Tuesday, December 1, 2020

DAILYMAIL.COM.UK -- MYSTERIOUS MONOLIGHT APPEARS IN ROMANIA AFTER ONE VANISHED FROM UTAH

From Arthur C. Clark’s 1951 short story, “The Sentinel,” part of the inspiration for 2001: A Space Odyssey:

Nearly a hundred thousand million stars are turning in the circle of the Milky Way, and long ago other races on the worlds of other suns must have scaled and passed the heights that we have reached. Think of such civilizations, far back in time against the fading afterglow of Creation, masters of a universe so young that life as yet had come only to a handful of worlds.

Theirs would have been a loneliness we cannot imagine, the loneliness of gods looking out across infinity and finding none to share their thoughts. They must have searched the star-clusters as we have searched the planets. Everywhere there would be worlds, but they would be empty or peopled with crawling, mindless things.

Such was our own Earth, the smoke of the great volcanoes still staining the skies, when that first ship of the peoples of the dawn came sliding in from the abyss beyond Pluto. It passed the frozen outer worlds, knowing that life could play no part in their destinies. It came to rest among the inner planets, warming themselves around the fire of the Sun and waiting for their stories to begin.

Those wanderers must have looked on Earth, circling safely in the narrow zone between fire and ice, and must have guessed that it was the favorite of the Sun’s children. Here, in the distant future, would be intelligence; but there were countless stars before -them still, and they might never come this way again.

SO THEY LEFT A SENTINEL, one of millions they have scattered throughout the Universe, watching over all worlds with the promise of life. It was a beacon that down the ages has been patiently signaling the fact that no one had discovered it.

Perhaps you understand now why that crystal pyramid was set upon the Moon instead of on the Earth. Its builders were not concerned with races still struggling up from savagery. They would be interested in our civilization only if we proved our fitness to survive -by crossing space and so escaping from the Earth, our cradle.

That is the challenge that all intelligent races must meet, sooner or later. It is a double challenge, for it depends in turn upon the conquest of atomic energy and the last choice between life and death. Once we had passed that crisis, it was only a matter of time before we found the pyramid and forced it open.

Now its signals have ceased, and those whose duty it is will be turning their minds upon Earth. Perhaps they wish to help our infant civilization. But they must be very, very old, and the old are often insanely jealous of the young.

I can never look now at the Milky Way without wondering from which of those banked clouds of stars the emissaries are coming. If you will pardon so commonplace a simile, we have set off the fire-alarm and have nothing to do but to wait. I do not think we will have to wait for long.

*

From Wikipedia:

The story deals with the discovery of an artifact on Earth's Moon left behind eons ago by ancient aliens. The object is made of a polished mineral, is tetrahedral in shape, and is surrounded by a spherical forcefield. The narrator speculates at one point that the mysterious aliens who left this structure on the Moon may have used mechanisms belonging "to a technology that lies beyond our horizons, perhaps to the technology of para-physical forces."

The narrator speculates that for millions of years (evidenced by dust buildup around its forcefield) the artifact has been transmitting signals into deep space, but it ceases to transmit when, sometime later, it is destroyed "with the savage might of atomic power". The narrator hypothesizes that this "sentinel" was left on the Moon as a "warning beacon" for possible intelligent and spacefaring species that might develop on Earth.

The story was adapted and expanded upon in the 1968 film, 2001: A Space Odyssey, made by filmmaker Stanley Kubrick. Kubrick and Clarke modified and fused the story with other ideas. Clarke expressed impatience with its common description as the story on which the novel and movie are based. He explained

I am continually annoyed by careless references to "The Sentinel" as "the story on which 2001 is based"; it bears about as much relation to the movie as an acorn to the resultant full-grown oak. (Considerably less, in fact, because ideas from several other stories were also incorporated.) Even the elements that Stanley Kubrick and I did actually use were considerably modified. Thus the 'glittering, roughly pyramidal structure… set in the rock like a gigantic, many-faceted jewel' became—after several modifications—the famous black monolith. And the locale was moved from the Mare Crisium to the most spectacular of all lunar craters, Tycho—easily visible to the naked eye from Earth at Full Moon.



Now a mysterious Arthur C Clarke-style monolith appears in ROMANIA after unexplained metal vanished from Utah – so who (or what) put it there?

·        Mysterious metal monolith has appeared in northern Romania after another vanished from the desert in Utah

·        The shiny triangular pillar was found on Batcas Doamnei Hill in the city of Piatra Neamt last Thursday

·        One side of the structure, which is 13 feet tall, faces Mount Ceahlau, known locally as the Holy Mountain

A mysterious metal monolith has appeared in Romania this week after another similar structure found in the remote Utah desert was removed by an 'unknown party'. 

The shiny triangular pillar was found on Batca Doamnei Hill in the city of Piatra Neamt in northern Romania last Thursday.

It was spotted a few metres away from the well-known archaeological landmark the Petrodava Dacian Fortress, an fort built by the ancient Dacian people between 82 BC and AD 106. 

The peculiar find comes after a similar monolith was found in the Utah desert with no explanation, sparking wry speculation that it could have been the work of aliens, but is more likely the work of a prankster inspired by science fiction novel 2001: A Space Odyssey. 

In the book by Arthur C Clarke, later made into a film by Stanley Kubrick, a monolith first appears on Earth in Africa three million years ago and appears to confer intelligence upon a starving tribe of great apes to develop tools.   

2001: A Space Odyssey 

2001: A Space Odyssey is a 1968 science fiction novel by Arthur C Clarke, later made into a film with the same name by Stanley Kubrick. 

In the book, a monolith first appears on Earth in Africa three million years ago and appears to confer intelligence upon a starving tribe of giant apes to develop tools.  

The monolith is used as a tool by an alien race to investigate worlds across the galaxy and to encourage the development of intelligent life. 

In the book, the tribe approach the monolith, and unknown to them, their minds were being studied and their actions controlled by an alien race.   

The great apes use their tools to kill animals to eat meat to end their starvation, and to kill a predatory leopard. 

The next day, the main character, Moon-Watcher, uses a club to kill the leader of a rival tribe of apes, leading to an awakening of intelligence and the development of humans. 

The book explores technological innovation and traces the development of humans from great apes. It considers the evolution that has led to intelligent life. 

When 2001: A Space Odyssey was written, humans had not yet set foot on the moon. The book offers a glimpse of Clarke's imagination of what space exploration might look like. 

The monolith is used as a tool by an alien race to investigate worlds across the galaxy and to encourage the development of intelligent life. 

In the book, the great apes use their tools to kill animals to eat meat to end their starvation, and to kill a predatory leopard. The next day, the main character uses a club to kill the leader of a rival tribe of apes, leading to an awakening of intelligence and the development of humans.

In Utah, the pillar, which protruded approximately 12 feet from the red rocks in southern Utah, was spotted last Wednesday by baffled local BLM officials who were counting bighorn sheep from a helicopter.  

However the three-sided structure was removed by an 'unknown party' on Friday evening, the Bureau of Land Management Utah said in a statement. 

News of the discovery in Utah quickly went viral online, with many noting the object's similarity to the strange alien monoliths that trigger huge leaps in human progress in Kubrick's classic sci-fi film '2001: A Space Odyssey.' 

In Romania, the triangular structure has a height of about 13 feet and one side faces Mount Ceahlau, known locally as the Holy Mountain.     

It is one of the most famous mountains in Romania, and is listed as one of the seven natural wonders of the country.  

Romanian officials still do not know who is responsible for erecting the mysterious monolith. 

Neamt Culture and Heritage official Rocsana Josanu said: 'We have started looking into the strange appearance of the monolith. 

'It is on private property, but we still don't know who the monolith's owner is yet. It is in a protected area on an archaeological site.'

She added: 'Before installing something there, they needed permission from our institution, one that must then be approved by the Ministry of Culture.' 

But many tracked down the co-ordinates and published them - leading people to drive many hours through the night to reach the 12ft aluminium structure. 

And it was revealed that a similar version appeared nearly 20 years ago on New Years Day in Seattle.

However access to the site involved a 45-minute off-road drive on a dirt track many miles from any major town at 10mph - and then a 15-minute hike up a dry stream bed. 

Across the globe UFO spotters and conspiracy theorists became obsessed with the shiny, triangular pillar. 

Officials suggest it could be have been constructed by an artist or a huge fan of 2001: Space Odyssey - the structure resembles the machines found in Arthur C. Clarke's story (pictured) 

Though the structure was only discovered by authorities this month, Google Earth images show it had been standing since at least 2015 or 2016.  

Lieutenant Nick Street, a spokesman for the Department of Public Safety, said it's possible the structure had been there for '40, 50 years, maybe more.' 

'It's the type of material that doesn't degrade with the elements. It may only be a few years old, who knows. There's no real way based on the material it's made out of how long it's actually been there,' he said on Tuesday.

Others pointed out the object's resemblance to the avant-garde work of John McCracken, an American artist who lived for a time in nearby New Mexico, and died in 2011.

McCracken was known for his freestanding sculptures in the shape of pyramids, cubes, or sleek slabs.

The monolith most closely resembles McCracken's plank-like sculptures featured at his exhibit at the David Zwirner art gallery in New York. 

On Tuesday a spokeswoman for David Zwirner said it was not one of McCracken's works, but possibly by a fellow artist paying homage.

However later in the day Zwirner gave another statement which suggested the piece was indeed by McCracken, meaning it had lain undiscovered in the desert for nearly a decade.

 'The gallery is divided on this,' Zwirner said. 'I believe this is definitely by John.'

Utah has a history of 'land art,' unusual installations that cropped up far from population centers in the 1960s and '70s.

The most famous, Spiral Jetty, a 1,500-foot-long coil by artist Robert Smithson in 1970 that's composed entirely of mud, salt crystals and basalt. 

Located on the northeastern edge of the Great Salt Lake near Rozel Point, the jetty appears and disappears depending on water levels.

So far, no one has stepped forward to claim responsibility for the monolith, though

Earthlings, It Seems, Not Aliens, Removed the Utah Monolith

A photographer said four men dismantled the mysterious shiny object that has captivated the country.

Ross Bernards took moonlit photographs of his friend Peter Jans atop the monolith in southeastern Utah on Nov. 27. Moments later they witnessed its removal.Credit...Ross Bernards

By Serge F. KovaleskiDeborah Solomon and Zoe Rosenberg

  • Dec. 1, 2020Updated 11:04 a.m. ET

It was, by most standards, a short stay. The pop-up metal monolith that became the focus of international attention after it was spotted in a remote section of the Utah desert on Nov. 18 was dismantled just 10 days later. Government officials continued to insist on Monday that they had no information about either the installation or removal — and possible theft — of the piece, which had been placed on public land.

The office of the San Juan County Sheriff at first announced that it was declining to investigate the case in the absence of complaints about missing property. To underscore that point, it uploaded a “Most Wanted” poster on its website, or rather a jokey version of one in which the faces of suspects were replaced by nine big-eyed aliens. But by the end of Monday, the sheriff’s office had reversed its position and announced that it was planning a joint investigation with the Bureau of Land Management, a federal agency.

It was left to an adventure photographer, Ross Bernards, to disclose evidence on Instagram. Mr. Bernards, 34, of Edwards, Colo., was visiting the monolith on Friday night when, he said, four men arrived as if out of nowhere to dismantle the sculpture. Mr. Bernards had driven six hours for the chance to ogle the sculpture and to take dramatic photographs of it. Using upscale Lume Cube lights attached to a drone, he produced a series of glowy, moonlit pictures in which the monolith glistens against the red cliffs and the deep blue of the night sky.

Suddenly, around 8:40 p.m., he said, the men arrived, their voices echoing in the canyon. Working in twosomes, with an unmistakable sense of purpose, they gave the monolith hard shoves, and it started to tilt toward the ground. Then they pushed it in the opposite direction, trying to uproot it.

“This is why you don’t leave trash in the desert,” one of them said, suggesting that he viewed the monolith as an eyesore, a pollutant to the landscape, according to Mr. Bernards.

The sculpture popped out and landed on the ground with a bang. Then the men broke it apart and ferried it off in a wheelbarrow.

“As they walked off with the pieces, one of them said, ‘Leave no trace,’” Mr. Bernards recalled in a telephone interview.

Michael James Newlands said he took these cellphone photos of four men dismantling the monolith in Utah on Friday night. “They just came in there to execute and they were, like, ‘This is our mission,’” he said.Credit...Michael James Newlands

“It must have been 10 or 15 minutes at most for them to knock over the monolith and pull it out,” Mr. Newlands said.Credit...Michael James Newlands

He did not photograph the men who took down the sculpture, saying he “didn’t want to start a confrontation by bringing out my camera and putting it in their face — especially since I agreed with what they were doing.”

But a friend who accompanied him on the trip, Michael James Newlands, 38, of Denver, took a few quick photographs with his cellphone.

“It must have been 10 or 15 minutes at most for them to knock over the monolith and pull it out,” he told The New York Times. “We didn’t know who they were, and we were not going to do anything to stop them.” He added, “They just came in there to execute and they were like, ‘This is our mission.’”

The photos are blurry, but they fascinate, nonetheless. Here are images of several men working beneath the cover of darkness, wearing gloves but not face masks, standing above the fallen monolith. We can see its exposed insides. It turns out to be a hollow structure with an armature made from plywood.

The photographs are the only known images of the culprits who removed the sculpture; they may not have been the same people who installed it in the first place. Lt. Nick Street, a spokesman for the Utah Department of Public Safety, said last week that the monolith had been embedded into the rock.

In the past few days, artists had been casually speculating that whoever put the sculpture up probably had taken it down once it was discovered, as if aspiring to be anonymous artist-activists, the Banksy of the desert.

But art-world speculation had not yielded too many facts. Initially, the monolith was linked to John McCracken, a California-born artist who died in 2011 and harbored a taste for science fiction. David Zwirner, the New York art dealer who represents the artist’s estate and first identified the monolith as an authentic McCracken, stepped forward on Monday to tell The Times that he had studied photographs of it and no longer had any idea who had made it.

Almine Rech, who represents the artist at her galleries in Paris and Brussels, also contacted a reporter to deny that the desert monolith was a McCracken.

All of this leaves us not an iota closer to solving the mystery of the Utah sculpture.

On the plus side, the monolith that captivated the country over the past week, then disappeared as quickly as it entered public consciousness, continues to provide a pleasant sensation of uncertainty. Would it lose its aura and power if we knew who had created it?

 

 

 


Monday, November 30, 2020

A review of Violets for Sergeant Schiller by Chris Helvey

Chris Helvey’s excellent and moving historical novel, Violets for Sergeant Schiller, is a fast-paced story full of drama and adventure about WWI told from the point of view of a young German soldier, who is also  a poet. 

The book is reminiscent of Erich Maria Remarque’s All Quiet On The Western Front (1928), sometimes acclaimed as the greatest war novel of all time. That’s a bit like being compared to Shakespeare perhaps, but both books do describe the horror and suffering of German soldiers, their enemies, and civilians during the “war to end all wars,” including how the survivors’ lives are forever changed.

Readers may wonder why an American writer like Helvey, a Spalding U. MFA grad, would choose such a daunting and seemingly unlikely topic—the bloody trench warfare in Europe that ended over a century ago—for his fifth novel. Perhaps it was the challenge of humanizing the enemy soldier, or the need to remind us of the staggering destructiveness of a war that produced some forty million military and civilian casualties.

In any case, Helvey does both quite well. It is an earnestly told tale, occasionally leavened by protagonist Karl Schiller’s ironic humor about war’s absurdity, and also by a few lines of his moving poetry.

The story begins with the introduction of  the popular poet who is in Paris at the war’s outbreak. Schiller soon finds himself in the Kaiser’s army and thrust into battle at the front. Hardly a stereotypical bloodthirsty Hun, he is rather an idealistic soul with a strong sense of duty who becomes deeply scarred by the death and destruction he faces continuously. Gradually, he becomes aware that he is no longer the man he was at war's outset.

The novel gains momentumalong with Schiller’s transformationwith the German army’s headlong rush through Belgium. Cut off from his unit and seeking shelter for the night, Karl discovers a likely looking barn. Concealed inside it is a frightened, angry widow named Sanne, who is hiding from the marauding Germans ransacking her farm and the entire countryside. The tense romantic scene that follows could easily have become farcical, but it does not, a tribute to the writer's skill.

For the rest of the novel, Schiller thinks about Sanne and the unlikely prospect of someday returning to her. She might not even want him, he thinks, but that hope keeps him going through his darkest moments.

As they advance swiftly, the German soldiers are confident—overconfident, as it turns out–that it will all be over soon with the capture of Paris, which will knock France out of the war. Of course, that does not happen. Instead, the advance stalls and the soldiers wind up in horrible trenches for months. Schiller’s companions—including his three brothers—are wounded or killed until he is among the few remaining “originals” still fighting.

Eventually wounded, Schiller is hospitalized. He mends, only to return to combat once more. He dodges artillery blasts and machine gun enfilades, occasionally engaging bravely in fierce hand-to-hand combat—all of it rendered with admirable realistic detail and tautness. The fighting goes on and on until the by now combat-hardened veteran sergeant is captured by the British. Freed by fortune, however, he decides it is time to make a separate peace.

Schiller attempts to return from France to Belgium and Sanne, if she is still alive and will have him. His long flight from battle is both suspenseful and grueling. Along the way, his encounters with the enemy demonstrate their mutual humanity and prove the futility of their undertaking. All this feels completely genuine and ends with a release of emotion that is deeply affecting.

Violets for Sergeant Schiller is a triumph for Helvey, who has also published two short story collections and edits Trajectory Journal. 

Published by Wings ePress, Newton, Kansas, 2020, www.wingsepress.com

Chris Helvey's short stories have been published by numerous reviews and journals, and he is the author of the novels Yard Man and Dancing on the Rim, Snapshot, and Whose Name I Did Not Know, plus the short story collections One More found and Claw Hammer.

Monday, November 16, 2020

332 WORDS ABOUT THE AUTHOR OF THE QUEEN’S GAMBIT

If you’ve been enjoying “The Queen’s Gambit” on Netflix, you may be interested in knowing where it came from. The answer is the 1983 novel written by a now mostly forgotten until recently Kentucky author named Walter Tevis, whose books were the source for three other well-known movies, as well.

 

Tevis’ life mirrored that of his chess prodigy in many ways. Like his character Beth Harmon, the incredibly talented child was abandoned and became addicted to phenobarbital at the orphanage, where he also learned to play chess. Later, he developed a similar obsessive interest in pool and became a wildly out of control alcoholic.

 

While living in Lexington as a young man, Tevis took a writing course at UK from Pulitzer Prize winning–novelist A.B. Guthrie Jr. A short story he wrote as a class assignment, “The Best in the Country,” was bought by Esquire magazine. In 1959, the novel version was published as The Hustler.

 

In 1963, Tevis, who felt like an alien himself in Lexington, published The Man Who Fell to Earth, a science-fiction novel about an alien who winds up in Kentucky. For a time, his short stories were much in demand. But many years of drunken failure ensued. In 1984, he followed The Queen’s Gambit with The Color of Money, a sequel to The Hustler. Tevis died shortly afterward from lung cancer at age 56. Two years ago, he was finally inducted into the Kentucky Writers Hall of Fame.

 

According to David Hill, writing this month in The Ringer, “The pool player Rudolf Wanderone, who was known in the world of pool as New York Fats, famously changed his name to Minnesota Fats and convinced the world that he was the inspiration for the Minnesota Fats character in the book, despite the fact that Tevis invented Minnesota Fats from whole cloth. “A lot of people ask me, ‘When did you first meet Minnesota Fats?’ And I feel like Walt Disney being asked, ‘When did you meet Donald Duck?’” https://www.theringer.com/tv/2020/11/9/21555790/the-queens-gambit-netflix-book-walter-tevis


Tuesday, October 27, 2020

444 Words ABOUT WHETHER MATTINGLY SHOULD BE MUZZLED

Kent Wicker, LMPD Sgt. John Mattingly’s lawyer, recently rebuked Courier Journal columnist Joe Gerth for suggesting that someone needed to take his client aside and tell him to be quiet. Although I generally revere Gerth, I think he was wrong on this one. Not because I’m on Mattingly’s side, either.
I welcome Mattingly’s comments because they help clarify what happened, and why, in the Breonna Taylor shooting, in which Mattingly was directly involved and in fact was shot himself.
I wish more cops—and politicians—would come forward and speak to the public about this heinous incident of police misconduct.
If the authorities had been honest immediately and had begun to make amends, it’s possible that Louisville would not have had to endure all that it has ever since. Instead they covered it up. And without diminishing an innocent citizen’s tragic death at the hands of police, it is obvious that the coverup has proven even more damaging than the crime itself. What happened?
1) The coverup began with the cop who obtained a no-knock warrant apparently lying about having evidence of drug related activity going on at Breonna’s address. Why lie? Because otherwise the warrant request likely would have been denied.
2) In serving the warrant, police did not follow their own guidelines by not having their body cams turned on. Why not? Obviously, to keep anyone from seeing what they did. That alone should be a firing offense and a basis for criminal charges being filed.
3) Police, Mayor Fischer, federal officials, and Attorney General Cameron all dragged their feet unconscionably in revealing the truth of the investigation to the public. We still do not know all the facts. Meanwhile, Cameron is doing everything he can to silence grand jurors who are outraged by his secrecy.
Why did all this happen?
If we ask ourselves the purpose of the raid in the first place, the answer is to catch a drug dealer. Instead of decriminalizing drugs, we continue the so-called war on drugs that began with Ronald “just say no” Reagan. This has resulted not only in needlessly imprisoning hundreds of thousands of black and white Americans, but also creating Mexican drug cartels whose enormous profiteering causes incomparable damage to our country. Even conservatives like the late William F. Buckley advocated decriminalization.
And finally, just a thought, but if Walker had not been armed, probably no one would have been shot. What does that tell us about our gun laws and how much protection a gun actually provides?
None of this had to happen. But since it has, by all means let’s hear what the other cops involved have to say.
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Friday, October 16, 2020

100 Words: The Threat Posed by Barrett To Our Survival

Recently I argued here for President Biden adding four new Supreme Court justices. As The NYTimes’ Paul Krugman puts it, “Never mind all the talk about norms (which only seem to apply to Democrats, anyway.) What’s at stake here could be the future of civilization.” He refers to a G.O.P.-stacked Supreme Court blocking effective climate policy, which will be at the core of a President Biden’s economic agenda. Right wing super bagman Charles Koch is investing millions in Barrett’s confirmation to create “a court that will block government regulation of business — and above all a court that will hamstring a Biden administration.”

Saturday, October 10, 2020

100 Words: Should Democrats seek to pack the Supreme Court?

If they do, what is to stop a future Republican majority from expanding — or shrinking — the courts in turn? The answer is nothing. That is the problem. While I agree that Republicans must pay a price for the dangerous risk they took with the country, we desperately need to preserve the stability of our wavering democratic institutions. Only in the direst circumstances should an act like packing the Supreme Court be contemplated. Alas, we are in such circumstances. A 6-3 Trump majority court will doom every effort to save us from climate change, economic ruin, and catastrophic injustice. Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated, can long endure,” Lincoln says in his Gettysburg Address. That’s where we are now, too. I say, in for a penny, in for a pound: add four justices to insure a 7-6 majority.

Friday, October 9, 2020

Hundreds Of Words: On Trump’s Latest Mad Rant

 The blockhead-in-chief's latest Alice in Wonderland tirade against Kamala Harris (a communist, he fumes), Biden and Obama (indict them!), and his own AG (he's right about Barr, but for the wrong reasons) is a true testimonial as to the soon to be former president's mental state. Trump's lashing out at his other aides reminds me of the Queen of Hearts' gardeners:

“The Queen of Hearts wanted to have a red rose-tree ... but these poor little gardeners had made a great mistake, and had put in a white one instead: and they were so frightened about it, because the Queen was sure to be angry, and then she would order all their heads to be cut off!

She was a dreadfully savage Queen, and that was the way she always did, when she was angry with people. “Off with their head!” They didn’t really cut their heads off, you know: because nobody ever obeyed her: but that was what she always said.

 “Now can’t you guess what the poor little gardeners are trying to do? They’re trying to paint the roses red, and they’re in a great hurry to get it done before the Queen comes.”

Ed Wong (on Facebook)

Where does Mitch fit in here?

 "Why is a raven like a writing desk?" Why indeed.

I nominate the Mad Hatter for the role of Mitch McConnell. As we all know (those of us who have Wikipedia anyway), Alice becomes a guest at a "mad" tea party where many riddles and stories are given, including the famous "why is a raven like a writing desk?" When Alice gives up trying to figure out why, the Hatter admits "I haven't the slightest idea!" I think this reflects most of Mitch’s thinking on just about everything.

Also, the Hatter reveals that they have tea all day because Time has punished him by eternally standing still at 6 p.m. (tea time). This reflects Mitch’s political positions, which belong back around 1850. Alice becomes insulted and tired of being bombarded with riddles and she leaves claiming that it was the stupidest tea party that she had ever been to. This would describe Mitch’s entire tenure in the Senate, especially his attempts to justify the ways of god (Trump) to man (us). A Mad Hatter if there ever was one.

Sunday, September 27, 2020

IT’S NOT CREAM CHEESE, SPOCK

This glowing report just in from China, whose sneaky spacemen have landed on the Dark Side of the Moon (who knew?): the Moon is radioactive! Astronauts landing there would be bombarded with 200 to 1,000 times more radiation than here on Earth. U.S. space radiation experts say “it’s nice” to see their predictions confirmed. Talk about looking on the bright side! What does it mean? That we can forget Star Wars and the SF fantasy of escaping like Superman from our doomed Krypton. It’s probably like that everywhere, so where else would we go? Down with the ship, Captain Kirk.

CAPE CANAVERAL, Fla. (AP) – China’s lander on the far side of the moon is providing the first full measurements of radiation exposure from the lunar surface, vital information for NASA and others aiming to send astronauts to the moon by the end of 2024, the study noted. A Chinese-German team reported on the radiation data collected by the lander – named Chang’e 4 for the Chinese moon goddess – in the U.S. journal Science Advances. Cancer is the primary risk. “Humans are not really made for these radiation levels and should protect themselves when on the moon,” Radiation levels should be pretty much the same all over the moon, except for near the walls of deep craters. Basically, the less you see of the sky, the better. That’s the primary source of the radiation."


Monday, August 31, 2020

100 Words: THE WORLD TURNED UPSIDE DOWN BY OUR FASCIST-IN-CHIEF.

 


re·al·i·ty   noun. The world or the state of things as they actually exist, as opposed to an idealistic or notional idea of them. "he refuses to face reality"

Americans began their Sunday with the news that the staggering pandemic death toll, seemingly beyond dispute, was being questioned by their own president. Not over 180,000 coronavirus deaths, only 9,000 since they were old and would have died anyway, according to Trump.—NY Times

THE BIG LIE. One so "colossal" that no one would believe that someone "could have the impudence to distort the truth so infamously." --Adolf Hitler, Mein Kampf.