The pith of conversation does not consist in exhibiting your own superior knowledge on matters of small consequence, but in enlarging, improving, and correcting the
There have been several SciFi takes on this. Three stick out to me beyond Heinlein’s tales of Lazarus Long. These are Niven’s Boosterspice in Known Space, Blish’s antiagathics in the Cities In Flight, and Weber’s Prolong in the Honorverse.
My memory on Cities In Flight is poor, but I think the antiagathics were rare and kept only to the upper class so it has limited effect on it’s society other than envy of the upper classes.
In both Known Space and the Honorverse there is a tendency for careers to be MUCH longer. What would have been generational wealth tends to be personal wealth over time. Prolong gets you 200-300 years in very good shape.
Boosterspice is unlimited, Louis Wu is celebrating his 200th birthday at the start of Ringworld and hangs around MUCH longer(potential spoiler for a 30-50 year old series 🙂 ). There is a hint in a later Known Space story that, over time, Boosterspice also makes Humans VERY risk averse (though not quite Puppeteer risk averse).
In the Honorverse Prolong also seems to extend the period of fertility so 100+ year old couples can be seen having children much later in life. I do not know about boosterspice.
At the time of Ringworld, Earth is still run by the UN and the birthrights system, but little is said otherwise. That said Teela Brown had not yet had boosterspice when she (presumably 20 something) heads off to the Ringworld(again potential spoiler). This might suggest that although extending life the effect on fertility is either negative or irrelevant so reproduction is limited by the normal span of ~ 40 years.
In association with this morning’s movie review of “Amadeus” here is a musical chronology of some of Wolfgang Amadeus Mozart’s keyboard compositions starting at age five!
Of course if I hadn’t been distracted from music by my passion for sitting around watching tv who knows what I myself might not have achieved.
Here’s yet another movie I haven’t seen in forty years. Although in a sense this is the first time I’m seeing parts of it because it’s the “director’s cut” which added twenty additional minutes to a movie that was already 161 minutes long.
I’ll dispense with the idea of plot spoilers. The whole movie is the confession by aged composer Antonio Salieri of his “murder” thirty-some-odd years before of Wolfgang Amadeus Mozart, a man he openly admits produced music of a divine quality. Basically, Salieri sets out to destroy Mozart as a way of taking revenge on God for giving the gift of producing sublime works of musical art to a man he judges to be obscene and undeserving instead of to himself whom he judges to be pious and deserving.
Over the course of several years, he does everything imaginable to ensure Mozart cannot make enough money to flourish including using his influence with Emperor Joseph II of Austria to discourage any patronage from the nobility. Eventually he discovers that Mozart has a deep-seated neurosis around his father’s dissatisfaction with the way Mozart lived his life and after his father’s death Salieri impersonates Mozart’s father’s ghost by showing up as a masked figure to commission Mozart to compose a requiem mass. Salieri knows that Mozart will assume the mass is for his father and this will further injure his physical and mental health.
Finally, because of mental stress, malnutrition, alcoholism and probably tuberculosis Mozart collapses during a performance of one of his operas. Salieri takes advantage of Mozart’s wife Constanze’s absence to persuade Mozart to work through the night to try to complete the mass which Salieri hopes to pass off as his own during Mozart’s own funeral as his final insult to God. But Constanze arrives just in time to take away the manuscript from Salieri and mourn for her husband as he expires.
All of this story is told as a confession by Salieri to a priest who arrives at Salieri’s room in a mental hospital where he was installed after attempting suicide on account of guilt for killing Mozart. But at the end of the film he is unrepentant, insane and declares himself the patron saint of mediocrities, a man whose works of art are completely forgotten by the world, while Mozart’s music continuously grows more and more popular and celebrated over time.
Basically, this movie is a tour de force by F. Murray Abraham playing Salieri with Tom Hulce as Mozart coming in a close second. But let’s face it. No one is watching a three-hour period piece about Mozart unless he wants to hear the music. Between the actual recordings of his chamber music and generous chunks from several of his operas this is not just a theatrical presentation. It’s a concert too.
And for that reason, I don’t think I can recommend this movie to anyone who dislikes classical music. I believe it would be painful to watch that much of something that doesn’t appeal to you. I’m not sure if even the theatrical release version of the movie at 161 minutes would be short enough for the non-music lover. But for people who don’t mind a little opera sprinkled on their corn flakes this might be a movie to consider. I thought it was pretty good.
You know, the longer I live on this planet, the less I think I know about reality. I can remember as a small child in grammar school hearing about the various Arab-Israeli conflicts. And it was always assumed that only the wisest and most sober of men would ever be able to untie the Gordian knot that was that conflict.
But Donald Trump will do it? Look, I love Trump. He’s some sort of bizarre cross between P T Barnum and Pericles by way of Madison Avenue. He’s the first American politician since Andrew Jackson to side with the regular people. He towers over his enemies like a colossus. But how in the name of everything reasonable can he end an intractable war between peoples who hate each other so viscerally that death is preferable to compromise? And yet, if the news is to be believed, Israel and Hamas have agreed to the first step of the Trump Peace Plan; return of all the hostages alive and dead and Israeli stepping back to some first line of withdrawal.
But how many different ways can this process fail? The list is infinite. Even with complete good faith on both sides I can imagine endless scenarios that could upend this effort. And when in the history of the mid-east has there ever been good faith on both sides? Never.
Now in Trump’s favor, this negotiation includes many Arab and Moslem countries acting as surrogates to prod Hamas toward ending the war. There is a desire on the part of almost all of the middle eastern countries to end the ceaseless cycle of attacks and counterattacks that makes this whole region of the world hell on Earth. Could this finally be the day when sanity and the will of the vast majority of people there manage to smother the fire of violence under their collective bodies and end this disgusting abomination of death and hatred?
I’ll have to confess, I just can’t come around to believing it. It would require these people who have done horrific things to each other for more than half a century to somehow find a miraculous solution to their problem. It’s as if both sides are forced to navigate through a minefield that both sides have mined but neither side still has reliable maps of. At any moment disaster can strike and any disadvantage on either side can inspire the other side to press for a kill shot.
The whole thing sickens and disgusts me to the point where I just want to forget it exists and move forward without ever thinking of it again. But the last time I did that, planes started flying through buildings in New York.
So here we go again. Good luck Donald Trump. I guess if anyone can pull off the deal of the millennium it would be him. But I almost think he’ll have more success with Ukraine than Gaza. Sure, they’re almost as crazy there but as bad as it is I don’t think the level of hatred between the Russians and Ukrainians can ever come close to the savagery of what happened two years ago. Maybe a little prayer would help.