Inside 9/11 – National Geographic Documentary

The National Geographic Channel will broadcast a four-hour documentary tracking the events leading up to the terror attacks on 9/11 four years ago. The documentary, Inside 9/11, is in the form of a timeline and is divided into two parts. The first, “War on America”, tracks terrorist activities aimed at U.S. targets throughout the 1990s and charts the response of the U.S. intelligence community to these attacks and to the evidence about the imminent 9/11 plot. The second part, “Zero Hour”, captures the horror and the heroism witnessed on 9/11/2001. The documentary will air on September 8 at 7pm EST and at 11pm EST, and on September 11 at 1pm EST.
From the show’s description:

With each successful attack, al Qaeda becomes more emboldened. With each failure of the U.S. government to respond or stop their activities, the organization and the legend of Osama bin Laden grow… Inside 9/11 follows the footsteps of the terrorists as they formulated their plans, infiltrated our country and executed their suicide missions.

The documentary goes back to the Soviet defeat in Afghanistan at the hands of the Mujahadeen, who were led by Osama Bin Laden among others, and shows how their victory led to a new euphoria, suggesting that any Western superpower could be undone by bands of well-organized martyrs. The documentary also brings up early evidence of what would become radical Islamic cells, such as the 1990 murder of Rabbi Meir Kahane, which was dismissed as a dead-end dispute between the radical ends of two religions.
A commending review of the documentary in the New York Times states: “The National Geographic Channel honors the fourth anniversary of the terror attacks with a rational approach to what is usually treated with poetry and ceremony. Instead, the two-part Inside 9/11 is a four-hour compendium of the facts of the matter.”

Music with an Ayn Rand Connection

Interested in hearing some of the “tiddleywink” music Ayn Rand loved so much? Check out this page on “Music with an Ayn Rand Connection.”
The author begins:

I have have had an interest in the popular music from the early decades of the 20th Century since childhood. When I was in my early 20s I discovered and became an admirer of the writings of Ayn Rand – the author of the philosophically provoking best selling novels The Fountainhead and Atlas Shrugged. A few years later, I was amused to learn that Rand enjoyed a type of turn of the century popular music that she called “Tiddlywink Music.”
Of course, there is no such formally recognized musical genre. “Tiddlywink” seems to have been the name that Ayn Rand gave to music that she responded to in a certain way. The music does not seem to come from from any one particular genre: Canadian Capers is an example of ragtime; El Choclo is a tango.
When I discovered that Rand enjoyed music from the same era that I do, I became very curious as to what specific tunes she liked and classified as Tiddlywink music. Unfortunately, only a few examples have been cited in books and lectures about her. Because I find it fascinating when different interests of mine meet, I always try to keep an eye open for recordings with an Ayn Rand connection. There are two obstacles that I face in doing so. One is the previously mentioned limited information. The other is the fact that locating specific vintage recordings can sometimes take a lot of time. As I find them, however, I will transcribe them to Real Audio and place them on this site.

See the site for much more information.

Pro-Freedom Themes in Joss Whedon's Firefly

Writing for the AFF Network, Sarah T. Hinson provides a lovely overview (“Freedom and Firefly“) of the pro-liberty themes in Joss Whedon’s Firefly (which we’ve reviewed in DVD form and eagerly anticipated on the big screen in September).
The article begins:

At its best, science fiction advocates liberty. While Star Trek lamentably supported a “Federation knows best” mentality, other works like Star Wars and Robert Heinlein’s novels have promoted the dissolution of central rule and the triumph of the individual. For the science fiction writer, space means one thing: freedom. Like the Wild West where men made their own rules and property rights were enforced at the end of a landowner’s shotgun, space has afforded the hope that one day man can move beyond the reach of any government’s oppressive hand.
No recent T.V. series understands this better than Fox’s Firefly, the tragically cancelled masterpiece spawned from the mind of Joss Whedon, the creator of Buffy the Vampire Slayer and its spin-off Angel. Firefly was critically acclaimed, but sadly mismanaged and was cancelled after only eleven episodes aired in 2002. But thanks to DVD sales, Firefly has maintained a steady popularity. It currently ranks at 49 among DVDs on Amazon.com after seventeen months since its release.
The story of the series follows a smuggling ship captained by Malcolm (Mal) Reynolds. Mal and his first mate Zoe fought in the great galactic civil war as Independents resisting the unification of all the planets under the rule of the great behemoth, the Anglo-Sino Alliance. Ultimately crushed by the boot of empire, Mal buys a spaceship that can give him the freedom the Alliance threatens to steal. He tells Zoe that with the ship, “[We] never have to be under the heel of nobody ever again. No matter how long the arm of the Alliance might get, we’ll just get a little further.” And one gets the feeling that, while Mal, Zoe, and the other independents lost the battle, they will never give up the war.

See the full article for more. Via Instapundit.

'Batman Begins' Popular Among Ayn Rand Fans

An article in the Miami Herald (“Batman’s laissez-faire-weather fans“) notes that Batman Begins has become very popular among Ayn Rand fans and other advocates of individualism and capitalism:

Batman Begins, Christopher Nolan’s brooding comic-book blockbuster that opened June 15, has been embraced by its fans for many things: Nolan’s dark, shadowy aesthetic, the detail with which he has teased out Batman’s mythical origins, and Christian Bale’s wholly credible performance as the psychologically complex billionaire-turned-Dark Knight.
But Batman Begins has become something of a cult hit among fans of free markets, individualism and Ayn Rand, among other things. Perform a cursory Google search with the terms Batman Begins and “capitalism,” for instance, and you come up with a blogosphere love-fest, with conservative and especially libertarian commentators praising the film’s pro-business, anti-statist themes.

The article continues:

David Boaz, executive vice president of the Cato Institute, a libertarian think tank, saw Batman Begins recently at the encouragement of a friend at the Objectivist Center, which, on its website, champions “reason, individualism, freedom and achievement.”
Boaz was happily struck by the fact that the hero was a businessman, he says, “but I think what was more interesting . . . is that the movie takes a strong stand that some things are evil, some people are evil. Crime is bad. And criminals need to be punished, not to be understood and coddled and let out of jail for more therapy.”
Boaz says he was gratified as well to see a heroic portrayal of individualism and the idea “that it’s up to each person to take a stand and each person has his own talents, abilities and opportunities. Bruce Wayne, because of his money and training, has more talent and opportunities to do these things than most of us, but it’s made clear that it’s important for everybody to take a stand.”
Although Hollywood often takes the rap for touting reflexively left-wing pieties, Boaz says the ideas that run through Batman Begins actually aren’t that rare at the multiplex or on TV; he cites such hits as The Aviator, with its multimillionaire hero, The Incredibles, with its sly critiques of egalitarianism (“If everybody’s special, then nobody is”) and the gleefully libertarian South Park as only the most recent examples.
“America is basically a libertarian country,” Boaz says, “so Americans are going to put libertarian themes into the art they create, and sometimes it’s more explicit and sometimes it’s less so. But it’s not a big surprise to see individualism, anti-totalitarianism and fighting for freedom and social tolerance showing up in American art.” Kapow!

See the full article for more information.

David Boaz on Liberty at the Movies

Writing for Cato, David Boaz has published a list of his favorite liberty-themed movies. He starts:

A few years back, I wrote about the libertarian themes of many of the movies nominated for Oscars. Now, for the summer, I thought I’d recommend some all-time favorite libertarian movies. I’m not going to discuss documentaries or educational films such as The Incredible Bread Machine, Waco: The Rules of Engagement, or John Stossel’s superb ABC specials. Today’s topic is libertarian movies from Hollywood — and there have been more than you might think.
Shenandoah, a 1965 film starring Jimmy Stewart, is often regarded as the best libertarian film Hollywood ever made. Stewart is a Virginia farmer who wants to stay out of the Civil War. Not our fight, he tells his sons. He refuses to let the state take his sons, or his horses, for war. Inevitably, though, his family is drawn into the war raging around them, and the movie becomes very sad. I cried when I was 11 years old, and I teared up again when I saw it recently. This is a powerful movie about independence, self-reliance, individualism, and the horrors of war.
War may be the most awful thing men do, but slavery is also a contender for that title. Steven Spielberg’s Amistad (1997) tells a fascinating story about a ship full of Africans who turned up in New England in 1839. The question: Under American law, are they slaves? A long legal battle ensues, going up to the Supreme Court. Libertarians like to joke about lawyers. Sometimes we even quote the Shakespeare line, “The first thing we do, let’s kill all the lawyers” — not realizing that that line was said by a killer who understood that the law stands in the way of would-be tyrants. Amistad gives us a picture of a society governed by law; even the vile institution of slavery was subject to the rule of law. And when the former president, John Quincy Adams, makes his argument before the Supreme Court, it should inspire us all to appreciate the law that protects our freedom.

See his full article for more recommendations.

New Novel in the Ayn Rand Tradition: Noble Vision

Gennady Stolyarov II has published a review of the novel Noble Vision, which looks like it may be of interest to admirers of Ayn Rand’s novels. His review concludes:

Noble Vision is a novel of heroes and villains, good and evil in the most fundamental existential sense. In it, men of integrity confront men of cowardice over the issue of state-controlled medicine. In the real United States, the government is still greedily eying the medical field, seeking to shackle and regulate it in preparation for a complete usurpation. Will there be enough real-world heroes to resist this infringement upon individual sovereignty, prosperity, and progress? For those who wish to partake in the struggle for free markets, Noble Vision is an excellent companion and source of intellectual ammunition.

Atlasphere member Paul Hibbert read this novel recently and tells me it’s a real page-turner. See the full review for more information.

Romantic Realism in Batman Begins?

Judging by the trailers (see trailer 1, trailer 4, and the tv spot), it appears that the new Batman movie may have significant elements of romantic realism (the portrayal of realistic, heroic, life-promoting values, like in Ayn Rand’s novels). Is it possible that a Batman movie might finally be … a good movie? Judge for yourself. Movie opens this Friday, June 17th (some locations say June 15th).

'The Chorus' – An Antidote Against Cynicism

The Chorus is a new French film recently released on DVD with English subtitles. It tells the inspiring story of an unsuccessful composer, Clé­¥nt Mathieu, who takes a job as a supervisor in a reform school for delinquent minors. When Mathieu realizes that the boys can sing derisive ditties, he organizes a chorus and uses his music to rehabilitate the boys’ troubled souls.
Mathieu’s nemesis is the headmaster Rachin, a sadistic disciplinarian who cynically dismisses the evident impact of Mathieu’s chorus on the boys, but uses it to push for his own promotion. Rachin does not hesitate to admit a sociopathic teenager to his school in order to oblige a well-connected psychiatrist interested in conducting a “test case.”
The contrast between the attitudes of Mathieu and Rachin toward the boys extends into their overall attitudes toward life. While Rachin grumbles that he never wanted to end up heading a reform school, Mathieu finds a new life for himself as the head of the chorus.
Sometime, a negative review can capture the essence of a movie with surprising accuracy. A review on Filmcritic.com describes The Chorus as: “An embarrassingly mushy story of an ordinary guy’s yeoman efforts to change the world.” Indeed, it is, and he does change the lives of the boys, one of whom goes on to become a world-renowned conductor.
The Chorus was nominated for the categories of Foreign Language Film and Music at this year’s Academy Award.

Ed Hudgins Reviews Revenge of the Sith

In an e-mail op-ed for the Objectivist Center, Ed Hudgins provides this review of the new Revenge of the Sith movie. I’ve not seen the movie, but the review makes some interesting points.
With Revenge of the Sith George Lucas faced the same problem as did the classical Greek playwrights. Their audiences already knew the stories and myths on which their dramas were based. Aeschylus, Sophocles and Euripides had to make their plays interesting, enlightening or instructive, usually by offering lessons about hubris, unchecked emotions or moral failing.
While the Greeks were not keen on happy endings, Lucas has already given one with the first Star Wars trilogy and we know what to expect in the prequels. We know that Jedi Knight Anakin Skywalker becomes Darth Vader, apprentice to the evil emperor; that Vader’s son Luke joins the rebellion; that the Empire is overthrown by pro-Republic heroes; that Vader saves Luke from the emperor, abandons the Dark Side of the Force, and before dying, is redeemed.
To make the prequels interesting Lucas offers us political and moral lessons, but with mixed results.
In Sith Lucas continues the story of the fall of the Republic. Chancellor Palpatine — secretly the evil Sith Lord Darth Sidious — accumulates power in the name of fighting a long war against separatists — a war that he himself is secretly behind. Curiously, we are told that the Senate of the Republic is corrupt and in the text crawl that starts every Star Wars film we’re told that in the war “There are heroes on both sides.” Lucas seems to be backing away from the clear-cut black-and-white, good-vs.-evil themes that so characterized the original trilogy. As he obscures that distinction he also obscures his theme.
Continue reading “Ed Hudgins Reviews Revenge of the Sith”

Kay Nolte Smith's 'Chantecler' (by Rostand) in NYC

Forwarded by frequent Atlasphere columnist Michelle Fram Cohen. Note that it only runs through May 22nd!

Chantecler, by Edmond Rostand, author of Cyrano de Bergerac is an animal allegory about a rooster who believes that his song makes the sun rise. Adhesive Theater Project’s production will investigate the themes of inspiration, finding our place in society, and overcoming our greatest doubts and fears.
Not seen in New York since it’s original Broadway production in 1911, this fresh translation by Kay Nolte Smith brings back the poetry and vitality of the original French. So celebrate this year of the rooster with this king of the barnyard – Chantecler.
Performances:
April 29th to May 22nd, 2005:
8:00 pm – Tuesdays through Saturdays
2:00 pm – Saturday Matinees
5:00 pm – Sundays
Running time: 2 hr (includes 1 intermission)
At: Teatro LA TEA at Clemente Soto Valez Cultural Center
107 Suffolk Street, 2nd Floor, Manhattan, 10002
(Between Delancey and Rivington, Lower East Side)

See the full announcement for additional information.