Boxer Hector 'Macho' Camacho dies days after being shot in head

Hector “Macho” Camacho, a former three-division boxing champion who had 88 professional fights against a who’s who of legendary opponents stretching from Ray Mancini (whom he defeated in 1989) to Oscar De La Hoya (who beat him by decision in 1997), has died. He was 50.

Camacho was pronounced dead Saturday after being shot in the head four days earlier while seated in a car outside a bar in Bayamon, Puerto Rico. Camacho’s condition deteriorated before his family opted to take him off life support.

Another man in the car, who had nine bags of cocaine in his possession, was also shot and immediately declared dead, according to the Associated Press.

PHOTOS: Hector “Macho” Camacho

Camacho, known for wearing outlandish trunks ranging from a leopard loin cloth to others adorned with lights or tassels, well understood the importance of selling a fight and employing some mental warfare.

Before fighting Mancini, he said, “I never did nothing to the character. How can he dislike a good-looking guy like me? It's jealousy. He can't even be in the same room with me because he knows he can't beat me mouth-to-mouth.”

The late Times columnist Jim Murray assessed the crowd-pleasing disparity between De La Hoya and Camacho like this:

“Oscar was winning a gold medal for his country, Macho was stealing one for himself. Oscar plays golf, Macho plays craps. He was a hyperactive child, and he's a hyperactive adult.

“He has a positive flair for rubbing people the wrong way, doing exactly what nobody wants. For instance, in his last fight, he committed the unpardonable sin of beating up Sugar Ray Leonard, no less. That's about as endearing to the public as burning the flag.”

Camacho’s theatrics were combined with an admirable desire to take on the best opponents possible. He faced the likes of Freddie Roach, Cornelius Boza Edwards, Rafael “Bazooka” Limon, Felix Trinidad, Roberto Duran and Julio Cesar Chavez Sr. His overall record was 79-6-3.

Camacho was born in Bayamon on May 24, 1962, and moved to New York City with his family. His career launched after he admitted to stealing cars in Spanish Harlem as a youth, with one transgression forcing him to jail in Rikers Island, N.Y. There, he boxed other inmates and was so good, one asked a question that stuck with him: “What are you doing here?”

“When he was young, you couldn’t hit him, that’s why he won his first 50 fights,” veteran boxing publicist Bill Caplan said.

The success emboldened his flair for flamboyance, as former Times boxing writer Richard Hoffer captured in a 1985 story:

“His style of dress … is outlandish enough to make Liberace look reserved. He wears enough jewelry to make Mr. T look like a man who only dabbles in accessories. It must be great fun to watch Camacho walk through a metal detector.”

When Camacho suffered his first loss in a 1991 World Boxing Organization lightweight title bout against Greg Haugen at Caesars Palace in Las Vegas, his personable nature shined.

“You’d think the guy would be devastated, but 15 minutes after the loss, he was back in press row for the second fight of the HBO doubleheader, shaking everyone’s hands,” Caplan said. “Just a happy-go-lucky guy who loved people.”

The flash wasn’t a mask to toughness. He was never knocked out.

Camacho’s grit was unmistakable to anyone who observed his 1992 beating in front of a sold-out Las Vegas fight crowd at the hands of Chavez Sr., Mexico’s greatest fighter who was at his peak when he pummeled Camacho with body shots en route to a unanimous decision.

De La Hoya knew the importance of beating up and knocking down Camacho in their 1997 bout:

“Listen, Chavez … and Felix Trinidad couldn't knock him out or drop him,” De La Hoya said afterward. “At least I dropped him.”

Camacho’s love of the sport was evident both in his desire to entertain beyond fisticuffs and instances such as his 1995 fight in the Olympic Auditorium in Los Angeles.

There, recalled promoter Don Chargin, main-event fighter Camacho showing up with his hands wrapped, in a robe and colorful trunks to sit alongside off-night fighters and managers in complimentary seats to watch preliminary matches 90 minutes before his own bout against Tony Rodriguez.

“He just wanted to be with people,” Caplan said.

Camacho’s son, Hector Camacho Jr., is a middleweight boxer with a 54-5-1 record who most recently fought in July.

lance.pugmire@latimes.com

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How One <em>Myst</em> Fan Made Himself a Real-Life Linking Book

The classic PC game Myst was known for drawing people in to its massive, surreal world. But maker Mike Ando took a little piece of that world and drew it into ours. He made a lovingly authentic replica of the Linking Book that helps the main character — you — navigate the world.

Myst was a ground-breaking point-and-click adventure game created by Cyan Worlds, made of hundreds of beautifully rendered scenes whose combined size made the game so big that it needed a CD-ROM to play, back when many computers didn’t have them. It was the first breakout hit in PC gaming and from its release in 1993 it held the title of best-selling PC game until 2002 when The Sims surpassed it.

The game spawned four sequels, along with novels, music, and an MMO that is still online and being powered by donations from the fan base. The games have been widely ported and the game — once so huge that you needed special hardware to run it — is now available for download on iOS (among other places). In other words, it’s a pretty big deal.

At the core of Myst’s story was a mystical technology called Linking Books that pulled players into other realms, called Ages. They were these beautiful old tomes that, when opened, showed an animated preview of the Age to which you’d be linked.

“Ever since I first played the game, I always wanted my own linking book,” says Ando, “Of course, there was no way my old bulky 486 would fit within a book, but as time marched on technology advanced and computers became smaller. Eventually technology caught up and it was possible to shrink everything down to fit inside the book.”

Ando says his drive to make this project began six years ago when he learned where Cyan got the texture reference for the books — Harper’s New Monthly Magazine, Volume LIV, Issue 312, December 1876 to May 1877. “My mind hatched all sorts of plans about what I’d do once I had the book,” he says, “and finally I decided to set the bar as high as I could — all the Myst games, all playable, and playable well, even the 3-D ones at 30fps.”

To do this, Ando needed to perform two main feats. First, he needed to find the parts to make a computer that would fit in an extremely limited space. Then, he needed to restore the antique book, customize it to look like the ones from Myst, and gut it to make room for the compact computer that would power the game.

“Research was the main skill involved,” says Ando, “I spent hundreds of hours, literally, trying to find suitable components to meet all my requirements.”

To build the tiny computer that powers the Linking Book, Ando needed to find a X86 board that could fit inside. Most mobile devices run on ARM, but Ando wanted to run the original releases of each game, so porting wouldn’t do. It had to be X86.

“To give you an idea of how uncommon it is to shrink an X86 computer down this small,” he says, “the smallest X86 computer made by Apple, the Mac Mini, is 17 cm — this book is only 12 cm, plus I had to squeeze in my own power source and screen.”

The parts that made up the computer came from specialist vendors that ordinarily sell to aerospace and other niche enterprise customers. Ando ended up ordering a mixture of store-bought parts, and custom PCB layouts, soldering the whole thing together and switching out components between a bunch of boards to get the most efficient versions. He says he designed the touchscreen controller himself.

And as for the touchscreen itself? At one point in his search, he found himself talking to a vendor in China to arrange for a custom design. “His English skills were so poor I suggested we talk in Chinese and I used Google Translate, so I guess you could add that to my skills,” he says. “I suspect he just found one already to size and charged me as if they made it. If so, good for him — I couldn’t find one anywhere.”

For restoration and preparation of the book, Ando turned to Ian Bates, the president of the Australian Bookbinding Association. Bates handled the restoration of the cover, along with cutting the pages and embossing the book with the Myst logotype (but only after Ando had picked which of the several versions of the Myst font they should use).

If you find yourself gasping in horror at the idea that a book restorer would destroy a beautiful old book for a strange electronics project, Ando wants to assure you that nothing of value was lost. “The book I used is basically a cross between a Reader’s Digest & a gossip magazine and many of the articles are incomplete,” he says, “Today, books like this are sold to interior designers literally by the meter without any care given to their contents, author or title. Their main value rests on the aesthetics of their spine.”

Photos courtesy of Mike Ando.

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China’s ‘Beijing Blues’ wins at Taiwan film fest

TAIPEI, Taiwan (AP) — China‘s “Beijing Blues” has won the best film award at Taiwan’s Golden Horse Film Festival, an event considered the Chinese-language Oscars. Hong Kong‘s Johnnie To is taking home the best director’s award

“Beijing Blues” portrays the lives of the ordinary urban dwellers through the work of a squad of plainclothes crime-hunters.

At Saturday’s ceremony, To won the award for directing “Life Without Principle,” a movie about ordinary citizens’ struggles in hard economic times.

The film has also won veteran Hong Kong actor Lau Ching Wan the best actor’s award. Lau portrays a triad thug seeking to recover money lost in a loan shark scheme.

Taiwan’s Gwei Lun-mei won the best actress award for portraying a woman involved in a romantic triangle in “GF-BF” or “Girlfriend-Boyfriend.”

Entertainment News Headlines – Yahoo! News

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Scientists See Advances in Deep Learning, a Part of Artificial Intelligence

Hao Zhang/The New York Times

A voice recognition program translated a speech given by Richard F. Rashid, Microsoft’s top scientist, into Mandarin Chinese.

Using an artificial intelligence technique inspired by theories about how the brain recognizes patterns, technology companies are reporting startling gains in fields as diverse as computer vision, speech recognition and the identification of promising new molecules for designing drugs.

The advances have led to widespread enthusiasm among researchers who design software to perform human activities like seeing, listening and thinking. They offer the promise of machines that converse with humans and perform tasks like driving cars and working in factories, raising the specter of automated robots that could replace human workers.

The technology, called deep learning, has already been put to use in services like Apple’s Siri virtual personal assistant, which is based on Nuance Communications’ speech recognition service, and in Google’s Street View, which uses machine vision to identify specific addresses.

But what is new in recent months is the growing speed and accuracy of deep-learning programs, often called artificial neural networks or just “neural nets” for their resemblance to the neural connections in the brain.

“There has been a number of stunning new results with deep-learning methods,” said Yann LeCun, a computer scientist at New York University who did pioneering research in handwriting recognition at Bell Laboratories. “The kind of jump we are seeing in the accuracy of these systems is very rare indeed.”

Artificial intelligence researchers are acutely aware of the dangers of being overly optimistic. Their field has long been plagued by outbursts of misplaced enthusiasm followed by equally striking declines.

In the 1960s, some computer scientists believed that a workable artificial intelligence system was just 10 years away. In the 1980s, a wave of commercial start-ups collapsed, leading to what some people called the “A.I. winter.”

But recent achievements have impressed a wide spectrum of computer experts. In October, for example, a team of graduate students studying with the University of Toronto computer scientist Geoffrey E. Hinton won the top prize in a contest sponsored by Merck to design software to help find molecules that might lead to new drugs.

From a data set describing the chemical structure of 15 different molecules, they used deep-learning software to determine which molecule was most likely to be an effective drug agent.

The achievement was particularly impressive because the team decided to enter the contest at the last minute and designed its software with no specific knowledge about how the molecules bind to their targets. The students were also working with a relatively small set of data; neural nets typically perform well only with very large ones.

“This is a really breathtaking result because it is the first time that deep learning won, and more significantly it won on a data set that it wouldn’t have been expected to win at,” said Anthony Goldbloom, chief executive and founder of Kaggle, a company that organizes data science competitions, including the Merck contest.

Advances in pattern recognition hold implications not just for drug development but for an array of applications, including marketing and law enforcement. With greater accuracy, for example, marketers can comb large databases of consumer behavior to get more precise information on buying habits. And improvements in facial recognition are likely to make surveillance technology cheaper and more commonplace.

Artificial neural networks, an idea going back to the 1950s, seek to mimic the way the brain absorbs information and learns from it. In recent decades, Dr. Hinton, 64 (a great-great-grandson of the 19th-century mathematician George Boole, whose work in logic is the foundation for modern digital computers), has pioneered powerful new techniques for helping the artificial networks recognize patterns.

Modern artificial neural networks are composed of an array of software components, divided into inputs, hidden layers and outputs. The arrays can be “trained” by repeated exposures to recognize patterns like images or sounds.

These techniques, aided by the growing speed and power of modern computers, have led to rapid improvements in speech recognition, drug discovery and computer vision.

Deep-learning systems have recently outperformed humans in certain limited recognition tests.

Last year, for example, a program created by scientists at the Swiss A. I. Lab at the University of Lugano won a pattern recognition contest by outperforming both competing software systems and a human expert in identifying images in a database of German traffic signs.

The winning program accurately identified 99.46 percent of the images in a set of 50,000; the top score in a group of 32 human participants was 99.22 percent, and the average for the humans was 98.84 percent.

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New Zealand Wants a Hollywood Put on Its Map

WELLINGTON, New Zealand — Standing by his desk in New Zealand’s distinctive round Parliament building, known locally as the Beehive, Prime Minister John Key proudly brandished an ornately engraved sword. It was used, he said, by Frodo Baggins, the protagonist of the “Lord of the Rings” trilogy, and in the films it possesses magical powers that cause it to glow blue in the presence of goblins.

“This was given to me by the president of the United States,” said Mr. Key, marveling that President Obama’s official gift to New Zealand was, after all, a New Zealand product.

In Mr. Key’s spare blond-wood office — with no goblins in sight — the sword looked decidedly unmagical. But it served as a reminder that in New Zealand, the business of running a country goes hand in hand with the business of making movies.

For better or worse, Mr. Key’s government has taken extreme measures that have linked its fortunes to some of Hollywood’s biggest pictures, making this country of 4.4 million people, slightly more than the city of Los Angeles, a grand experiment in the fusion of film and government.

That union has been on enthusiastic display here in recent weeks as “The Hobbit: An Unexpected Journey,” the first of three related movies by the director Peter Jackson, approached its world premiere on Wednesday in Wellington (and on Dec. 14 in the United States). Anticipation in New Zealand has been building, and there are signs everywhere of the film’s integration into Kiwi life — from the giant replica of the movie’s Gollum creature suspended over the waiting area at Wellington Airport to the gift shops that are expanding to meet anticipated demand for Hobbit merchandise (elf ears, $14).

But the path to this moment has been filled with controversy. Two years ago, when a dispute with unions threatened to derail the “Hobbit” movies — endangering several thousand jobs and a commitment of some $500 million by Warner Brothers — Mr. Key persuaded the Parliament to rewrite its national labor laws.

It was a breathtaking solution, even in a world accustomed to generous public support of movie projects, and a substantial incentive package was included: the government agreed to contribute $99 million in production costs and add $10 million to the studio’s marketing budget. And its tourism office will spend about $8 million in its current fiscal year, and probably more in the future, as part of a promotional campaign with Time Warner that is marketing the country as a film-friendly fantasyland.

For a tiny nation like New Zealand, where plans to cut $35 million from the education budget set off national outrage earlier this year (and a backtrack from the government), the “Hobbit” concessions were difficult for many to swallow, especially since the country had already provided some $150 million in support for the three “Lord of the Rings” movies.

Now, even amid the excitement of the “Hobbit” opening, skepticism about the government’s film-centric strategy remains. And recently it has become entangled with new suspicions: that Mr. Key’s government is taking cues from America’s powerful film industry in handling a request by United States officials for the extradition of Kim Dotcom, the mogul whose given name was Kim Schmitz, so he can face charges of pirating copyrighted material.

New Zealand’s political scene erupted in September, as Mr. Key publicly apologized to Mr. Dotcom for what turned out to be illegal spying on him by the country’s Government Communications Security Bureau. The Waikato Times, a provincial paper, taunted Mr. Key, accusing him of making New Zealand the “51st state,” while others suggested that a whirlwind trip by Mr. Key to Los Angeles in early October was somehow tied to the Dotcom case.

“No studio executive raised it with me,” Mr. Key said in an interview last month. He spoke the day after a private dinner where he lobbied executives from Disney, Warner Brothers, Fox and other companies for still more New Zealand film work, with Mr. Jackson, a New Zealander, joining by video link.

Mr. Key has been sharply criticized for cozying up to Mr. Jackson in what some consider unseemly ways. Last year, a month before elections in which he and his National Party were fighting to keep control of the government, Mr. Key skipped an appointment with Queen Elizabeth II in Australia to visit the Hobbiton set. He also interviewed Mr. Jackson on a radio show, prompting an outcry from the opposition.

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The Lede Blog: Vignettes of Black Friday

With promotions, discounts and doorbusters already well under way on Thanksgiving Day itself, many big-box retailers are making Black Friday stretch longer than ever. The Lede is checking out the mood of American consumers in occasional vignettes Thursday and Friday as the economically critical holiday shopping season kicks off.

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Post-Sandy, Macy's Thanksgiving parade is balm for the N.Y. soul

When Sandy slammed the East Coast, the Macy's Thanksgiving Day Parade balloons, floats and costumes were spared from the devastation. And Thursday morning, New Yorkers' mood elevated along with the traditional helium-filled balloons as the parade kicked off, just as it had for more than eight decades.

The sun was shining and the atmosphere reportedly was festive as the 86th annual event got started at 9 a.m. Eastern. The temperature was 47 degrees -- nothing a New Yorker couldn't handle -- and, according to the Associated Press, attendees were in a parade mood, marveling at the giant balloons, performers and marching bands.

Some had camped out for a good spot, cozy in sleeping bags.

PHOTOS: Macy's Day parade balloons and more

Among celebrities set for the parade: Kareem Abdul-Jabbar, Big Apple Circus, Flo Rida, Whoopi Goldberg, the Muppets and the cast of "Sesame Street." (If you're wondering whether Elmo will make an appearance amid the sex scandal surrounding puppeteer Kevin Clash, the character will reportedly be part of a "Sesame Street" float.)

New balloons set for this year were Hello Kitty, Elf on the Shelf and Papa Smurf -- as well as an unusual character known as KAWS' Companion. The black and gray figure that covers its face with its hands is by artist and former tagger Brian Donnelly, whose artistic alias is KAWS. The figure spurred a lot of stares in 2011 when it was installed at New York's Standard Hotel (pictures).

New York Mayor Michael Bloomberg stopped at the parade, according to the AP, where he praised those involved in the Sandy storm response, including police, firefighters, the armed services, volunteers and sanitation workers. He was then set to head to a firehouse in the Rockaways area of Queens, which was hit hard by the storm. 

The mayor's office, along with other organizations, were preparing Thursday to distribute 26,500 holiday meals in neighborhoods affected by Sandy.

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'John Doe Duffel Bag' arrested

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Before the iPad, There Was the Honeywell Kitchen Computer

In the winter of 1969, the Neiman Marcus Christmas catalog offered to computerize your kitchen.

Cooking up a gourmet holiday meal will be a snap, the department store promised. Push a few buttons, and — presto! — a shiny orange-red, white, and black machine will compute the perfect five-course meal. No more silly culinary errors. The days of your wife slaving away in her Chanel apron will vanish into memory, and all those blinking lights will add to your holiday cheer.

All you needed was space for this 100-pound machine. And about $10,000. And a teletype. And a paper tape reader. And some serious engineering skills.

Needless to say, Neiman Marcus’ male-topian fantasy never materialized. The department store didn’t sell a single Honeywell Kitchen Computer, and it may never have intended to. The ad was no more than a publicity stunt, just like the stores ads for your very own Noah’s Ark and His-and-Hers airplanes in Christmas catalogs past.

The computer did exist. It was based on one of the Series 16 minicomputers from Honeywell, an early computer maker that would later help power the Arpanet, the forerunner to the modern internet. It’s just that this machine didn’t quite live up to the image of the modern computer that so often turned up in the popular imagination in the late ’60s and ’70s. It’s a bit like the talking Honeywell that turned up two years earlier in the Michael Caine spy flick The Billion Dollar Brain.

The Neiman Marcus ad was “a brilliant idea” and “wonderful publicity,” says Gardner Hendrie, who served as program manager for the Honeywell machine at the heart of the Kitchen Computer and is now a trustee of the Computer History Museum in Mountain View, California. “But I thought the packaging was probably a waste of time and wouldn’t sell.”

The Honeywell Kitchen Computer was really a 16-bit business machine called the H316 minicomputer. The H316 was available as a table-top machine or a machine you could mount on a rack, but Kitchen Computer was based on a version that was shoehorned into a futuristic, Jetsons-like pedestal. People did actually buy this machine, but not very many people.

“I don’t think it was a very popular style. Ninety-five percent of people wanted to build it into a [larger] system…. They were sticking them in racks,” says Dag Spicer, curator of the Computer History Museum, which is home to the only Kitchen Computer in existence. “The people buying these are engineers. They don’t care what it looks like.”

What they cared about were machines that could manage industrial, military, aerospace, research, and scientific projects — not sleek ines and a built-in writing desk. They wanted a minicomputer that could connect to a teletype and a paper tape reader.

An engineer would type a program in human-readable form, and the teletype would spit out the program on paper tape, translating the code into a series of punched holes and spaces. The paper tape reader could then read the holes and spaces as ones and zeros. The paper tape was “like a floppy disk, circa 1960. It’s a personal means of data storage,” Spicer says.

Without a teletype, a programmer would need to enter software into the Honeywell using the 16 buttons on the front panel, each of which corresponds to a bit. A pressed button represented a one, and un-pushed button signaled a zero. “The chances that you would get a program right doing it one bit at a time like that were so low,” Spicer said. “The first peripheral people bought for [the Honeywell] was a teletype so they could speak to it.”

Now try to imagine all that in late 1960s kitchen. A full H316 system wouldn’t have fit in most kitchens, says design historian Paul Atkinson of Britain’s Sheffield Halam University. Plus, it would have looked entirely out of place. The thought that an average person, like a housewife, could have used it to streamline chores like cooking or bookkeeping was ridiculous, even if she aced the two-week programming course included in the $10,600 price tag.

If the lady of the house wanted to build her family’s dinner around broccoli, she’d have to code in the green veggie as 0001101000. The kitchen computer would then suggest foods to pair with broccoli from its database by “speaking” its recommendations as a series of flashing lights. Think of a primitive version of KITT, without the sexy voice.

“What that means is you have to be able to decode the lights in your brain,” says Spicer of the Computer History Museum. Or at least remember the pattern and look up what it meant. At that rate, dinner might be ready next week. “The reason this is such a joke, a gag item, was that there was no real human-readable I/O [input/output] for it.”

It may not have worked in a practical sense, but at least it got people thinking about computers as consumer products. The concept of kitchen and home computers had already been circulating in popular culture by the time Neiman Marcus’ kitchen computer graced its Christmas catalog. In The Jetsons, which aired in the early 1960s, humans lived in a tech-happy world alongside robots and computers. In 1966, Westinghouse Corporation engineer Jim Sutherland built the Electronic Computing Home Operator (ECHO IV) to automate storing recipes, controlling home temperature, keeping track of household inventory, and conserving energy.

A year later, Philco-Ford Corporation released A.D. 1999, a short film that portrayed what life would be like at the end of the century. A scene in the kitchen of the future shows a family teleconferencing while mom plans dinner with the help of a flat-screen computer that knows how many calories dad is allowed to have. And after seeing the Neiman Marcus Kitchen Computer, Gordon Bell of Digital Equipment Corporation, a leading company in the minicomputer industry, sent out a congeries on the computer-in-the-home market in which he called the trend “inevitable.” And he was right.

The dedicated kitchen computer never quite happened. Since the Honeywell, there have been several attempts to revive the idea, like Electrolux’s Screenfridge and the HP Touch Smart, but none have really caught on. “In a way, the technology is in search of a problem,” said Spicer. “There is just this persistent meme of having computers in the kitchen, and somehow that’s going to create more leisure time.”

That said, this holiday season, so many of you will cook our meals with the help of iPads and laptops and smartphones, as you told us just last week. They’re smaller than the Honeywell. They’re cheaper. They don’t require a teletype. They’re not attached to your fridge. And you can take them outside the kitchen and use them for so many other things. Sometimes the future isn’t what a catalog tells us it will be. Sometimes, it’s better.

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SpongeBob Christmas special goes stop-motion

LOS ANGELES (AP) — How does “It’s a SpongeBob Christmas!” squeeze even more fun out of our porous little hero and the Bikini Bottom gang? By turning the animated characters three-dimensional for their holiday special.

In a tribute to classic fare such as “Rudolph the Red-Nosed Reindeer,” the “SpongeBob SquarePants” crew has been re-imagined as puppets and put through their comedy paces for stop-motion photography.

The story line as dreamed up by Tom Kenny, the voice of SpongeBob, and his musical collaborator Andy Paley: The denizens of Bikini Bottom are suddenly rude because of exposure to jerktonium, a plot by naughty Plankton to get on Santa’s (voiced by guest star John Goodman) nice list.

Plankton “wants to put everyone on their worst behavior when they should be on their best behavior, and zany mayhem ensues,” Kenny said.

“It’s a SpongeBob Christmas!” debuts 9:30 p.m. EST Friday on CBS, followed by an encore on the show’s home network, Nickelodeon, at 7:30 p.m. EST Sunday, Dec. 9.

The first-time foray into stop-motion is a welcome change for the 13-year-old “SpongeBob,” Kenny said.

“It’s fun that after all these years we can still do stuff that’s a little different. It’s like reinventing the wheel a little bit — if you can refer to a square character as a wheel,” he added, unable to resist the quip.

The actor looks back fondly on childhood memories of “Rudolph” from the Rankin-Bass studio and other stop-action projects. Even the TV commercial that put Santa on an electric razor subbing for a sleigh gets a Kenny shoutout.

Asked if young viewers might be fazed by seeing the familiar characters in a new guise, Kenny mulled the question before rebutting it.

“The characters act the same, the recording process is exactly the same. Our job is exactly the same. … There’s still plenty of the animated mayhem and anarchy that happens in the 2-D version of the show.”

Screen Novelties, the Los Angeles studio that produced the Christmas special, made a feast out of the job. In just one of their inventive approaches, filmmakers used fruit-flavored cereal to create a coral reef.

“I came to the studio and they had hundreds of boxes of cereal open and were hot-gluing it together,” Kenny recalled.

The Patrick Star puppet was covered in wool-like material and SpongeBob “wasn’t a sponge but some kind of weird material they found somewhere,” he said. “They’re like ‘MacGyver,’ always repurposing something.”

The TV special has a small element of recycling. Kenny calls it a testament to “a goofy little song” he and Paley wrote three years ago — “Don’t Be a Jerk, (It’s Christmas).”

“Bring joy to the world, it’s the thing to do. But the world does not revolve around you. Don’t be a jerk, it’s Christmas” is among its bouncy yet cautionary verses.

The tune is among a dozen included on the digital release “It’s a SpongeBob Christmas! Album,” most written by Kenny and Paley (a songwriter-producer who’s worked with artists including Brian Wilson and Blondie). Four songs are part of the special.

Music fans might want to check out the album for its craftsmanship. The veterans who play on it include harpist Corky Hale and harmonica player Tommy Morgan, both of whom have backed a roster of big stars, including Billie Holliday and Frank Sinatra.

The recording sessions proved an early holiday gift for Kenny.

“We’d spend a half-hour working and then make the musicians tell stories about who they played with,” he said.

___

Online:

http://spongebob.nick.com/

http://www.cbs.com/

Entertainment News Headlines – Yahoo! News

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Recipes for Health: Apple Pear Strudel — Recipes for Health

Andrew Scrivani for The New York Times

This strudel is made with phyllo dough. When I tested it the first time, I found that I had enough filling for two strudels. Rather than cut the amount of filling, I increased the number of strudels to 2, as this is a dessert you can assemble and keep, unbaked, in the freezer.

Filling for 2 strudels:

1/2 pound mixed dried fruit, like raisins, currants, chopped dried figs, chopped dried apricots, dried cranberries

1 1/2 pounds apples (3 large) (I recommend Braeburns), peeled, cored and cut in 1/2-inch dice

1 tablespoon fresh lemon juice

2 tablespoons unsalted butter for cooking the apples

1/4 cup (50 grams) brown sugar

1 teaspoon vanilla

1 teaspoon cinnamon

1/2 teaspoon freshly grated nutmeg

1/4 cup (30 grams) chopped or slivered almonds

3/4 pound (1 large or 2 small) ripe but firm pears, peeled, cored and cut in 1/2-inch dice

For each strudel:

8 sheets phyllo dough

7/8 cup (100 grams) almond powder, divided

1 1/2 ounces butter, melted, for brushing the phyllo

1. Preheat the oven to 375 degrees. Line 2 sheet pans with parchment.

2. Place the dried fruit in a bowl and pour on hot or boiling water to cover. Let sit 5 minutes, and drain. Toss the apples with the lemon juice.

3. Heat a large, heavy frying pan over high heat and add 2 tablespoons butter. Wait until it becomes light brown and carefully add the apples and the sugar. Do not add the apples until the pan and the butter are hot enough, or they won’t sear properly and retain their juice. But be careful when you add them so that the hot butter doesn’t splatter. When the apples are brown on one side, add the vanilla, cinnamon, nutmeg and almonds, flip the apples and continue to sauté until golden brown, about 5 to 7 minutes. Stir in the pears and dried fruit, then scrape out onto one of the lined sheet pans and allow to cool completely. Divide into two equal portions (easiest to do this if you weigh it).

4. Place 8 sheets of phyllo dough on your work surface. Cover with a dish towel and place another, damp dish towel on top of the first towel. Place a sheet of parchment on your work surface horizontally, with the long edge close to you. Lay a sheet of phyllo dough on the parchment. Brush lightly with butter and top with the next sheet. Continue to layer all eight sheets, brushing each one with butter before topping with the next one.

5. Brush the top sheet of phyllo dough with butter. Sprinkle on half of the almond powder (50 grams). With the other half, create a line 3 inches from the base of the dough, leaving a 2 1/2-inch margin on the sides. Top this line with one portion of the fruit mixture. Fold the bottom edge of the phyllo up over the filling, then fold the ends over and roll up like a burrito. Using the parchment paper to help you, lift the strudel and place it on the other parchment-lined baking sheet. Brush with butter and make 3 or 4 slits on the diagonal along the length of the strudel. Repeat with the other sheets of phyllo to make a second strudel. If you are freezing one of them, double-wrap tightly in plastic.

6. Place the strudel in the oven and bake 20 minutes. Remove from the oven, brush again with butter, rotate the pan and return to the oven. Continue to bake for another 20 to 25 minutes, or until golden brown. Remove from the heat and allow to cool for at least 15 minutes. Serve warm or room temperature.

Yield: 2 strudels, each serving 8

Advance preparation: The fruit filling will keep for a couple of days in the refrigerator. The strudel can be baked a few hours before serving it. Recrisp in a medium oven for 10 minutes. It can also be frozen before baking, double-wrapped in plastic. Transfer directly from the freezer to the oven and add 10 minutes to the baking time.

Nutritional information per serving: 259 calories; 13 grams fat; 4 grams saturated fat; 3 grams polyunsaturated fat; 5 grams monounsaturated fat; 15 milligrams cholesterol; 34 grams carbohydrates; 4 grams dietary fiber; 91 milligrams sodium; 4 grams protein

Martha Rose Shulman is the author of “The Very Best of Recipes for Health.”

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