Dr. Scott Atlas, a neuroradiologist with no credentials in the public health field, has found favor with the current president because as a member of the White House Coronavirus Task Force he says what the Egoist-in-Chief wants to hear when he listens to scientists. Dr. Atlas is not an idiot, in other words – he’s an ego masseuse, an important qualification as far as the current president is concerned.
White House medical advisor Dr. Scott Atlas delivers his remarks during a press conference on September 16, 2020, in the James S. Brady Press Briefing Room of the White House. Official White House photo by Tia Dufour.
What follows is a very short list of doctors and scientists, some better than others, to be sure, but all more or less qualified for the Man Baby’s pandemic science team.
Bill Nye, better known as Bill Nye the Science Guy, at the May, 2017, Montclair Film Festival in Montclair, New Jersey. Photo from the Montclair Film Festival.
Phil McGraw, better known as Dr. Phil, in a stock photo.
Mehmet Oz, better known as Dr. Oz, at the World Economic Forum in Davos, Switzerland, on January 27, 2012. Photo from World Economic Forum.
Robert Young as Dr. Marcus Welby in the television program Marcus Welby, M.D.. 1973 publicity photo from ABC Television.
DeForest Kelly as Dr. Leonard ‘Bones” McCoy in the television program Star Trek. 1970 publicity photo from NBC Television.
Ted Geisel, better known as Dr. Seuss, seated at a desk covered with his books. 1957 photo by Al Ravenna for the New York World Telegram and Sun newspaper.
Jonathan Harris as Dr. Zachary Smith poses next to the Robot in the television program Lost in Space. 1967 publicity photo from CBS Television.
Color lobby card for the 1931 black and white film Frankenstein, directed by James Whale and featuring Colin Clive as Dr. Victor Frankenstein and Boris Karloff as the Monster. Card from Universal Studios.
A Dr. Evil impersonator at a Dell Computers presentation in January, 2007. Photo by Flickr user Edans.
The Muppet Show characters Dr. Bunsen Honeydew and his laboratory assistant, Beaker, at a March, 2007, event for the Muppet Mobile Lab. photo by Flickr user Dawn Endico.
Groucho Marx as Dr. Hugo Z. Hackenbush in the 1937 film A Day at the Races, directed by Sam Wood and starring the Marx Brothers. Publicity photo by Ted Allan for MGM Studios.
In this scene from the 1964 film Dr. Strangelove, directed by Stanley Kubrick, Peter Sellers plays both Dr. Strangelove and President Merkin Muffley, and George C. Scott plays General Buck Turgidson. The current president is not at all like President Muffley in his reasoned assessment of the options available to him in a crisis, but more closely resembles General Turgidson, whose simple-minded grasp of issues is limited to his primal and self-serving interests.
There are many respectable plants bearing the word “weed” in their common name, such as Butterfly Weed (Asclepias tuberosa), Joe Pye Weed (Eutrochium spp.), and Jewelweed (Impatiens capensis). Some are easily available at garden centers, some are available only by mail order, while still others will show up in the garden on their own. All demonstrate a propensity for spreading easily if conditions are right, and that is perhaps the reason for the designation “weed” in their common names. Latin names typically are not prejudiced against these less formal plants that straddle both the garden and the wilds.
Monarch butterfly on a Butterfly Weed at Cape May National Wildlife Refuge in New Jersey. Photo by Laura Perlick for the United States Fish and Wildlife Service (USFWS).
Some gardeners do not look beyond the word “weed” in a name before they reach for their hoe or a chemical plant killer. Such gardeners are not independent thinkers, but ones who are locked into a binary view of the natural world, viewing everything as either good or bad. Try to explain to them that the inclusion of “weed” in a plant’s name can be merely a case of poor public relations. It’s worthwhile to get overly judgmental gardeners to stay their hand regarding these plants because they are often beneficial to butterflies, birds, and other wildlife, more so than a hybrid rose bush.
Other weeds, of course, do not have the word included in their name but have acquired it as a general type by reputation. For those weeds, gardeners and farmers have less tolerance and are apt to destroy them whenever encountered, though even those exist on a sliding scale. People are divided into several camps about Dandelions (Taraxacum spp.), for example, while they nearly universally abhor Palmer’s Pigweed (Amaranthus palmeri) and Lamb’s Quarters (Chenopodium berlandieri). Even those last two plants offer the feature of edibility, making them attractive on however limited a basis to at least some people and animals.
One important group of plants has acquired the name “weed”, and they are in the genus Cannabis, also known as Marijuana. Growers and users of the plant have called it “weed” and many other names besides for reasons of its outlaw, rebel status, as well as its diverse nature in checking off boxes from good to bad. Marijuana plants can spread readily on their own; mismanaged large scale cultivation, as opposed to the former practice of clandestinely maintaining relatively small plots, can have a negative impact on the environment; and for people the plant can range in usefulness from good to bad depending on the inclinations and prejudices of the person beholding it.
Paul Reubens as Pee-wee Herman performs “Surfin’ Bird”, a hit song for The Trashmen in 1963, in the 1987 movieBack to the Beach, with Frankie Avalon and Annette Funicello.
The word “weed” embraces many meanings, and means different things to different people depending on their tolerance level. To hear “weed” in a plant’s name and automatically seek to eradicate it from the garden is arbitrary and foolish. Better to take a more nuanced approach regarding the plants that don’t threaten to choke out every other plant in a garden plot. Some can be seen as friendlier than others regardless of being handicapped with a bad name. As for that other kind of “weed”, the kind some folks like to smoke, legally it’s gaining more widespread favor despite its outlaw name.
“A person who is unusually aware of and interested in new and unconventional patterns esp. in music; characterized by a keen informed awareness of or interest in the newest developments.”
— definition of a Hepcat from The World of Swing, Newsletter #2, October 2000.
An 18 story building in Brumunddal, Norway, has taken over the title of world’s tallest timber building after its completion this month. The construction firm Moelven Limitre used cross-laminated timber (CLT) and glued laminated timber (Glulam) to assemble the building’s structural elements. Until the recent development of laminated wood products capable of bearing heavy loads (unlike plywood, another laminated wood product), building heights of more than four or five stories were simply not possible using a wooden structure. For constructing buildings in the middle range of story heights, wood may be a greener alternative than steel, concrete, and brick, all of which have high environmental impacts in their production.
The good news in green building is that there are more options than ever, certainly more than the few allotted to the three little pigs in the story for children. Some of these, like straw bale building, will likely never be more than niche choices because of building code hurdles, expense of materials or labor in installation, or maintenance difficulties. Unusual building choices also often require specialized knowledge in their implementation if they are to be successful, and that can add to cost as well as scare off those unwilling to try something with a relatively high chance of failure. Working with wood or with steel and concrete has the advantage of familiarity, even considering new contrivances like wood laminates.
Anyone in decent physical condition with access to a supply of timber and a hammer and saw could assemble a wooden building using balloon framing, also known as stick building. Since stick building was typically limited to two or three stories at most, it was best used for residential or small business construction. Building with brick or concrete, and especially with steel, required more knowledge and experience, but the buildings could be made much higher than wooden stick buildings, and so they were more suitable for large commercial enterprises and apartment buildings. For all of the twentieth century there existed a bifurcation in building types and uses based on the divide between materials and the expertise and expense involved in assembling them.
The Emlen Physick House in Cape May, New Jersey, designed in 1879 in the “Stick Style” by architect Frank Furness. Library of Congress photo by Carol M. Highsmith.
Now there is a crossing of the lines, and helpfully it is the search for green options that appears to be causing architects, builders, and the ultimate occupants of the buildings to cross them. For more people than ever before, it is important that a new way of building and living incorporate materials and methods that leave a lighter footprint on the Earth. Certainly the pricing for these novel uses will be high, at least at first, and affordable only to elites, but that’s alright since historically it has been elites who, per capita, have had the heaviest footprints. There are far more poor people than rich people, unfortunately, and in the aggregate they demand a lot of resources, but individually their requisites are relatively light. In the nineteenth century, the Plains Indians required only a few buffalo hides for their individual shelter, while a Manhattan plutocrat deemed it necessary to amass expensive materials from every corner of the Earth to plop himself and his family down in an enormous mansion on 5th Avenue.
An imaginative 1957 reframing of “The Three Little Pigs” by a wonderful ensemble of animators, musicians, and storytellers.
If conspicuous consumption gives way to conspicuous greening then that’s a move in the right direction, and if prices and usage comes down to the level of ordinary folks, it will have become a movement. It’s definitely better for everyone if builders start looking at environmental impacts as equal to or greater than the lowest possible cost for everything, and consequently the highest possible profit for themselves. That should apply most of all to manufactured housing, typically the lowest cost option of all, but also often the most dangerous to its occupants because of the prevalence of noxious materials, heavy reliance on energy for heating and cooling, and flimsy construction. After Hurricane Katrina in August 2005, a movement started to design and build quality, humble cottages for the poor, and that movement needs rejuvenation if large gains are ever to be made in going green because the idea behind them would change whole neighborhoods and cities eventually, from the ground up rather than the top down, the way green grows naturally.
The urge to leave a personal markon the relatively permanent structures around us is strong enough to prompt some people to break laws against vandalism and trespassing and paint, mark, or scratch into public view an announcement of their existence. Is it graffiti, street art, or defacement? We can see these markings on buildings that are a few thousand years old, but beyond that, as a recently published scientific paper asserts, everything gets ground up, mixed together, compressed, and dispersed, making it hard to determine anything conclusively about human civilization and its discontents as expressed in graffiti. Caves have preserved paintings on their walls for tens of thousands of years old, but that artwork tells a very different story of humanity before what we consider civilization.
Sometimes graffiti addresses social and political issues, though more often the concerns of the artists are more mundane. It’s overstating to call a scatological scribbler a street artist, or even a graffiti marker. It doesn’t take much imagination or skill to scrawl the image of a phallus across a stone wall, whether it was done two thousand years ago or yesterday. Similarly with personal insults, the boorish nature of which have not changed at all over the centuries. The best graffiti is illustrative of a unique frame of mind, an altogether personal view of the world. The same definition can apply to art.
In Kansas City, Missouri, a 2008 rendition of the graffiti made famous everywhere during World War II by American servicemen. Photo by Marshall Astor.
John Cleese as the Centurion and Graham Chapman as Brian in the 1979 satirical film Monty Python’s Life of Brian.
Tagging, which is marking or painting of initials, nicknames, or symbols, and is often used to mark territory, is not a particularly enjoyable or meaningful form of graffiti to anyone but the marker and others who need to interpret the signs. They rarely exhibit any wit, and are usually straightforward signs meant for specific groups instead of the larger society, hence their often cryptic appearance to those not in the know. The signs say, among other things, “Keep out”, “This is our territory”, or “I am here”. The humorist Jean Shepherd, in a video essay about roadside features in New Jersey, speculated about the confusion of future archaeologists as they attempt to decipher the graffiti of our times, attaching to it perhaps more importance than it warrants. The entire television special is a treat, featuring Mr. Shepherd musing with philosophical delight about what constitutes art as he observes all the commercial kitsch he finds along a New Jersey highway. All our artifacts and graffiti will be gone in a millennium, of course, crumbled into disconnected bits, but for now they say “I am here”, and “We were here”. — Vita