I learned how to drink champagne a while ago. But the way I like to drink champagne is I like to make what we call a Montana Cooler, where you buy a case of champagne and you take all the bottles out, and you take all the cardboard out, and you put a garbage bag inside of it, then you put all the bottles back in and then you cover it with ice, and then you wrap it up and you close it. And that will keep it all cold for a weekend and you can drink every single bottle. And the way I like to drink it in a big pint glass with ice. I fill it with ice and I pour the champagne in it, because champagne can never be too cold. And the problem people have with champagne is they drink it and they crash with it, because the sugar content is so high and you get really dehydrated. But if you can get the ice in it, you can drink it supremely cold and at the same time you're getting the melting ice, so it's like a hydration level, and you can stay at this great level for a whole weekend. You don't want to crash. You want to keep that buzz, that bling, that smile.
Ok quiet down, we're going to science right now. (That's right, I verbed "science".) If you take a long chain of beads, put them in a jar, and then throw one end of the bead chain out, the rest of the beads will follow *and* this bead fountain will magically rise up into the air over the lip of the glass.
As the guy's face in the video shows, this is deeply perplexing. For an explanation, slow motion video, and a demonstration of a preposterously high chain fountain, check this video from the NY Times out:
The fountain, said Dr. Biggins, which he had never seen before the video, was "surprisingly complicated." The chain was moving faster than gravity would account for, and they realized that something had to be pushing the chain up from the container in which it was held.
A key to understanding the phenomenon, Dr. Biggins said, is that mathematically, a chain can be thought of as a series of connected rods.
When you pick up one end of a rod, he said, two things happen. One end goes up, and the other end goes down, or tries to. But if the downward force is stopped by the pile of chain beneath it, there is a kind of kickback, and the rod, or link, is pushed upward. That is what makes the chain rise.
It's only around 30 seconds long, but this video showing a standard web maps interface paired with satellite video is pretty mindblowing:
This quick shot by Skybox's SkySat-1 shows multiple planes landing at Beijing Capital International Airport (PEK) airport in Beijing on December 30, 2013. You can easily see a large plane landing on the runway at right. Using the video's timestamp and public flight logs, Bruno identified this plane as Air China Limited flight 1310, a wide-body Airbus 330 flying from Guangzhou to Beijing. Operating as a codeshare, that flight was also listed as Shenzhen Airlines 1310, United Airlines 7564, SAS 9510, Austrian 8010 and Lufthansa 7283.
I remember when satellite photography first became available in online maps; this feels similarly jawdropping. Gonna be more difficult to stitch video together into seamless interfaces than still images, but once it happens, it'll prove quite useful.
The sheng is a free-reed wind instrument dating back to 1100 BCE in China. Using a modern sheng, Li-Jin Lee makes the ancient instrument sound remarkably like Super Mario Bros., including coin and power-up sounds.
And I know the Olympics are over and good riddance and all that, but this Mario Kart speedskating bit is great. Baby Park was one of my favorite tracks on Double Dash.
If you play carefully by not stomping enemies, not collecting coins, not eating mushrooms or flowers, and hopping on the flagpole at the very last second, you can rescue the princess in Super Mario Bros with only 500 points.
One bit is surprisingly tricky:
How tough is that jump in 8-1? Well, the timing of the liftoff, the duration of holding the jump button, and the timing of the wall jump are all frame perfect. NES games run at 60 frames per second, which means all the necessary inputs need to be timed within 1/60 of a second. In addition, the starting position before running I used not only has to be on the right pixel, but also the x sub-pixel has to fall within a certain range (technical stuff blah blah blah). In short, it's a pretty annoying jump.
When I was a kid, I left my NES on for three straight days to flip the score in SMB, using the 1UP trick and another spot in the game to get many lives and points. Scoring lower would have been a lot quicker.
In a lovely short film, Ilinca Calugareanu explores the world of 1980s black market VHS movies in Communist Romania and finds the woman who did all the dubbed dialogue.
All the dialogue on these movies was dubbed into Romanian in a husky, high-pitched woman's voice. Throughout my childhood, these films provided a glimpse into the forbidden West, resplendent with blue jeans, Coke and skyscrapers. As Hollywood movies became ubiquitous through the black market, this voice became one of the most recognizable in Romania. Yet no one knew who she was.
Not sure if he's still out there or not, but Dexter Benjamin has been a bike messenger in NYC for more than 20 years, navigating his bike around the city on only one leg. He lost the leg pushing a boy out of traffic in his native Trinidad. Here's a 2006 interview with Benjamin:
He came to New York to participate in a marathon, decided to stay, and before long was leaning on a crutch and panhandling in Grand Central Terminal. He spent many nights sleeping in a shelter, and more than one dawn wondering who would stoop to steal a one-legged man's shoe.
Another Trinidad native, Steve Alexis, eventually hired him as a messenger. "He could walk with crutches," Mr. Alexis says. "I figure if he rides a bike, that's even better."
After learning to shift his weight for proper balance, Mr. Benjamin was soon darting through Manhattan streets in a triumphal blur. "I love their reaction when I pass them," he says of others. "They're seeing something impossible."
Watch Ferrari's F1 pit crew do a pit stop in a bit over two seconds:
I wish this were in slow motion because I've watched this three times now and I still cannot understand how it's done. My favorite part is how calm they all are about it. Here's a longer video that shows the process over and over from several points of view, including from a GoPro mounted on the chest of the wheelgun man:
Watch for the guy on the front jack pirouetting out of the way. I would love to read a long piece on how F1 pit crews train and practice. There are tantalizing bits in shorter articles, like this one from Autosport.com:
With three people per wheel, two jack operators, and a handful of mechanics fulfilling other functions, each pit crew comprises nearly 20 people.
Each is trained for a specific role and teams take their preparation as seriously as drivers', managing crewmen's fitness and diet.
They are drilled incessantly at both the factory and during race weekends, with hundreds of pitstop practices until the process is instinctive.
Although problems such as faulty guns are rehearsed, everyone focuses on their own job -- in a two-second pitstop, there is no time to see what everyone else is doing. By the time an error has been alerted, the car has often already pulled away, as was the case at the Nurburgring.
Teams now spend huge sums to design their own equipment and improve the fitness of their teams who also work as mechanics. McLaren is working with the English Institute of Sport to hone their 24-member team's technique while Williams has partnered with Olympic champion Michael Johnson's Performance Center to work on everything from diet to eye-hand coordination to core strength.
Training has also been ramped up. Most teams have rigs to practice on in the factory and pit stops are practiced as many as 70 times over a typical race weekend. Each stop is timed and videotaped for later review.
"When you had to go from 3.5 seconds down to a lower number, then you really need to be very specific and accurate on how you train because everything needs to be very synchronized to achieve that level of fast time and consistency," said Williams' chief race engineer Xevi Pujolar, whose team had its fastest pit stop this season in Spain after making changes to its crew but still is almost a second behind the top teams.
"There still a lot of room for improvement and we are working hard to catch up to these guys that do close to two seconds," Pujolar said. "If you look at video of pit crew and how they move during pit stop, everything is so well coordinated. To achieve this level of coordination on every pits stop requires a lot of training."
In a clip from The CBS Evening News With Walter Cronkite in 1981, a man in a hooded sweatshirt yelling about the Viet Cong threatened to jump from the 9th story of a building in Los Angeles. Out of nowhere, like a freaking superhero, appears Muhammad Ali, who manages to coax the man back into the building.
A few months ago, the site featured the BMX tricks of Tim Knoll, which were some of the most unusual tricks I'd seen. (That semi trailer limbo!) Tate Roskelley's tricks are even weirder, so much so that they seem more like an artistic statement on tricks than tricks themselves:
I think the "artist's statement" on YouTube is spot on:
Tate's got just about the most original perspective on BMX you can imagine. I think years ago when Jim C said "I just want to see what's possible", Tate took his words at face value. His riding is less about making a statement and more about asking questions. What is a bike trick? What is a street spot? The answers aren't always pretty (I'm sure he isn't going to start riding around with his stem bolts loose full time) but they're always interesting and Tate is always having fun.
Constructing our cities around cars is one of the biggest mistakes of the 20th century and we're still paying for it. As Kaj Pindal cleverly depicted in his 1966 Oscar-nominated short film What On Earth!, it often seems like cars and not people are the Earth's dominant life form.
For Howler Magazine, Sam Markham writes about Diego Maradona's second goal against England in the 1986 World Cup quarterfinal, aka Probably The Best Goal of All Time. Markham focuses on how a pair of radio commentators -- one English, the other from South America -- called the goal.
Morales's ecstatic commentary of Maradona's second goal is itself iconic in Argentina, and his lyrical expression "Barrilete cosmico!" (Cosmic kite!) is now shorthand in Argentina and much of South America for Maradona. His narration is a frenzied mix of poetry, yelling, and sobbing that ends with a prayer: "Thank you, God, for football, for Maradona, for these tears, for this-Argentina 2, England 0."
Even if you don't care about soccer, you should give this a listen...the dude absolutely loses his shit:
An alternate view of the spectacular goal has recently been found. Oh, and my favorite weird thing about this goal: Lionel Messi is considered by many to be Maradona's heir (both are small, Argentinian, and otherworldly talented) and in 2007, at the age of 19, he scored this goal against Getafe:
As you can see in the side-by-side comparison, it's extremely similar to Maradona's goal. Even the commentator loses it in a similar manner.
Now this is some top notch investigative journalism. In Star Trek: Voyager, a Starfleet ship is stranded on the other side of the galaxy and the estimated travel time back to Federation space is 75 years. Early on in the show, it's revealed the ship has only 38 photon torpedoes and "no way to replace them after they're gone". But they used many more than that throughout the run of the show:
In a short video from The Atlantic, science writer Philip Ball explains why Isaac Newton picked ROYGBIV (red, orange, yellow, green, blue, indigo, and violet) for the colors of the spectrum and not 3 or 6 or even 16 other possible colors.
Newton was the first to demonstrate through his famous prism experiments that color is intrinsic to light. As part of those experiments, he also divvied up the spectrum in his own idiosyncratic way, giving us ROYGBIV. Why indigo? Why violet? We don't really know why Newton decided there were two distinct types of purple, but we do know he thought there should be seven fundamental colors.
Mario Wienerroither takes music videos, strips out all the sound, and then foleys back in sound effects based on what people are doing in the video. You'll get the gist after about 6 seconds of this Jamiroquai video:
Incredible that the Mac is still around; the 90s were a dire time for Apple and it's amazing to see the current fantastic iMacs and Macbooks that came after some epically bad mid-90s machines. Here's Steve Jobs introducing the original Mac in 1984 (a snippet of the full introduction video):
First, I met the machine. From the instant the woman running the demo switched on that strange-looking contraption (inspired in part by the Cuisinart food processor), I knew the Macintosh would change millions of lives, including my own. To understand that, you must realize how much 1984 really was not like 2014. Until that point, personal computers were locked in an esoteric realm of codes and commands. They looked unfriendly, with the letters of text growing in sickly phosphorescence. Even the simplest tasks required memorizing the proper intonations, then executing several exacting steps.
But the Macintosh was friendly. It opened with a smile. Words appeared with the clarity of text on a printed page - and for the first time, ordinary people had the power to format text as professional printers did. Selecting and moving text was made dramatically easier by the then-quaint mouse accompanying the keyboard. You could draw on it. This humble shoebox-sized machine had a simplicity that instantly empowered you.
If you have had any prior experience with personal computers, what you might expect to see is some sort of opaque code, called a "prompt," consisting of phosphorescent green or white letters on a murky background. What you see with Macintosh is the Finder. On a pleasant, light background (you can later change the background to any of a number of patterns, if you like), little pictures called "icons" appear, representing choices available to you. A word-processing program might be represented by a pen, while the program that lets you draw pictures might have a paintbrush icon. A file would represent stored documents - book reports, letters, legal briefs and so forth. To see a particular file, you'd move the mouse, which would, in turn, move the cursor to the file you wanted. You'd tap a button on the mouse twice, and the contents of the file would appear on the screen: dark on light, just like a piece of paper.
The rollout on January 24th was like a college graduation ceremony. There were the fratboys, the insiders, the football players, and developers played a role too. We praised their product, their achievement, and they showed off our work. Apple took a serious stake in the success of software on their platform. They also had strong opinions about how our software should work, which in hindsight were almost all good ideas. The idea of user interface standards were at the time controversial. Today, you'll get no argument from me. It's better to have one way to do things, than have two or more, no matter how much better the new ones are.
That day, I was on a panel of developers, talking to the press about the new machine. We were all gushing, all excited to be there. I still get goosebumps thinking about it today.
What's clear when you talk to Apple's executives is that the company believes that people don't have to choose between a laptop, a tablet, and a smartphone. Instead, Apple believes that every one of its products has particular strengths for particular tasks, and that people should be able to switch among them with ease. This is why the Mac is still relevant, 30 years on-because sometimes a device with a keyboard and a trackpad is the best tool for the job.
"It's not an either/or," Schiller said. "It's a world where you're going to have a phone, a tablet, a computer, you don't have to choose. And so what's more important is how you seamlessly move between them all.... It's not like this is a laptop person and that's a tablet person. It doesn't have to be that way."
The Macintosh is the future of Apple Computer. And it's being done by a bunch of people who are incredibly talented but who in most organizations would be working three levels below the impact of the decisions they're making in the organization. It's one of those things that you know won't last forever. The group might stay together maybe for one more iteration of the product, and then they'll go their separate ways. For a very special moment, all of us have come together to make this new product. We feel this may be the best thing we'll ever do with our lives.
I like to claim that I bought the second Macintosh computer ever sold in Europe in that January, 30 years ago. My friend and hero Douglas Adams was in the queue ahead of me. For all I know someone somewhere had bought one ten minutes earlier, but these were the first two that the only shop selling them in London had in stock on the 24th January 1984, so I'm sticking to my story.
The Next Web has an interview with Daniel Kottke (no relation) and Randy Wigginton on programming the original Mac.
TNW: When you look at today's Macs, as well as the iPhone and the iPad, do you see how it traces back to that original genesis?
Randy: It was more of a philosophy - let's bring the theoretical into now - and the focus was on the user, not on the programmer. Before then it had always been let's make it so programmers can do stuff and produce programs.
Here, it was all about the user, and the programmers had to work their asses off to make it easy for the user to do what they wanted. It was the principle of least surprise. We never wanted [the Macintosh] to do something that people were shocked at. These are things that we just take for granted now. The whole undo paradigm? It didn't exist before that.
Like Daniel says, it's definitely the case that there were academic and business places with similar technology, but they had never attempted to reach a mass market.
Daniel: I'm just struck by the parallel now, thinking about what the Mac did. The paradigm before the Mac in terms of Apple products was command-line commands in the Apple II and the Apple III. In the open source world of Linux, I'm messing around with Raspberry Pis now, and it terrifies me, because I think, "This is not ready for the consumer," but then I think about Android, which is built on top of Linux. So the Macintosh did for the Apple II paradigm what Android has done for Linux.
Using nothing more than archival film footage, on-camera interviews, period music, and a narrator's voiceover, the stories of Emmitt Till, the Montgomery bus boycott, and the desegregation of southern schools riveted me to the couch like few viewing experiences have. As compelling as the history of the civil rights movement in America is, the production of the film deserves some of the credit for its power. To hear the stories of these momentous events told by the participants themselves, without embellishment, is quite extraordinary.
Rino Stefano Tagliafierro took more than 100 paintings (from the likes of Reubens, Caravaggio, Rembrandt, and Vermeer) and set them in motion to music to form a slow motion oil painted dreamland.
Lots of boobs, butts, penises, and even the occasional hint of sexual gesture in this one -- the motion sometimes fills in the blanks on all of those frolicking nymph-type paintings, making them seem to modern eyes even more sexist and outdated than the static paintings. There are some definite porny moments, is what I'm saying. So yeah, probably NSFW.
And for those looking to supplement their GIF collections, this page contains links to an animated GIF for each painting represented in the video. (via digg)
What do you think you get if you add 1+2+3+4+5+... all the way on up to infinity? Probably a massively huge number, right? Nope. You get a small negative number:
This is, by a wide margin, the most noodle-bending counterintuitive thing I have ever seen. Mathematician Leonard Euler actually proved this result in 1735, but the result was only made rigorous later and now physicists have been seeing this result actually show up in nature. Amazing. (thx, chris)
Update: Of course (of course!) the actual truth seems more complicated, hinging on what "sum" means mathematically, etc. (via @cenedella)
Well lookie here, a restored full-length version of Stanley Kubrick's very first film, 1953's Fear and Desire, has popped up on YouTube:
Kubrick famously disliked his first film. From a 1994 episode of All Things Considered:
D'Arcy: But Stanley Kubrick hates the film and to keep it off the screen he threatened Film Forum with copyright violations, even though Fear and Desire is in the public domain. Through a Warner Brothers' publicist, Kubrick called his first feature 'a bumbling amateur film exercise'.
Goldstein: Kubrick had Warner Brothers send a letter out to all the press in town saying that the picture was boring and pretentious and of course, that only drew more attention to it. So it now, now it really is a must see, because now it's the picture Kubrick wants to suppress. So that makes it even sexier as a box office attraction. So I think he's increased our attendance four-fold.
Basketball fanatics Steve James, Frederick Marx, and Peter Gilbert originally set out to make Hoop Dreams as a half-hour doc for PBS that would focus on the culture surrounding streetball. But as quickly as they got on the blacktop, they left it. The dreams of their subjects, Arthur Agee and William Gates, were too grand for just the playground, and instantly, the filmmakers were immersed in the young men's lives, showcasing both the good and bad.
Twenty years after the film premiered at Sundance and was awarded the festival's Audience Award, it's grown into an iconic work. Its snub in the Best Documentary category at the 67th Academy Awards in 1995 led to changes in the voting process. NBA players treat the movie as their own life story. It's been added to the Library Of Congress' National Film Registry. And when looking back on the film's 15th anniversary, Roger Ebert declared it "the great American documentary."
As the government has cracked down on the large drug labs located in jungles, the Colombian drug cartels have begun to decentralize their operations, operating small labs in city apartments and cooking batches in microwaves. Here's a look at one of those apartment labs, which includes an interview with a dealer and a look at the smuggling technique du jour.
It turns out that the latest trend in Colombia's cocaine trade is moving processing out of the huge plants in the jungle to small, mobile and disposable urban labs. In this new, decentralized world of cocaine production, two men with some buckets, a handful of microwave ovens and only the most basic knowledge of chemistry can take naturally growing coca leaves and turn them into 100 percent pure cocaine powder. And here's the craziest part...they show us how they do it.
From a presentation at SIGGRAPH Asia 2013, a demonstration of a program that learns how to walk by evolving the orientation of its muscles.
Love these kinds of things. I remember another video like this that went around a few months ago...but instead of bipeds, it was a a shambling collection of cubes that learned how to move around. Anyone have a link?
Think about this ... an ordinary fox can stalk a mole, mouse, vole or shrew from a distance of 25 feet, which means its food is making a barely audible rustling sound, hiding almost two car lengths away. And yet our fox hurls itself into the air -- in an arc determined by the fox, the speed and trajectory of the scurrying mouse, any breezes, the thickness of the ground cover, the depth of the snow -- and somehow (how? how?), it can land straight on top of the mouse, pinning it with its forepaws or grabbing the mouse's head with its teeth.
Let slip the tubas of war! Aaaaanyway, as the acoustic location device gave way to the more effective radar, so too is the fox more successful at hunting when he is pointed northeast -- a kind of magnetic radar, if you will. Fascinating.
In 1963, Studs Terkel interviewed a 21-year-old Bob Dylan, before he was famous.
In the spring of 1963 Studs Terkel introduced Chicago radio listeners to an up-and-coming musician, not yet 22 years old, "a young folk poet who you might say looks like Huckleberry Finn, if he lived in the 20th century. His name is Bob Dylan."
Dylan had just finished recording the songs for his second album, "The Freewheelin' Bob Dylan", when he traveled from New York to Chicago to play a gig at a little place partly owned by his manager, Albert Grossman, called "The Bear Club". The next day he went to the WFMT studios for the hour-long appearance on "The Studs Terkel Program".
Bob Dylan is a notoriously tough person to interview and that's definitely the case here, even this early in his life as a public persona. On the other hand, Terkel is a veteran interviewer, one of the best ever, and he seems genuinely impressed with the young man who was just 21 at the time and had but one record of mainly covers under his belt. Terkel does a good job of keeping things on track as he expertly gets out of the way and listens while gleaning what he can from his subject. It's an interesting match-up.
Dylan seems at least fairly straightforward about his musical influences. He talks about seeing Woody Guthrie with his uncle when he was ten years old (Is this just mythology? Who knows?), and he mentions Big Joe Williams and Pete Seeger a few times.
Much of the rest is a little trickier. Terkel has to almost beg Dylan to play what turns out to be an earnest, driving version of "A Hard Rain's a-Gonna Fall." Dylan tells Terkel that he'd rather the interviewer "take it off the disc," but relents and does the tune anyways.
Ethen Godfrey Roberts pulled off a trick called a Superman double backflip the other day and it is a thing to behold:
Sploid says the trick "seems to murder the laws of physics" but if you can close your mouth long enough to stop drooling (this took me several views, BTW), the law of conservation of angular momentum is responsible for the optical illusion that makes the trick look so cool. The trick begins with a tight backwards flip, which happens quickly because all of the weight (human + bike) is distributed close to the center of gravity. By opening his body up in the middle part of the flip, Roberts slows down the rotation, just like a figure skater, diver, or ballerina would by throwing out their arms or legs. And then he gathers himself back onto the bike, which spins quickly again because the weight is all back close to the center. Boom, physics.
Or maybe I'm the biggest sap in the world...either way, I'm totally crying at work.
ps. But of course, that can't be the best Apple advertisement ever because that title will always and forever be taken by a drunk Jeff Goldblum extolling the virtues of the iMac's internet capabilities:
12 O'Clock Boys is a documentary about an Baltimore dirt-bike gang.
Pug, a wisecracking 13 year old living on a dangerous Westside block, has one goal in mind: to join The Twelve O'Clock Boys; the notorious urban dirt-bike gang of Baltimore. Converging from all parts of the inner city, they invade the streets and clash with police, who are forbidden to chase the bikes for fear of endangering the public. When Pug's older brother dies suddenly, he looks to the pack for mentorship, spurred by their dangerous lifestyle.
The Leap Motion is a motion controller for the Mac or PC which lets you control on-screen action through hand movements and gestures. Freeform is an app that unleashes your inner Michelangelo, allowing you to sculpt 3D objects on the screen much like you would if a hunk of clay were sitting in front of you.
Working for CBS and later on his own in the 40s and 50s, sound engineer Charley Douglass perfected the laugh track technique, which was then called sweetening. His secret weapon was the laff box, a machine that you could use like a typewriter to produce the type and sequence of laughter you needed for a particular situation. Here's how the machine worked:
The one-of-a-kind device -- affectionately known in the industry as the "laff box" -- was tightly secured with padlocks, stood more than two feet tall, and operated like an organ. Only immediate members of the family knew what the inside actually looked like (at one time, the "laff box" was called "the most sought after but well-concealed box in the world"). Since more than one member of the Douglass family was involved in the editing process, it was natural for one member to react differently to a joke than another. Charley himself was the most conservative of all, so producers would put in bids for other editors who were more liberal in their choice of laughter. Douglass used a keyboard to select the style, gender and age of the laugh as well as a foot pedal to time the length of the reaction. Inside the machine was a wide array of recorded chuckles, yocks, and belly laughs; exactly 320 laughs on 32 tape loops, 10 to a loop. Each loop contained 10 individual audience laughs spliced end-to-end, whirling around simultaneously waiting to be cued up. Since the tapes were looped, laughs were played in the same order repeatedly. Sound engineers would watch sitcoms and knew exactly which recurrent guffaws were next, even if they were viewing an episode for the first time. Frequently, Douglass would combine different laughs, either long or short in length. Attentive viewers could spot when he decided to mix chuckles together to give the effect of a more diverse audience.
I found out about the laff box from Kevin Slavin & Kenyatta Cheese's talk about how, with the Internet, the audience now has an audience.
Eric Hollenbeck is a master woodworker who owns and operates the Blue Ox Millworks in Eureka, CA. The Ox is a lovely short film about Hollenbeck directed by Ben Proudfoot, who previously made the equally lovely ink&paper.
Watch as a trio of trials riders zoom across rusty old bridges, up rocky mountains, and down dry water slides on skinny-tired road bikes. An eye-popping collection of tricks.
There's a bit of a backstory to this video. It's a sequel to a similar video performed solo by Martyn Ashton. In the middle of filming this sequel, Ashton broke his back during a demonstration and is currently paralyzed from the waist down. Friends and fellow trials riders Chris Akrigg and Danny MacAskill stepped in to help Ashton complete the video. (via digg)
The teeterboard is an acrobatic apparatus that looks like a seesaw. This is a pair of acrobats training on a Korean-style teeterboard, where instead of getting catapulted off the board, the participants land back on the board after each jump:
Using a black & white workprint of The Dark Crystal that Jim Henson and Frank Oz wanted to release, YouTube user scoodidabop made a full-length director's cut of the film. It's a bit rough in spots, but the original vision is all there.
Vimeo user Subterminally appears to have had the worst 13 seconds of his life last week when he hit the cliff off of which he was base jumping. Subterminallyill received a "Compression Fracture of the T12 Vertebra, 5 stitches to the eye, 6 stitches to the chin, severely sprained Back, wrist and hand. multiple bruised areas," which is not too bad considering he FELL OFF A FUCKING CLIFF.
Alternate copy for this post, "No. No, no no no no no no. No. No. No. No, no, no, no, no. No."
In a clip from Eye of the Leopard narrated by Jeremy Irons, we see a female leopard kill a baboon. And then the leopard notices the baboon has just given birth to a tiny baby. Her reaction is unexpected:
In a masterfully edited video, David Ehrlich presents his 25 favorite films of 2013.
Fantastic. This video makes me want to stop what I'm doing and watch movies for a week. It's a good year for it apparently...both Tyler Cowen and Bruce Handy argue that 2013 is an exceptional year for movies. I'm still fond of 1999... (via @brillhart)
We flew drones over Mississippi. We got mugged in Chittagong, Bangladesh. We met people whom we'll never forget -- the actual people who make our clothing. At every location we had radio reporters and videographers.
It's one thing to read the difference between the pronounciations of "route", it's another thing entirely to hear them. I haven't lived in the Midwest since 2000 and I have since transitioned from "pop" to "soda", "waiting in line" to "waiting on line", and am working on switching to "sneakers" from "tennis shoes" (or even "tennies"). But I was surprised to learn that I still pronounce "bag" differently than everyone else!
When Nirvana appeared on Top of the Pops in 1991, they were asked to only sing the lead vocal over an instrumental track. The result was perhaps the most unusual performance of Smells Like Teen Spirit ever, with the band barely playing their instruments in sync with the music and Cobain doing his best Ian Curtis/Morrisey impression.
I linked to a stabilized version of the Zapruder film of JFK's assassination a few years ago but Antony Davison has made a version that presents the whole film in panoramic HD, resulting in an amazingly clear representation of the event.
Errol Morris and Tink Thompson share an obsession about the nature of photographic evidence. In a short film for the NY Times, Morris talks to Thompson about the photographic and filmic evidence of the JFK assassination, which Thompson has been investigating on and off since 1963.
Interesting that 1) there exists much more photographic evidence of the assassination than is commonly shown/known, and 2) Thompson very much has a theory of what the evidence shows but Morris doesn't spill those particular beans:
Is there a lesson to be learned? Yes, to never give up trying to uncover the truth. Despite all the difficulties, what happened in Dallas happened in one way rather than another. It may have been hopelessly obscured, but it was not obliterated. Tink still believes in answers, and in this instance, an answer. He is completing a sequel to "Six Seconds" called "Last Second in Dallas." Like its predecessor, this book is clearly reasoned and convincing. Of course, there will be people who will be unmoved by his or any other account.
See also Morris' previous short film featuring Thompson & the assassination, The Umbrella Man.
R. Kelly is some sort of random love song generating genius apparently. On a recent visit to the Rolling Stone offices, R. Ess asked R. Kelly to sing to them about dolphins, ice hockey, newspapers, and Italian heroes. The results R. Hilarious.
The Moken are a nomadic people who live on the coasts and islands of Thailand and Burma. They live off the bounty of the sea and have learned to control the size of the pupils in order to see better underwater.
Pupil constriction is triggered by incoming light levels -- the less light (as at depth) the bigger the pupil -- but the Moken have learned to override that implulse and keep their pupils small at low light levels, therefore making their eyesight sharper. (via the kid should see this)
From Freestyle: The Art of the Rhyme, a short clip of a 17-year-old Christopher Wallace (aka Biggie Smalls, aka The Notorious B.I.G.) freestyle rapping on a street corner in Bed Stuy, Brooklyn in 1989.
Hans Bethe was a giant in the field of nuclear physics. He rubbed shoulders with Einstein, Bohr, and Pauli, was head of the Theoretical Division of the US atomic bomb project, and was awarded a Nobel Prize. In 1999, at the age of 93, Bethe gave a series of three lectures to the residents of his retirement community near Cornell University, where he had taught since 1935. Video of the lectures is available on the Cornell website.
In the first lecture, Bethe covers the development of the "old quantum theory", covering the work of Max Planck and Niels Bohr. In the second and third lectures, he relates how modern quantum mechanics was developed, with a healthy amount of personal recollection along the way:
Professor Bethe offers personal anecdotes about many of the famous names commonly associated with quantum physics, including Bohr, Heisenberg, Born, Pauli, de Broglie, Schrödinger, and Dirac.
Without a doubt, this is the most high-power presentation ever made at a retirement home. (via @stevenstrogatz)
One of my favorite books on technology, Tom Standage's The Victorian Internet, was adapted into a TV documentary. It is now available on YouTube:
The Victorian Internet tells the colorful story of the telegraph's creation and remarkable impact, and of the visionaries, oddballs, and eccentrics who pioneered it, from the eighteenth-century French scientist Jean-Antoine Nollet to Samuel F. B. Morse and Thomas Edison. The electric telegraph nullified distance and shrank the world quicker and further than ever before or since, and its story mirrors and predicts that of the Internet in numerous ways.
I posted a video earlier today of a Super Cub airplane landing on the side of a mountain. Super Cubs are ideal for that undertaking because of their low stall speed and short take-off and landing distances. But I had no idea you could land and take off in one in the space of 20 feet.
Never seen a plane do that before...well aside from tiny model planes. What an incredible power-to-weight ratio that plane must have. You can seriously land these things anywhere, almost like a helicopter. Wanna go fly fishing? Just set it down on the banks of a stream:
When you read the title of this video, "Super Cub landing on windy mt. top", you're thinking, ok, there's a runway on the side of this mountain and it's gonna be a little dicey but not a big deal. But then the video starts and there's just a steep snowy mountain and no runway and it's uphill and you're like, WHAT JUST HAPPENED?
I looked up info on the plane and if you're going to land on the side of a mountain, the Super Cub is the plane for you. It can take off in as little as 200 feet, land in 300-400 feet, and has a stall speed of only 43 mph. The guy lands uphill and takes off downhill in this video and looks like he needed less than 100 feet in each case. (via ★mouser)
Archer Lars Andersen can shoot 10 arrows in less than 5 seconds, without sacrificing power or accuracy. Andersen learned his technique by studying ancient archery practices...the key is holding the extra arrows in the hand and instinctive shooting.
For the sufficiently skilled front-end loader driver, doing a front wheelie with a 20-ton machine is a piece of cake.
Got this from Modern Farmer's selection of "Jaw-Dropping Russian Tractor Videos"; the other one I liked from the list is this guy who souped up his tractor with a car engine and then does donuts in his field.
A mouse finds a cracker about his own size and thinks, "this is great, I'll be able to eat for a week!" But he can't quite get the cracker up and over the short ledge that leads back to his hole. But he doesn't give up that easily:
NASA's Solar Dynamics Observatory is getting some really amazing shots of the Sun, including this 200,000 mile-long solar eruption that left a huge canyon on the surface of the Sun:
Different wavelengths help capture different aspect of events in the corona. The red images shown in the movie help highlight plasma at temperatures of 90,000° F and are good for observing filaments as they form and erupt. The yellow images, showing temperatures at 1,000,000° F, are useful for observing material coursing along the sun's magnetic field lines, seen in the movie as an arcade of loops across the area of the eruption. The browner images at the beginning of the movie show material at temperatures of 1,800,000° F, and it is here where the canyon of fire imagery is most obvious.
The level of detail shown is incredible. (via @DavidGrann)
What makes Apple fascinating is not that they are using some wiz-bang alien technologies to make things -- even here in Portland, Oregon, all the technologies Apple shows in this video are in-practice across numerous local factories. What makes Apple unique is that they perform their manufacturing with remarkable precision and on a scale that is simply astonishing, using techniques typically reserved for the aerospace or medical device industries.
Nestled in the midst of Matt Zoller Seitz's video essay on Wes Anderson's The Life Aquatic with Steve Zissou is this bombshell: the movie contains a Star Wars reference no one seems to have noticed. Seitz synced the scenes for us:
There have to be others, right? Many of Anderson's films end with all of the characters gathered together like at the medals ceremony in Episode IV...someone even synced up the end of the movie with the closing credits music from Zissou and it works really well:
In New York Magazine this week, Mike Tyson writes about growing up in Brooklyn and his discovery of boxing as a way out and up.
Having to wear glasses in the first grade was a real turning point in my life. My mother had me tested, and it turned out I was nearsighted, so she made me get glasses. They were so bad. One day I was leaving school at lunchtime to go home and I had some meatballs from the cafeteria wrapped up in aluminum to keep them hot. This guy came up to me and said, "Hey, you got any money?" I said, "No." He started picking my pockets and searching me, and he tried to take my fucking meatballs. I was resisting, going, "No, no, no!" I would let the bullies take my money, but I never let them take my food. I was hunched over like a human shield, protecting my meatballs. So he started hitting me in the head and then took my glasses and put them down the gas tank of a truck. I ran home, but he didn't get my meatballs. I still feel like a coward to this day because of that bullying. That's a wild feeling, being that helpless. You never ever forget that feeling. That was the last day I went to school. I was 7 years old, and I just never went back to class.
The piece is adapted from Tyson's upcoming memoir, Undisputed Truth. Tyson wrote the book with Larry Sloman, author of Reefer Madness who has also ghostwritten for Howard Stern, Anthony Kiedis, and KISS's Peter Criss.
Update: Spike Lee directed a documentary version of Undisputed Truth; it'll air on HBO on November 16. Here's the trailer:
Vsevolod Pudovkin was a Soviet film director who developed influential theories of film editing. In this 12-minute video, Evan Richards uses clips from films like 2001, Lawrence of Arabia, and The Godfather to illustrate Pudovkin's editing techniques.
The most instructive book on film aesthetics I came across was Pudovkin's Film Technique, which simply explained that editing was the aspect of film art form which was completely unique, and which separated it from all other art forms. The ability to show a simple action like a man cutting wheat from a number of angles in a brief moment, to be able to see it in a special way not possible except through film -- that this is what it was all about. This is obvious, of course, but it's so important it cannot be too strongly stressed. Pudovkin gives many clear examples of how good film editing enhances a scene, and I would recommend his book to anyone seriously interested in film technique.
There are few perfect movies. This is one of them.
The book and video essays came about because Anderson saw Seitz's earlier video essay series, The Substance of Style, an examination of Anderson's stylistic influences. Great resource for fans of Anderson and film.