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Official Great Works Draft (2 Viewers)

As far as "The Mist" goes, I'm Ok with it, but you might want to check with Mr. Krista. Much earlier in the draft I asked him about "The Metamorphosis" and he said he did not see that as a short story. Isn't "The Mist" just as long?

Again, I'm OK, but the category judge needs to decide.

 
This is the first of my 8 makeup picks.

I was going to take this as my Sports Record, and got the go ahead from Tim, but upon reflection, I think I'll just take it was a Wild Card.

Ted Williams .406 Batting Average in 1941.

I will post more later about why Ted Williams 1941 season was so impressive compare to the many other .400+ BA seasons in baseball history, but first I must get to work on finding 7 more picks.

 
Tirnan said:
35.19 POEM In Flanders Fields by John McRae

"In Flanders Fields" is one of the most famous poems written during World War I and has been called "the most popular poem" produced during that period.[1] It is written in the form of a French rondeau. Canadian physician and Lieutenant Colonel John McCrae wrote it on May 3, 1915, after he witnessed the death of his friend, Lieutenant Alexis Helmer, only 22 years old, the day before. The poem was first published on December 8 of that year in the London-based magazine Punch.

In Flanders fields the poppies blow

Between the crosses, row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

We are the dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved, and were loved, and now we lie

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.

— Lt.-Col. John McCrae (1872 - 1918)

The poem has achieved near-mythic status in contemporary Canada and is one of the nation's most prominent symbols. Most Remembrance Day ceremonies will feature a reading of the poem in some form (it is also sung a cappella in some places), and many Canadian schoolchildren memorize the verse. The third stanza is often omitted, particularly when the poem is used in schools, thus removing the more "warlike" elements of the poem
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Like brothers from different mothers...Great pick, just awesome - and I don't care how it scores out. Anyone else remember red poppy lapel pins growing up?

This one means a lot to just about anybody who has served.

 
timschochet said:
As far as "The Mist" goes, I'm Ok with it, but you might want to check with Mr. Krista. Much earlier in the draft I asked him about "The Metamorphosis" and he said he did not see that as a short story. Isn't "The Mist" just as long?Again, I'm OK, but the category judge needs to decide.
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Mr. Krista posts here?
 
2nd time today...thatguy about to drop 7 more picks and I'm waiting on two Tides people this time.

:(

 
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With Pick 34-13 - Also the score of the Alabama - Miami 1993 Sugar Bowl :( :sleep:

I select someone whom I could not ever allow to fall into the hands of The Desperate Following :X , given his impeccable character, incredible success, and tremendous influence in his field, and also life in general. :thumbup:



JOHN WOODEN - The Wizard of Westwood, Basketball Player, Coach, and Life Teacher - Sports Record

Details of his Life accomplishments to follow - there is more than the just the 10 NCAA Titles at UCLA

Just trying to get settled and libated to see the NBA Officials Show

 
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TidesofWar said:
With Pick 34-13 - Also the score of the Alabama - Miami 1993 Sugar Bowl :kicksrock: :D

I select someone whom I could not ever allow to fall into the hands of The Desperate Following :no: , given his impeccable character, incredible success, and tremendous influence in his field, and also life in general. :cry:



JOHN WOODEN - The Wizard of Westwood, Basketball Player, Coach, and Life Teacher - Sports Record

Details of his Life accomplishments to follow - there is more than the just the 10 NCAAA Titles at UCLA
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C'mon Tides. You can't select a PERSON as a Sports Record my man.
 
I'm picking...so you better just step off, George.

FML

We're circling the field, but tell the tower we're running low on fuel.

 
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I will take my third and final song here; no offense to anyone reading this who is in college, but it just blows my mind a 21 year old wrote this:

1963 - such a young looking guy!

The Concert for Bangladesh - 1971, Madison Square Garden

To Advertise Here go to www.hondabob.com

36.13 (713th pick) - Blowin' in the Wind - Song

Robert Zimmerman

How many roads must a man walk down

Before they call him a man

How many seas must a white dove sail

Before she sleeps in the sand

How many times must the cannonballs fly

Before they are forever banned

The answer, my friend, is blowing in the wind

The answer is blowing in the wind

How many years can a mountain exist

Before it is washed to the sea

How many years can some people exist

Before they're allowed to be free

How many times can a man turn his head

And pretend that he just doesn't see

The answer, my friend, is blowing in the wind

The answer is blowing in the wind

How many times must a man look up

Before he can see the sky

How many ears must one man have

Before he can hear people cry

How many deaths will it take till he knows

That too many people have died

The answer, my friend, is blowing in the wind

The answer is blowing in the wind

"Blowin' in the Wind" is a song written by Bob Dylan and released on his 1963 album The Freewheelin' Bob Dylan. Although it has been described as a protest song, it poses a series of rhetorical questions about peace, war, and freedom. The refrain "The answer, my friend, is blowin' in the wind" has been described as "impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind". The song makes no reference to a specific event.

In 1999, the song was inducted into the Grammy Hall of Fame. In 2004, it was ranked #14 on Rolling Stone magazine's list of the "500 Greatest Songs of All Time".

In 2009, the song was licensed for commercial use when The Co-operative Group used it as the soundtrack to a £10 million brand re-launch.

Origins and initial response

Dylan originally wrote and performed a two-verse version of the song; its first public performance, at Gerde's Folk City on April 16, 1962, was recorded and circulates among Dylan collectors. Shortly after this performance, he added the middle verse to the song. Some published versions of the lyrics reverse the order of the second and third verses, apparently because Dylan simply appended the middle verse to his original manuscript, rather than writing out a new copy with the verses in proper order. The song was published for the first time in May 1962, in the sixth issue of Broadside, the magazine founded by Pete Seeger and devoted to topical songs.

In June 1962, the song was published in Sing Out!, accompanied by Dylan's comments:

There ain’t too much I can say about this song except that the answer is blowing in the wind. It ain’t in no book or movie or TV show or discussion group. Man, it’s in the wind—and it’s blowing in the wind. Too many of these hip people are telling me where the answer is but oh I won’t believe that. I still say it’s in the wind and just like a restless piece of paper it’s got to come down some ...But the only trouble is that no one picks up the answer when it comes down so not too many people get to see and know ...and then it flies away I still say that some of the biggest criminals are those that turn their heads away when they see wrong and know it’s wrong. I’m only 21 years old and I know that there’s been too many ...You people over 21, you’re older and smarter.

In his sleeve notes for The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991, John Bauldie writes that it was Pete Seeger who first identified the melody of "Blowin' in the Wind" as Dylan's adaptation of the old Negro spiritual "No More Auction Block". According to Alan Lomax's The Folk Songs of North America, the song originated in Canada and was sung by former slaves who fled there after Britain abolished slavery in 1833. In 1978, Dylan acknowledged the source when he told journalist Marc Rowland: "'Blowin' in the Wind' has always been a spiritual. I took it off a song called 'No More Auction Block' — that's a spiritual and 'Blowin' in the Wind' follows the same feeling." Dylan's performance of "No More Auction Block" was recorded at the Gaslight Cafe in October 1962, and appeared on The Bootleg Series Volumes 1-3 (Rare & Unreleased) 1961-1991

Dylan critic Michael Gray has suggested that the lyric is an example of Dylan's incorporation of Biblical rhetoric into his own style. A particular rhetorical form deployed time and again in the New Testament and based on a text from the Old Testament book of Ezekiel (12:1–2) is: "The word of the Lord also came unto me, saying, Son of man, thou dwellest in the midst of a rebellious house, which have eyes to see, and see not; they have ears to hear, and hear not." In "Blowin' in the Wind", Dylan transforms this into "Yes'n' how many ears must one man have ...?" and "Yes' n' how many times must a man turn his head / Pretending he just doesn't see?"

"Blowin' in the Wind" has been described as an anthem of the 1960s civil rights movement. In Martin Scorsese's documentary on Dylan, No Direction Home, Mavis Staples expressed her astonishment on first hearing the song, and said she could not understand how a young white man could write something which captured the frustration and aspirations of black people so powerfully.

Sam Cooke was also deeply impressed by the song and began to perform it in his live act. A version was included on Cooke's 1964 album Live At the Copacabana. He later wrote the response "A Change Is Gonna Come", which he recorded on January 24, 1964.

"Blowin' in the Wind" became world famous when it was recorded by Peter, Paul and Mary, who were also represented by Dylan's manager, Albert Grossman. The single sold a phenomenal three hundred thousand copies in the first week of release. On July 13, 1963, it reached number two on the Billboard pop chart, with sales exceeding one million copies. Peter Yarrow recalled that, when he told Dylan he would make more than $5,000 from the publishing rights, Dylan was speechless. Peter, Paul & Mary's version of the song also spent five weeks atop the easy listening chart.

Critic Andy Gill wrote: "'Blowin' in the Wind' marked a huge jump in Dylan's songwriting. Prior to this, efforts like 'The Ballad of Donald White' and 'The Death of Emmett Till' had been fairly simplistic bouts of reportage songwriting. 'Blowin' in the Wind' was different: for the first time, Dylan discovered the effectiveness of moving from the particular to the general. Whereas 'The Ballad of Donald White' would become completely redundant as soon as the eponymous criminal was executed, a song as vague as 'Blowin' in the Wind' could be applied to just about any freedom issue. It remains the song with which Dylan's name is most inextricably linked, and safeguarded his reputation as a civil libertarian through any number of changes in style and attitude."

Dylan performed the song for the first time on television in the UK in January 1963, when he appeared in the BBC television play Madhouse On Castle Street.

False allegation of plagiarism

A false allegation circulated that the song was written by a high-school student named Lorre Wyatt and subsequently purchased or plagiarised by Dylan before he gained fame.

This allegation was published in a Newsweek article in November 1963; while the story left the claims unconfirmed, it prompted much speculation. Several members of Wyatt's school (Millburn High) and community (Short Hills and Millburn, New Jersey) reported having heard his singing the song and claiming authorship a year before it was released by Dylan, or made famous by Peter, Paul and Mary. Wyatt even told his teacher that he'd sold the song for $1,000 and donated the money to charity, when asked why he had suddenly stopped performing it.

The plagiarism claim was eventually shown to be completely untrue. Wyatt had performed the song at school and elsewhere months before it was made famous, but not before it had been published and credited to Dylan in Broadside magazine. Wyatt finally explained his deception to New Times magazine in 1974. He credited his initial lie to panic that he wasn't pulling his weight as a songwriter in the school's male folk group, The Millburnaires.

Political afterlife

The song became one of the most popular anti-war songs during the 1960s and the Vietnam War. During the Iraq War protests, commentators noted that protesters were resurrecting songs such as "Blowin' in the Wind" rather than creating new ones.
The song has been embraced by many liberal churches, and in the 1960s and 1970s it was sung both in Catholic church "folk masses" and as a hymn in Protestant ones. In 1997, Bob Dylan performed three other songs at a Catholic church congress. Pope John Paul II, who was in attendance, told the crowd of some 300,000 young Italian Catholics that the answer was indeed "in the wind" – not in the wind that blew things away, but rather "in the wind of the spirit" that would lead them to Christ. In 2007, Pope Benedict XVI (who had also been in attendance) wrote that he was uncomfortable with music stars such as Dylan performing in a church environment.
In 1975, the song was included as poetry in a new high school English textbook in Sri Lanka. The textbook caused controversy because it replaced Shakespeare's work with Dylan's.
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ETA: removing stuff
 
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Housekeeping

36.13 - Tides of War - Need clarificatioin on the Wooden pick

TIDES - You also owe a pick for 35.08

CIA - You also owe a pick for 35.12

SKIPPED

29.10 - thatguy (autoskip)

30.11 - thatguy (autoskip until further notice)

31.10 - Thatguy (autoskip)

32.11 - Thatguy (autoskip)

33.10 - Thatguy (autoskip)

34.11 - Thatguy (autoskip)

35.08 - Tides of War (autoskip)

35.10 - Thatguy (autoskip)

35.11 - El Floppo (autoskip if not here in first 15)

35.12 - Mister CIA

36.06 - Bob Lee Swagger (timed out)

36.10 - El Floppo (autoskip if not here in first 15)

36.11 - Thatguy (autoskip)

36.15 - Abrantes - UP

36.16 - Doug B (autoskip)

36.17 - Timscochet

36.18 - Postradamus (autoskip if not here in first 15)

36.19 - Rodg

36.20 - Krista

37.01 - Fennis

37.02 - Rodg

37.03 - Postradamus

37.04 - Timscochet

 
timschochet said:
Rodg is correct. You need to pick ONE accomplishment.
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So - basically coaching records are out?? This Cat just seems sorta vague to me.I mean, if I take Wooden's Coaching record, would that also be judged as including his 10 NCAA Titles, 88 game winning streak, Final Four appearances, etc???
 
For my second makeup pick, I'm going to close out my novel category.

Bleak House by Charles Dickens

thatguy's novels:



The Brothers Karamazov by Dostoyevsky

Anna Karenina by Tolstoy

Remembrance of Things Past by Proust

Gravity's Rainbow by Pynchon

Bleak House by Dickens

Hey, I may not win this draft... well, let's be real, I won't win this draft. But I have as good a chance as any at winning this category.

 
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TidesofWar said:
timschochet said:
Rodg is correct. You need to pick ONE accomplishment.
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So - basically coaching records are out?? This Cat just seems sorta vague to me.I mean, if I take Wooden's Coaching record, would that also be judged as including his 10 NCAA Titles, 88 game winning streak, Final Four appearances, etc???
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No. I could have taken Byron Nelson's year of 1945, which would have included several golf records. I only chose one. Thatguy could have taken Ted Williams entire year of 1941, but he only took the batting average from that year, etc. You need to choose ONE record: total wins, number of titles, number of Final Fours, etc.
 
thatguy said:
For my second makeup pick, I'm going to close out my novel category.

Bleak House by Charles Dickens

thatguy's novels:



The Brothers Karamazov by Dostoyevsky

Anna Karenina by Tolstoy

Remembrance of Things Past by Proust

Gravity's Rainbow by Pynchon

Bleak House by Dickens

Hey, I may not win this draft... well, let's be real, I won't win this draft. But I have as good a chance as any at winning this category.
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:rolleyes: some awesome books, Im planning to read Brothers before the judging comes up. Never did read that one, checked it out of the library today. Might break into it tonight...
 
TidesofWar said:
timschochet said:
Rodg is correct. You need to pick ONE accomplishment.
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So - basically coaching records are out?? This Cat just seems sorta vague to me.I mean, if I take Wooden's Coaching record, would that also be judged as including his 10 NCAA Titles, 88 game winning streak, Final Four appearances, etc???
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I think you're looking at the word 'record' the wrong way. You can't take Wooden's Won-Loss Record and get everything that goes with it. His Won-loss record is a separate entity that his 10 titles record or 88 game winning streak record or Final Four appearances record.
 
' said:
thatguy said:
For my second makeup pick, I'm going to close out my novel category.

Bleak House by Charles Dickens

thatguy's novels:



The Brothers Karamazov by Dostoyevsky

Anna Karenina by Tolstoy

Remembrance of Things Past by Proust

Gravity's Rainbow by Pynchon

Bleak House by Dickens

Hey, I may not win this draft... well, let's be real, I won't win this draft. But I have as good a chance as any at winning this category.
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:rolleyes: some awesome books, Im planning to read Brothers before the judging comes up. Never did read that one, checked it out of the library today. Might break into it tonight...
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:lol: It's a good read and goes pretty quickly.

 
36.15 Tom Stoppard's Rosencrantz & Guildenstern Are Dead (Play)

Keeping absurdity alive and well for the second play in a row. In the absence of one of the Bard's plays (what does he know, anyway), I'll just steal a handful of his characters from another one of my favorite plays. It does an incredible job of presenting a different perspective on established characters, and for my money, tackles existential issues with greater finesse than most of the more highly-regarded plays with similar aspirations. Never gets too heavy-handed or somber for its own good.

 
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Abrantes said:
36.15 Tom Stoppard's Rosencrantz & Guildenstern Are Dead (Play)

Keeping absurdity alive and well for the second play in a row. In the absence of one of the Bard's plays (what does he know, anyway), I'll just steal a handful of his characters from another one of my favorite plays. It does an incredible job of presenting a different perspective on established characters, and for my money, tackles existential issues with much more finesse than most of the more highly-regarded plays with similar aspirations. Never gets too heavy-handed or somber for its own good.
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Nice pick. I love this play.
 
Abrantes said:
36.15 Tom Stoppard's Rosencrantz & Guildenstern Are Dead (Play)

Keeping absurdity alive and well for the second play in a row. In the absence of one of the Bard's plays (what does he know, anyway), I'll just steal a handful of his characters from another one of my favorite plays. It does an incredible job of presenting a different perspective on established characters, and for my money, tackles existential issues with much more finesse than most of the more highly-regarded plays with similar aspirations. Never gets too heavy-handed or somber for its own good.
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Good pick, also on my list, I almost took it last round. Pretty good movie version too.
 
36.17 Institutes of the Christian Religion by John Calvin (non-fiction)

Given that we live in a society that is primarily Christian, primarily Protestant, it is hard to argue against this book as being one of the most influential ever written.

Institutes of the Christian Religion is John Calvin's seminal work on Protestant systematic theology. Highly influential in the Western world and still widely read by theological students today, it was published in Latin in 1536 and in his native French in 1541, with the definitive editions appearing in 1559 (Latin) and in 1560 (French).

The book was written as an introductory textbook on the Protestant faith for those with some learning already and covered a broad range of theological topics from the doctrines of church and sacraments to justification by faith alone and Christian liberty, and it vigorously attacked the teachings of those Calvin considered unorthodox, particularly Roman Catholicism to which Calvin says he had been "strongly devoted" before his conversion to Protestantism. The over-arching theme of the book – and Calvin's greatest theological legacy – is the idea of God's total sovereignty, particularly in salvation and election.

 
Fennis said:
Abrantes said:
36.15 Tom Stoppard's Rosencrantz & Guildenstern Are Dead (Play)

Keeping absurdity alive and well for the second play in a row. In the absence of one of the Bard's plays (what does he know, anyway), I'll just steal a handful of his characters from another one of my favorite plays. It does an incredible job of presenting a different perspective on established characters, and for my money, tackles existential issues with much more finesse than most of the more highly-regarded plays with similar aspirations. Never gets too heavy-handed or somber for its own good.
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Good pick, also on my list, I almost took it last round. Pretty good movie version too.
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Yeah, I've heard mostly good things about the movie, although I've only seen bits and pieces.However, looking it up on IMDB, I came across a listing for the 2009 film Rosencrantz & Guildenstern Are Undead! :bag:

Check out the synopsis:

Julian Marsh is an out of work ladies' man who lands a job directing a bizarre adaptation of Hamlet. After casting his best friend and his ex-girlfriend in the show, Julian finds himself in the middle of a two thousand year old conspiracy that explains the connection between Shakespeare, the Holy Grail and some seriously sexy vampires. It turns out that the play was actually written by a master vampire name Theo Horace and it's up to Julian to recover the Grail in order to reverse the vampire's curse...If only being undead wasn't so much God-damned fun!

:goodposting:

 
A bit too olden for most of my picks, but I own a copy and often sit with a drinkl and lose myself in the landscape waiting for the impending storm, or not....................

35.08 - View of Toledo - Painting - El Greco, 1609

Link to View of Painting

From Don Gray

El Greco's (1541-1614) "View of Toledo," (c. 1600) is resonant, pregnant with meaning and poetic force like a landscape and sky darkened at the advent of storm. Related to Van Gogh's "Starry Night" in its transcendence, it is unlike it in that the essential dynamic fulfillment of Van Gogh's painting is here superseded by threat and mystery. Both, however, can be termed Romantic, Expressionist paintings with charged emotional atmospheres and sinuous compositions.

Lines of river, city walls and rooftops in El Greco, twist and loop back upon themselves like the advances and reverses of life itself, working from the bottom center of the picture two-thirds of the way to the top, where a spire and bluntly rectangular building (spiritual versus earthly power?) vie for connection with the sky (it seems a city of bones, silver, faintly luminescent, more like tombs and headstones in a distant cemetery than a place where humans dwell; perhaps it is an artist's comment on the center of the Inquisition in Spain).

This sky, nearly as famous as Van Gogh's, is dark with the ominousness of God, electric, shot with light emerging from the darkness, whereas the Dutchman's is more positive, a whirling, yin-yang abstraction of the majesty and power of God. Irregular clouds angularly spark the sky, two major shapes left and right flanking central darkness, vying like the two buildings for dominance of the storm, the night.

El Greco's painting in its entirety seems a statement of the poetry, divinity – and travail – of life, a metaphor of the spirituality and mystery of life on earth, the immense earth. The tiny human beings that inhabit it are like the nearly invisible human specks in the Spanish painter's river, dwarfed by the fathomless immensity of the universe itself, partaking of the waters of life, the essential mystery, caught in its flow, caught in time, moving swiftly and inevitably toward an unknown destiny.
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