Humanity has an evolutionary trait of wanting to find patterns in everything, which allows them to build a system or model of the world around them.
Things like causality, processes and the like help humans do everything from learning how to use fire to cook, to farm according to the seasons, make that little home button on an iPhone.
Unfortunately, we are so good at finding patterns in things that we find patterns in random things. That’s why we have prejudice - we are almost forced to compartmentalise things, categorise things, and have an appropriate response for those things we grouped together instead of having a unique response to each item.
We see faces in sand. We see shapes in clouds. We make symbols. We want to believe that there is a reason for everything. When we can’t find that reason, we make one. Sometimes, it’s an educated guess and is kind of correct. Other times, it’s completely wrong and we get superstitions.
Religion offers us an answer to all of life’s questions. And the questions it can’t answer, it still answers with “God has a plan” or “it is the will of the gods”. It gives people certainty, a purpose, a reason and a system. Religion is the ironic by-product of evolution.
And what, logically, can you not know anything about? A one-way journey. Death is a one-way journey as far as we know, in terms of our conscious memories and thought. It’s terrifying to know that there might be nothing, there might be an end. Also that our life is without point or purpose, that our individual lives just a flicker of a candle in the darkness.
Religion provides us with an easy exit: that there is something after death. People like that security. It helps gives them a purpose in life, too; something that almost everyone needs, whether religious or not.
Those who wish to return to the glory days of the musical when performers didn’t need microphones must travel back to this date in history. Today marks the opening of the last un-miked musical on Broadway, “The Grass Harp.” It is based on the novella of the same name by Truman Capote and after watching the show and having trouble hearing it himself, Capote told producers tartly “Mike it!” History shows that musicals based upon Capote fiction haven’t had the best of luck: “House of Flowers” (1954), “Breakfast at Tiffany’s” (1966 – which never even made it to opening night), and today’s anniversary, “The Grass Harp” which lasted only a week. Non-musical plays based on Capote works also have failed to catch on: “The Grass Harp” (1952) starring Mildred Natwick only played 36 performances and most recently “Breakfast at Tiffany’s” (2013) was only able to muster 38 performances. The closest Capote has had to a hit on Broadway was “Tru” (1989), a biographical play about the author by Jay Presson Allen which starred Robert Morse and ran 297 performances. Now that the statistics are out of the way, let’s reminisce about “The Grass Harp” - the musical, that is. The music was by Claibe Richardson, writing his first (and last) full score for Broadway. Book and lyrics were by newcomer Kenward Elmslie. Simply put, it is the story of two southern women and a young boy in a battle over the sale of a home-made dropsy cure. In 1967 the musical had a try-out at Trinity Rep in Providence, Rhode Island, with Elaine Stritch as the Evangelist Babylove. Producers optioned the show, with the intention of starring Mama Cass in the role. Funding fell through. In 1970, the project was revived with a ‘test’ for new producers at Michigan University with a student cast except for Celeste Holm (a friend of Richardson’s) as Babylove. But Holm was deemed unable to carry the vocals and was replaced with Karen Morrow. Broadway star Barbara Cook joined the cast in New York. It is her last book musical on Broadway to date. The musical had the mis-fortune to open during a newspaper strike, so there was no publicity or pre-sale to buoy the production. At the end of a the show’s first week, the producers made the cast a proposition – finish the run and use the remaining funds for a cast album, or play out the Broadway engagement using what money was left. They chose the album. To save money, the orchestral tracks were laid down in Germany and the vocals in New York. It would be a full year before the recording was commercially available. Because of it, the show has a devoted cult following of fans.
petition to bring gavroche back to life and put him in matilda the musical so he can be the revolting child he was born to be
“i don’t watch tv” proudly says a person who spends 8 hours a day on the internet
Introverts are observant by nature. They’re the quiet ones who prefer to sit at the sidelines and observe those around them. And no, they’re not judging people when they do this. This also doesn’t mean that introverts are wallflowers. They can talk your ear off if the topic is something they’re passionate or know a lot about. They simply don’t feel the need nor have the energy to be social butterflies.
As Susan Cain puts it, “We’re not anti-social; we’re just differently social.”"