It's A Long Way To The Bottom Of A Neville

LETS ALL JUST SING. I MISS THE MUSIC. WHERE DID IT ALL GO. If I were authorized, I could really lose it for Omar Sharif. Especially Omar Sharif the first time that he meditates on the face of Peter O'Toole who is losing himself and sight of his vision in the desert. Omar almost grovels in attendence at O'Toole and begs him to eat. He begs him. He loves him. He fears to love him. I love this movie. I fear to be without this movie. Its the closest thing I can get to Jonathan and David on screen. I also think Pip has got things pretty well figured. What can I say, hes a cool kid.Now we leave the Arabian deserts for the sunscorched landscapes of the Old West: A little cowboy needs a WISH and a TRAIL and a PILLOW if he wants to keep RIDING, riding along. Now we look at musical genius: Stuarts stayin in cause he thinks its a sin that he has to leave the house at all. Get your pens out: Premier knowledge for all. 2063 is the year to shoot for. Northern Exposure: Defining the Human Experience. The Death of the Trend. My god what a day of beauty. We need a clothing revolution. One free of gross excess and frivolous vanity that has nothing to with who or what a person is. I say, where is the fun when everyone is walking around in alternative computer-generated motif t-shirts, jeans suck and fancy tennis shoes in bark brown and navy blue with greasily-styled hair trikkling down one side of the face. We need garments dictated accordingly by human exploits and activities. Clothes that evolve out of what a man does and not what he is dressing to do. If in the mind, one believes he should be climbing Mt. Ararat, then by god, dress the part and its as good as done. If Ararat is nowhere to be found climb a big rock. Find rips in the legs of your pants after the adventure. He and his colleagues must develop the rules of dressing as the demands of their trade and travels mandate however long or short the journey is. There is a hobbit who lives in our neighborhood tending his garden with shoes on. It breaks my heart to see him; no brass buttons or creamy linen bell-sleeved blouse frayed on the edges of the hem with pocketed vest. No pipe to be seen. Internal landscape? LAND OF CONFUSION: Of Thomas Jefferson's cabinet, "He suggested that although black slaves lived in an environment in which the arts and sciences were cultivated, they nonetheless produced little of AESTHETIC value."..."Such language reveals Jefferson's belief that the Native American existed in a primitive state yet was capable of moving progressively from SAVAGERY to CIVILIZATION with, of course, the HELP of the WHITE MAN."..."On one side are specimens of sculptures, in the form of statues and busts, disposed in such order, as to exhibit a coup d'oeil, the HISTORICAL PROGRESS OF THE ART, from the first RUDE attempts of the ABORIGINES of OUR COUNTRY, to the most FINISHED models of EUROPEAN masters." ..."This PROGRESS however, implied the literal movement of Native Americans eastward, and indeed, Jefferson's FEDERAL POLICY presumed the inevitable INCORPORATION of the Native American into white society. The Jefferson policy of incorporation demanded the virtual ELIMINATION of the Native American way of life, including the divestiture of tribal land ownership in favor of the private ownership of land, as well as the TRANSFORMATION from hunting to an agarian society."..."In this idyllic dream, the conception of the New World as an Edenic paradise inhabited by NOBLE SAVAGES, so prevalent in eighteenth-century..." (or twenty-first century) "... thought, is transformed, and America is recast as a pastoral garden with all its implications of CIVILIZED NATURE." ...On Nationalism: "Wherever nationalism has arisen, and notwithstanding its different manifestations and patterns of development from one country to the next, it has required at its foundation a conjunction of political and ethnocultural allegiances binding the INDIVIDUAL to an enlarged community, usually coextensive with the STATE. Too large to be perceived or directly experienced, that community, the nation, must first be "IMAGINED,' to quote Benedict Anderson, and then ASSIMILATED to the point where an individual holds the NATION'S INTERESTS ABOVE those of local ties, family, OR SELF." ..."NATIONAL CONSCIOUSNESS, this IDENTIFICATION, with the IMAGINED COMMUNITY, is the PRODUCT of STATE-SPONSORED SOCIAL ENGINEERING or EDUCATION, and it is here that the interests of the state and the function of the museum intersect." .......CULTURES OF COLLECTING (C.M.H): "For this reason the U.S case is particularly instructive: it has been REMARKABLY STABLE in IMAGINATION-a long standing" GARDEN OF PERFECTION"-but FLUID in POLITICAL/GEOGRAPHICAL actuality INTO THIS CENTURY. That is, at any given MOMENT the CONFUSED and incomplete statuses of state, regions, territories, protectorates, etc., were presumed to be TEMPORARY STAGES in a TELEOLOGICAL PROJECTION, A DESTINY of COMPLETENESS. The IDEA of AMERICA always existed BEYOND the boundaries of the moment."... "The dominant GEOPOLITICAL and PSYCHOLOGICAL characteristic of U.S national HISTORY has been the constant AREAL EXPANSION of borders and DEMOGRAPHIC movement within and across them, taking place beneath a controlling ideology of MANIFEST DESTINY.".... "The processes by which formerly alien territory is gradually domesticated into the NATIONAL POLITY and IMAGINATIVELY RECONFIGURED as part of the NATIONAL IDENTITY are complex. They include outright MILITARY POWER PROJECTION (and the requisite HEROICS, e.g., the Alamo); TRADE CONNECTIONS and their romanticizations (e.g., the Santa Fe trail); LANDSCAPE NAMING AND RENAMING as means of imposing CONCEPTUAL and PROPRIETARY ORDER on the land; and I would argue, COLLECTION AND REMOVAL to the core HOMELAND and TERRITORIAL RESOURCES-botanical, mineralogical, ethnographic-as the material, METONYMIC PROOFS of CONQUEST, PROPRIETORSHIP, and ultimately INCORPORATION."... "COLLECTING is part of a BODY OF DISCOURSE (as the term is employed by MICHEL FOUCAULT) that established an INTELLECTUAL, POSITIONAL SUPERIORITY vis-à-vis MATERIAL OBJECTS, and through them, vis-à-vis THE MAKERS of those objects and the CULTURAL and PHYSICAL ENVIRONMENTS in which they originated." scary.