insight Mann interpreted the new musical forms and themes of Leverkühn’s compositions up to the final work, a setting of the lament of Doctor Faustus in the 16th-century version of the Faust legend, who once, in hope, had made a pact with the Devil, but in the end is reduced to hopelessness. The one gleam of hope in this sombre work, however, in which the personal tragedy of Leverkühn is subtly related to Germany’s destruction in the war through the comments of the fictitious narrator, Zeitblom, lies in its very grief.
The composition of the novel was fully documented by Mann in 1949 in The Genesis of a Novel. Doktor Faustus exhausted him as no other work of his had done, and The Holy Sinner and The Black Swan, published in 1951 and 1953, respectively, show a relaxation of intensity in spite of their accomplished, even virtuoso style. Mann rounded off his imaginative work in 1954 with The Confessions of Felix Krull, Confidence Man, the light, often uproariously funny story of a confidence man who wins the favour and love of others by enacting the roles they desire of him.
Mann’s style is finely wrought and full of resources, enriched by humour, irony, and parody; his composition is subtle and many-layered, brilliantly realistic on one level and yet reaching to deeper levels of symbolism. His works lack simplicity, and his tendency to set his characters at a distance by his own ironical view of them has sometimes laid him open to the charge of lack of heart. He was, however, aware that simplicity and sentiment lend themselves to manipulation by ideological and political powers, and the sometimes elaborate sophistication of his works cannot hide from the discerning reader his underlying impassioned and tender solicitude for mankind.
Assessment
Mann was the greatest German novelist of the 20th century, and by the end of his life his works had acquired the status of classics both within and without Germany. His subtly structured novels and shorter stories constitute a persistent and imaginative enquiry into the nature of Western bourgeois culture, in which a haunting awareness of its precariousness and threatened disintegration is balanced by an appreciation of and tender concern for its spiritual achievements. Round this central theme cluster a group of related problems that recur in different forms—the relation of thought to reality and of the artist to society, the complexity of reality and of time, the seductions of spirituality, eros, and death. Mann’s imaginative and practical involvement in the social and political catastrophes of his time provided him with fresh insights that make his work rich and varied. His finely wrought essays, notably those on Tolstoy, Goethe, Freud, and Nietzsche, record the intellectual struggles through which he reached the ethical commitment that shapes the major imaginative works.
http://www.tv.com/shows/the-twilight-zone/where-is-everybody-12585/trivia/
tv.com
The Twilight Zone Season 1 Episode 1
Where is Everybody?
Aired Unknown Oct 02, 1959 on CBS
Quotes
Ferris: Anybody want a sundae? I'm sorry, old buddy, I don't recollect the name. The face is vaguely familiar, but the name escapes me. I'll tell you what my problem is. I'm in the middle of a nightmare I can't wake up from. And you're part of it. You and the ice cream and the police station and the phone booth., that little mannequin. This whole bloody town wherever it is - whatever it is. I just remembered something, Scrooge said it, you remember Scrooge, old buddy, Ebeneezer Scrooge? That's what he said to that ghost Jacob Marley. He said, "You may be an undigested bit of beef, a crumb of cheese, a blot of mustard, a fragment of an undone potato, but there's more of gravy than of grave about you." You see, that's what you are. You're what I had for dinner last night. You must be. But now I've had it, I'd like to wake up. I'd like to wake up now. If I can't wake up, at least I'd like to find somebody to talk to. Well, I must be a very imaginative guy. Nobody in the whole bloody world could have a dream as complete as mine. Right down to the last detail.
https://en.wikipedia.org/wiki/Buddenbrooks
Buddenbrooks
From Wikipedia, the free encyclopedia
Buddenbrooks is a 1901 novel by Thomas Mann, chronicling the decline of a wealthy north German merchant family over the course of four generations, incidentally portraying the manner of life and mores of the Hanseatic bourgeoisie in the years from 1835 to 1877. Mann drew deeply from the history of his own family, the Mann family of Lübeck, and their milieu.
It was Mann's first novel, published in 1901 when he was twenty-six years old. With the publication of the 2nd edition in 1903, Buddenbrooks became a major literary success. The work led to a Nobel Prize in Literature for Mann in 1929; although the Nobel award generally recognises an author's body of work, the Swedish Academy's citation for Mann identified "his great novel Buddenbrooks" as the principal reason for his prize.
Major themes
One of the most famous aspects of Thomas Mann's prose style can be seen in the use of leitmotifs. Derived from his admiration for the operas of Richard Wagner, in the case of Buddenbrooks an example can be found in the description of the color – blue and yellow, respectively – of the skin and the teeth of the characters. Each such description alludes to different states of health, personality and even the destiny of the characters. Rotting teeth are also a symbol of decay and decadence because it implies indulging in too many cavity-causing foods. An example of this would be Hanno's cup of hot chocolate at breakfast.
Aspects of Thomas Mann's own personality are manifest in the two main male representatives of the third and the fourth generations of the fictional family: Thomas Buddenbrook and his son Hanno Buddenbrook. It should not be considered a coincidence that Mann shared the same first name with one of them. Thomas Buddenbrook reads a chapter of Schopenhauer's The World as Will and Idea, and the character of Hanno Buddenbrook escapes from real-life worries into the realm of music, Wagner's Tristan und Isolde in particular. (Wagner himself was of bourgeois descent and decided to dedicate himself to art.) In this sense both Buddenbrooks reflect a conflict lived by the author: departure from a conventional bourgeois life to pursue an artistic one, although without rejecting bourgeois ethics.
In any case, the main theme of Thomas Mann's novels, the conflict between art and business, already governs this work. Also music plays a major role: Hanno Buddenbrook, like his mother, tends to be an artist and musician, and not a person of commerce like his father.
https://en.wikipedia.org/wiki/Leitmotif
Leitmotif
From Wikipedia, the free encyclopedia
A leitmotif or leitmotiv is a "short, constantly recurring musical phrase" associated with a particular person, place, or idea. It is closely related to the musical concepts of idée fixe or motto-theme. The spelling leitmotif is an anglicization of the German Leitmotiv, literally meaning "leading motif", or perhaps more accurately, "guiding motif". A musical motif has been defined as a "short musical idea ... melodic, harmonic, or rhythmic, or all three", a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "the smallest structural unit possessing thematic identity."
In particular, such a motif should be "clearly identified so as to retain its identity if modified on subsequent appearances" whether such modification be in terms of rhythm, harmony, orchestration or accompaniment. It may also be "combined with other leitmotifs to suggest a new dramatic condition" or development. The technique is notably associated with the operas of Richard Wagner, and most especially his Der Ring des Nibelungen, although he was not its originator and did not employ the word in connection with his work.
Although usually a short melody, it can also be a chord progression or even a simple rhythm. Leitmotifs can help to bind a work together into a coherent whole, and also enable the composer to relate a story without the use of words, or to add an extra level to an already present story.
By association, the word has also been used to mean any sort of recurring theme, (whether or not subject to developmental transformation) in literature, or (metaphorically) the life of a fictional character or a real person. It is sometimes also used in discussion of other musical genres, such as instrumental pieces, cinema, and video game music, sometimes interchangeably with the more general category of theme. Such usage typically obscures the crucial aspect of a leitmotif—as opposed to the plain musical motif or theme—that it is transformable and recurs in different guises throughout the piece in which it occurs.
JOURNAL ARCHIVE: - posted by H.V.O.M - Kerry Wayne Burgess 6:20 PM Pacific Time Seattle USA Thursday 11 July 2013 - http://hvom.blogspot.com/2013/07/uss-wainwright-cg-28-mediterranean-1989.html
told me to play dumb when I returned to the real world. I am wondering if I posed for that photograph for a specific reason, since, presumably, I couldn't talk to anybody about anything.
[JOURNAL ARCHIVE 11 July 2013 excerpt ends]
http://www.twiztv.com/scripts/battlestar/season2/galactica-215.htm
BATTLESTAR GALACTICA
2X15 - SCAR
Original Airdate (SciFi): 03/FEB/2006
BB: Why do they call him Scar?
Kat: You'll find out soon enough. He's got a taste for nuggets.
http://www.twiztv.com/scripts/battlestar/season2/galactica-215.htm
BATTLESTAR GALACTICA
2X15 - SCAR
Original Airdate (SciFi): 03/FEB/2006
Boomer: Makes sense, doesn't it? It takes months for you to train a nugget into an effective viper pilot. And then they get killed. And their experience, their knowledge, their skill sets. They're all lost forever. So, if you could bring 'em back and put 'em in a brand new body, wouldn't you do it? 'Cause death then becomes a learning experience.
- posted by H.V.O.M - Kerry Wayne Burgess 8:50 PM Pacific Time Spokane Valley Washington USA Tuesday 10 May 2016
