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Home > Press Releases > 47% of the Country Say Trump Has Violated the Constitution, but Few Support Impeachment
47% of the Country Say Trump Has Violated the Constitution, but Few Support Impeachment
Topics: Politics & Elections
Tags: Donald Trump Impeachment Muslims
Nearly Six in Ten Continue to Oppose Temporary Travel Ban for Muslims
WASHINGTON—As President Trump's tumultuous first month comes to an end, a new PRRI survey finds nearly half (47 percent) of the public believe the president has acted in ways that violate the U.S. Constitution, while roughly as many (46 percent) say that he has not. The survey also finds a majority (59 percent) of Americans oppose temporarily banning Muslims from other countries from entering the U.S., compared to 35 percent who support this policy.
These are the key findings from a new national survey conducted by PRRI, a nonpartisan research organization, among 2,031 adults between February 10, 2017, and February 19, 2017.
While nearly half of the country thinks President Trump has acted unconstitutionally, he continues to receive strong support from two groups that backed him strongly during his campaign: white Americans without a college degree and white evangelical Protestants. Sixty-three percent of white Americans without a college degree, compared to 46 percent of whites with a college degree, believe he has not violated the Constitution. And nearly eight in ten (79 percent) white evangelical Protestants say Trump's actions do not run afoul of the Constitution.
Attitudes on the constitutionality of Trump's actions are also starkly divided by gender: A majority (55 percent) of women believe Trump has acted in ways that violate the U.S. Constitution, compared to only 39 percent of men. Young adults (age 18-29) are more likely than seniors (age 65 and older) to believe Trump has violated the Constitution (58 percent vs. 43 percent).
Despite concerns about unconstitutional actions, relatively few Americans believe Trump should be subject to impeachment proceedings. Three in ten (30 percent) say Trump should be impeached and removed from office, while nearly two-thirds (65 percent) disagree.
"Many Americans have real concerns about some of the actions taken by this administration," says PRRI Research Director Daniel Cox. "But at this early date, there is only tepid public support for impeachment. The public appears to be in wait-and-see mode and willing to give Trump some breathing room."
Notably, similar numbers supported the impeachment of Barack Obama (29 percent) and George W. Bush (30 percent) during their time in office. In fact, there are roughly as many Democrats who support the impeachment of Trump as there were Republicans who wanted to see Obama impeached (58 percent vs. 56 percent) during his presidency.
Compared with his immediate predecessors' early favorability numbers, Trump is uniquely unpopular. Half (50 percent) of the public have an unfavorable view of Trump, while 43 percent report having a favorable impression of him. Both President Bush and Obama enjoyed favorability ratings of 67 percent and 69 percent, respectively, during their early months in office.
"Overall levels of opposition to a temporary Muslim travel ban have remained stable over the last year, notes Robert P. Jones, CEO of PRRI. "But we are seeing significant movements, in opposite directions, especially among Democrats and white evangelical Protestants." Democratic opposition to the Muslim travel ban has hardened since last spring, with 87 percent now in opposition, a 13 percentage-point increase from 74 percent opposition in 2016. This includes a more than 20 percentage-point jump in Democrats who strongly oppose the ban—from 36 percent to 59 percent.
White evangelical Protestants are the only religious group in which a majority support a temporary Muslim travel ban, and their support has increased from 55 percent to 61 percent since May 2016. Conversely, support for a Muslim ban has dropped below a majority among white Catholics (52 percent to 44 percent) and white mainline Protestants (51 percent to 39 percent).
The topline questionnaire, full methodology, and additional findings and analysis are available here: https://www.prri.org/research/poll-trump-impeachment-constitution-partisanship-muslim-ban/.
The survey was designed and conducted by PRRI. The survey was made possible by generous grants from the Gill Foundation, the Nathan Cummings Foundation, and the Arcus Foundation. Results of the survey were based on bilingual (Spanish and English) RDD telephone interviews conducted between February 10, 2017, and February 19, 2017, by professional interviewers under the direction of SSRS. Interviews were conducted among a random sample of 2,031 adults 18 years of age or older living in the United States (1,211 respondents were interviewed on a cell phone). The margin of error for the survey is +/- 2.6 percentage points at the 95% level of confidence. The design effect for the survey is 1.4.
PRRI is a 501(c)(3) nonprofit, nonpartisan organization specializing in research at the intersection of religion, values, and public life.


Global Youth Service Day is the largest service event in the world held each April and the only one dedicated to youth. For the past decade, thousands of Hanover youth have participated in or led one of Hanover's many registered GYSD service projects.
For 2019, multiple service projects will take place on or before GYSD weekend, April 12-14th.
Both the Hanover Youth Service Council (HYSC) and the Hanover Youth Engagement Team (YET), will be engaged in conducting and promoting service projects based upon identified community needs!
A project for all ages.Please see flyer for school locations.
The Youth Engagement Team (YET) workshops were a success, nearly 30 teens from different schools worked collaboratively in creating group service projects and are now working to carry out those projects. Members of YET identified several needs within the Hanover community. Their service projects will address providing sport cheats to youth who need them, members are coordinating a pet toy collection, as well as supporting the Spring Harvest food drive to feed the hungry and two groups are creating school campaigns to raise awareness about the importance of inclusivity and acceptance of everyone.
This was an amazing group of youth, who will truly make a difference for Global Youth Service Day. Well done!
Open to professionals, non-profit organizations, faith based programs, and adult volunteers who work in partnership with youth. The purpose of this group is to share ideas, network, identify and enhance resources to support youth and create positive change within our community. Email us or call 804-365-4300 for more information.
A high school student can apply to serve as an election page. Election pages help out at polling places. Among other duties, they assist voters who are elderly or have a disability. Contact your high school government teacher for more information or call the Voter Registration and Elections Office.
Explorer Post 606 is open to Hanover County youth ages 14 to 20 years of age. Members receive law enforcement training, citizenship and character education while gaining experience in leadership roles. The post routinely provides community service by assisting the deputies with crime prevention activities, fingerprinting of children and traffic control at community events.
Hanover 4-H provides experiences in a variety of interest areas, from handling livestock to showing horses, and from community service to 4-H camp, there are endless opportunities for you to become involved with 4-H and meet other awesome youth.
The Hanover Youth Service Council (HYSC) consists of 35 middle and high school students from Hanover County selected for their dedication to service and leadership. Group members promote youth volunteerism, leadership and conduct service projects in and around Hanover.
Email us or call 804-365-4300 for more information.
Looking for Volunteer Opportunities in the Community?


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VoxEurop (English)
For free movement of ideas
Nuclear non-proliferation Treaty-Iran
Brexit and higher education
Economic regulation
Fishing in the Mediterranean
Presidency of the European Commission
Support FREE and independent European journalism – donate to VoxEurop.
Immigrants identification: Italy breaks commitments
3 September 2015 – VoxEurop Notebook Il Sole-24 Ore
The European Commission accuses the government of Rome of failing to identify illegal immigrants arriving in Italy as it should.
The rules of the Dublin convention require the country of first entry to identify illegal immigrants by taking their fingerprints and sending them to a European database. In a letter, the European Commission complained to the Italian government that it breaks the commitment.
Beda Romano writes in Il Sole 24 Ore –
Brussels noticed that in the first seven months of the year about 92,000 people have illegally crossed the external borders controlled by Italy. Of these, only 29,881 have been identified.
Italy is suspected of breaking obligations intentionally to allow immigrants to continue illegally to northern Europe.
According to Romano the Italian Government has to reply to the letter by 10th September.
Photo: Sara Prestianni/Noborder Network/Flickr
European democracy needs independent media. VoxEurop needs you. Support us.
Immigration: Where have all the migrants gone? – The Economist (London)
Politicians are playing on fears of a migrant "invasion", but as The Economist's Charlemagne points out, there are fewer and fewer boat people landing on our shores.
Immigration: Italy talks up its immigrant burden – Libération (Paris)
Confronted with thousands of North African migrants arriving on its shores, Italy has gone begging for a show of solidarity from its EU partners. On April 11, however, the Ministers of Interior and Justice of the Twenty-Seven reminded Rome that when it comes to migration, each country enforces its own rules.
Immigration policy: Escaping the vicious circle – Polityka (Warsaw)
The tightening-up of European border controls does not discourage migrants and is a boon for smugglers. The best strategy would be to treat the root of the phenomenon – poverty in the immigrants' home countries.
Original article at Il Sole-24 Ore it
Read this article in another language:
Editorial charter

redpajama_set_name: RedPajamaCommonCrawl


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Иван Иванович Беггров (; —) — русский -технолог; основатель первого в России завода типографской краски.

Родился в семье основателя первой русской частной литографии в Петербурге (1817) Ивана Петровича (Иоганна Фридриха) Беггрова (1793, Рига — 1877, Петербург), брата художника К. П. Беггрова.

В 1849 году окончил Санкт-Петербургский практический технологический институт и поступил на один из Санкт-Петербургских сахарных заводов. Со следующего года стал работать на химическом Хорошевском заводе Кибера в Москве. В 1853 году участвовал в организации картофельно-крахмального, декстринного и лейокомного завода в Ковровском уезде Владимирской губернии; стал управляющим завода и имений его владельца. В 1856 году отправился в Европу и после возвращения работал в Черниговской губернии, на свеклосахарном заводе князя Долгорукова. В августе 1859 года вновь выехал за границу с целью изучения способа изготовления типографской краски. Вернувшись, в 1861 году под Санкт-Петербургом он основал первый в России завод типографской краски, которая до этого поставлялась только из-за границы. В 1871 году он основал ещё и первый в России завод голландской сажи. За производимую на этих заводах продукцию на Всероссийских выставках он получал награды: в 1861, 1864, 1870 годах — серебряные медали, в 1882 году — большую золотую медаль.

Умер в Санкт-Петербурге в 1888 году. Похоронен на Смоленском евангелическом кладбище; вместе с ним — жена, Евдокия Ивановна (1835—1897) и отец Иоганн-Фридрих.

Был женат с 1860 года на Евдокии Ивановне Метелкиной (1835—1897).

Примечания

Источники
 Биографии выпускников ТИ // Технологический институт имени Ленинградского Совета рабочих, крестьянских и красноармейских депутатов. Сто лет. Т. 2. — , 1928. — С. 288.
 Beggrow Johann Gustav в Erik-Amburger-Datenbank

Архивные фонды
 ЦГИА СПб. Ф. 1381. Завод типографских красок «И. И. Беггров» 1889—1924 гг.

Выпускники Санкт-Петербургского технологического института (до 1917 года)
Похороненные на Смоленском лютеранском кладбище

redpajama_set_name: RedPajamaWikipedia


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Entertainment TV
Netflix Cancels "House of Cards" in Wake of Sexual Assault Claim
Nov 1, 2017 House of Cards, Kevin Spacey, Netflix, Sexual Assault
That didn't take long. The Netflix drama, House of Cards will end after its upcoming sixth season. Production has already begun on the season, which is set to premiere in 2018. So what happened? The series is coming to an end in the wake of sexual assault allegations against Kevin Spacey. On Sunday, Star Trek: Discovery Star, Anthony Rapp, claimed that Spacey had sexually assaulted him at a party when Rapp was just 14 years old. Spacey later apologized to Rapp in a statement released hours after the interview was published. In the apology, Spacey claims he didn't recall the incident, but is "beyond horrified" by Rapp's story. Also in his statement, Spacey came out to the world indicating that he was going to live the rest of his life as a gay man. Many critics are saying that this was in an attempt to deflect attention.
Netflix released a statement on Monday which states:
"Media Rights Capital and Netflix are deeply troubled by last night's news concerning Kevin Spacey. In response to last night's revelations, executives from both of our companies arrived in Baltimore this afternoon to meet with our cast and crew to ensure that they continue to feel safe and supported. As previously scheduled, Kevin Spacey is not working on set at this time."
I am in no way defending Spacey if he did sexually assault Rapp. Nor am I suggesting that Rapp isn't telling the truth. I do wonder, however, if the cancellation of the show is a bit harsh? And is this linked to what happened with Harvey Weinstein earlier this month? Meaning, is the industry going in the other direction with this? Again, this isn't in defense of Spacey or Weinstein. For so many years, people in the industry looked the other way when it came to sexual harassment and sexual assault. Suddenly, however, it seems like the floodgates have opened.
The fact that there are so many people coming forward with allegations of sexual assault is atrocious. Atrocious because they happened in the first place, and atrocious because they went unheard for so many years. How can people live that long without saying something? I understand that if you tell someone, especially as a woman, there's a chance no one will believe you. And why risk your career for something like that? Or at least that's how people think.
What does this mean for Netflix? If anything? If he's locked into season six, how will they be able to get out of it? Could they continue the show without him? After season five, I think the answer to that is yes, but I don't want to spoil it for anyone who hasn't seen the last season. But Netflix has canceled the show altogether, so there won't be a season seven – with or without Frank Underwood. Is that a smart move? Maybe and maybe not. Spacey is still executive director, so even without him as a character on the show, he would still be involved and I suspect Netflix wants to distance themselves from this scandal altogether.
Billboard's Charts Will Give More Weight to Paid Music Streams
Will House of Cards Get a Doug Stamper Spin-Off?
Apple Entertainment Movies Technology
Apple withdraws The Banker from Apple TV+
Nov 22, 2019 Rubens Saintel
Apple Apple TV Entertainment Movies Technology TV
Apple TV+ Free Year = Great Numbers
Nov 8, 2019 Rubens Saintel
Entertainment Movies Technology YouTube YouTube
Every Avengers: Endgame Deleted Scene
Aug 1, 2019 News Bot
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text:
<?php
$TRANSLATIONS = array(
"The password is wrong. Try again." => "Passordet er feil. Prøv på nytt.",
"Password" => "Passord",
"%s shared the folder %s with you" => "%s delte mappen %s med deg",
"%s shared the file %s with you" => "%s delte filen %s med deg",
"Download" => "Last ned",
"Upload" => "Last opp",
"Cancel upload" => "Avbryt opplasting",
"No preview available for" => "Forhåndsvisning ikke tilgjengelig for"
);
$PLURAL_FORMS = "nplurals=2; plural=(n != 1);";

redpajama_set_name: RedPajamaGithub


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Q: Meaning of * operator when used with classes I've been trying to follow a video tutorial on Python and cannot understand one operation the developer performs.
class Polynomial():

    def __init__(self, *coeffs):
        self.coeffs = coeffs # (3,4,3)

    def __repr__(self):
        return 'Polynomial(*{!r})'.format(self.coeffs)

    def __add__(self, other):
        print(self.coeffs)
        print(other.coeffs)
        z = (x + y for x, y in zip(self.coeffs, other.coeffs))
        print(z)
        return Polynomial(*(x + y for x, y in zip(self.coeffs, other.coeffs)))

p1 = Polynomial(1, 2, 3) # x^2 + 2x + 3
p2 = Polynomial(3, 4, 3) # 3x^2 + 4x + 3
#print(p2) # Polynomial(*(3, 4, 3))
print(p1 + p2) # Polynomial(*(4, 6, 6))

The above example will print
<generator object Polynomial.__add__.<locals>.<genexpr> at 0x030D0390>

as the return value of z, I cannot understand why because I am performing a zip operation of two tuples?
Alongside that problem, I do not understand why removing the * during the return of __add__ causes a problem i.e return Polynomial(*(x + y for x, y in zip(self.coeffs, other.coeffs))) to return Polynomial((x + y for x, y in zip(self.coeffs, other.coeffs)))
What is the * operator doing, and why is z an object of Polynomial?
The _add__ method does not contain a parameter containing a * or ** and is therefore a different situation.

A: So first.
Your print is ok. You defined a generator using () parentheses. You can change this to [] and then you should see the elements in list.
Or you can use your generator, so print:
print([el for el in z])

Second, the *.
It will simply pass iterable as separated args, so:
SomeClass(*args)

Will do:
SomeClass(args[0], args[1], args[2], ...)

You can read about this in official docs (single asterisk), here: https://docs.python.org/3/reference/expressions.html#expression-lists
And here (double asterisk):
https://docs.python.org/3/reference/expressions.html#dictionary-displays

A: When in a function declaration, * is list of args send.
For exemple:
def my_function(a, *b, **c):
    print(a)
    print(b)
    print(c)

my_function("1st arg", "other arg", "other arg again", 2, arg_type="kwargs")

output :
1st args
["other arg", "other arg again", 2]
{"arg_type": "kwargs"}

And when is not in function declaration, it's for unpack the list.
For exemple:
list_of_arguments = ['a', 'b', 'z']
my_str = "the first letter of alphabet is {}, the second is {} and the last is {}"
print(my_str.format(*list_of_arguments))

or other exemple
 def my_second_func(a, b, c):
     print(a)
     print(b)

 my_list = [1, 2, 3]
 my_second_func(a, b, c)

will output:
 1
 2

A: Consider this easy example:
a = [1, 2, 3]
b = [4, 5, 6]

gen = (x + y for x, y in zip(a, b))

print(gen) ## this will print <generator object <genexpr> at 0x...>

In this case, the asterisk evaluates the generator expression. So when doing
print(*gen) ## this will print 5 7 9

you evaluate the generator expression.

redpajama_set_name: RedPajamaStackExchange


Sharjeel Memon report reveals no sign of alcohol in blood samples.
Blood samples of Sharjeel Memon were sent to two big hospitals in Karachi on the order of Chief Justice of Pakistan Mian Saqib Nisar, after liquor bottles were found from his room in Ziauddin Hospital.
CJP Mian Saqib Nisar paid a surprise visit to Ziauddin hospital in Karachi on Saturday and found liquor bottles from there in Sharjeel Memon's room.
At least three bottles of alcohol, drugs and cigarettes were recovered from Sharjeel Memon's hospital room.
The CJP Saqib Nisar when found the bottles asked about the attorney general. When inquired, Sharjeel Memon denied the use of alcohol.
Media reports further said that there was no nurse or doctor in Sharjeel Memon's room on the first floor of Ziauddin Hospital.
Following the incident, the CJP ordered to shift Sharjeel Memon back to jail and ordered his medical test.
Two persons were arrested after bottles of liquor were found from the room of Sharjeel Memon in Ziauddin Hospital. One of the arrested persons Muhammad Jam claims that these are bottles of honey and oil and NOT alcohol.
Meanwhile, PPP leader Nasir Hussain Shah also claimed that there was olive oil and honey in the bottles found in Sharjeel Memon's room.
Investigation was ordered against PPP leader Sharjeel Memon. SSP South Umar Shahid took the CCTV footage for forensic investigation. He said that a legal action will be taken against the responsible after investigation.
According to the reports from Agha Khan Hospital, no element of alcohol was found in Sharjeel Memon's body. The report has mentioned 'Plasma Alcohol Not Detected' in it, while other three tests related to alcohol were also declared normal in the reports.
The Sindh Government will now send these Sharjeel Memon report to the Supreme Court.
Sharjeel Memon was earlier shifted to hospital from jail due to his illness. Sharjeel Memon was sent on a judicial remand after being arrested in the Rs 5.76 billion corruption case in November 2017.


Trud was converted from the predreadnought battleship Tsesarevich. She has found employment supporting construction projects in remote areas with poor port infrastructure.
Ship has slow, easy roll; a good, steady gun platform.
Officially designated sredniye razvedyvatel'nyye korabl (medium reconnaissance ship). Guns are not installed during peacetime.


This lovely, open plan 2 bedroom, 2 bathroom apartment in the security building The Elizabeth' is an Elizabeth Bay gem. You will love the lifestyle this location offers. Just a short stroll to cafe's, parks, shops and all of the district's best attractions, the hardest decision will be where to go first.


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Home / national id / news / services / Kids aged 5 and up can now register for a National ID!
Kids aged 5 and up can now register for a National ID!
Queenie Lastra 11/25/2021 02:28:00 PM national id, news, services
Philippine Statistics Authority just announced that PhilSys ID registration opens to children 5 years old and above.
File photo: National ID
Can be used for bank transactions or school enrollment
The national ID from PhilSys shall be a valid proof of identity that shall be a means of simplifying public and private transactions, enrollment in schools, and opening of bank accounts. It was signed into law by President Rodrigo R. Duterte in 2018, Republic Act 11055, or the Philippine Identification System Act
Reportedly, the goal is to boost government efficiency in providing social services where people will only need to present one ID during a transaction. Now, even kids can now have their own national ID that won't expire.
According to the government agency, parents or guardians must bring the following requirements for the child's registration: child's birth certificate, school ID, and a valid government ID of the parent or guardian.
Due to movement restrictions caused by Covid-19, the PSA established an online registration for Step 1. This initial step involves the gathering of demographic information like name, gender, birth date, birthplace, age, permanent and current address, blood type, citizenship, and marital status.
After completing Step 1, registrants shall book an appointment for the Step 2 biometrics phase. Iris scan, fingerprints, and front-facing photographs will be recorded at registration centers.
Finally, Philippine Postal Corporation will deliver the national ID cards and the entire process is free of charge. In their recent press release, the PSA said that over 3 million national IDs have already been shipped to date.
The agency also announced that they are planning to launch a mobile ID, which will be a digital alternative to the national ID.
Sources: Philippine News Agency, Inquirer
Digital Walker opens Evia Lifestyle Center branch, catch Chinese New Year promo w/ up to 60 percent off!
Digital Walker just opened another branch last Sunday at the Evia Lifestyle Center, Las Pinas City. The opening day Digital Walker opens Evi...


Exchange services, build trust, expand your network, Yoomken gives you the power to go after your ambitions, to show the best of yourself and live through your skills freely.
Are you a Provider ?
A provider is the one that submits a service (service provider). Thus, you could offer for example language courses or cooking lessons, or maybe organize a party, and much more ….
If you have any doubt about the possibility of charging a particular service, do not hesitate to post your offer, the community will let you know soon enough.
Everyone has hidden talents. We are sure you have also …You know what you are capable of and what you are worth? then we will be happy to be useful as a showcase of your talents.
To do this, you need to expose your skills, strengths and especially your willingness to work well. You can express your full potential in contact with others. Indeed, Yoomken relies on the structural trend of collaborative consumption, a phenomenon in which mutual aid and solidarity occupy a prominent place.
So let yourself known! Yoomken is designed for this.
Frist of all, you dispose of free services to publish and reference your geotagged requests.You can search and post all manual or intellectual talents legally possible.
As a provider, you can even choose to pool your resources with other providers if the Asker is requiring more than one resource.
At the end of a successful collaboration, The asker can reward you by attributing a personal badge, expressing your expertise in a category of service and / or human quality that best describes you.. Thus, you can accumulate as many badges as possible in order to quickly obtain a first class status in the network.


The idea for "Pilgrims and Runaways" came in Belfast, Ireland nearly eight years ago. The band had just finished a show there and the promoter had kindly put us up for the night at a small bed and breakfast; a welcome change from the cheap motels we were growing accustomed to on that tour.
I loved that phrase 'pilgrims and runaways', and I felt it truly captured that magical hour just before the dawn. It also captured the sentiment that we are all either trying to get to, or run from, some place or thing. No matter who we are, we are all pilgrims and runaways as we move through life.
I remember thinking at the time that I had a few songs that felt like that hour. Quiet songs. 4:00am songs. Songs about the journey and songs of escape. And so I started filing those songs away as they came up, saving them for a record called "Pilgrims and Runaways".
I can confide in you now, this was no easy feat. I think for most artists, when you write a song, there is an enormous pull to share it immediately. In fact, with today's technology, it is easier than ever to write, record and release a song in less than 24 hours. This is truly exciting, but it just didn't feel like the way to make this particular record. We felt it was imperative to take however much time we needed to find the right group of songs, and then to let these songs develop and mature organically, to let them find their voice, and really find our own voice in the process.
Still, hiding away songs I loved and couldn't wait to record was a bit torturous at times. Songs like "Love & Glory" and "Half Past Four", written in 2002, were the first two songs recorded for the album as far back as 2004. Other songs came and went over the course of these past eight years, until finally we found ourselves with a batch of songs that, when they were all placed together, felt like they told the story we wanted to tell.
Now, I must also tell you, as it turns out, this is NOT a record of quiet little songs. That's what happens when the rest of Stewboss gets ahold of things, and the natural metamorphosis of any creative endeavor.
Still… Whether you are a pilgrim, or a runaway, it is my great hope that these songs will wrap themselves around you and keep you safe and warm on your journey. May they be a reminder to you that all is well, and you are loved, no matter where you are or how lonely the road may seem.


text:
Click to see our 2019 SpectRUN Race Results.
$30 - Online Registration
$35 - Day of Race
18 yrs. of age to 6:
5 yrs. and Under:
Free with parent or guardian
Every pre-registered participant will receive an official SpectRUN T-shirt.
Jennings Beach - 800 S. Benson Road, Fairfield, CT or google map
Click to See out 5K Route Map.
Click for our 1-Mile Stroll Map.
Registration Opens: 7:30am
T-shirts & bibs are distributed at registration
Kids 100yd Dash (age 7 & under): 8:25am
Kids 1/4 Mile Run (8-16 yrs): 8:30am
Parking Lot Zumba: 8:45am
5K (3.1 Miles) & 1 Mile Stroll: 9:00am
There will be 2 routes - a TIMED 5K Run/Walk and a 1 Mile Stroll
Awards Presentation for 5K Timed Runners: 10:00am
Awards Presentation for Most Colorful and Most Dollars Raised: 10:30am
The SpectRUN is an Autism Sensory Friendly Event, which means the event is designed to be less sensory stimulating and overwhelming. To make it easier for individuals who have sensory sensitivities, such as those with Autism Spectrum Disorder (ASD), we will modify loud sounds and will have a designated "quiet room" onsite.
See What to Expect by browsing through our SpectRUN Social Story.
There will be lots of things for the kids to enjoy, including Casey Carl's Bubblemania, Bounce House, Face painting, Prizes and Much More.
And what's a RACE without an ending CELEBRATION? For registered participants, snacks will be offered at the VIP tent after the race.
Prize Awards will be announced for Most ColorFUL child, adult & team, Most Dollars Raised - individual and team and Timed 5K Race - Male & Female Champions plus Top Finishers in 8 age groups. Awards for the Timed 5K Race will be presented at 10AM, all other awards will be presented at 10:30.
Become a SpectFUNdraiser and ask your friends, family and co-workers to help support The Kennedy Center Autism Program Services. SpectFUNdraisers can register individually or as a Team. For your hardwork, prizes and recognition will be awarded at targeted levels of support ($250, $500, $1,000 & above).
Online Registration is open until Thursday, September 5th at midnight. After the 5th, you can register at the 5K or on Saturday, the 7th you can register and do Early Packet Pick-up at SoundRunner, 1596 Post Road in Fairfield from 10am - 1pm. Those registering after Sept. 5th are not guaranteed to receive an official SpectRUN T-shirt.
RACE WILL TAKE PLACE RAIN OR SHINE. The race organizers reserve the right to cancel the race in the case of inclement weather causing unsafe conditions. Please go to our website the day of the race for information www.KC-Autism.org.
There is ample parking at Jennings Beach.
OTHER NOTABLES:.
Everyone who is participating must sign a waiver when registering
No pets are allowed except for service dogs.
ALL PROCEEDS BENEFIT THE KENNEDY CENTER AUTISM PROGRAM SERVICES.
We need volunteers the day of the event. If you would like to volunteer, please contact Deb at dkane@kennedyctr.org or call 203.365.8522, Ext. 2039.
For Questions or More Information, please call Jo Ann at 203.365.8522, Ext. 2049 or email jmcmullan@kennedyctr.org


Broadchurch star is looking swell at 41!
We revealed Olivia Colman's surprise baby news just a few weeks ago, and it was fab to see her looking so lovely and pregnant out and about last night!
Olivia, who is 41 and already has two boys of 9 and 7, was wearing a gorgeous emerald green shift dress and doing that hand-under-bump pose with her clutch bag!
The Broadchurch star was at a fundraising gala at the National Theatre and had pulled out all the stops on the glamour front, with her hair pulled back into an elegant up-do, and funky chain-mail earrings swinging from her lobes. We reckon her broad smile and pregnancy glow totally upstaged her accessories though!
Although she and her husband Ed Sinclair have not yet revealed their due date, looking at these pics, our money's on an early summer baby. What do you think?
Pregnant Fearne Cotton: I'm craving carbs already!


text:
Pattern in storytelling
"The Hero's Journey" redirects here. For other uses, see The Hero's Journey (disambiguation).
Illustration of the hero's journey
In narratology and comparative mythology, the hero's journey, or the monomyth, is the common template of stories that involve a hero who goes on an adventure, is victorious in a decisive crisis, and comes home changed or transformed.[1]
Earlier figures had proposed similar concepts, including psychologist Otto Rank and amateur anthropologist Lord Raglan, who discuss hero narrative patterns in terms of Freudian psychoanalysis and ritualism.[1] Eventually, hero myth pattern studies were popularized by Joseph Campbell, who was influenced by Carl Jung's analytical psychology. Campbell used the monomyth to deconstruct and compare religions. In his famous book The Hero with a Thousand Faces (1949), he describes the narrative pattern as follows:
A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.
Campbell's theories regarding the concept of a "monomyth" have been the subject of criticism from scholars, particularly folklorists (scholars active in folklore studies), who have dismissed the concept as a non-scholarly approach suffering from source-selection bias, among other criticisms.
4 Campbell's seventeen stages
4.1 Departure
4.1.1 The Call to Adventure
4.1.2 Refusal of the Call
4.1.3 Supernatural Aid
4.1.4 The Crossing of the First Threshold
4.1.5 Belly of the Whale
4.2 Initiation
4.2.1 The Road of Trials
4.2.2 The Meeting with the Goddess
4.2.3 Woman as the Temptress
4.2.4 Atonement with the Father/Abyss
4.2.5 Apotheosis
4.2.6 The Ultimate Boon
4.3 Return
4.3.1 Refusal of the Return
4.3.2 The Magic Flight
4.3.3 Rescue from Without
4.3.4 The Crossing of the Return Threshold
4.3.5 Master of the Two Worlds
4.3.6 Freedom to Live
5 In popular culture and literature
6 Feminist literature and female heroines within the monomyth
6.1 Jane Eyre
6.2 Psyche
7 Self-help movement and therapy
8 Academic reception and criticism
9.1 Other mythology
9.2 Narratology and writing instructions
9.3 Genres
10.1 Sources
Further information: Rank–Raglan mythotype
The study of hero myth narratives can be traced back to 1871 with anthropologist Edward Burnett Tylor's observations of common patterns in the plots of heroes' journeys.[2] In narratology and comparative mythology, others have proposed narrative patterns such as psychoanalyst Otto Rank in 1909 and amateur anthropologist Lord Raglan in 1936.[3] Both have lists of different cross-cultural traits often found in the accounts of heroes, including mythical heroes.[4][5] According to Robert Segal, "The theories of Rank, Campbell, and Raglan typify the array of analyses of hero myths."[2]
Terminology[edit]
Campbell borrowed the word monomyth from James Joyce's Finnegans Wake (1939). Campbell was a notable scholar of Joyce's work and in A Skeleton Key to Finnegans Wake (1944) co-authored the seminal analysis of Joyce's final novel.[6][7] Campbell's singular the monomyth implies that the "hero's journey" is the ultimate narrative archetype, but the term monomyth has occasionally been used more generally, as a term for a mythological archetype or a supposed mytheme that re-occurs throughout the world's cultures.[8][9] Omry Ronen referred to Vyacheslav Ivanov's treatment of Dionysus as an "avatar of Christ" (1904) as "Ivanov's monomyth".[10]
The phrase "the hero's journey", used in reference to Campbell's monomyth, first entered into popular discourse through two documentaries. The first, released in 1987, The Hero's Journey: The World of Joseph Campbell, was accompanied by a 1990 companion book, The Hero's Journey: Joseph Campbell on His Life and Work (with Phil Cousineau and Stuart Brown, eds.). The second was Bill Moyers's series of seminal interviews with Campbell, released in 1988 as the documentary (and companion book) The Power of Myth. Cousineau in the introduction to the revised edition of The Hero's Journey wrote "the monomyth is in effect a meta myth, a philosophical reading of the unity of mankind's spiritual history, the Story behind the story".[11]
Summary[edit]
In his book The Hero with a Thousand Faces (1949), Campbell summaries the narrative pattern of the monomyth as follows:
A hero ventures forth from the world of common day into a region of supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.[12]
Campbell describes 17 stages of the monomyth. Not all monomyths necessarily contain all 17 stages explicitly; some myths may focus on only one of the stages, while others may deal with the stages in a somewhat different order.[page needed] In the terminology of Claude Lévi-Strauss, the stages are the individual mythemes which are "bundled" or assembled into the structure of the monomyth.[13]
The 17 stages may be organized in a number of ways, including division into three "acts" or sections:
Departure (also Separation),
Initiation (sometimes subdivided into A. Descent and B. Initiation) and
Return.
In the departure part of the narrative, the hero or protagonist lives in the ordinary world and receives a call to go on an adventure. The hero is reluctant to follow the call but is helped by a mentor figure.
The initiation section begins with the hero then traversing the threshold to an unknown or "special world", where he faces tasks or trials, either alone or with the assistance of helpers.
The hero eventually reaches "the innermost cave" or the central crisis of his adventure, where he must undergo "the ordeal" where he overcomes the main obstacle or enemy, undergoing "apotheosis" and gaining his reward (a treasure or "elixir").
The hero must then return to the ordinary world with his reward. He may be pursued by the guardians of the special world, or he may be reluctant to return and may be rescued or forced to return by intervention from the outside.
In the return section, the hero again traverses the threshold between the worlds, returning to the ordinary world with the treasure or elixir he gained, which he may now use for the benefit of his fellow man. The hero himself is transformed by the adventure and gains wisdom or spiritual power over both worlds.
Campbell (1949)
David Adams Leeming (1981)[14]
Phil Cousineau (1990)[15]
Christopher Vogler (2007)[16]
I. Departure
The Call to Adventure
Refusal of the Call
Supernatural Aid
The Crossing of the First Threshold
Belly of the Whale
Miraculous conception and birth
Initiation of the hero-child
Withdrawal from family or community for meditation and preparation
Meeting with the mentor
Crossing the first threshold
II. Initiation
The Road of Trials
The Meeting with the Goddess
Woman as the Temptress
Atonement with the Father
The Ultimate Boon
Trial and quest
Descent into the underworld
The vision quest
The boon
Tests, allies, and enemies
Approach to the inmost cave
The ordeal
III. Return
Refusal of the Return
The Magic Flight
Rescue from Without
The Crossing of the Return Threshold
Master of the Two Worlds
Freedom to Live
Resurrection and rebirth
Ascension, apotheosis, and atonement
The return threshold
The master of two worlds
The road back
Return with the elixir
Campbell's seventeen stages[edit]
The Call to Adventure[edit]
The hero begins in a situation of normality from which some information is received that acts as a call to head off into the unknown. According to Campbell, this region is represented by
a distant land, a forest, a kingdom underground, beneath the waves, or above the sky, a secret island, lofty mountaintop, or profound dream state; but it is always a place of strangely fluid and polymorphous beings, unimaginable torments, superhuman deeds, and impossible delight. The hero can go forth of their own volition to accomplish the adventure, as did Theseus when he arrived in his father's city, Athens, and heard the horrible history of the Minotaur; or they may be carried or sent abroad by some benign or malignant agent as was Odysseus, driven about the Mediterranean by the winds of the angered god, Poseidon. The adventure may begin as a mere blunder... or still, again, one may be only casually strolling when some passing phenomenon catches the wandering eye and lures one away from the frequented paths of man. Examples might be multiplied, ad infinitum, from every corner of the world.[17]
Refusal of the Call[edit]
Often when the call is given, the future hero first refuses to heed it. This may be from a sense of duty or obligation, fear, insecurity, a sense of inadequacy, or any of a range of reasons that work to hold the person in his current circumstances. Campbell says that
Refusal of the summons converts the adventure into its negative. Walled in boredom, hard work, or "culture," the subject loses the power of significant affirmative action and becomes a victim to be saved. His flowering world becomes a wasteland of dry stones and his life feels meaningless—even though, like King Minos, he may through titanic effort succeed in building an empire of renown. Whatever house he builds, it will be a house of death: a labyrinth of cyclopean walls to hide from him his Minotaur. All he can do is create new problems for himself and await the gradual approach of his disintegration.[18]
Supernatural Aid[edit]
Once the hero has committed to the quest, consciously or unconsciously, their guide and magical helper appears or becomes known. More often than not, this supernatural mentor will present the hero with one or more talismans or artifacts that will aid them later in their quest.[19] Campbell writes:
What such a figure represents is benign, protecting power of destiny. The fantasy is a reassurance—promise that the peace of Paradise, which was known first within the mother womb, is not to be lost; that it supports the present and stands in the future as well as in the past (is omega as well as alpha); that though omnipotence may seem to be endangered by the threshold passages and life awakenings, protective power is always and ever-present within or just behind the unfamiliar features of the world. One has only to know and trust, and the ageless guardians will appear. Having responded to their own call, and continuing to follow courageously as the consequences unfold, the hero finds all the forces of the unconscious at their side. Mother Nature herself supports the mighty task. And in so far as the hero's act coincides with that for which their society itself is ready, they seem to ride on the great rhythm of the historical process.[20]
The Crossing of the First Threshold[edit]
This is the point where the hero actually crosses into the field of adventure, leaving the known limits of their world and venturing into an unknown and dangerous realm where the rules and limits are unknown. Campbell tells us,
With the personifications of his destiny to guide and aid him, the hero goes forward in his adventure until he comes to the "threshold guardian" at the entrance to the zone of magnified power. Such custodians bound the world in four directions—also up and down—standing for the limits of the hero's present sphere, or life horizon. Beyond them is darkness, the unknown, and danger; just as beyond the parental watch is a danger to the infant and beyond the protection of his society danger to the members of the tribe. The usual person is more than content, he is even proud, to remain within the indicated bounds, and popular belief gives him every reason to fear so much as the first step into the unexplored.
The adventure is always and everywhere a passage beyond the veil of the known into the unknown; the powers that watch at the boundary are dangerous; to deal with them is risky, yet for anyone with competence and courage the danger fades.[21]
Belly of the Whale[edit]
The belly of the whale represents the final separation from the hero's known world and self. By entering this stage, the person shows a willingness to undergo a metamorphosis. When first entering the stage the hero may encounter a minor danger or setback. According to Campbell,
The idea that the passage of the magical threshold is a transit into a sphere of rebirth is symbolized in the worldwide womb image of the belly of the whale. The hero, instead of conquering or conciliating the power of the threshold, is swallowed into the unknown and would appear to have died.
This popular motif gives emphasis to the lesson that the passage of the threshold is a form of self-annihilation. ... [I]nstead of passing outward, beyond the confines of the visible world, the hero goes inward, to be born again. The disappearance corresponds to the passing of a worshiper into the temple—where he is to be quickened by the recollection of who and what he is, namely dust and ashes unless immortal. The temple interior, the belly of the whale, and the heavenly land beyond, above, and below the confines of the world, are one and the same. That is why the approaches of and entrances to temples are flanked and defended by colossal gargoyles [equivalent to] the two rows of teeth of the whale. They illustrate the fact that the devotee at the moment of entry into a temple undergoes a metamorphosis. ... Once inside he may be said to have died to time and returned to the World Womb, the World Navel, the Earthly Paradise. ... Allegorically, then, the passage into a temple and the hero-dive through the jaws of the whale are identical adventures, both denoting in picture language, the life-centering, life-renewing act.[22]
In the exemplary Book of Jonah, the eponymous Israelite refuses God's command to prophesy the destruction of Nineveh and attempts to flee by sailing to Tarshish. A storm arises, and the sailors cast lots to determine that Jonah is to blame. He allows himself to be thrown overboard to calm the storm, and is saved from drowning by being swallowed by a "great fish". Over three days, Jonah commits to God's will, and he is vomited safely onto the shore. He subsequently goes to Nineveh and preaches to its inhabitants.[23] Jonah's passage through the belly of the whale can be viewed as a symbolic death and rebirth in Jungian analysis.[24]
Initiation[edit]
The Road of Trials[edit]
The road of trials is a series of tests that the hero must undergo to begin the transformation. Often the hero fails one or more of these tests, which often occur in threes. Eventually, the hero will overcome these trials and move on to the next step. Campbell explains that
Once having traversed the threshold, the hero moves in a dream landscape of curiously fluid, ambiguous forms, where he must survive a succession of trials. This is a favorite phase of the myth-adventure. It has produced a world literature of miraculous tests and ordeals. The hero is covertly aided by the advice, amulets, and secret agents of the supernatural helper whom he met before his entrance into this region. Or it may be that he here discovers for the first time that there is a benign power everywhere supporting him in his superhuman passage.
The original departure into the land of trials represented only the beginning of the long and really perilous path of initiatory conquests and moments of illumination. Dragons have now to be slain and surprising barriers passed—again, again, and again. Meanwhile, there will be a multitude of preliminary victories, unsustainable ecstasies, and momentary glimpses of the wonderful land.[25]
The Meeting with the Goddess[edit]
This is where the hero gains items given to him that will help him in the future. Campbell proposes that
The ultimate adventure, when all the barriers and ogres have been overcome, is commonly represented as a mystical marriage of the triumphant hero-soul with the Queen Goddess of the World. This is the crisis at the nadir, the zenith, or at the uttermost edge of the earth, at the central point of the cosmos, in the tabernacle of the temple, or within the darkness of the deepest chamber of the heart.
The meeting with the goddess (who is incarnate in every woman) is the final test of the talent of the hero to win the boon of love (charity: amor fati), which is life itself enjoyed as the encasement of eternity.
And when the adventurer, in this context, is not a youth but a maid, she is the one who, by her qualities, her beauty, or her yearning, is fit to become the consort of an immortal. Then the heavenly husband descends to her and conducts her to his bed—whether she will or not. And if she has shunned him, the scales fall from her eyes; if she has sought him, her desire finds its peace.[26]
Woman as the Temptress[edit]
In this step, the hero faces those temptations, often of a physical or pleasurable nature, that may lead them to abandon or stray from their quest, which does not necessarily have to be represented by a woman. A woman is a metaphor for the physical or material temptations of life since the hero-knight was often tempted by lust from his spiritual journey. Campbell relates that
The crux of the curious difficulty lies in the fact that our conscious views of what life ought to be seldom correspond to what life really is. Generally, we refuse to admit within ourselves, or within our friends, the fullness of that pushing, self-protective, malodorous, carnivorous, lecherous fever which is the very nature of the organic cell. Rather, we tend to perfume, whitewash, and reinterpret; meanwhile imagining that all the flies in the ointment, all the hairs in the soup, are the faults of some unpleasant someone else. But when it suddenly dawns on us or is forced to our attention that everything we think or do is necessarily tainted with the odor of the flesh, then, not uncommonly, there is experienced a moment of revulsion: life, the acts of life, the organs of life, a woman in particular as the great symbol of life, become intolerable to the pure, the pure, pure soul. ... The seeker of the life beyond life must press beyond [the woman], surpass the temptations of her call, and soar to the immaculate ether beyond.[27]
Atonement with the Father/Abyss[edit]
In this step, the hero must confront and be initiated by whatever holds the ultimate power in their life. In many myths and stories, this is the father or a father figure who has life and death power. This is the center point of the journey. All the previous steps have been moving into this place, all that follow will move out from it. Although this step is most frequently symbolized by an encounter with a male entity, it does not have to be a male—just someone or something with incredible power. Per Campbell,
Atonement consists in no more than the abandonment of that self-generated double monster—the dragon thought to be God (superego) and the dragon thought to be Sin (repressed id). But this requires an abandonment of the attachment to ego itself, and that is what is difficult. One must have faith that the father is merciful, and then a reliance on that mercy. Therewith, the center of belief is transferred outside of the bedeviling god's tight scaly ring, and the dreadful ogres dissolve. It is in this ordeal that the hero may derive hope and assurance from the helpful female figure, by whose magic (pollen charms or power of intercession) they are protected through all the frightening experiences of the father's ego-shattering initiation. For if it is impossible to trust the terrifying father-face, then one's faith must be centered elsewhere (Spider Woman, Blessed Mother); and with that reliance for support, one endures the crisis—only to find, in the end, that the father and mother reflect each other, and are in essence the same.[28]
Campbell later expounds:
The problem of the hero going to meet the father is to open his soul beyond terror to such a degree that he will be ripe to understand how the sickening and insane tragedies of this vast and ruthless cosmos are completely validated in the majesty of Being. The hero transcends life with its peculiar blind spot and for a moment rises to a glimpse of the source. They behold the face of the father, understand — and the two are atoned.[29]
Apotheosis[edit]
Further information: Apotheosis
This is the point of realization in which a greater understanding is achieved. Armed with this new knowledge and perception, the hero is resolved and ready for the more difficult part of the adventure. Campbell discloses that
Those who know, not only that the Everlasting lies in them, but that what they, and all things, really are is the Everlasting, dwell in the groves of the wish-fulfilling trees, drink the brew of immortality, and listen everywhere to the unheard music of eternal concord.[30]
The Ultimate Boon[edit]
The ultimate boon is the achievement of the goal of the quest. It is what the hero went on the journey to get. All the previous steps serve to prepare and purify the hero for this step since in many myths the boon is something transcendent like the elixir of life itself, or a plant that supplies immortality, or the holy grail. Campbell confers that
The gods and goddesses then are to be understood as embodiments and custodians of the elixir of Imperishable Being but not themselves the Ultimate in its primary state. What the hero seeks through his intercourse with them is therefore not finally themselves, but their grace, i.e., the power of their sustaining substance. This miraculous energy-substance and this alone is the Imperishable; the names and forms of the deities who everywhere embody, dispense, and represent it come and go. This is the miraculous energy of the thunderbolts of Zeus, Yahweh, and the Supreme Buddha, the fertility of the rain of Viracocha, the virtue announced by the bell rung in the Mass at the consecration, and the light of the ultimate illumination of the saint and sage. Its guardians dare release it only to the duly proven.[31]
Return[edit]
Refusal of the Return[edit]
Having found bliss and enlightenment in the other world, the hero may not want to return to the ordinary world to bestow the boon onto their fellow beings. Campbell continues:
When the hero-quest has been accomplished, through penetration to the source, or through the grace of some male or female, human or animal personification, the adventurer still must return with his life-transmuting trophy. The full round, the norm of the monomyth, requires that the hero shall now begin the labor of bringing the runes of wisdom, the Golden Fleece, or his sleeping princess, back into the kingdom of humanity, where the boon may redound to the renewing of the community, the nation, the planet, or the ten thousand worlds. But the responsibility has been frequently refused. Even Gautama Buddha, after his triumph, doubted whether the message of realization could be communicated, and saints are reported to have died while in the supernal ecstasy. Numerous indeed are the heroes fabled to have taken up residence forever in the blessed isle of the unaging Goddess of Immortal Being.[32]
The Magic Flight[edit]
Sometimes the hero must escape with the boon if it is something that the gods have been jealously guarding. It can be just as adventurous and dangerous returning from the journey as it was to go on it. Campbell reveals that
If the hero in his triumph wins the blessing of the goddess or the god and is then explicitly commissioned to return to the world with some elixir for the restoration of society, the final stage of his adventure is supported by all the powers of his supernatural patron. On the other hand, if the trophy has been attained against the opposition of its guardian, or if the hero's wish to return to the world has been resented by the gods or demons, then the last stage of the mythological round becomes a lively, often comical, pursuit. This flight may be complicated by marvels of magical obstruction and evasion.[33]
Rescue from Without[edit]
Just as the hero may need guides and assistants to set out on the quest, often they must have powerful guides and rescuers to bring them back to everyday life, especially if the person has been wounded or weakened by the experience. Campbell elucidates,
The hero may have to be brought back from his supernatural adventure by assistance from without. That is to say, the world may have to come and get him. For the bliss of the deep abode is not lightly abandoned in favor of the self-scattering of the wakened state. "Who having cast off the world," we read [in the Upanishads], "would desire to return again? He would be only there." And yet, in so far as one is alive, life will call. Society is jealous of those who remain away from it and will come knocking at the door. If the hero—like Muchukunda—is unwilling, the disturber suffers an ugly shock; but on the other hand, if the summoned one is only delayed—sealed in by the beatitude of the state of a perfect being (which resembles death)—an apparent rescue is effected, and the adventurer returns.[34]
The Crossing of the Return Threshold[edit]
Campbell says in The Hero with a Thousand Faces that "The returning hero, to complete his adventure, must survive the impact of the world."[35] The trick in returning is to retain the wisdom gained on the quest, to integrate that wisdom into human life, and then maybe figure out how to share the wisdom with the rest of the world. Earlier in the book, Campbell says,
Many failures attest to the difficulties of this life-affirmative threshold. The first problem of the returning hero is to accept as real, after an experience of the soul-satisfying vision of fulfillment, the passing joys and sorrows, banalities, and noisy obscenities of life. Why re-enter such a world? Why attempt to make plausible, or even interesting, to men and women consumed with passion, the experience of transcendental bliss? As dreams that were momentous by night may seem simply silly in the light of day, so the poet and the prophet can discover themselves playing the idiot before a jury of sober eyes. The easy thing is to commit the whole community to the devil and retire again into the heavenly rock-dwelling, close the door, and make it fast. But if some spiritual obstetrician has drawn the shimenawa across the retreat, then the work of representing eternity in time, and perceiving in time eternity, cannot be avoided.[36]
Master of the Two Worlds[edit]
For a human hero, it may mean achieving a balance between the material and spiritual. The person has become comfortable and competent in both the inner and outer worlds. Campbell demonstrates that
Freedom to pass back and forth across the world division, from the perspective of the apparitions of time to that of the causal deep and back—not contaminating the principles of the one with those of the other, yet permitting the mind to know the one by virtue of the other—is the talent of the master. The Cosmic Dancer, declares Nietzsche, does not rest heavily in a single spot, but gaily, lightly, turns and leaps from one position to another. It is possible to speak from only one point at a time, but that does not invalidate the insights of the rest.[37] The individual, through prolonged psychological disciplines, gives up completely all attachment to his personal limitations, idiosyncrasies, hopes, and fears no longer resist the self-annihilation that is a prerequisite to rebirth in the realization of truth, and so becomes ripe, at last, for the great at-one-moment. His personal ambitions being totally dissolved, he no longer tries to live but willingly relaxes to whatever may come to pass in him; he becomes, that is to say, anonymity.[38]
Freedom to Live[edit]
In this step, mastery leads to freedom from the fear of death, which in turn is the freedom to live. This is sometimes referred to as living in the moment, neither anticipating the future nor regretting the past. Campbell declares,
The hero is the champion of things becoming, not of things become, because he is. "Before Abraham was, I AM." He does not mistake apparent changelessness in time for the permanence of Being, nor is he fearful of the next moment (or of the "other thing"), as destroying the permanent with its change. [Quoting Ovid's Metamorphoses:] "Nothing retains its own form; but Nature, the greater renewer, ever makes up forms from forms. Be sure that nothing perishes in the whole universe; it does but vary and renew its form." Thus the next moment is permitted to come to pass.[39]
In popular culture and literature[edit]
The monomyth concept has been popular in American literary studies and writing guides since at least the 1970s. Christopher Vogler, a Hollywood film producer and writer, created a 7-page company memo, A Practical Guide to The Hero with a Thousand Faces,[40] based on Campbell's work. Vogler's memo was later developed into the late 1990s book, The Writer's Journey: Mythic Structure for Writers.
George Lucas's 1977 film Star Wars was classified as monomyth almost as soon as it came out.[41][42] In addition to the extensive discussion between Campbell and Bill Moyers broadcast in 1988 as The Power of Myth, Lucas gave an extensive interview in which he states that after completing American Graffiti, "it came to me that there really was no modern use of mythology... so that's when I started doing more strenuous research on fairy tales, folklore, and mythology, and I started reading Joe's books. ... It was very eerie because in reading The Hero with a Thousand Faces I began to realize that my first draft of Star Wars was following classical motifs".[43] Moyers and Lucas also met for a 1999 interview to further discuss the impact of Campbell's work on Lucas's films.[44] In addition, the National Air and Space Museum of the Smithsonian Institution sponsored an exhibit during the late 1990s called Star Wars: The Magic of Myth which discussed the ways in which Campbell's work shaped the Star Wars saga.[45]
Some film franchises like Harry Potter, The Lord of the Rings, The Matrix, The Hunger Games, and Spider-Man followed the same formula of the Hero's Journey.
Numerous literary works of popular fiction have been identified by various authors as examples of the monomyth template, including Spenser's The Faerie Queene,[46] Melville's Moby Dick,[47] Charlotte Brontë's Jane Eyre,[48] works by Charles Dickens, William Faulkner, Maugham, J. D. Salinger,[49] Ernest Hemingway,[50] Mark Twain,[51] W. B. Yeats,[52] C. S. Lewis,[53] J. R. R. Tolkien,[54] Seamus Heaney[55] and Stephen King,[56] among many others.
Feminist literature and female heroines within the monomyth[edit]
Jane Eyre[edit]
Charlotte Brontë's character Jane Eyre is an important figure in illustrating heroines and their place within the Hero's Journey. Charlotte Brontë sought to craft a unique female character that the term "Heroine" could fully encompass.[57] Jane Eyre is a Bildungsroman, a coming-of-age story common in Victorian fiction, also referred to as an apprenticeship novel, that shows moral and psychological development of the protagonist as they grow into adults.[57]
Jane, being a middle-class Victorian woman, would face entirely different obstacles and conflict than her male counterparts of this era such as Pip in Great Expectations. This would change the course of the Hero's Journey as Brontë was able to recognize the fundamental conflict that plagued women of this time (one main source of this conflict being women's relationship with power and wealth and often being distant from obtaining both).[58]
Charlotte Brontë takes Jane's character a step further by making her more passionate and outspoken than other Victorian women of this time. The abuse and psychological trauma Jane receives from the Reeds as a child cause her to develop two central goals for her to complete her heroine journey: a need to love and to be loved, and her need for liberty.[57] Jane accomplishes part of attaining liberty when she castigates Mrs. Reed for treating her poorly as a child, obtaining the freedom of her mind.
As Jane grows throughout the novel, she also becomes unwilling to sacrifice one of her goals for the other. When Rochester, the "temptress" in her journey, asks her to stay with him as his mistress, she refuses, as it would jeopardize the freedom she had struggled to obtain. She instead returns after Rochester's wife passes away, now free to marry him and able to achieve both of her goals and complete her role in the Hero's Journey.[57]
While the story ends with a marriage trope, Brontë has Jane return to Rochester after several chances to grow, allowing her to return as close to equals as possible while also having fleshed out her growth within the heroine's journey. Since Jane is able to marry Rochester as an equal and through her own means, this makes Jane one of the most satisfying and fulfilling heroines in literature and in the heroine's journey.
Psyche[edit]
The story Metamorphoses (also known as The Golden Ass) by Apuleius in 158 A.D. is one of the most enduring and retold myths involving the Hero's Journey.[59] The tale of Cupid and Psyche is a frame tale—a story within a story—and is one of the thirteen stories within "Metamorphoses." The use of the frame tale puts both the storyteller and reader into the novel as characters, which explores the main aspect of the hero's journey due to it being a process of tradition where literature is written and read.[59]
Cupid and Psyche's tale has become the most popular of Metamorphoses and has been retold many times with successful iterations dating as recently as 1956's Till We Have Faces by C.S. Lewis.[59] Much of the tale's captivation comes from the central heroine, Psyche. Psyche's place within the hero's journey is fascinating and complex as it revolves around her characteristics of being a beautiful woman and the conflict that arises from it. Psyche's beauty causes her to become ostracized from society because no male suitors will ask to marry her as they feel unworthy of her seemingly divine beauty and kind nature. Psyche's call to adventure is involuntary: her beauty enrages the goddess Venus, which results in Psyche being banished from her home.[59]
Part of what makes Psyche such a polarizing figure within the heroine's journey is her nature and ability to triumph over the unfair trials set upon her by Venus. Psyche is given four seemingly impossible tasks by Venus to get her husband Cupid back: the sorting of the seeds, the fleecing of the golden rams, collecting a crystal jar full of the water of death and retrieving a beauty creme from Hades.[59] The last task is considered to be one of the most monumental and memorable tasks ever to be taken on in the history of the heroine's journey due to its difficulty. Yet, Psyche is able to achieve each task and complete her ultimate goal of becoming an immortal goddess and moving to Mount Olympus to be with her husband Cupid for all eternity.
During the early 19th century, a Norwegian version of the Psyche myth was collected in Finnmark by Peter Christen Asbjørnsen and Jørgen Moe, who is still considered to be Norway's answer to the Brothers Grimm. It was published in their legendary anthology Norwegian Folktales. The fairy tale is titled "East o' the Sun and West o' the Moon".
Self-help movement and therapy[edit]
Poet Robert Bly, Michael J. Meade, and others involved in the men's movement have also applied and expanded the concepts of the hero's journey and the monomyth as a metaphor for personal spiritual, and psychological growth, particularly in the mythopoetic men's movement.[60][61]
Characteristic of the mythopoetic men's movement is a tendency to retell fairy tales and engage in their exegesis as a tool for personal insight. Using frequent references to archetypes as drawn from Jungian analytical psychology, the movement focuses on issues of gender role, gender identity and wellness for modern men.[61] Advocates would often engage in storytelling with music, these acts being seen as a modern extension to a form of "new age shamanism" popularized by Michael Harner at approximately the same time.[by whom?]
Among its most famous advocates were the poet Robert Bly, whose book Iron John: A Book About Men was a best-seller, being an exegesis of the fairy tale "Iron John" by the Brothers Grimm.[60]
The mythopoetic men's movement spawned a variety of groups and workshops, led by authors such as Bly and Robert L. Moore.[61] Some serious academic work came out of this movement, including the creation of various magazines and non-profit organizations.[60]
Academic reception and criticism[edit]
Campbell's approach to myth, a genre of folklore, has been the subject of criticism from folklorists, academics who specialize in folklore studies. American folklorist Barre Toelken notes that few psychologists have taken the time to become familiar with the complexities of folklore, and that, historically, Jung-influenced psychologists and authors have tended to build complex theories around single versions of a tale that supports a theory or a proposal. To illustrate his point, Toelken employs Clarissa Pinkola Estés's (1992) Women Who Run with the Wolves, citing its inaccurate representation of the folklore record, and Campbell's "monomyth" approach as another. Regarding Campbell, Toelken writes, "Campbell could construct a monomyth of the hero only by citing those stories that fit his preconceived mold, and leaving out equally valid stories... which did not fit the pattern". Toelken traces the influence of Campbell's monomyth theory into other then-contemporary popular works, such as Robert Bly's Iron John: A Book About Men (1990), which he says suffers from similar source selection bias.[62]
Similarly, American folklorist Alan Dundes is highly critical of both Campbell's approach to folklore, designating him as a "non-expert" and outlining various examples of source bias in Campbell's theories, as well as media representation of Campbell as an expert on the subject of myth in popular culture. Dundes writes, "Folklorists have had some success in publicising the results of our efforts in the past two centuries such that members of other disciplines have, after a minimum of reading, believe they are qualified to speak authoritatively of folkloristic matters. It seems that the world is full of self-proclaimed experts in folklore, and a few, such as Campbell, have been accepted as such by the general public (and public television, in the case of Campbell)". According to Dundes, "there is no single idea promulgated by amateurs that have done more harm to serious folklore study than the notion of archetype".[63]
According to Northup (2006), mainstream scholarship of comparative mythology since Campbell has moved away from "highly general and universal" categories in general.[64] This attitude is illustrated by Consentino (1998), who remarks "It is just as important to stress differences as similarities, to avoid creating a (Joseph) Campbell soup of myths that loses all local flavor."[65] Similarly, Ellwood (1999) stated "A tendency to think in generic terms of people, races ... is undoubtedly the profoundest flaw in mythological thinking."[66]
Others have found the categories Campbell works with so vague as to be meaningless and lacking the support required of scholarly argument: Crespi (1990), writing in response to Campbell's filmed presentation of his model, characterized it as "unsatisfying from a social science perspective. Campbell's ethnocentrism will raise objections, and his analytic level is so abstract and devoid of ethnographic context that myth loses the very meanings supposed to be embedded in the 'hero'."[67]
In a similar vein, American philosopher John Shelton Lawrence and American religious scholar Robert Jewett have discussed an "American Monomyth" in many of their books, The American Monomyth, The Myth of the American Superhero (2002), and Captain America and the Crusade Against Evil: The Dilemma of Zealous Nationalism (2003). They present this as an American reaction to the Campbellian monomyth. The "American Monomyth" storyline is: "A community in a harmonious paradise is threatened by evil; normal institutions fail to contend with this threat; a selfless superhero emerges to renounce temptations and carry out the redemptive task; aided by fate, his decisive victory restores the community to its paradisiacal condition; the superhero then recedes into obscurity."[68]
The monomyth has also been criticized for focusing on the masculine journey. The Heroine's Journey (1990)[69] by Maureen Murdock and From Girl to Goddess: The Heroine's Journey through Myth and Legend (2010), by Valerie Estelle Frankel, both set out what they consider the steps of the female hero's journey, which is different from Campbell's monomyth.[70] Likewise, The Virgin's Promise, by Kim Hudson, articulates an equivalent feminine journey, to parallel the masculine hero's journey, which concerns personal growth and "creative, spiritual, and sexual awakening" rather than an external quest.[71]
According to a 2014 interview between filmmaker Nicole L. Franklin and artist and comic book illustrator Alice Meichi Li, a hero's journey is "the journey of someone who has privilege. Regardless of the protagonist is male or female, a heroine does not start out with privilege." Being underprivileged, to Li, means that the heroine may not receive the same level of social support enjoyed by the hero in a traditional mythic cycle, and rather than return from her quest as both hero and mentor the heroine instead returns to a world in which she or he is still part of an oppressed demographic. Li adds, "They're not really bringing back an elixir. They're navigating our patriarchal society with unequal pay and inequalities. In the final chapter, they may end up on equal footing. But when you have oppressed groups, all you can hope for is to get half as far by working twice as hard."[72]
Science-fiction author David Brin in a 1999 Salon article criticized the monomyth template as supportive of "despotism and tyranny", indicating that he thinks modern popular fiction should strive to depart from it to support more progressive values.[73]
Mythology portal
Other mythology[edit]
Allegory of the Cave
Dying-and-rising deity
Ego death (Jungian psychology)
Gregory Nagy (professor of classics)
How to Kill a Dragon (1995)
The Myth of the Birth of the Hero (1909)
The Pilgrim's Progress (1678)
Vladimir Propp (Russian folklorist)
Narratology and writing instructions[edit]
Dan Harmon's story circle
Dramatic structure
The Seven Basic Plots
Vladimir Propp's Morphology of the Folk Tale
The Writer's Journey: Mythic Structure for Writers
Genres[edit]
Bildungsroman
Chivalric romance
Road movie
^ a b Singh, Manvir (July 2021). "The Sympathetic Plot, Its Psychological Origins, and Implications for the Evolution of Fiction". Emotion Review. 13 (3): 183–198. doi:10.1177/17540739211022824. ISSN 1754-0739. S2CID 235779612.
^ a b Segal, Robert; Raglan, Lord; Rank, Otto (1990). "Introduction: In Quest of the Hero". In Quest of the Hero. Princeton, N.J.: Princeton University Press. ISBN 0691020620.
^ Green, Thomas A. (1997). Folklore: An Encyclopedia of Beliefs, Customs, Tales, Music, and Art. ABC-CLIO. p. 165. ISBN 978-0-87436-986-1.
^ Lord Raglan. The Hero: A Study in Tradition, Myth and Drama by Lord Raglan, Dover Publications, 1936
^ Segal, Robert; Dundes, Alan; Raglan, Lord; Rank, Otto (1990). In Quest of the Hero. Princeton, N.J.: Princeton University Press. ISBN 0691020620.
^ Campbell, Joseph; Robinson, Henry Morton (1944). A Skeleton Key to Finnegans Wake. Archived from the original on July 11, 2017. Retrieved May 16, 2008.
^ Joseph Campbell, The Hero with a Thousand Faces. Princeton: Princeton University Press, 1949. p. 30, n35. "At the carry four with awlus plawshus, their happyass cloudious! And then and too the trivials! And their bivouac! And his monomyth! Ah ho! Say no more about it! I'm sorry!" James Joyce, Finnegans Wake. NY: Viking (1939) p. 581
^ Luhan, Mabel Dodge (1987) [1937]. "Foreword". Edge of Taos Desert: An Escape to Reality. Foreword by John Collier. p. viii. The myth is obviously related to what one might call the monomyth of paradise regained that has been articulated and transformed in a variety of ways since the early European explorations.
^ Ashe, Steven (2008). Qabalah of 50 Gates. p. 21. those aspects of legend that are symbolically equivalent within the folklore of different cultures
^ Clayton, J. Douglas, ed. (1989). Issues in Russian Literature Before 1917. p. 212. Dionysus, Ivanov's 'monomyth,' as Omry Ronen has put it, is the symbol of the symbol. One could also name Dionysus, the myth of the myth, the meta myth which signifies the very principle of mediation, [...]
^ Campbell 2003, p. xxi.
^ Campbell 1949, p. 23.
^ Lévi-Strauss gave the term "mytheme" wide circulation from the 1960s, in 1955 he used "gross constituent unit", in Lévi-Strauss, Claude (1955). "The Structural study of myth". Journal of American Folklore. 68 (270): 428–444. doi:10.2307/536768. ISSN 0021-8715. JSTOR 536768. OCLC 1782260. S2CID 46007391. reprinted as "The structural study of myth", Structural Anthropology, 1963:206-31; "the true constituent units of a myth are not the isolated relations but bundles of such relations" (Lévi-Strauss 1963:211). The term mytheme first appears in Lévi-Strauss's 1958 French version of the work.
^ Leeming, David Adams (1981). Mythology: The Voyage of the Hero. New York: Harper & Row. ISBN 9780060439422.
^ Campbell 2003.
^ Vogler 2007.
^ Campbell 2008, pp. 64, 67–68.
^ Campbell 2008, pp. 74, 77.
^ Jonah 1–3
^ Betts, John (January 19, 2013). "The Belly of the Whale | Jungian Analysis". Jungian Psychoanalysis. Retrieved October 25, 2019.
^ Campbell 2008, pp. 101–2.
^ Campbell 2008, p. 110.
^ Campbell 2008, pp. 178–79.
^ The Writer's Journey Archived June 12, 2017, at the Wayback Machine accessed March 26, 2011
^ Andrew Gordon, 'Star Wars: A Myth for Our Time', Literature/Film Quarterly 6.4 (Fall 1978): 314–26.
^ Matthew Kapell, John Shelton Lawrence, Finding the Force of the Star Wars Franchise: Fans, Merchandise, & Critics, Peter Lang (2006), p. 5.
^ Joseph Campbell: A Fire in the Mind, Larsen and Larsen, 2002, pp. 541–43.
^ "The Mythology of Star Wars with George Lucas and Bill Moyers". Films Media Group. Retrieved May 24, 2020.
^ "Star Wars @ NASM, Unit 1, Introduction". National Air and Space Museum. Smithsonian Institution. November 22, 1997.
^ Edmund Spenser's Faerie Queene and the Monomyth of Joseph Campbell: Essays in Interpretation, E. Mellen Press, 2000.
^ Khalid Mohamed Abdullah, Ishmael's Sea Journey and the Monomyth Archetypal Theory in Melville's "Moby-Dick", California State University, Dominguez Hills, 2008.
^ Justin Edward Erickson, A Heroine's Journey: The Feminine Monomyth in Jane Eyre (2012).
^ Leslie Ross, Manifestations of the Monomyth in Fiction: Dickens, Faulkner, Maugham, and Salinger, University of South Dakota, 1992.
^ John James Bajger, The Hemingway Hero and the Monomyth: An Examination of the Hero Quest Myth in the Nick Adams Stories, Florida Atlantic University, 2003.
^ Brian Claude McKinney, The Monomyth and Mark Twain's Novels, San Francisco State College, 1967.
^ William Edward McMillan, The Monomyth in W.B. Yeats' Cuchulain Play Cycle, the University of Illinois at Chicago Circle, 1979.
^ Stephanie L. Phillips, Ransom's Journey as a Monomyth Hero in C.S. Lewis' Out of the Silent Planet, Perelandra, and That Hideous Strength, Hardin-Simmons University, 2006.
^ Paul McCord, The Monomyth Hero in Tolkien's The Lord of the Rings, 1977.
^ Henry Hart, Seamus Heaney, Poet of Contrary Progressions, Syracuse University Press (1993), p. 165.
^ [1], Stephen King's "The Dark Tower": a modern myth University essay from Luleå tekniska Universitet/Språk och kultur Author: Henrik Fåhraeus; [2008].
^ a b c d Bloom, Harold; Hobby, Blake (2009). The Hero's Journey (Bloom's Literary Themes). New York: Bloom's Literary Criticism. pp. 85–95. ISBN 9780791098035.
^ Asienberg, Nadya (1994). Ordinary heroines: transforming the male myth. New York: Continuum. p. 26-27. ISBN 0826406521.
^ a b c d e Smith 1997.
^ a b c Boston Globe accessed November 3, 2009
^ a b c Use by Bly of Campbell's monomyth work accessed November 3, 2009
^ Toelken 1996, p. 413.
^ Dundes 2016, pp. 16–18, 25.
^ Northup 2006, p. 8.
^ "African Oral Narrative Traditions" in Foley, John Miles, ed., "Teaching Oral Traditions." NY: Modern Language Association, 1998, p. 183
^ Ellwood, Robert, "The Politics of Myth: A Study of C.G. Jung, Mircea Eliade, and Joseph Campbell", SUNY Press, September 1999. Cf. p.x
^ Crespi, Muriel (1990). "Film Reviews". American Anthropologist. 92 (4): 1104. doi:10.1525/aa.1990.92.4.02a01020.
^ Jewett, Robert and John Shelton Lawrence (1977) The American Monomyth. New York: Doubleday.
^ Murdock, Maureen (June 23, 1990). The Heroine's Journey: Woman's Quest for Wholeness. Shambhala Publications. ISBN 9780834828346.
^ Valerie Estelle Frankel (October 19, 2010). From Girl to Goddess: The Heroine's Journey through Myth and Legend. McFarland. p. 5. ISBN 978-0-7864-5789-2.
^ Hudson, Kim (2010). The Virgin's Promise: Writing Stories of Feminine Creative, Spiritual, and Sexual Awakening. Michael Wiese Productions. p. 2010. ISBN 978-1-932907-72-8.
^ "Nicole Franklin, Author at The Good Men Project". The Good Men Project. Retrieved September 18, 2019.
^ Brin, David (June 16, 1999). ""Star Wars" despots vs. "Star Trek" populists". Salon. By offering valuable insights into this revered storytelling tradition, Joseph Campbell did indeed shed light on common spiritual traits that seem shared by all human beings. And I'll be the first to admit it's a superb formula — one that I've used at times in my own stories and novels. [...] It is essential to understand the radical departure taken by genuine science fiction, which comes from a diametrically opposite literary tradition — a new kind of storytelling that often rebels against those very same archetypes Campbell venerated. An upstart belief in progress, egalitarianism, positive-sum games — and the slim but real possibility of decent human institutions.
Campbell, Joseph (1949). The Hero with a Thousand Faces (1st ed.). Princeton, NJ: Princeton University Press. ISBN 9780691097435. (2nd ed. 1968).
Campbell, Joseph (2008). The Hero with a Thousand Faces (3rd ed.). Novato, CA: New World Library. ISBN 9781577315933.
Campbell, Joseph (2003) [1990]. Cousineau, Phil (ed.). The Hero's Journey: Joseph Campbell on His Life and Work. The Collected Works of Joseph Campbell. Introduction by Phil Cousineau, foreword by Stuart L. Brown. Novato, CA: New World Library. ISBN 978-1-60868-189-1. OCLC 52133247.
Dundes, Alan (2016). "Folkloristics in the Twenty-First Century". In Haring, Lee (ed.). Grand Theory in Folkloristics. Indiana University Press. ISBN 9780253024428.
Northup, Lesley (2006). "Myth-Placed Priorities: Religion and the Study of Myth". Religious Studies Review. 32 (1): 5–10. doi:10.1111/j.1748-0922.2006.00018.x.
Smith, Evan (1997). The Hero Journey In Literature: Parables of Poesis. Lanham: University Press of America. ISBN 9780761805083.
Toelken, Barre (1996). The Dynamics of Folklore. Utah State University Press. ISBN 978-1-45718071-2.
Vogler, Christopher (2007) [1998]. The Writer's Journey: Mythic Structure For Writers. Studio City, CA: Michael Wiese Productions.
Laureline, Amanieux (2011). Ce héros qui est en chacun de nous (in French). Albin Michel.
MacKey-Kallis, Susan (2001). The Hero and the Perennial Journey Home in American Film. University of Pennsylvania Press. ISBN 0-8122-1768-3.
Moyers, Bill; Flowers, Betty Sue, eds. (1988). The Power of Myth.
Rebillot, Paul (2017). The Hero's Journey: A Call to Adventure. Eagle Books, Germany. ISBN 978-3-946136-00-2.
Voytilla, Stuart; Vogler, Christopher (1999). Myth & the Movies: Discovering the Myth Structure of 50 Unforgettable Films. Studio City, CA: Michael Wiese Productions. ISBN 0-941188-66-3.
Office of Resources for International and Area Studies. "Monomyth Home". History Through Literature Project. University of California, Berkeley. Archived from the original on January 18, 2010.
The Romantic Appeal of Joseph Campbell
A Skeleton Key to Finnegans Wake (1944)
The Hero with a Thousand Faces (1949)
Creative Mythology (1968)
The Flight of the Wild Gander (1968)
Myths to Live By (1972)
Historical Atlas of World Mythology (1983–1989)
The Inner Reaches of Outer Space (1986)
The Power of Myth (1988)
The Hero's Journey (1990)
Thou Art That (2001)
Video/DVDs
Mythos (1997/1998/2011)
Joseph Campbell Foundation
Jean Erdman
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Home > Products > SOLID SPACE : SPACE MUSEUM [Dark Entries]
SOLID SPACE : SPACE MUSEUM [Dark Entries]
New Wave Synth Pop
Catalogue : Dark Entries / DE-190
Country : US
Genre : Wave, Synth Pop
First ever official vinyl reissue of Space Museum by Solid Space. Solid Space was the British duo of Dan Goldstein (keyboards, vocals) and Matthew 'Maf' Vosburgh (guitar, bass, keyboards, vocals) formed in 1980. Dan and Matthew met at the age of 11 while attending school in north London. In late 1978 at at the age of 14, they formed Exhibit 'A' with Paul "Platypus" and Andrew "Lunchbox" Bynghall. They recorded two EPs in 1979 and 1980, self-released on Irrelevant Wombat Records and appeared on 'The Thing From The Crypt' compilation. After the dissolution of the group, Mathew started taking his guitar over to Dan's house where he'd play his Casio MT-30 and they would record songs. Eventually a second hand drum machine and Wasp synthesizer were acquired from classified ads in Melody Maker and the Solid Space sound was born. By this time they were just turning 18 and finally found the freedom to make the music they'd had in their heads.
Over the course of the next two years the band assembled eleven bedroom recordings that would become one of the most cherished DIY obscurities of its kind. Their debut album 'Space Museum' was released in 1982 on cassette by In Phaze Records. All of the songs were mixed by label boss Pat Bermingham on 8-track tape at The Shed, in Ilford, which was literally a garden shed. The band's music and lyrics were heavily indebted to science fiction, in particular the 1960s television series Doctor Who. 'Space Museum' is an unveiling of atmospheric, minimalist post punk supported by bright melodies. The music combines drum machines and synths with acoustic guitar and toy drums whilst also experimenting with samples between tracks. Lyrics deal with space travel and a general sense of dejection. Representing a bubbling spirit within the underground, they foreshadowed an entire world of independent music which would emerge across the 80's and well into the 90's. For this reissue we've included two bonus tracks from the band's archive, "Platform 6" originally released on the B-side of the second single by Exhibit 'A', this song features only Dan and Matthew and is the first Solid Space track ever recorded. "Tutti Lo Sanno" is a cover of In Phaze label mates Marine Girls, though the lyrics have been changed to suit the gender of the new singer.