Windows 8: the Day the Computer Died

Windows 8 - The Future or the EndSee that image to the left? That is the future of computing. Or the end. I’m just not sure. Actually, I am. It is the end. Microsoft’s newest operating system is intended to be their response to the Open Handset Alliance‘s Android operating system. The problem is that a desktop (or laptop) computer is different than a tablet or smart phone. Let me be as clear as I can be: no one writes their dissertation on a smart phone, unless the dissertation is titled something like, “Studies in Extreme Behavior.”

The first thing I noticed when I got Windows 8 up and running was how quick it was. This was not a heavy operating system! It is great for doing what you do on your phone: start apps and surf the web and… Well, that’s about it. It is not that you can’t install something like PhotoShop or Office, though. All you have to do is go to the desktop. You know: that part of the operating system you’re not supposed to need to use any more! Then you will be transported into a wondrous land that looks like old fashioned Windows. Except that all kinds of thing that you rely on aren’t there like “Control Panel” and “Computer.” Not to worry! You can click on the Windows Explorer icon. Once you’re there, you can run anything you want. All you have to know is where it is. Want to open the device manager? Simple. Navigate to the primary drive (probably C: because many at Microsoft still think DOS 2.0 was the pinnacle of computing). Then go to the system directory (probably WINDOWS because capital letters so easy to read). Then go to the SYSTEM32 directory (even though you are running a 64-bit operating system). Then run the intuitively named program DEVMGMT.MSC (Don’t you just love 8.3 file names? And the word “manager” abbreviated “mgmt”?). Wasn’t that easy?!

The main thing about this new operating system is that it is not a step forward. The Android operating system is designed the way it is because of its limited input/output devices. It doesn’t have a keyboard. It doesn’t have a mouse. Thus, great tools like hierarchical storage are not that helpful. But given that regular computers do have these devices, Microsoft should try to create an operating system that uses the good tools of the past and develops new tools. It should not brush these tools and opportunities aside in the name of making a desktop computer act more like a phone.

But this is not the first time that Microsoft was totally wrong about the future of computing. Remember that time they totally misread the market, but managed to stay in business because of their monopolistic practices? No, not that time! Not that time, either. Oh, yeah; kind of like that time, but it’s not what I’m thinking of. No, no, no! Not that time. Not that time either. Well, you know what I mean.

Justin Bieber and the End of Western Culture

As I noted previously, Justin Bieber’s Baby ft. Ludacris is the most watched video on YouTube with over 630 million views—200 million views more than the next most watched video, Lady Gaga’s Bad Romance, which I will come back to shortly. The thing is, I really had no idea who Justin Bieber was. I am not exactly on top of pop culture. When I happened to see a few minutes of TMZ, I never know any of the people they feature. If I go to the trouble of finding out who someone is, I am usually disappointed; it doesn’t take much to be a celebrity today (and maybe it never did): being the girlfriend of the sax player of a band that once had a song that dipped into the Top 40 for a week seems more than enough. I knew, however, that Justin Bieber was more than that.

So I decided to listen to this song.

Wait. Really. Just a minute. I need a drink to steady myself.

First things first. When this song was released Bieber was 15 years old. Packaged to look 12. Singing lyrics that are adult in concept, if not in any other way. The verse lyrics? If I had a five-year-old who wrote them, I would encourage him to work on his math skills. The chorus lyrics work better—or at least they would if sung by someone who had to shave more than a couple times a year. “And I was like; Baby, baby, baby no; I’m like baby, baby, baby no; I’m like baby, baby, baby no; I thought you’d always be mine mine.” Could Barry White makes those lines work? Of course. He could make anything work. At the same time, he didn’t depend upon it. Can’t Get Enough of Your Love Babe is a great song in its own right. And the lyrics are hardly complicated.

It was horrible listening to what sounded like a child sing these lyrics, and prance around provocatively. Is our shame limited to female children who populate our stages and screens behaving inappropriately for their ages? (Not that most people have any shame about that, either.) I understand that 15-year-olds are sexually mature in a biological sense, but they are not in a cultural sense. This is why they can’t drive until they are 16, vote until they are 18, and drink until they are 21. This is why 18-year-olds go to jail for sleeping with 17-year-olds. Is this right? Probably not. But it is the deal we’ve accepted.

All of this is minor.[1] From the first syllable out of Bieber’s mouth, I was assaulted by the worst technological innovation since the atomic bomb: pitch correction. I hear it everywhere. It first came to prominence in Cher’s hit Believe (You know: “Do you believe in love after love?”). The effect on Cher’s voice is pitch correction used at a high level. But it was an effect. It wasn’t being used because Cher (1) couldn’t sing in tune or (2) had a very weak voice that required some help. After that song, the effect became a fad. It finally died away, but afterwards, there was this residue of the stuff. I could always hear this effect used on some (many) singers’ voices. It wasn’t as strong as in the case of Believe, but it was there nonetheless. And then it hit me: these people (e.g. Taylor Swift[2]) couldn’t sing in tune! Why not? That makes the job of record companies much easier: find someone cute who can move. The pitch correction works in real time, so these tone-deaf savants can even perform live. Ladies and gentlemen: Island Records recording artist Justin Bieber!

A couple of notes. The production on the song is first rate. The Ludacris section is quite good. But there are always professionals for hire to do professional work.

Lady Gaga does not, in general, use pitch correction. She can sing. She can dance. But have you noticed: she is not cute.

The end of western culture came some time ago. I just hadn’t noticed.


[1] Andrea points out this is an excellent pun. It never occurred to me, of course.

[2] Have you seen the Taylor Swift Covergirl ads? She does her own talking and not a hint of pitch correction!

uTorrent Toolbar Fiasco!

This is really annoying. I installed uTorrent to get something that it turned out I already had. Either because I wasn’t paying attention or I wasn’t wearing my glasses, I didn’t notice that in the install process, they added the “uTorrent Toolbar”! In general, I hate toolbars. (Who doesn’t?) I use just one: my favorites toolbar in Chrome (or the Links toolbar in IE). But as you can see in the following screenshot, there is an extra toolbar:

<%image(20111009-uTorrent.jpg|490|319|uTorrent Toolbar)%>

Okay, fair enough. Big deal. All I have to do is go in and uninstall the toolbar. I do it. Nothing. It’s still there. Reboot. Nothing. So I uninstall uTorrent itself. Nothing. Reboot. Nothing!

I did some other things. Before I started and several times in between, I right-clicked on the toolbar. Sure enough, there were options. But none of them allowed me to get rid of this toolbar. It took me forever to notice the little green “u” in the upper right-hand corner of the window! Right-click on that, and there is an option: uninstall. That was it. A second later, it was gone. (I did have to reopen the window.)

Why did this have to be so difficult? I guess this is how Chrome deals with toolbars. Live and learn, I guess.

“Bye, Baby”

Emmett TillI am working on a book about nice people. Unfortunately, I am having some difficulty finding women and minorities who are known particularly for being nice. I’ve been reading and watching a lot of stuff about the modern civil rights movement, looking for people who can flesh out what one friend has taken to calling, “Frank’s Nice Guys.” But it is hard to find the niceness of people’s personality when they are in the middle of a struggle for their very lives—in the middle of a war.

I just got a video Free At Least: Civil Rights Heroes—Part 1 Emmett Till / Medgar Evers. I think this title is incorrect, because Till was not a hero: he was just one of many casualties.[1] He was brutally murdered for whistling at a white woman, Carolyn Bryant. Or was it that he said, “Bye, baby”? Or did he ask for a date? Or did he do nothing all? Based upon the video, he seems like he was a nice kid. Certainly, his “crime” seems to have been one of niceness.[2] So I’m not inclined to think of niceness as that great a thing just now. And that is the whole problem. Those without power very often are nice. It is when the powerful act like human beings that we take note.

On a more positive note, the more I learn about Medgar Evers, the more I think he was a nice guy in the best possible sense. I think he is going to be one of my nice guys. But it was very hard to watch the video. Myrlie Evers-Williams, Medgar’s wife, spoke very beautifully about their final days together. I can’t imagine knowing that my death (or that of my spouse) was about to happen and being so calm. They are built of better stuff than I. By the end, I was a mess—sobbing uncontrollably. But at least I was that much closer to my goal.


[1] I am inclined to take this back. Perhaps we need to distinguish between Emmett Till the boy and Emmett Till the symbol. Regardless, this is what Till’s mother, Mamie Till-Mobley (who was a hero—there is no doubt of that), said, “I believe that the whole United States is mourning with me, and if the death of my son can mean something to the other unfortunate people all over the world, then for him to have died a hero would mean more to me than for him just to have died.” Indeed.

[2] I can understand that someone can find a sexual advance threatening. Just the same, mating rituals for humans are generally ones of charm rather than coercion. Clearly, Mrs. Bryant felt threatened: she went to her car and got a gun. But that in itself showed the level of control she had. And after the fact, she did not mention it to her husband. Given that, I suspect that after it was over, even she saw that she had over-reacted. And so I don’t imagine that Till was aggressive in any way. Bryant was just hopped up on racist stories of the over-sexed black man and his insatiable desire for white women.

Update

I am watching PBS’s excellent Eyes on the Prize. Because I am an iconoclast, I have always tended to minimize Martin Luther King, Jr. And I still do think that his role in the modern civil rights movement is generally over-stated, in the same way that George Washington’s is in the American revolution. But King as amazingly eloquent. This is especially true when he is speaking extemporaneously. Truly amazing. Watch Eyes on the Prize and see what I mean.

Potato Pancakes

Potato PancakesI love potato pancakes, and I consider myself something of an expert on them. Most people are not aware that there are two kinds of potato pancakes. First, there are the traditional—What will we do with these left-over mashed potatoes?—and then there are those we make from scratch as an exquisite touch to any meal. I will present you with recipes of both.

Left-Over Potato Pancakes

You can’t just plop some mashed potatoes into a frying pan and expect to get something like a pancake. A binding agent is necessary. In the case of potato pancakes, this is egg and flour. So for each cup of mashed potatoes, add two small eggs and and one and a half tablespoons of flour. To this, add about a quarter cup of finely grated onions, a half teaspoon of salt, and a quarter teaspoon of pepper. Mix it all together. Then, in a skillet of oil (about one-quarter inch in depth), fry small patties of about three-eighths inch thick and two to three inches around. Use a high temperature oil like corn or peanut. Cook until the bottom of the patty is browned, flip it over (Don’t splash the oil and burn yourself!), and cook until the other side is browned. Soak up extra oil with paper towels and then serve.

Some people don’t like pepper in their potato pancakes, so feel free to skip that. Also, it isn’t necessary to add onions to this recipe, but I wouldn’t think of having potato pancakes without them.

Specially Prepared Potato Pancakes

Grate about two cups of potatoes. There is no need to peel them. Before putting the grated potatoes in your mixing bowl, squeeze as much of the water out of them as you can. This is very important! Chop up a half cup of onion. Squeeze what little water you can out of these and add them to the potatoes. Add three medium eggs, two tablespoons of flour, a teaspoon of salt, and a half teaspoon of pepper. Mix it up and fry as stated above. If the mixture is too soupy (or becomes so), just add more flour. Contrary to many sources, you aren’t going to ruin your potato pancakes with too much flour (within reason).

Potato pancakes are no big mystery. Making them is more a knack than anything else. As long as you minimize your mixture’s liquid content, you should be fine. There are few things in the universe better.

Puppet Shows and the Evil Dr. No No

Yogi Bear and the Three Stooges Meet the Mad, Mad, Mad Dr. No-NoI have been doing puppet shows for as long as I can remember, but the first puppet show I do remember doing was for my second grade class.[1] I did it with my best friend of the time George Herring. We performed Yogi Bear and the Three Stooges Meet the Mad, Mad, Mad Dr. No-No. This must have been my idea, because this was my favorite record album when I was that age. (I also really liked David Frye’s Richard Nixon Superstar too. Go figure—not because it wasn’t good, but rather: the same kid who liked Dr. No No liked such hip comedy as Frye? Like I said: go figure.) Despite having probably listened to the album hundreds of times, I have no memory of it. Here is the synopsis according to Wikipedia:

Yogi Bear and the Three Stooges Meet the Mad, Mad, Mad Dr. No-No is a 1966 comedy album produced and released by Hanna-Barbera Records. The album presents the Three Stooges (Moe Howard, Larry Fine and Curly-Joe DeRita) as inept park rangers who are called upon to rescue Yogi Bear (played by Daws Butler) after he is kidnapped by Dr. No-No, a nefarious scientist who invented a machine that turns people into animals.

I do, however, remember that I was twenty years old before I found out who Dr. (single) No was, and fully understood the joke that Dr. No No was.

Knowing my personality (then and now), I doubt that our performance was much abridged. My only reason for believing that our performance was less than a half hour is the probability that Mrs. Johnston would not have allowed our silliness to go on that long. Or maybe she would have. Of all my grammar school teachers, Mrs. Johnston was by far the most likely to indulge my innate silliness.

I found this nice little video about how to put on a puppet show. It shows just how little is required.

The main thing I would add is that found material often works very well as a script: comedy records, short stories, whatever delights you. Also: an audience is not strictly necessary. Most of the enjoyment is the process itself. And if that doesn’t work for you, you can always film your puppet show and put it on YouTube. As it is, the, the most viewed video I’ve ever seen is a puppet show, Potter Puppet Pals: The Mysterious Ticking Noise.

Update

At some twenty million views, this puppet show is not even near the top of the most watched videos. But then, neither are many of the videos people think of as very popular. Dramatic Chipmunk, for example, has only 32 million views. Keyboard Cat has on 19 million views. What are the most popular? You don’t want to know, but I will tell you: music videos mostly. Justin Bieber has the top 1, 8, and 9 positions. How many views? Baby ft. Ludacris has over 650 million views. I guess Mencken was right, “Nobody ever went broke underestimating the taste of the American public.”

Update II

Just a month after posting this article, carlosvonchang uploaded Yogi Bear & The 3 Stooges Meet The Mad, Mad, Mad Dr. No-No on YouTube. It is presented in two parts—side A (16:01) and Side B (17:00). I’ve put these two videos into a single playlist so it automatically loads Side B after Side A has finished.


[1] My first two years in college, I carried around a puppet mounted on the end of a bamboo stick. The idea was a human skull on the end of a pike. I thought it was incredibly clever.

There, There, There

Bad SpellingI have always been a poor speller, although I’ve improved greatly over the last decade. However, because I am a careful writer, I am less likely than most to write an incorrect homonym like “beat red.” This must be a point of pride to many intelligent bad spellers. In general, spelling is arbitrary. As Geoffrey Numberg says in the way we talk now:

Nothing is fairer than a spelling test, after all. The rules are the same for everyone: there is no cultural bias, no subjectivity about right and wrong answers. And unlike other subjects, spelling gives no special advantage to those children who happen to be brighter or more creative than their classmates. The wonderful thing about English spelling—at the fourth-grade level, anyway—is that it makes no sense at all.

Thus we bad spellers can brush off good spellers as freaks like professional basketball players and American Idol contestants. But knowing the difference between there, their, and they’re: that takes intelligence.

Bearing this in mind, I had a very uncomfortable experience a couple of days ago when I was writing Reduced Shakespeare. Reading through my first draft, I noticed that I spelled “their” as “there”—three times! This was very embarrassing, even if I was the only one around to notice it.

Having thought about it a few days, I now wonder what the big deal is. In truth, the following sentence is completely clear, “There horses were not their.” It makes me wonder if my concern is not just a reflex to please grammar pedants who I despise anyway. These people are, after all, the greatest impediments to the reform and simplification of the language that I greatly desire.

On the other hand, no one wishes to look stupid. Such grammatical niceties are the best way that we have to prove we are educated. That is something, sadly, that matters to me. Except, of course, when writing about grammar.

Acclimation

Man in ParkaI am working on a short article about Samuel Beckett’s play Krapp’s Last Tape and so this reminded me of a short play I had written about a year ago that I called Acclimation. This is because my friend Kristen McHenry had mentioned that it reminded her of this play. I disagree completely, but she must have been perceptive or I clear, because I did write it after having discovered Beckett’s Act Without Words both I and II, but especially I. In this play, a man is playfully tortured by the universe. He is hot, so a carafe of water is hung down, just out of reach. But the universe provides! A box is lowered. He climbs upon the box, but the carafe is only raised farther up. The play ends with the man giving up, regardless of the hope that the universe tempts him with.

When I discovered the play, I read it again and again. To me, it is as truthful of the human condition as Waiting for Godot. But frankly, far harder to shake. As I thought more and more about it, I got the idea for a similar play that deals with my own very personal battle with the universe: acclimation. It seems I am forever putting on and taking off clothes in order to attain the right temperature. In my case, this is likely due to my misspent youth and its negative effects on my Hypothalamus. But I’m sure at least that there are many menopausal women who relate. The play, of course, is deeper than this. Or not. In some ways it is just a romp: a silly theater piece for a comedic actor. I hope someone enjoys it.

How to Read a Play

I have found that most people have difficulty reading a play, and this one is more difficult than most. A play cannot be read the way a novel is. You must convert every stage direction into an image. So when I write that the man removes his cap with his right hand, you must imagine the man in your head removing the cap with his right hand (which would be on his left as you see him in the theater). Otherwise, you won’t experience the play.

Acclimation
by Frank Moraes © 2010

Dimly lit stage, stronger light focus in the center. A man walks on from stage right and stops just right of the light focus. He is dressed as if he is in the arctic: he wears a parka with a hood and heavy boots. He faces the audience and when he speaks, he addresses the audience directly.

Man: Good evening!

He pulls the hood down to reveal that he is wearing a ski mask.

With his left hand, he pulls the ski mask off his head and drops it on the ground in the light center, while he pulls the parka hood back on. He unzips the parka three-quarters the way down, and then thinks better of it; he zips it back up to half-way up. He reaches inside the parka with his right hand and produces a ski cap at the same time as he pulls the parka hood back with his left. With both hands he puts the cap on and puts the parka hood back up.

He shivers exaggeratedly. He smiles. He thinks for a moment, and then quite suddenly unzips the parka all the way, removes it and throws it on top of the ski mask.

He thinks. He feels his body, and looks concerned. He looks down at the parka and picks it up. He studies it. No. That’s not it. He sees the ski mask. He drops the parka and grabs the ski mask, putting it on his head. He sighs. And then stops.

He pulls the ski mask off with his right hand and then the ski cap with his left hand. He throws the ski cap down on top of the parka angrily and put the ski mask back on. He pets his ski mask from his forehead to the back of his neck, as if brushing his hair back. He is comfortable.

He sits down on the floor and looks at his heavy boots. He looks at the left boot, then the right, then the left again. He pulls the boot off and throws it on to the cloths pile. He smiles and then suddenly becomes concerned. He pulls the ski mask off of his head with his right hand and puts it on his left foot. He thinks about it for a moment, then looks disgusted. He pulls the ski mask off with his left hand and throws it on the pile.

He reaches for the boot he just removed and stops. Then he grabs it and places it next to his left foot. Quickly, he pulls off his left sock and puts the boot back on. He then removes his right boot, removes his right sock, and replaces his right boot.

He jumps to his feet triumphantly, but is quickly concerned. He reaches down into the pile and grabs the ski cap. He places it on his head. Then, without thinking, he begins unbuttoning his shirt. We see a thermal undershirt beneath it. He finishes. He unbuttons his shirt cuffs and starts to take the shirt off before abruptly stopping and sitting again.

He grabs his socks from the pile. He removes his right boot, puts the sock back on, and throws the boot onto the pile. He repeats the process with his left foot.

Again, he jumps to his feet triumphantly, but is again quickly concerned. He reaches down into the pile and grabs the ski mask. He removes the ski cap, throws it on the pile and puts the ski mask back on. He sighs—scratches his right cheek with his right hand through the ski mask.

Impulsively, he rips the shirt off and throws it on the pile. Then he unbuttons his pants and removes them—also throwing them on the pile. Standing in thermal underwear and socks, he hugs himself and dances lightly from one foot to the other. He looks down at the pile of cloths.

He grabs the parka and puts it on, again hugging himself for warmth. Slowly, he releases his grip on himself, as he warms up. Finally, his hands hang down to his sides and the parka is open in the front. He pulls the parka back so it is still on, but no longer covers his shoulders.

Slowly, he pulls the ski mask off his head with his right hand and looks at it. Then he looks down at the ski cap, but gives up the thought. He takes the mask with his left hand and throws it on the pile.

He pulls his right arm out of the parka and then his left arm out. Holding it with his left hand he drops it onto the pile. Standing next to the pile of close with his arms outstretched, he sighs heavily and then smiles broadly.

Man: Good night!

The man grabs all of his cloths and exits stage right.

Interpreting the News

NPR / Fox NewsI was listening to NPR’s Weekend Edition this morning. It was the first time I had heard it in some time. It was interesting to compare it to another form of mainstream news: Fox. Although NPR is hardly perfect, I noticed that the stories were presented in as non-judgmental a manner as possible. Interpretation was left to the listener. On Fox News, in contrast, everything is judgement. Regardless of the ideological content of their programming, the point of any program is not the communication of ideas but rather of feelings—particularly outrage.

Rather than the pernicious ideas that underlie all Fox News content, what really matters is this emotional approach to information. Since NPR presents ideas, one can agree or disagree with it. The Fox News viewer is given no such option. Instead, he is caught in a stimulus-response loop that gratifies his basest feelings of in-group superiority and out-group degeneracy. “Look at that person who is so vile as to not live up to my moral standards!” Given that this is the end result of any Fox News story, there can be no broadening of minds—no increased understanding.

Such an approach to news could conceivably be used by the left as well as the right. In fact, it would seem easier for the left. The atrocities of an increasingly unequal society seem ripe for the kind of emotional appeals as we saw during the robber baron days in newspapers and books. And yet, we don’t. The emotional appeal comes almost exclusively from the right.

I think this is due to the fact that the political center of gravity in this country has moved so far to the right. As a result, there are only two kinds of people who can continue to consider themselves conservative. First, there are the super rich for whom conservatism justifies their unjustifiable standards of living.[1] Second, there are those for whom facts and argument mean nothing. These are people who have only their anger and the belief that they belong to an in-group[2] to find any purpose in life. This leaves just about any person who is open to fact and argument on the left in the American political spectrum. However, I think the day is coming when the have-nots will begin to see their situation in less intellectual terms. I can’t see this as an entirely bad thing, even though I do not relish the idea. I am tired of all the modern-day Howard Beales mad as hell that the rich are taxed too much.

In the end, I will always side with ideas and thus NPR. I need no help in determining what to believe. And I think this is true of most people. Left to themselves, they will reach reasonable conclusions—even the Fox News viewers. Unfortunately, the Fox News viewers are not left to themselves. As a group, they are the least able to protect themselves from demagoguery, and yet most attracted to it.


[1] I cannot get my head around the idea that one person is a thousand times more valuable than another. Even Jonas Salk depended upon millions of people in order to do his most honorific work. So it really fries my brain to believe that some hedge fund manager is a hundred million times more valuable than a subsistence farmer.

[2] Whether they really are part of that in-group is highly questionable. For example, many such people believe themselves to be entrepreneurs or the “potentially rich” when they are, in fact, just working stiffs who, if luck turns sour, will be rolled over like Sherman tank tracks by the very group they consider themselves to be “in.” I see this from time to time, like the ENRON engineer who lost his retirement after the top executives—the real in-group members—had sold off theirs early (and illegally) for hundreds of millions in profits.

What is a Truel Heart?

Elvis Presley - The Top Ten HitsEarlier today, I was listening to Elvis Presley’s The Top Ten Hits. This collection included his number one hit, “Don’t Be Cruel,” of course. I have never been able to sing the refrain of this song anyway but, “Don’t be cruel to a heart that truel.” This is not just a matter of my usual silliness. The fact is that true doesn’t really rhyme with cruel. They are assonantal, but in an extremely awkward way that sends shivers down my spine. So my choices are to pronounce “cruel” as “crew,” which makes the whole line dull, or to create a new word: truel. So it will always be: don’t be cruel to a heart that’s truel.

Reducing Shakespeare

A few years ago, I discovered the Reduced Shakespeare Company’s The Complete Works of William Shakespeare (Abridged). It is a sketch comedy play which supposedly performs all of Shakespeare’s (36, 38, 39?) plays in just one and a half hours. In fact, they only mention many of the plays. For example, they combine all of the comedies into a single play entitled The Comedy of Two Well-Measured Gentlemen Lost in the Merry Wives of Venice on a Midsummer’s Twelfth Night in Winter. And they do all of the histories in a mock football game. The only plays they actually do are Romeo and Juliet, Titus Andronicus (brilliantly as a cooking show), Othello, Macbeth, Julius Caeser (barely), Antony and Cleopatra, Troilus and Cressida (with Godzilla), and finally, Hamlet, which takes up half of the entire play. Here is their version of Othello:

As I think can be seen, The Reduced Shakespeare Company does not over-revere Shakespeare. Thus, when I saw that two of the actors—Reed Martin and Austin Tichenor—had written a book called Reduced Shakespeare, I was excited. Unfortunately, the book is a major disappointment. On the plus side, it is a fun enough read. The comedy is often forced, but humor in book form is always a mixed bag. What’s more, for those who know little of Shakespeare, there is much to be learned from the book.

Where the book falls down is in the worship it shows to Shakespeare. Throughout the book, Shakespeare is not just a great writer, or even the greatest English playwright, or even the greatest English writer. No: he is the greatest writer ever. They say, for example, “Ultimately you will understand that Shakespeare is revered above all other writers not because of the kind of man he was but because of his works.” Later, they say that Hamlet is, “In all likelihood … the greatest play ever written.” Really? Hamlet?

I’m not going to go into a discussion of just why such statements are ridiculous. For those interested, I highly recommend Gary Taylor’s Reinventing Shakespeare. But the book missed out on the funniest thing about Shakespeare: the idolatry surrounding him. No one who has read contemporaries of Shakespeare can come away with any thought more than that Shakespeare was slightly better than his peers (and I would not go nearly that far). So how is it that Shakespeare towers over all of the playwrights who came before and after him? Certainly, when it comes to comedy, Aristophanes is far better than Shakespeare.

To be fair, Martin and Tichenor do lampoon Shakespeare idolatry. Unfortunately, they suffer from it greatly without any apparent recognition of the condition. And that is deadly. Thankfully, that is not the case with the play, which I still recommend highly.

Postscript

The boys have a whole chapter in which they review Shakespeare on film. Unfortunately, in many cases, they admit to having never seen the movie. That’s part of the joke. Get it? Anyway, they review perhaps Orson Welles’ greatest film, Chimes at Midnight (this is not my opinion—I have not seen it—but rather that of Welles himself and Peter Bogdanovich). They start the review thusly:

This is Orson Welles’s[1] crowning Shakespearean achievement, in which he brings a robust magnificence to Falstaff, Shakespeare’s greatest comic creation and a part Welles was born to play. He had a brilliant idea: Create a story that focused on Falstaff by taking the relevant scenes from all the plays in which Falstaff appears (Henry VI, Parts 1 and 2, Henry V, Richard II, and The Merry Wives of Windsor). He even used Holinshed’s Chronicles (Shakespeare’s own original source) for the narration. Welles’s performance is outstanding, and the battle scenes are impressively intense.

Wow. Sounds pretty good, right? But they give it one (out of five) “bards.” Their complaint seems to be that the film has too many technical “glitches” to be enjoyable. They have much the same to say about Welles’ Othello, which they also gave one “bard” to. By their discussion of the film, it is unclear whether they had seen the restored Othello, which is by far the easiest to get today. One would think they would take a little more care with the winner of the Cannes Film Festival’s Grand Prize. And one would think some mention would be made of the fact this is one of a very few film performances of the great Irish stage actor Micheál MacLiammóir, who is great as Iago.

It is also worth noting that the the plays these boys claim to be of five “bard” quality are: Hamlet (interesting, but really not that good), Henry IV, Part 1 (Falstaff is fun, but one wonders just how much Shakespeare is responsible for the character), King Lear (about as good as Shakespeare gets), Macbeth (ditto), A Midsummer Night’s Dream (tedious when Bottom isn’t on stage), Richard III (good Shakespeare, but I hate the whole “I’m a villain” setup; see also Don John in Much Ado About Nothing), and Romeo and Juliet (as good as that bard gets). I think they have picked about the best of what Shakespeare has to offer, but if it were up to me, I wouldn’t give any play more than four bards.

And Martin and Tichenor never address the most pressing question: why is Shakespeare always better in Japanese?


[1] I hate this construction. Is there any reason at all to add this extra “s”? No. There isn’t.