This past week I brought my oldest granddaughter with me to volunteer as a food-packer at Feed My Starving Children (FMSC), an organization committed to feeding the hungry in places as disparate as Belarus, Mexico, Niger and North Korea.
[...]We heard the story of a 14-year-old girl who came to an orphanage and was first thought to be pregnant. A medical examination revealed a stomach full of pebbles she had eaten, to try to alleviate her hunger pains. After surgery, and getting on the FMSC food program, her life was saved—and just in time.
FMSC was founded by a Minnesota businessman who, in 1987, after making a humanitarian trip to Honduras, felt called by God to organize a Christian non-profit aimed at feeding the seriously malnourished, starving children of the world. He contacted food scientists to develop a formula of rice, soy, dehydrated vegetables, and a highly enriched vitamin and mineral vegetarian chicken-flavored mix that was more easily digested by children who were at the brink of death from starvation.
Each of the “MannaPacks” we assemble contains six cups—one cup per serving; one meal a day. It’s not much but for these children it is enough to turn their health around and save their lives. The food is greatly enhanced with nutrients in order to make that difference, even for one meal a day.
One meal a day, one cup of food; this organization makes that one meal count, and it’s saving lives. I’m so glad Marcia has brought it to our attention. You’ll want to read the whole thing.
If you’re thinking of going to the movies, this weekend, to see Emilio Estevez’ The Way (and it certainly seems well-worth seeing) you will be interested in Joseph Susanka’s exclusive interview with composer Tyler Bates (who also scored The 300) and what effects he was looking for in a tale of a troubled man’s pilgrimage in Spain.
The Way is purely about emotion. The essence of the score lies somewhere between traditional score and music that belongs to Tom’s journey, imbued with the nature of the geographical location. The most distilled answer is that the score is intended to address emotion on a core level. The themes are apparent but not refined like a typical score. Emilio really wanted guitar to be the central component to the music. He wanted all of the imperfections and artifacts that are more apparent in a street musician’s performance as opposed to the pristine quality of a studio musician’s performance. That was a boon of sorts because my guitar chops have suffered over the years of being a film composer.
And speaking of trouble, and men…and women…Katrina Fernandez takes another look at the trouble between men and women and the whole Girls Rule, Boys Drool mindset that shows no sign of snapping out of it:
I have watched my son’s teachers try to stamp out natural, instinctive masculinity from the playground and classroom. I’ve witnessed mothers and coaches attempting to quell competiveness from sports, and boys—our poor boys—are labeled as “aggressive” simply for rough-horsing; they’re fed drugs to tame their natural inclinations.
She’s on to something. As As DaTechGuy notes, on MSNBC this morning, Mika Brzezinski said, “Women don’t need men except to laugh at.”
We’re sort of being trained to think that way, aren’t we?