Archive for August, 2008

31
Aug

Roo Gully

Since childhood, kangaroos have always fascinated me. Their majestic leaps and bounds through the desert, the female’s built-in pouch, and the tiny newborn baby’s (called the joey) ability to crawl up the mother’s belly and onto her teat strike me as almost miraculous. I’ve even nicknamed my infant daughter the joey because like a young kangaroo she’s always at the breast and because I carry her in a “pouch” (Baby Bjorn). So imagine my excitement when I discovered a website called Roo Gully (http://members.iinet.net.au/~roogully/).

Roo Gully is a wildlife sanctuary located in southwestern Australia near the town of Boyup Brook (nearest major city: Perth). There sick, injured or orphaned kangaroos and other animals are cared for by Carol Lander, an Englishwoman who runs the place. She in turn is assisted by two veterinarians on call and by a team of veterinary students from all around the world who volunteer their services and gain experience in their career. Once the animals recover or, in the case of orphans, mature, they are released back into the wild or provided with an environment at Roo Gully as similar as possible to their natural habitat. Roo Gully also holds organized tours and visits by schools and other groups.

Ms. Lander has chronicled her work at Roo Gully in a series called The Roo Gully Diaries, which received a finalist’s award from the New York Festivals. You can buy the DVD of the series at http://members.iinet.net.au/~roogully/Productions/RooGullyDiaries1.htm#DVD. Alternately you can watch the kangaroos of Roo Gully on Youtube at http://au.youtube.com/RooGully.

The Roo Gully Youtube series tells in 22 episodes the story of two female Western Grey kangaroos, Sadie and Katie, and their daughters, Wattle and Tingle. The series begins with Katie giving birth to Tingle. Contrary to what many believe, kangaroos do feel labour pains, despite the small size of the joey (I suspect the person who said they didn’t was a man). Lander then follows Tingle and Sadie’s baby Wattle as they grow in the pouch. At birth the joeys are very tiny, almost embryonic, and for the first few months they remain attached to their mother’s teat at all times. But even then some significant developments take place. For example, at around seven weeks the joey’s gender can be determined by the presence or absence of a pouch (females have one; males do not). Because Wattle and Tingle have this telltale dimple on their abdomens, we know immediately that they are both girls.

At about five and a half months the joeys open their eyes. Though they don’t venture out of the pouch just yet, as they get bigger they begin poking their little heads outside for a glimpse of the world around them. Perhaps the most important point in the joey’s early life occurs at nearly nine months. It is during this period that he or she jumps out of the pouch and hops around for the very first time. He or she is then at the same stage of development a placental mammal would be at birth, so the joey is said to be “born again.” Now that my daughter has started walking, I joke that she’s not a born-again Christian – we’re Lutheran, a fairly staid run-of-the-mill church – but she is a born-again joey.

Joeys become more independent – learning to eat grass, bouncing around playing with their friends, and so on – but they still depend on their moms to a great extent. We see how if the mother senses danger, she “calls” to her joey and the joey rushes back and tumbles into the pouch. Interestingly, even when the joey gets to be really large the pouch can still stretch to hold him or her – there is a very amusing clip of Wattle literally diving and disappearing completely into Sadie’s pouch. The mother can also tighten the muscles of the pouch to prevent the baby from coming in as well as “seal” the opening to keep the joey in place as she jumps.

The Roo Gully series has elements of the cute (joeys peeping out of the pouch), the funny (Sadie trying in vain to rest while Wattle nips at her ear) and the sad (Sadie’s second baby, a boy, dying an hour after birth). On the website of Roo Gully you can also find information about other kangaroos Ms. Lander has cared for. One fascinating story has to do with two female kangaroos, Heidi and Rosie, who gave birth at the same time. When Rosie became sick and died all of a sudden, Heidi adopted Rosie’s daughter Bracken and raised her as her own, even nursing her from the pouch. This was quite an extraordinary event because scientists had never believed that adoption occurred among kangaroos.

So please have a look at the website of Roo Gully. You can even adopt your own kangaroo (this operates something like Plan Canada or Save the Children for human youngsters, where you sponsor a kangaroo and receive information about his or her progress). Or if you’re not able to make such a long-term commitment, consider a one-time donation to Roo Gully. Certainly these beautiful animals, and Carol Lander’s valuable work with them, deserve our support.

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24
Aug

Religious Symbols in the Workplace

The issue of religious symbols and images in the workplace seems to crop up time and time again in various locations. In Toronto, Canada, a judge ordered the removal of a Christmas tree from a courthouse on the grounds that the tree was a Christian symbol and thus violated the separation of church and state. An employee of British Airways lost her position for insisting on wearing a cross necklace on the job – a decision that was criticized because Sikh and Muslim workers were allowed to wear turbans and headscarves respectively. The president of an Italian courier company made his delivery people wear shirts with the words “God loves you” on them. Finally, a couple who owned a business in Chile installed statues of the Virgin Mary at their headquarters – on the advice of their son, a seminarian – in an effort to bring employees closer to the Virgin and “change their lives.” All these cases raise the question: do religious symbols belong in the workplace or should they be confined to the comfort of the employee’s (or employer’s) own home?

In the Toronto instance, the judge’s decision to remove the Christmas tree struck many people as a bit overblown. The Christmas tree strictly speaking is not a Christian symbol. Rather, it’s a pagan relic that was eventually incorporated into Christian festivities (nowhere in the account of Jesus’ birth in the Gospels do we find any mention of an evergreen tree). On reading of the judge’s decree, I had to laugh at the irony that I, a practising Lutheran, have never once put up a Christmas tree in my own house, whereas Russian-American journalist Cathy Young, a self-described Jewish agnostic, claims to have always had a Christmas tree at home during the winter holidays. I’m not even too bothered by the presence of more overtly religious images, such as a crèche or a menorah (for the Jewish celebration of Hanukah), at government buildings at the appropriate time of year.

However, at times government employees may overstep their boundaries in injecting their personal religious beliefs into the public sphere. Roy Moore, a Chief Justice, installed a 5,000-pound granite sculpture of the Ten Commandments in the Alabama State Judicial Building. Many commentators, including the aforementioned Ms. Young, did not have a problem with the posting of the Ten Commandments per se but felt it should be balanced by other legal codes that have influenced the Western justice system, like the Code of Hammurabi or Magna Carta. There was a consensus that Justice Moore – who among other things had denied a lesbian mother custody of her children on supposedly Biblical grounds, even though all references to homosexuality in the Bible deal with male-male sexual relations – was indeed seeking to impose his own religious views in the public domain.

What about religious images in private places of employment? I don’t see any problem with individual workers – or bosses or managers, for that matter – having religious symbols on their person (example: a cross necklace) or at their desks. At my old insurance company a Chinese Buddhist colleague kept a statue of the Buddha at his desk. While the Buddha means nothing to me religiously, I was not at all offended by the statue. My (non-Buddhist) friends and I even jokingly rubbed the Buddha’s belly for good luck. I myself wore a crucifix, less out of religious sentiment than out of the desire to emulate my then idol Madonna, who by the way has been decried by conservative religionists for using Christian images in her stage acts. My philosophy is that if you’re bothered by a colleague’s cross, menorah, Buddha, etcetera, there’s a simple remedy: look the other way (just as if your next-door neighbour is a nudist and that goes against your sense of decency, put up a fence).

The matter of course gets thornier when the religious images are placed on the worksite not by individual employees but by employers and/or managers. The contention here is that the company should represent all workers, so setting up a symbol of a faith in which they do not personally believe violates and imposes on their rights. I myself don’t think I’d feel uncomfortable at a company where a Hindu boss put up a statue of the god Ganesh in the lobby or a Jewish manager installed a menorah on the outside of the building. On the other hand, seemingly blatant displays of religiosity, particularly Christianity, leave me with a bad taste in my mouth. Jesus Himself spoke against ostentatiously exhibiting one’s faith in public. As he stated in Matthew 6:5-6, “And when thou prayest, thou shalt not be as the hypocrites are: for they love to pray standing in the synagogues and in the corners of the streets, that they may be seen of men.” He preferred more humble folk, like the Roman centurion whose servant He healed.

To give them the benefit of the doubt, I will concede that the couple in Chile are not showcasing what great Christians they supposedly are but are genuinely trying to influence their workers for the better. Still, it’s doubtful whether simply seeing a statue (or a cross or rosary or picture of Jesus) is going to transform anyone’s lives to any appreciable extent. It might on the contrary turn away more touchy individuals who consider the presence of the statue a blatant disregard of their beliefs or lack of them. Not to mention some Protestants who view the Catholic veneration of Mary as a form of idolatry. A statue of Mary wouldn’t convince me to convert to Catholicism, for instance (then again, half my extended family members are Catholic, so I guess I’ve already missed that boat).

In the end, though, a private employer is free to decide what he or she puts in his or her company. Employees who are truly bothered by the presence of a religious symbol in their workplace might simply find another job. Lest I be accused of a pro-religion bias, I’ll state the same for those who claim discrimination on not being permitted to wear crosses and other religious paraphernalia at work: I sympathize with them, but perhaps they should change workplaces if this really means so much to them. But the best way of resolving the issue is to have open discussions between employees and employers on this increasingly visible matter.

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09
Aug

Album Review: Goldie – Sine Tempus

Artist: Goldie
Album: Sine Tempus
Genre: Drum n Bass
Label: Metalheadz
Year: 2008
Rating: 79%

Goldie - Sine TempusGoldie is a man with something to prove. The unofficial ambassador of Drum n Bass, his aptly-named 1995 debut album Timeless was hailed as a landmark album that crossed over into the mainstream and brought media attention to a still-underground mutation of breakbeat music. Above all else, new listeners admired Timeless’ heart and soul – the lush strings, smooth vocals and story-like arrangements had more in common with Classical and Soul music than pulse-pounding dance vibes. Having set the bar extraordinarily high, Goldie followed up with the ambitious 1997 release Saturnz Return. The double-CD featured the 60 minute orchestral track “Mother” as well as collaborations with Noel Gallagher (Oasis) and KRS-One. Reaction to Goldie’s sophomore effort was mixed at best, with particular scorn for the directionless Mother and the failure of the edgier tracks to deliver a true floor-killer..

Still, Goldie remained a cultural icon in the UK (as demonstrated via several movie appearances, art exhibits and DJ Mix CD’s) and so even 10 years later heads were waiting for the ambassador to take the increasingly stagnant genre to the next level. After some teasing, the digital-only release Sine Tempus was finally released with announcements made web-wide.

Sine Tempus could be best described as Saturnz Return 2.0. Many of the synth sounds, samples and drum patterns are reminiscent of or directly from the 1996-1999 era. The opening track, “Letting Go”, builds in epic fashion with powerful vocals from Jenna G before dropping into a funky drum solo with atmospheric swirls and additional vocal riffs. Like most of the album, the programming isn’t particularly complex but very catchy and dancefloor-friendly. “Say you Love Me” is aimed directly at the dance floor with an aggressive mixture of analog buzzes and digital brass horns. Goldie seems to be reworking older ideas throughout the album: “I Know Who I am” distorts the lead synth to a near-guitar sound reminiscent of “Temper Temper” while “Don’t Give In”’s down tempo beats and inspirational lyrics sounds wouldn’t be out of place on the Timeless LP.

The beats disappear completely for the guitar-driven “Never Still” and the orchestral “Truez String”. These tracks will not appeal to DnB purists but add variety for the home listener who doesn’t necessarily want to hear 60+ minutes of straight thrashing.

As mentioned earlier, Sine Tempus is a digital-only release, but before you start scanning ITunes or Amazon be advised that the album is available exclusively at the Metalheadz website. Herin lies the sorest point of Sine Tempus – the album is only available in MP3 format yet costs an astounding £13.99 (roughly around $28US as of writing). Comparatively, physical CD’s can be purchased for around $12US with digital downloads averaging $10US. Metalheadz’ pricing virtually promotes piracy.

Is Sine Tempus worth the exorbitant price? I’m still unable to answer that question after 4 listens. There are no absolute standout tracks but no real stinkers either. Most of the songs are reminiscent of the mid-90’s and carry a certain nostalgic factor for older listeners. Many newer and hardcore listeners will chafe at the excessive use of vocals and lack of, shall we say, technical complexity (which has sadly become the main determinant of an artist’s value to the scene). Few people are going to debate whether Sine Tempus was written in Logic or whether it used VST’s in favour of hardware. These tracks just sound good when played LOUD. In the long run, that’s all that matters.

Track Listing:

  1. Letting Go
  2. Say You Love Me
  3. Don’t Give In
  4. Chances
  5. I know who I am
  6. Breakin Glass
  7. Something About You
  8. Rhythm Killa
  9. Inside your Soul
  10. Never Still
  11. Latin Skin
  12. Invisible
  13. Truez String
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