Observations Along the Road

Theatre Writeups, Musings on the News, Rants and Roadkill Along the Information Superhighway

The Last Battlefield

Written By: cahwyguy - Tue Aug 15, 2017 @ 8:15 am PDT

We saw history happen last weekend in Charlottesville. History as significant as the shots fired at Fort Sumter. Just as with the Civil War, this is the beginning of a significant battle brought to the surface by, you guessed it, the election of Donald J. Trump. It is a battle that might leave our country in disarray, weakened for another power to come in, if we aren’t careful. And remember, there is one big difference between now and Civil War days: Russia is awake.

This musing was prompted by a piece in the LA Times that indicated how, after Charlottesville, cities were rushing to take down any Civil War statues before White Supremacists could rally around them. These Supremacists, awakened by the election of Barack Obama, called out of the dank recesses by the dog whistles of the Trump campaign, and emboldened by the subsequent non-discouragement of said administration, feel empowered in a way that hasn’t been seen for almost 80 years. As the LA Times has written:

To the white supremacists who gathered from across the country, the havoc in the Virginia college town and the international attention it earned them marked a win. To the counter-protesters, widespread acknowledgment of the threat posed by racism — evident in television images of Nazi symbols and other blatant bigotry — was proof they had prevailed.

It remains unclear what will happen to the racist movement that has been energized by the election of President Trump and was laid out for all to see in Charlottesville. But one thing seems certain: The fighting is not over. Both sides are gearing up for more.

White nationalists and pro-Confederate groups quickly announced rallies and speaking events in Virginia, Texas and beyond, gaining throngs of online supporters while the people who live in those places are already taking to the streets to warn them to stay away.

When Trump had his surprise victory, I felt that this was the final rally of the “White Privilege” folk — a final exercise in protest of the coming shift in America — a shift where the overall non-white or non-Christian population becomes the majority in this country, a shift heralded by the election of Barack Obama to a leadership that looks a lot more like our diverse nation than does the homogeneous complex we see these days. And Mr. Trump has been true to form: selecting individuals as leaders that reflect the White Christian view set, that work to undo advances that helped the minorities, to quick-cement in place privilege and power to those that have long held it — the upper white class.

Charlottesville has brought this to the fore. What could have been a simple exercise of free speech like the marches in Skokie turned — as the organizers likely intended — into violence. When the President did not immediately and swiftly condemn the specific cause of that violence, they were further empowered. His specific condemnation yesterday, read from a teleprompter, was “too little, too late”, especially when he followed it quickly with tweets complaining about how the media had blown this situation all out of proportion. Those who oppose the White Supremacists saw it as an insincere message written by the staff and not really felt by the President; the Supremacists saw it as a further insult by the leadership of the nation and wanted to fight more.

And so we have it now: The battle for the future of this nation. Does it move, as the President and Stephen Bannon’s factions want, to a more White and more Christian nation — a nation much like the United States of the period from 1860 to 1950? Or does it move to a Nation of the 1990s and 2000s: a nation that celebrates both the strength that comes from its diversity and the strength that comes from the unity of that diversity. Does it move to a nation that truly stands for the words in the Pledge of Allegiance: not specifically “under God”, but “with liberty and justice for all”? Does the influence of God in this great nation present itself in enforcement of the punitive restrictions of the Bible — hatred of gays, hatred of other nations, women as a distinct and hidden second class, punishment for abortion, or does God’s influence present itself in the compassionate aspects of the Bible: remembering that it is we too who were slaves and foreigners, that it is our job to help the captive, heal the sick, pick up the downfallen, aid the poor and show mercy (just as, as this non-Christian understands it, Christ showed mercy to Mary Magdelaine)? I know who I want to win.

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Feeling Crafty

Written By: cahwyguy - Mon Aug 14, 2017 @ 8:34 pm PDT

This collection has taken a while to ripen to fruition:

  • Knitting as a Patriotic Duty. Here’s an interesting article on how knitting helped us win the war. From knitting for the troops to encoding information in garments, knitting has been vital.
  • The Welcome Blanket. Here’s an interesting knitting project: The Welcome Blanket. The aim of the project is to use 2,000 miles of yarn to knit blankets. The significance of that staggering number? It’s the approximate length of President Donald Trump’s proposed border wall between the U.S. and Mexico. Those participating in the project are asked to knit (or crochet, or sew) a blanket that is 40 inches by 40 inches, which averages 1,200 yards. That means about 3,200 blankets will be needed to meet the goal. Participants are encouraged to make their blankets “something you would like to receive” and think of it as “a gift to a neighbor.”
  • Baby Hats. Don’t want to knit a blanket? How about baby hats? Oklahoma needs 5,000 of them, all in purple. Why? The campaign is part of an effort to raise awareness of Shaken Baby Syndrome, a form of abusive head trauma that’s a damaging parental response to excessive crying and can result in serious brain injury. The effort, dubbed “Click for Babies” after the sound knitting needles make, is intended to highlight the potential hazards of improper infant care. Why purple? Because the National Center for Shaken Baby Syndrome refers to an infant’s period of prolonged crying as the PURPLE period. The word is an acronym for reminders about the syndrome: L, for example, stands for Long-Lasting. Babies can cry for five hours a day, up to four months of age.

Don’t knit. Here’s a non-knitting item:

 

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Imperfect Men, a Perfect Union | “Hamilton” @ Pantages

Written By: cahwyguy - Sun Aug 13, 2017 @ 5:07 pm PDT

Hamilton (Pantages)Singing and dancing founding fathers. They’ve trod the Great White Way slightly more times than professional sports have. Some — like 1776 — have been spectacularly successful. Others — like Mr. President, 1600 Pennsylvania Avenue, and Ben Franklin in Paris — have been less so. All have portrayed our leaders as ultimately human, as flawed men that have worked towards a more perfect union.

Two years ago, another musical in this genre burst upon the scene. In doing so, it did what few musicals have done since the Golden Age of Musicals. It entered the vernacular. It spoke a musical language that moved from the stage to the airwaves, with an album that has gone triple platinum. It spoke and moved the hearts not just of the greyhairs that typically attend musicals, but of the everyday people. It spoke to the people of today — the immigrants that works as hard as they can and give more than 100% to make this nation great, to the women who have worked equally hard and been equally smart but have often blended into the background. It demonstrated that the storybook history is fantasy, that the real sausage-making is only seen by those in the room where it happened, and that those who tell the story are just as important in coloring it — or removing the color — as those who were there. This musical, like West Side Story, Hair, and Rent, spoke to the people and conflicts of today while couching it in the language of the stage. This musical demonstrated to a generation the power of the stage, the ability of live performance to move hearts, tell a story, and change the world.

I am speaking, of course, of Hamiliton (FB), the Broadway blockbuster with book, music, and lyrics by Lin-Manuel Miranda (FB) (based on the book by Ron Chernow (FB)) that just arrived in Los Angeles, officially opening on Wednesday, August 16, with previews starting August 11. We were at the second preview last night at the Hollywood Pantages (FB), thankful for our season tickets that enabled us to see the show for a mere $46, when people are paying multiple hundreds and thousands of dollars for a seat (although the people sitting next to us paid only $10 thanks to the Hamilton Lottery). There is a reason to buy season tickets sometimes. There is a reason that one has to sit through The Bodyguard sometimes.

So does Hamilton live up to the hype? Is it the musical of this generation? We have to agree with Charles McNulty of the LA Times: Yes. Although there are some flaws, it speaks to an audience the way no other musical has since perhaps Rent. It energizes people not only about America but about the theatre. It is, at its heart, theatrical. It is something that hopefully will live on in its execution and its message. It will hopefully energize a younger generation on that unique American form that is the “Broadway Musical”, and it has already sparked / continued a move of popular composers back to the theatrical stage — and both popular and “Broadway” music will be the better for it. It already is.

I’m not sure I need to tell you the actual story of Hamilton. By now, you’ve likely listened to the album. You know it is the story of an immigrant that created the modern financial system. It is the story of a man that rose from nothing to be a Founding Father, but one whose imperfections ultimately brought him down. It is a demonstration that our founding wasn’t easy. It is the story of founders such as Hamilton, Washington, Jefferson, and Madison. It is not the story of John Adams or Benjamin Franklin — they already have their own musicals. It is the story of Alexander Hamilton. You still want the synopsis. Read Wikipedia.

The musical presents incredible performance. It has incredible choreography. It has an incredible ensemble (it is worth seeing a second time if only to focus on watching the ensemble as opposed to the principals). McNulty opines that it has a flawed book: “I have quibbles with the book, which suffers a few minor dips in its retreading of Alexander Hamilton’s revolutionary life story. And I’ve questioned the relative gentleness of Miranda’s take on Hamilton’s complicated economic legacy and the founding fathers’ personal relationship to slavery. “Hamilton” could probably have done more to connect the framers’ partisan squabbles with our own.” I, on the other hand, see the flaws of Hamilton in a more technical fashion. For a show to become a show of the ages, it must be reproducible for the masses. We know of West Side Story and Hair and Rent because they have been performed on stages from the amateur to the professional. On the other hand, Spiderman: Turn Off the Dark? Yeah, a tour is promised, but we’re not going to see it in high schools? Curious Incident of the Dog in the Night-Time, which we saw last week, may not do well on the intimate or regional stage just because of the technical demands. I’m unsure if whether the double-turntable staging of Hamilton will be possible on the high school, intimate, or regional stage. Will Hamilton move from the Broadway and Touring stage to the stages of the heartland of America? I’m not sure we know that yet. Some past blockbusters — Producers, Spamalot, and Rent have. Others haven’t. Et tu, Wicked?

But that just makes it more imperative that you go see Hamilton while you can. If you miss it this go around — either due to schedule, cost, or bad luck in the lottery — I can guarantee you that it will be back. This will be another Wicked, reappearing every few years to empty pocketbooks and win hearts — and everyone should see it at least once. Director Thomas Kail and Choreographer Andy Blankenbuehler  have crafted an remarkable “whole”: a harmonization of the leads and the ensemble that tell a story in a way that hasn’t really been done on the stage before, except, perhaps, In The Heights (which was from the same team). This is worth seeing, and seeing again.

Describing the performance — in a review sense — is difficult. Gone are the days LA Civic Light Opera days where Los Angeles got the original Broadway cast. We have a cast trained on Broadway, but we don’t have Lin-Manuel Miranda (FB) or Phillipa Soo. But you know what? It doesn’t matter. All of the leads are spectacular, demonstrating that this not a star dependent show. Just like some of the greatest television shows, the strength of this show is its its entire cast, the synthesis of talent and performance and energy that makes all it difficult to separate performances, for all are great — from Hamilton, Burr, and the other leads to the nameless background dancer.

Our top protagonists are Michael Luwoye (FB) as Alexander Hamilton and Joshua Henry (FB) as Aaron Burr. Luwoye brings a different intensity and style to Hamilton (at least audibly, as I only know Miranda’s performance from the album), but it is one that works well. Henry is just spectacular in his intensity as Burr. The two men — perhaps one of the most famous frenemies duos — have a great chemistry together on stage, and work well in the roles.

The Schuyler Sisters are the most prominent female roles in the story — Emmy Raver-Lampman (FB) as Angelica, Solea Pfeiffer (FB) as Eliza, and Amber Iman (FB★, FB) as both Peggy and Hamilton’s later lover, Maria Reynolds. They have perhaps some of the most complicated vocal harmonies and blendings in the score, and they handle them well. Each brings a unique look and style to the role, and provide both a touching softness and strength to the leads. They are a joy to watch.

The revolutionary team of compadres that form around Hamilton — Jordan Donica (FB) as Marquis de Lafayette, Mathenee Treco (FB) as Hercules Mulligan, and Rubén J. Carbajal (FB) as John Laurens — capture the headstrong nature of youth well. They reappear in the second act — Donica as Jefferson, Treco as Madison, and Carbajal as Hamilton’s son, Phillip. It is here where Donica shines as the effusive dandy Jefferson, primping and preening as he contrasts and battles with Hamilton. Treco’s Madison is a lot quieter, behind the scenes as Jefferson’s right-hand man. Carbajal — a local boy, having done In The Heights at the Chance Theatre (FB) — has some wonderful scenes as Phillip — especially in his duel.

Rory O’Malley (FB★, FB)’s King George is a spectacular dandy — someone whose “da da da da” refrain will stick in your head. He tends to appear on-stage by himself, in a world of his own — capturing the separation of King George from his subjects well. As a side note: When O’Malley as the King sang of John Adams, I noted that Adams does not appear at all in this show. Why? Because he’s the center of his own show and story, someone else tells his story. Similarly, Ben Franklin has no voice at all in this show (referenced in just one song); again, he’s not only in Adams’ show, but has his own show as well. Hamilton focuses on the founding fathers whose stories haven’t been told.

The other main founding father presented in the show is George Washington, portrayed by Isaiah Johnson (FB). Looking nothing like the be-wigged father on the postage stamps, he does a great job of leadership and mentorship in his portrayl.

Rounding out the cast in the ensemble are (other named characters as noted): Raymond Baynard (FB) [also George Eacker], Dan Belnavis (FB), Daniel Ching (FB) [also Charles Lee], Jeffery Duffy (FB), Jennifer Geller (FB), Afra Hines (FB★, FB), Sabrina Imamura (FB), Lauren Kias (FB), Raven Thomas (FB), Ryan Vasquez (FB) [also Philip Schuyler, James Reynolds, and Doctor], and Andrew Wojtal (FB) [also Samuel Seabury] . This ensemble is spectacular: in constant motion, as wonderful background characters, as strong dancers, and people floating in and out. As you can, focus your attention and watch them closely, and you’ll be richly rewarded.

I’m not going to detail who understudies who, but there are a fair number of standbys [SB], swings [SW], and universal swings [USW]: Ryan Alvarado (FB) [SB], Julia K. Harriman (FB★, FB) [SB], Josh Andrés Rivera (FB) [SB], Amanda Braun (FB) [SW], Karli Dinardo (FB) [SW, Dance Captain], Jacob Guzman (FB) [SW, Dance Captain], Alex Larson (FB) [SW], Yvette Lu (FB) [SW], Desmond Newson (FB) [SW], Desmond Nunn (FB) [SW], Keenan D. Washington (FB) [SW], Hope Endrenyi (FB) [USW], Eliza Ohman (FB★, FB) [USW], Antuan Magic Raimone (FB) [USW], and Willie Smith III [USW].

The music in the show was sharp and clear, with the Hamilton Orchestra conducted by Julian Reeve (FB) [also Keyboard 1] and Andre Cerullo (FB) [also Keyboard 2]. The other orchestra members were: John Mader (FB) [Drums]; Kathleen Robertson (FB) [Violin]; Adriana Zoppo (FB) [Concertmaster]; Jody Rubin (FB) [Viola / Violin]; Paula Fehrenbach (FB) [Cello]; Trey Henry (FB) [Bass / Electric Bass / Key Bass]; Paul Viapiano (FB) [Electric Guitar / Acoustic Guitar / Banjo];, and Wade Culbreath [Percussion / Keyboards]. Other music related credits: Brian Miller [Orchestra Contractor]; Randy Cohen (FB) [Synthesizer and Drum Programmer]; Matt Gallagher [Universal Music Associate]. Larger creative music credits: Alex Lacamoire (FB) and Lin-Manuel Miranda (FB) [Arrangements]; Michael Keller (FB) and Michael Aarons (FB) [Music Coordinators]; Julian Reeve (FB) [Music Director]; Alex Lacamoire (FB) [Music Supervision and Orchestrations].

Finally, turning to the creative and production credits. The scenic design by David Korins (FB) was spectacular: a large brick background with scaffolding that some how transports well, including a deck with a double turntable. This was augmented by Howell Binkley (FB)’s lighting design, which not only impacted the actors but the back of the scenic designed, and used a type of LED mover I hadn’t seen before. Nevin Steinberg (FB)‘s sound design, as noted before, was quite clear; I noted they added additional speakers to improve the sound in the mezzanine and balcony of the Pantages. The costume design of Paul Tazewell and the hair and wig design of the very busy Charles G. LaPointe worked well for the movement and dance, and to establish the nature of the characters. Rounding out the production credits: J. Philip Bassett [Production Supervisor]; Hudson Theatrical Associates [Technical Supervision]; Kimberly Fisk (FB) [Production Stage Manager]; Telsey & Company (FB) and Bethany Knox CSA (FB) [Casting]; Roeya Banuazizi [Company Manager]; Patrick Vassel (FB) [Associate and Supervising Director]; Stephanie Klemons (FB★, FB) [Associate and Supervising Choreographer]; Derek Mitchell (FB) [Resident Choreographer].

Hamiliton (FB) continues at the Hollywood Pantages (FB) through December 30th. Tickets might be available through the Pantages website, but they might be expensive. Orchestra tickets start at $650, and resale prices vary widely. There is a $10 ticket lottery: either through the Hamilton App, or through the Hamilton Lottery Website. If you like the voice of Aaron Burr, Joshua Henry (FB), you might also look into the final production of the Muse/ique (FB) 2017 “Summer of Sound”: Glow/Town, on August 26,  featuring Savion Glover (FB) and, from the Hamilton tour, Joshua Henry (FB). Tickets are available from the Muse/ique website; discount tickets may be available from Goldstar. I find the Festival Seating just fine: general admission tables and chairs to see the show, and you bring your own picnic to enjoy. A perfect summer evening. Summer events take on the lawn in front of the Beckmann Auditorium at CalTech in Pasadena.

***

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB) (well, make that 5 Stars Theatricals (FB)), the Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals). I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows:

For the remainder of August, we’ve got a little theatre vacation. I’m still scheduling September, but so far we have only The 39 Steps° at Actors Co-op (FB). There’s also the Men of TAS Golf Tournament, if any theatre company reading this wants to donate tickets to our silent auction (hint, hint). October is also filling up quickly, with Joseph and the Amazing Technicolor Dreamcoat at Cabrillo Music Theatre (FB), the Upright Citizens Brigade (UCB) at the Valley Performing Arts Center (FB), a tribute to Ray Charles — To Ray With Love — also at the Valley Performing Arts Center (FB), and Bright Star at the Ahmanson Theatre (FB). Lastly, looking into November, we have The Man Who Came to Dinner at Actors Co-op (FB), the Nottingham (FB) and Tumbleweed (FB) Festivals, a Day Out with Thomas at Orange Empire Railway Museum (FB), Spamilton at the Kirk Douglas Theatre (FB) and Something Rotten at the Ahmanson Theatre (FB). December brings ACSAC 2017 in San Juan PR, the Colburn Orchestra and the Klezmatics at the Valley Performing Arts Center (FB),   Pacific Overtures at Chromolume Theatre (FB), and our Christmas Day movie. More as the schedule fleshes out, of course, but we’re booking all the way out in mid to late 2018 already!

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

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Understanding America

Written By: cahwyguy - Sun Aug 13, 2017 @ 6:48 am PDT

Before I start my morning task of writing up Hamilton: An American Musical, a few observations on what I read when I got home. I had just spent three hours watching a musical that celebrated the men that fought for our freedom, and when I read Facebook, I was dismayed. I saw statements such as it was incompatible to be a Proud American and an Nazi sympathizer. People clearly do not understand America, and the strengths and risks of the American experiment. There is a reason the ACLU fights not only on the side of minorities, but on the side of Nazis and Racists.

Simply put: In American you can think whatever you want. You can be racist, you can be Nazi, you can be Socialist, you can be Communist, you can be Democratic, you can be Republican. For the most part, you can even say what you want (however, I believe you cannot encourage violence). You can protest, you can be silent, you can yell, you can scream. Of course, those who oppose your opinions have an equal right to speak back at you with their opposition. So yes, you can be a Proud America and think racist and supremacist thoughts.

What you can’t do, however, is violate the constitution or the constitutional rights of others. You cannot act in such a way that takes away the civil rights of others. You can think as racist as you want, but you can’t act in a racist fashion. You can protest all you want, but you can’t take away the life, freedom, and liberty of others. Had Charlottesville remained simply two vocal protest groups, it would have made the news one day and been gone, a demonstration of America’s strength again to hear repugnant views, relish in our remarkable country that permits people to say stupid things and not be arrested. But protests that kill and injure people cross the line — they move from action that is speech to action that impinges on civil rights and is thus illegal and unconstitutional.

So think however you want. Even write it up and protest — that is your right in this astounding country of ours. I may be offended by your words; I may be glad to know who you are and what you think so I don’t have to go anywhere near you. But I will defend your right to offend me with words. Cross that line of impinging rights. Act to deny any protected class — religion, sex, color, country of origin, orientation, etc. — their right to freedom and we will fight back to protect those rights.

Being an American isn’t easy. Our founding fathers and mothers fought for freedom from Britain so that the King could not dictate what we could say, think, or believe. Every day is a continual fight for those freedoms and rights, even if sometimes it is painful and hard to do. While we recognize the right of those who hold views repugnant to us to speak, we must protest loudly and clearly the movement of that hate from speech into actions against others, actions that took or injured the lives of those also expressing their views. We must use our speech — and our laws — to condemn such actions and ensure that those that take away constitutional freedoms learn what it is like to be deprived of theirs.

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Our Sad Heritage

Written By: cahwyguy - Sat Aug 12, 2017 @ 11:49 am PDT

I’m sitting at my computer this morning reading about the hatred expressed yesterday evening at UVA, thinking about an extremely interesting BackStory episode about race in America, and getting ready to go to Hamilton this evening… and I’m thinking about how this country started with speaches about freedom, liberty, and justice from one side of their mouth, and hatred for the other coming out the other side. Before the founding of this country, there was hatred based not on skin color, but on country of origin. It was America — Virginia, in particular — that created the distinction between “white” and “black”. It was America that created race hatred. It is America that has amplified hatred of foreigners — be they African, Irish, Italian, Chinese, or from the Middle East. It is American that has pushed hatred of others based on political party, on sexual orientation, on size, on appearance.

For a country that is about freedom and liberty, we’re damn judgemental. I blame the Puritans.

If we are going to succeed as a nation, and continue to prosper, we must get past this hate. We must unite against it. The “other” is not out to get it; homogeneity is not the answer to piece. Our nation was built upon the other. Our nation was built on the melting pot of ideas and, yes, cultures. Our nation wasn’t built on one side winning and the other side losing, but on compromise — on finding that middle group that moves us incrementally forward, ever advancing, ever improving, ever shaping our society to be better than it was before.

Since the 1990s, our politics have become increasingly divisive. The other side is not just wrong, they are evil. There is no reconciliation with evil, no granting them of any quarter. That’s wrong. Different ideas are not evil, they are just different. Refugees are not out to get us; they are out to make peaceful homes for their families. Gays and Transgenders are not out to destroy the cis world; they are just out to live their lives in piece. Almost all of us (except for a few aberrations) was the same thing: to live in peace, to have a safe place to live, to be able to earn enough to take care of our families, to love, to be loved, and hopefully, to leave the world a better place than we found it.

Let us remember what binds us together, and not see in another’s ascent an implication of our descent. There’s a meme going around that points out that the world isn’t pie: one person being successful doesn’t always comes at the expense of another.

Or, in the words of The Mad Show: (music by Mary Rodgers, lyrics by Stephen Sondehim):

We’re gonna stamp out hate
That’s our creed
Wipe out violence, intolerance and greed
We’re gonna start right now
Tomorrow is too late
We’re gonna stamp out hate.

We’re gonna stamp out hate
Stamp it in the ground
And then take happiness and spread it all around
We’ll put an end to grief
We can hardly wait
We’re gonna stamp out hate.

We’re gonna stamp out hate
Sock it in the eye
Shoot it in the stomach yelling, die, die, die!
We’ll pull its insides out
And look at look at what it ate
We’re gonna stamp out hate.

We’re gonna stamp out hate
Lash it with a switch
Amputate its arms and legs and see how long they twitch
We’ll put its toes on hooks
And dangle them for bait
We’re gonna stamp out hate.

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Of Historical Interest

Written By: cahwyguy - Sat Aug 12, 2017 @ 10:38 am PDT

Over the past few weeks, there have been quite a few articles I’ve uncovered related to California and Los Angeles history:

Speaking of going away….

 

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Sesame? Says Me!

Written By: cahwyguy - Fri Aug 11, 2017 @ 5:41 pm PDT

Over the last few days, my newsfeed has been filled with people gloating over the fact that the fellow who came up with that original guidance — make complex passwords and change them often — admitted he was wrong. But, if course, as with most people, they are misinterpreting things. Here are some key takeaways:

  • Complex passwords are still critical, but the answer is not an unpronouncable mix of letters and characters — because you can’t remember that. You can get equal or stronger passwords by choosing random words from the dictionary (passphrases) because although the “string” is shorter, the alphabet is larger. Math is math.
  • Frequent changing of passwords defeats the strength not because frequent changing is bad, but because human nature is. If you change things frequently, you’ll go to patterns that make things easier to remember — and to break.

In reality, the best solution is still a high-quality Password Manager, with a strong master password. In the password manager, you can create strong passwords for all your sites — unique for each site — and not have to remember them. This is something recommend (and not using my Facebook authentication for everything, which is not only weak but gives FB far too much information). I’ve recommended Lastpass for a long time for this purpose. It can keep track not only of passwords, but all that information you fill into forms — such as credit card info — so that you are storing it in your encrypted password vault, not on another machine where you depend on their encryption.

Recently, Lastpass changed their charging model: they upped the price (without notice) of Lastpass Premium from $12 to $24 a year. Everyone was up in arms! Heaven forfend! Doubling the price! (Never mind the fact that we’re talking $1 a month, which is noise, but hey, it’s the percentage!). It’s a concern for me: we have three Lastpass Premium accounts. However, I plan to move to the Family pricing model (which is worth it for 2 or more family members); hopefully, Lastpass will provide a way to consolidate existing Premium accounts into a single Family account with prorata balances applying towards the fee.

In the larger world, NIST is simplifying their password recommendations. The folks at Lastpass believe that will make things easier, but I believe that the fundamentals still remain: pick a unique password for each site, make it suitably complex, ideally gaining complexity through words vs. characters. How to do that? Use the password generator in your password manager, use the nonsense word generator, or use the XKCD Password Generator, XKPasswd.

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Household Chum

Written By: cahwyguy - Fri Aug 11, 2017 @ 11:32 am PDT

Sometimes news chum is just useful information. Here’s a bunch of items, all related to your house or your household:

 

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