HDTenEightyP/NetNews huggingface dataset:
From: nichael@bbn.com (Nichael Cramer)
Newsgroups: rec.arts.books
Subject: Re: Stark Naked
Date: 23 Dec 92 23:09:48 GMT
Reply-To: ncramer@bbn.com
Organization: BBN, Cambridge MA
NNTP-Posting-Host: kariba.bbn.com
In-reply-to: francis@oas.stanford.edu's message of 23 Dec 1992 20:18:30 GMT


francis@oas.stanford.edu (Our Buddy Francis) writes:

   Click & Clack, the Tappet Bros., of Car Talk have a list of these names
   which grows increasingly excruciating as the weeks go by. Their book,
   *CAR TALK*, may include a list.

BTW as listeners know, C&C (who, as a point of trivia, actually _are_
my real-life auto mechanics) have recently moved their center of
operation to Harvard Sq.  A couple of floors up over the heart of the
Square (across from the Out of Town News kiosk) can be seen the window
of their studio, emblazoned --in gold letters-- with the name of that
famous law firm:
       
			   =============
			   |           |
			   |   DEWEY   |
			   |  CHEATEM  |
			   |  & HOWELL |
			   |           |
			   |-----------|
			   |           |
			   |           |
			   |           |
			   |           |
			   |           |
			   =============
From: millerl@wharton.upenn.edu
Newsgroups: rec.arts.books
Subject: Re: Cultural Appropriation and the New Age
Date: 23 Dec 92 20:57:59 GMT
Organization: Newt World Order

In article <1992Dec23.192222.10975@netcom.com>, tmaddox@netcom.com (Tom Maddox) writes:
> 	The work is usually divorced entirely from its original context and
> is in fact being offered for the esthetic pleasure of the urban dweller with
> (often significant) disposable income.  

> 	While I generally stand foursquare in favor of cultural mixing 
> (which has given us, e.g., much of the best popular music of the 20th 
> century), I confess the practice I've just described makes me uneasy.

Lots of pop music is influenced by gospel music, hymns, and other sacred
music. Why is it somehow bad to borrow sacred or culturally important
visual or narrative artforms and good to borrow similar musical
artforms? Is George Harrison bad for sticking "hari krsna hari rama"
into the song "my sweet lord"?

Artistic work has often drifted between sacred and mundane usage. For
instance _the faerie queen_ is a moral tale in the style of standard
anglican instructional works, but we don't tell athiests who write moral
tales that they are not allowed to do so by reason of their religion or
lack thereof, nor do we disqualify Aesop as a moralist because his
culture didn't quite match ours.

IMO, this boils down to heresy... some people try very hard to avoid
what other cultures might consider offensive ideas, but I don't this
will ever be successful if, for instance, the english word "bus" means
"fuck" in hungarian. By coexisting with a society without adopting its
culture we implicitly deny that culture, and fanatics will treat that as
an offense no matter how hard we censor ourselves.

So what can you do to help? How about listening when people tell you
about themselves, and when they ask you about things tell them the whole
story? If you're writing fiction based on a culture that is not your own
you can only use as much as you comprehend of it, but if you want to be
safe then remind your reader of this.

Acknowledge your sources and your prejudices.

That's good enough, and it's all you can do.

-- 
whoah,
+++++++++++++++++++++++23
Loren Miller                           internet: MILLERL@wharton.upenn.edu
Mediocrity is a hand rail.                         -- Baron de Montesquieu
Newsgroups: rec.arts.books
From: msmorris@watsci.UWaterloo.ca (Mike Morris)
Subject: Re: 92 in rabreview
Organization: University of Waterloo
Date: Wed, 30 Dec 1992 20:18:22 GMT

                                    Wednesday, the 30th of December, 1992

Keith Morgan writes:
	                                  And I know Mike Morris has
	already posted something I haven't seen yet that details how
	he read 1492 books last year (in honor of Columbus). 

Ah, but it was a breeze compared with the bicentennial.

           Mike Morris
      (msmorris@watsci.uwaterloo.ca)
From: donz@uiunix.ui.org (Don Zirilli)
Newsgroups: rec.arts.books
Subject: Re: _Stark Naked_
Date: 24 Dec 92 15:40:56 GMT
Organization: UNIX International, Parsippany, NJ  07054

>In article <NICHAEL.92Dec23100408@kariba.bbn.com> ncramer@bbn.com writes:
>>
>>Way back, lo these many years, I saw a book called, of all things,
>>_Stark Naked_. 
>
I recommend _Stark Naked on a Cold Irish Morning_, a book of poetry with 
the author pictured naked (presumably) on the back.  Good poems and a
lovely book to look at.  I have it in paperback (probably the only way to
get it) and it's a lovely shade of red.  The poet's name?  Sorry, i don't
have the sharp mind of a true rabble.  (but I do know Nichael's gender,
and I'M NOT TELLING)


Anyway, as a confirmed rapper, I wish you rabble a Merry Christmas and in 
general a Happy Solstice.

Yours,

Posthumous O'Toole

-- 
Chucklehead awaits the return of his .sig

Aaron Radomski, where are you???
Newsgroups: rec.arts.books
From: Crawford_Kilian@mindlink.bc.ca (Crawford Kilian)
Subject: Re: Cultural Appropriation and the New Age
Organization: MIND LINK! - British Columbia, Canada
Date: Sat, 26 Dec 1992 18:13:22 GMT

On the issue of merchandising other cultures' artifacts, I recall a day in
1983 when my family and I visited the newly reopened Chen Family Temple in
Guangzhou (Canton); the temple had been badly vandalized during the Cultural
Revolution, but was now completely refurbished as a kind of museum. It was
indeed gorgeous, and many of the exhibits were splendid--particularly the
carved inkstones. But at least one case displayed exquisitely reproduced
images of E.T., presented just as prominently as the Chinese works of art.

From this experience I drew a couple of lessons--that bad taste unites all
humanity in iron bonds of kitsch, and that some culture isn't worth
appropriating, period.


--
Crawford Kilian   Communications Department   Capilano College
North Vancouver BC Canada V7J 3H5
Usenet: Crawford_Kilian@mindlink.bc.ca
Internet: ckilian@first.etc.bc.ca
From: mworley@mathcs.emory.edu (Meg Worley)
Newsgroups: rec.arts.books
Subject: Re: Mangled song lyrics (was: Cultural Appropriation and the New Age)
Date: 31 Dec 1992 22:09:46 -0500
Organization: Emory University, Dept of Math and CS
NNTP-Posting-Host: emory.mathcs.emory.edu


My mother, when I was punishing her with my early musical
taste on our victrola, had a charming habit of misunderstanding
the lyrics and, upon being corrected, saying, "Oh.  I like it
better my way."  The best of these, I think, was her version
of Sly & the Family Stone's "It's a Family Affair" -- "It's
a Family of Bears."  She thought it sweet but odd that I 
would retain my fondness for Goldilocks so long.   

Rage away,

meg

-- 

 Meg Worley 				Internet:  mworley@mathcs.emory.edu
From: colten@cbnewsb.cb.att.com (marc.colten)
Subject: Re: Making notations in your books?
Summary: Marking up books
Organization: AT&T
Date: Mon, 21 Dec 1992 20:40:09 GMT

In article <3179@devnull.mpd.tandem.com>, rspence@mpd.tandem.com (Russell Spence) writes:
> In article <1992Dec21.024845.22015@mercury.unt.edu> jacob@ponder.csci.unt.edu (Tom Jacob) writes:
> >> What are your feelings about making notes, highlighting, etc., in the
> >> books that you own?  Although I wish I could do so in my books (it does
> 
> 	Uck.  I would *never* make notes or highlight in any book that I own
> 	(unless it was designed specifically as a workbook).  I think of a
> 	book as a work of art.  I would never put a mustache on the Mona Lisa
> 	or add extra bits to a Van Gogh.  In the same vein I wouldn't change
> 	a book.  The book should contain the contents of the creative output
> 	of the writer, not the reader or anyone else (I hate introductions
> 	too).  If I feel the need to mark part of the book or add a comment,
> 	I use a slip of paper that can be inserted between the pages of the
> 	book or make an entry in my notebook (noting the page and line).
> 

I never make marks in books.  Over the course of years I found I
even stopped putting my name on the cover sheet.  Perhaps it's some
kind of reverence for the book.  It's certainly not economic as I
NEVER sell my books.  I think it's a kind of ego thing with some people
as I occasionally get a second hand book with notations - an arrow
pointing to a sentence and the comment "right!" or "wrong!" or whatever.
I hope when I see this that they did it for school as I can't 
conceive of any reason why they think a future owner would be
interested.

There are exceptions.  I do find it interesting when I see the
previous owners name, perhaps a date, or an inscription (if the
book was a gift). Gives it a sense of time and place.  I don't do
that myself because I can't imagine any 50 years from know caring
who I was.

One incredible exception.  Bought a copy of "Around the World in
Eleven Years" at an antique store.  The book was written by three
children who had lived in several countries (including Hitler's
Germany and Stalin's Russia) in the 30's.  They must have been
well known, since the book had articles torn out of magazines between
the pages.  On the inside of the front and back cover were comments,
almost mini-reviews, by six women who had read the book, apparently
in sequence, in March of 1937.  Must have been a reading club or
reading circle.  Never saw that before and wondered if more of
them were floating around.  Anyone else see this?


marc colten
From: mtaranto@panix.com (Mark Taranto)
Newsgroups: rec.arts.books
Subject: Non-fiction (was _Dog Soldiers_ by R. Stone, a wild ride!
Date: 21 Dec 92 15:06:07 GMT
Organization: The Inner Clique <tm>



alison@wsrcc.com (Alison Chaiken) writes:

> By the way, does anyone on this group ever read NON-fiction?   I read
> non-fiction about 50% of the time, but I would guess that I am in the
> minority here.


Sure, I read non-fiction.  I read a lot of poetry and have read a number
of literary biographies.  I recommend the Anne Sextion biography, by the way.
I've also bought the first volume of Bertrand Russell's letters.  

Another non-fiction book that I can suggest is David Mura's TURNING JAPANESE.
I knew David slightly in graduate school.  The book is about the year he
spent in Japan, on a grant.  He is a third generation Japanese-American
who felt no connection with his homeland -- until he spent a year there.

A number of regular posters read a lot of History (William Sburgfort Smith).
And Mike Morris seems to read everything.  

Philosophy gets a lot of play in this group as well.  Most of that is
non-fiction :-)


Mark
Newsgroups: rec.arts.books
From: alisg@Msu.oscs.montana.edu
Subject: HELP!
Reply-To: alisg@Msu.oscs.montana.edu
Organization: Montana State University
Date: Mon, 21 Dec 1992 19:16:51 GMT

I have just finished the last of George Macdonald Fraser's "Flashman" series,
and I am in a funk because I don't have anything else to read. Does anyone have
a recommendation? 

What I liked about the Flashman books: humor, history, slight cynicism.

What I like in general: historical novels where I really learn some history
(i.e. not just a potboiler set in the past); humor; believable characters;
things off the beaten path.

I don't usually read this group, so I would be very obliged if you would e-mail
me. I can post a summary if anyone is interested. 

Thanks!!!

george suttle
montana state university
alisg@trex.oscs.montana.edu
Newsgroups: rec.arts.animation
From: avatar@wings.micro.umn.edu (Timothy Fay)
Subject: Re: Cheap Animation
Organization: University of Minnesota
X-Newsreader: TIN [version 1.1 PL6]
Date: Thu, 24 Dec 1992 23:42:17 GMT

Robert Cook (rcook@sdcc13.ucsd.edu) wrote:
>
>Don Bluth does not own the rights to any of his
>films or characters, BTW.

Except for Banjo, the Woodpile Cat (perhaps that's just as well).

--
		Reply to:  avatar@wings.micro.umn.edu

  "My mental facilities are TWICE what yours are -- you pea brain!"
			-Percival MacLeach

Newsgroups: rec.arts.animation
From: urban@sideshow.jpl.nasa.gov (Michael P Urban)
Subject: Re: RESCUERS DOWN UNDER
Reply-To: urban@sideshow.jpl.nasa.gov (Michael P Urban)
Organization: Jet Propulsion Laboratory, Pasadena, CA
Date: Mon, 28 Dec 1992 16:53:51 GMT

In article <1992Dec22.082444.2556@inland.com> hancock@inland.com (Tom Hancock) writes:

>
>	The plots for both were pretty standard.  I contend that, for a
>comedy/adventure movie, plot and characterization come secondary to the
>action and comedy.

The plot in `Rescuers Down Under' is marred by what seemed to be a
last-minute grafting of Bianca and Bernard onto the Boy And His Eagle
story.  We will note that the film was not based on any of Margery
Sharp's `Miss Bianca' books.

>	BTW, it also has GREAT music.  If you have the tape, check this
>out:  the very first sound you hear is also the very last sound you
>hear.

Bruce Broughton.  Also did Silverado--one of my all-time favorite
scores--and, of all things, the theme for Tiny Toon Adventures.
	Mike Urban

	urban@cobra.jpl.nasa.gov

Newsgroups: rec.arts.animation
From: jpark@pomona.claremont.edu
Subject: Animation-related card sets for sale
Organization: Pomona College
Date: 2 Jan 93 12:24:09 PST

I have the following cards for sale (Note: all cards are in M/NM condition):

Disney Collector cards
- 210 card set
- 24 Ultrapro Platinum 9 pocket sheet protectors
- $10 plus s&h

Little Mermaid cards
- 90 card regular card set
- 10 UltraPro platinum 9 pocket sheet protectors
- $9 plus s&h
- 30 activity cards (15 pop-up and 15 coloring cards) $2 extra
- 7 stickers $3 extra

Beauty and the Beast cards
- complete 95 card set which includes:
  - 75 story cards
  - 10 magic mirror cards
  - 10 color-in cards
- 11 Ultrapro platinum 9 pocket sheet protectors
- $12 plus s&h

Fievel Goes West cards 
- complete 150 regular card set
- 17 Ultrapro platinum 9 pocket sheet protectors
- $8 plus s&h
- 5 hologram set $10 extra

Add $4 shipping and handling for the first set and $0.50 for each additional
set.  All the cards will be mailed in the sheet protectors and in padded 
envelopes.  E-mail me if you are interested.

Xref: sparky rec.arts.animation:7021 rec.arts.anime:27532
From: egamboa@sdcc13.ucsd.edu (Noel Gamboa)
Newsgroups: rec.arts.animation,rec.arts.anime
Subject: Re: Defending anime (was Re: Cheap animation)
Date: 21 Dec 92 09:09:08 GMT
Followup-To: rec.arts.animation
Organization: Operation X / UC Herald

dan@spiff.gnu.ai.mit.edu (Dan Parmenter) writes:
 
>  Me, I only watch Lupin III and old Time Bokan or other old Tatsunoko
>  cartoons.  And Miyazaki.  And old Tezuka (grin), and hell, old
>  Matsumoto-based cartoons too (Galaxy Express et al).  Are there ANY
>  nostalgists in Japan for this typee of stuff?  When I talk to modern
>  residents on IRC on the anime channel, I feel like one of those
>  French people going on about how great Jerry Lewis was - people are
>  generally surprised that anyone cares about those old shows.
 
I care about those old shows, since they were part of my childhood.
Tetsujin 28, Tezuka's Astro Boy, Matsumoto's Danguard Ace, Toei
Giant Robots like Voltes V and Daimos, Go Nagai classics like
Mazinger Z and UFO Grendaizer, shojo stuff like Candy Candy, even
Heidi of the Alps (an anime which involved Miyazaki and Takahata
and, on certain episodes, [drum roll] Tomino).  They fueled
my imagination and helped shape my fantasies, so these shows will
always be dear to me.
 
I'd love to rewatch some of them.  I cannot, however, watch these shows
to the exclusion of any other anime.  Some of the people who grew up
watching these shows are in the industry now, and they have new ideas,
new concepts, new worlds which they are trying to animate.  It would be
your loss if you never try any of their works.  I agree with your
statement regarding the overwhelming amount of garbage out there, with
animated brutal rape and all of that, but that's the case in *any*
medium these days.  The key is to go through the 99 percent of
commercial garbage and find that one percent of genius.

-- 
Noel Gamboa (egamboa@ucsd.edu)
Asuma, after seeing a picture of Bado as a kid:
  "Hmm, what was that kid's name?  It was a simple name... 
   Was it Dom?  Was it Zaku? ..."  (from Yuuki Masami's Patlabor)
Newsgroups: rec.arts.animation
From: gavigan@gn.ecn.purdue.edu (Ryan P. Gavigan)
Subject: Re: Cool World
Organization: Purdue University Engineering Computer Network
Date: Thu, 24 Dec 92 08:36:35 GMT



Just to inform if not known already.  'Cool World' comes out on video
on February 23.   I'm not plugging it, and I have no opinion on the said 
film, hell, I haven't even SEEN it, it just seemed to be a piece of info
some would like to know.

Also, it is NOT priced to sell, it is priced at $89.98 SRP, so the rental 
stores be where it will stay for  a while.

Ryan Gavigan
gavigan@gn.ecn.purdue.edu
From: derrick@aupair.cs.athabascau.ca (Derrick Rowlandson)
Newsgroups: rec.arts.animation
Subject: Re: Animation Celebration tapes
Date: 28 Dec 92 00:01:55 GMT


I have Volume 1 of Animation Celebration that I woudl like to sell. It's like
new, only viewed once. 90 minutes in lenght,, asking $30 postpaid.

thanks

Derrick
From: mfrose@ais.org (Martin Rose)
Subject: Rover Dangerfield on video (!?!)
Organization: UMCC
Distribution: na
Date: Mon, 28 Dec 1992 22:38:43 GMT

Yes, it's true.  Apparently, WB decided to scrub the theatrical release and
go directly to home video.  It's the same price as the Tiny Toons video;
twenty bucks.

Sure, I'll bite.  Just gimme a little time, there are too many Genesis games
to get. :)
-- 
  PCHammer:  Lieutenant, About-to-Die Police (Martin Rose) - mfrose@ais.org
-----------------------------------------------------------------------------
 "Think of it, Batman; to never again walk on a summer's day with a hot wind
    in your face and a warm hand to hold.  Oh, yes -- I'd KILL for that."
Newsgroups: rec.arts.animation
From: avatar@wings.micro.umn.edu (Timothy Fay)
Subject: Re: RESCUERS DOWN UNDER
Organization: University of Minnesota
X-Newsreader: TIN [version 1.1 PL6]
Date: Wed, 23 Dec 1992 10:47:35 GMT

Tom Hancock (hancock@inland.com) wrote:
>In article <1992Dec18.162137.21431@cbnewsl.cb.att.com>, conty@cbnewsl.cb.att.com (E. Kontei) writes:
>>                                               , but I didn't care
>> much for the plot or the characterizations (unlike, say, THE GREAT
>> MOUSE DETECTIVE).
>
>	The plots for both were pretty standard.  I contend that, for a
>comedy/adventure movie, plot and characterization come secondary to the
>action and comedy.

A lot of producers and directors seem to think so, which is why many
comedy/adventure movies are lame and uninteresting.  But the truly _great_
comedy and/or adventure films have good plots and interesting characters
(my favorite example is Peter Bogdonovich's WHAT'S UP, DOC?).

Likewise, THE GREAT MOUSE DETECTIVE is a good film because its main
character, Basil of Baker Street, is a very interesting and enjoyable
character; much more so than relatively shallow characters like Belle
and the Beast from you-know-what-film.

>Some of the greatest adventure movies of all time have
>very little plot and no characterization or character development --
>look at the "Indiana Jones" movies.

Must I? :)  Seriously, though: that is precisely why I don't like "Indiana
Jones" movies--they have little plot and no characterization.  Being "popular"
and being "great" are two different things.  The "Indiana Jones" movies are
popular, but they aren't what I would consider "great" films.

--
		Reply to:  avatar@wings.micro.umn.edu

  "My mental facilities are TWICE what yours are -- you pea brain!"
			-Percival MacLeach
From: dave@cs.arizona.edu (Dave Schaumann)
Newsgroups: rec.arts.animation
Subject: Re: Cool World
Date: 24 Dec 92 23:08:48 GMT
Reply-To: dave@cs.arizona.edu (Dave Schaumann)
Organization: University of Arizona

>>>Could someone give their opinions on "Cool World" - it hasn't been released
>>>here in Norway yet, and I'm curious to know how it is.

Well, if you like Bakshi's previous work, you'll probably like "Cool World".
If you hate his previous work, "Cool World" won't change your mind.

Personally, I kinda liked it.  It's not perfect, but it was worth the $3.50
matinee admission I paid to see it.

If you haven't seen any of Bakshi's previous work, and are curious about
the movie, I'd say go see it.  Of course, you should be warned that to a
certain extent, it's a "Roger Rabbit" wannabe, and Bakshi didn't really
have the budget to do the gosh-wow sort of stuff you see in "Roger Rabbit".

-- 
Essentia non sunt multiplicanda praeter necessitatum -- William of Ockham
(Fact need not be multiplied beyond necessity)
Newsgroups: rec.arts.animation
From: pmm34393@uxa.cso.uiuc.edu (Dr. Vincent Vaugn)
Subject: Re: REGARDING: Transformers come-back!  Finally!
Organization: University of Illinois at Urbana
Date: Wed, 30 Dec 1992 14:54:09 GMT

In article <1992Dec30.012606.19139@wam.umd.edu> vgriscep@wam.umd.edu (VGR (Craig Pell)) writes:
>In article <1992Dec24.025237.3480@midway.uchicago.edu> ttak@midway.uchicago.edu writes:
>>
>>The problem that I think EVERYBODY had with the animated series
>>is that HOW THE HELL does Megatron and Soundwave shrink when
>>they are in desguise mode?
>
>Okay.  One more time.  I'm not gonna repeat my entire previous post, but...
>
>Don't bother rubbing your eyes.  *YES* --- Megatron and Soundwave and various
>other Tranformers *DO* change size!  This is not meant to be some kind of
>subtle trick that the show is trying to pull on you.
>
>The reason it seems so damn silly that a two-ton robot can change into a 
>two-pound hand-held device is that you think to yourself that these are
>"robots."  They're *not* "robots" in the sense of those two-arms-and-two-legs
>metal things that people build on earth.  They are Transformers --- and com-
>paring them to a robot built by earthlings is like comparing a carbon-based
>life form to a lump of coal.  Same ingredients, but a decidedly different
>degree of complexity.
>Megatron has an anti-matter weapon, which he rarely used.  It links up to
>a black hole, INTERDIMENSIONALLY.  That's right, interdimensionally.  This

You are taking this directly from the Transformer's Universe, right? I was
never able to find any instances of Megatron using this anti-matter hook
up, either in the comic or the TV show.

>ability, if present in some other Transformers (and why shouldn't it be?)
>would easily explain changes in mass, as well as where Prime's trailer
>goes when he leaves vehicle mode (unless he keeps it around for fighting).
>It would even explain where all the weapons go, and how they seem to just
>appear when needed.  Ever watch the commercial "bumper" with Autobot Blurr?
>It shows his gun materializing in his hand.
>
>The reason Transformers are able to change size is because their internal
>workings are way, *way* beyond anything Earth has achieved.  Period.




-- 

Send e-mail to: pmm34393@uxa.cso.uiuc.edu