richardmurray

Love McQueen, the stunts, the love of cars, that he put in each contract , resources for an orphanage home. The Blob The Magnificent Seven a great interview with Eli Wallach about the magnificent seven https://www.americanlegends.com/actors/eili wallach/index.html The Magnificent Seven was produced by Walter Mirish and directed by John Sturges. An independent production, the film was released in 1961. Neither Sturges (1911-1992), nor his movie was the favorite of film school scholars or tribute directors who worship at the camera of Howard Hawks or Preston Sturges. Andrew Sarris wrote in The American Cinema: "Long before The Magnificent Seven, John Sturges seemed to be striving, albeit unconsciously, to become the American Kurosawa..."--the Japanese director whose movie, The Seven Samurai, inspired The Magnificent Seven. Sarris added: "Unfortunately, it is hard to remember why Sturges's career was ever considered meaningful." Sturges's movie, however, was an immediate hit with filmgoers who were stirred by the tale of the seven gunslingers and misfits who come to the aid of a poor Mexican village threatened by local bandits. Sturges chose two Broadway actors to play opposite leads: Yul Brynner was cast as Chris, the philosophical leader of the seven who at one point in the movie says, "Once you begin killing, you can't stop," and at another comments: "The graveyards are full of young boys who were very young and very proud." Eli Wallach, an Actors Studio veteran, played the brutal bandit Calvera. For the rest of the cast, Sturges assembled a group of then unknowns, some of whom had knocked about Hollywood for years playing off-beat parts: James Coburn, Brad Dexter, Charles Bronson. The director also recruited a young actor named Steve McQueen, whom he had spotted on television, and chose to play Vin, the boyish Tombstone gunman. The film's musical score was composed by Elmer Bernstein whose Coplandesque theme captured the bravery and idealism of the seven American samurai who set aside their own self-interest in a noble cause. This telephone interview appeared on American Legends in January 2005. Eli Wallach died in 2014 at 98. Known for his versatility and serious attention to his craft, Wallach appeared on Broadway in 1951 in Tennessee Williams's The Rose Tattoo and later patented his own version of a hard, rough "bad guy" in Westerns, including Sergio Leone's A Fistful of Dollars, and The Magnificent Seven which, with its great ensemble cast, has come to be regarded as a classic. Q: How did you get involved in the movie? A: I wish I knew. One day I was called in by John Sturges. He said, "We thought about you, and we want to cast you." I had seen The Seven Samurai and would have loved to play the crazy samurai, the role Mifume played in the Kurosawa film. It was brilliant. Q: Sturges chose Yul Brynner who was known for his Broadway roles as the lead. A: I knew Yul from New York when he was working in television as a director. Sturges told me, "We're thinking of you as the head bandit." I told Sturges that I had seen the Japanese film--and all I recalled was that the bandit wore an eyepatch and that all you saw was his horse's hoofs: he rides in, he rides out. Q: But you were cast as Calvera. A: I almost turned it down. Then I read the script carefully and I thought, Well, I'll play the part cause it's a terrific role. I went to Sturges and said, "In movie Westerns, you never see what the bandits do with the money. They hold up the trains, they steal the cattle, but you never see what they do with the money. I want to show how they spend it. I want to have silk shirts. I'm going to put in two gold teeth. I want a good horse, a wonderful saddle." Sturges said, "Okay. You got it." So I went to Mexico. We shot it on location there. I had no idea what the movie would turn out to be, but I got to see some wonderful young actors who were going to blossom into stars: Coburn, Bronson, McQueen. Q: Did the Mexican government cooperate? A: The Mexicans were furious with the Americans. There had been a movie called Vera Cruz with Burt Lancaster and Gary Cooper that had angered the Mexicans with the way they were depicted. They tore the seats out of the theater and threw them at the screen. So the government had a censor on the set. When he read the script, the censor asked Sturges, "Why do you have to send to America to bring back gunmen We have plenty of our own." Sturges said, "Fortunately, or unfortunately, the money is coming from Hollywood studios, so we have to use Americans." There was also a man on the set named Emilio Fernandez. He was a Mexican movie director who had done a number of movies in the 1940s with Delores Del Rio, including Maria Candelaria which celebrated Mexican folklore. He acted as a kind of adviser to Sturges to see that nothing "non-Mexican" happened. I got along very well with him. Q: John Sturges is dismissed by auteur critics as an action-adventure director, someone who did Escape from Fort Bravo and The Great Escape. What was it like to work with him? A: There was a lot of respect for Sturges on the set. He had a wonderful eye. I had about thirty or so bandits in my outfit. Sturges told me, "I want you and your gang to go riding in the morning before you come on the set." So we'd mount up early in the morning, at sunup, and ride for an hour and then come in all wet and dirty and ready to shoot. Q: Was there improvisation in shooting the film? A: No, except Steve McQueen, who was a very skillful movie actor, said, "Listen, I want to cut some of my dialogue. I don't want to talk too much. Acting in movies is really reacting, so I want to react to things." Sturges let him do it. Q: Did the actors compete with each other on camera? A: I once stood alongside the camera and watched the seven ride across the river. Each one did another little piece of business which they thought would cause you to remember them more. McQueen reached out and scooped up some water in his hat and put it on. Another turned and looked around at the next man--at the one behind him. All of them had odd little pieces of business. I thought it very interesting--wait till they meet me. Q: Did you have much interaction with the rest of the cast? A: Bronson was a loner. He kept to himself. I liked Robert Vaughn and James Coburn very much. Vaughn is a very intelligent guy. He wrote a book on blacklisting. Coburn was one of those quiet types which fit his character very well: silent but a knife thrower of great skill. The one I became quite friendly with was Brad Dexter. Of the seven no one can remember his name. I was also adopted by my Mexican gang, one of whom, Guillermo Kramer, was an architect and wonderful horseman. Q: Brad Dexter later acted with Sinatra and co-produced his movies. Both he and Horst Buchholz died in 2004. A: Buchholz played the romantic lead. That was a part I was interested in when I read the script. But Sturges told me, "We're bringing over a young German actor. He's going to play that." Buchholz was good. He rode beautifully. He brought to the role his German training and background. Q: Was there any sense that The Magnificent Seven was going to be a great movie? A: You can never predict the outcome of a movie. I did The Misfits with a great cast: Marilyn Monroe, Monty Clift, and Clark Gable. You'd think it was going to be a great show. The critics were not that happy because Monroe, Clift, and Gable were trying to destroy the mold the studio had put them in over the years. As for The Magnificent Seven, it has become a cult classic. I think it is one of the ten best Westerns ever made. (Background information for the interview was found in the following: Andrew Sarris, The American Cinema, New York, Da Capo Press ed., 1996; Neile McQueen Toffel, My Husband, My Friend, New York, Signet ed., 1986) a book on blacklisting by Robert Vaughn https://www.am*zon.com/Only-Victims-Study-Business-Blacklisting/dp/0879100818 The Great Escape Article on the great escape- Bud Ekins did the motorcycle stunt but off camera, steve mcqueen and tim gibbes did it for fun https://web.archive.org/web/20210309184609/https://www.hagerty.com/media/motorcycles/the-great-escape-was-steve-mcqueen-having-fun/ The Great Escape is how Steve McQueen outfoxed studio lawyers and kept having fun Priscilla Page 02 May 2019 At the threshold of Steve McQueen’s stardom, a studio attorney gave him just a day to make a life-altering decision: racing or acting. If McQueen were to become a true leading man, he’d have to play it safe and sacrifice the race track. “They gave me twenty-four hours to make up my mind,” McQueen recalled. “I took most of those twenty-four hours thinking about whether I wanted to go on racing, earning my money on the track, or whether I wanted to continue being an actor on the studio’s terms. It was a very tough decision for me to reach. Still, I had Neile and our two young children to consider, and that made the difference. I signed their paper.” With 1963’s The Great Escape, Steve McQueen established a career built on outfoxing his contract. He may have been unable to race for real, but he could still race in the movies. And The Great Escape was the first of such ruses — director John Sturges and McQueen “worked a hairy motorcycle chase” into the film for McQueen’s character Virgil Hilts, nicknamed the Cooler King due to the time he spent in solitary confinement. McQueen described it himself, “The idea was this Cooler King character makes good his escape by stealing a cycle, gets chased cross-country by German cyclists and loses them by jumping this big barbed-wire fence with this bike.” The bike jump in The Great Escape is legendary, but Sturges’ film is a masterpiece in its own right, based on the true story of Allied airmen’s daring escape via tunnels from Stalag Luft III during World War II. Though McQueen is ostensibly the star, the film belongs to its ensemble cast, a dream team of 1960s masculine icons and legendary actors that included James Garner, Charles Bronson, James Coburn, James Donald, Donald Pleasence, David McCallum, and Richard Attenborough. On its surface, The Great Escape seems to be a war film, but at its heart, it’s a heist movie flipped on its head: a group of specialists team up to make a plan with nothing but their ingenuity – though instead of breaking in, they’re breaking out of a German POW camp. It’s also the ultimate underdog story, a film about camaraderie, courage, self-sacrifice, and giving the enemy hell. The Great Escape brought together some of the most prominent gearheads of the 1960s, and by all accounts, the testosterone on the set was out of control. Charles Bronson started an affair with David McCallum’s wife Jill Ireland. Steve McQueen frequently fought for changes to the script, and even took issue with his rival James Garner wearing a more handsome outfit. Even Donald Pleasence brought his Jaguar with him to Germany. According to David McCallum, “Everyone drove like a maniac, including Donald Pleasence. [ . . . ] But Steve was the guy – mirroring the film, almost – who took the most risks and had the traffic police in awe of him. When he was pulled over they’d say, ‘Herr McQueen, good morning, we’re delighted that once again you’ve won the special prize,’ and cart him off to the jail. Once I asked him what he did in a crash. He told me you should aim for the smallest trees.” Tom Adams, who played RAF officer Dai Nimmo, put it plainly: “Steve McQueen was as mad as a hatter. He wrote off six or seven cars out there.” Though it may have made him difficult behind the scenes, McQueen channeled his reckless thrill-seeking, his penchant for getting locked up, and his love for bikes into his performance and character. Stuntman Bud Ekins was as essential to The Great Escape as Steve McQueen himself. McQueen met Ekins when he bought a Triumph motorcycle from him, started hanging out at Ekins’ shop, and as a result discovered desert racing. It was McQueen’s idea to fly Ekins out to Bavaria where they were shooting The Great Escape. “He said, ‘I’m going to Germany and I’m going to make a movie. Do you want to come over and double me? There’s some motorcycle work in it.’ I said, ‘Sure,’ and that was about it.” It would be the first of many films Ekins and McQueen made together. Bud Ekins prepared and choreographed the bulk of the chase, and McQueen did most of his own riding. McQueen was a better driver than many of the stuntmen playing Germans, so he put on an SS uniform for some of these scenes and chased himself. As Hilts, he rode a 1962 650cc Triumph TR6R. Production used four bikes total, modified to look like a WWII-era side-valve BMW with an olive paint job, old seat, and luggage rack. The studio’s insurers took issue with McQueen doing anything too dangerous, so Ekins doubled him for stunts where McQueen could have been hurt. Ekins also brought along Australian motocross champion Tim Gibbes, who played the Nazi officer who crashes after Hilts sets a wire trap in the road. Hilts steals Gibbes’ SS uniform and motorcycle and heads for Switzerland. On his way toward the border, he draws the unwanted attention of German officers who try asking questions that he can’t answer. Hilts kicks one of these officers off his bike and speeds away, with countless Nazis in pursuit. Though McQueen is famous for The Great Escape’s most famous stunt, it was Bud Ekins who performed it. McQueen explained, “I always felt a little guilty about that. A lot of people thought it was me making that jump, but I’ve never tried to hide the truth about it. I could handle the jump now, I’m sure. Back in ’62, I just didn’t have the savvy.” According to a few of his castmates, McQueen did have the savvy. John Leyton, aka Willie “The Tunnel King,” had his own story about palling around with McQueen, Coburn, and Bronson after the cameras stopped rolling. The men rode motorcycles together and they all managed to make the jump, aided by a ramp dug in the hill that Ekins had used as a launch pad. McQueen performed the stunt at least one other time, on camera, just to prove that he could, and Tim Gibbes did it for fun. According to second unit director Robert E. Relyea, McQueen, Ekins, and Gibbes were all filmed performing the stunt. Relyea wrote in his book Not So Quiet on the Set that he believes it could be any of these three men doing the stunt featured in the final cut, but most believe that it’s Bud Ekins on film. Ekins sped his way up and over the barbed-wire fence, jumped 12 feet high, and descended 65 feet at 60 mph. It only took one take for Bud Ekins to pull it off. Ekins said, “When I took off, I throttled right back and it was silent. You know, everything was just silent – the whole crew and everything was just silent. And then when I landed they cheered like crazy.” With Hilts surrounded on all sides by Nazis, this moment has the highest stakes imaginable, and though Hilts is ultimately captured, it is euphoric when he first makes it to the other side. The motorcycle jump is essential to The Great Escape’s legacy, a historic moment in moviemaking. It became an image seared into our collective memory, emblematic of liberation and the brief exultation of those who made it out of the prison camp. But their escape came at a cost, as the Gestapo executed the majority of the escapees. At the end of the film, Hendley asks Senior British Officer Ramsey (James Donald), “Do you think it was worth the price?” Ramsey responds, “It depends on your point of view.” Jack Lyon, a real RAF officer who’d been imprisoned at Stalag Luft III, believed the mission boosted morale at the camp, as the men felt they had a purpose, that they contributed something. Ramsey argues they succeeded in their mission: to mess up the works, and to get back at the enemy the hardest way they could. The Cincinnati Kid check out city college of new york alumni, edward g robinson in the ending of the film The Thomas Crown Affair song is Michel Legrand, windmills of your mind the split screen effect was mastered in this film Bullitt a still, of McQueen riding, the head stuntman played the rival rider. McQueen tried to buy the car in the film but it is in a private collector's space The Reivers based on william faulkner's last book Le Mans the introduction, it is calm, really an advert for driving a car on a road in the woodlands Papillon made by https://alliedartists.com/ look at the other films they helped produce The Solitary Confinement scenes in Papillon are stark + The Towering Inferno The tower was designed by Doug Roberts in the film. The tower was designed by Doug Roberts, https://www.vaultofculture.com/vault/towering/glasstower Tower-ing Fiction #9: Glass Tower, The Towering Inferno (1974) June 12, 2019 by Shawn Gilmore The Towering Inferno (dir. John Guillerman, 1974) is one of the Irwin Allen-produced disaster epics helped establish the modern blockbuster in terms of scale, stakes, and narrative setup. Without it, we wouldn’t have later films like Die Hard (dir. John McTiernan, 1988) or even Skyscraper (dir. Rawson Marshall Thurber, 2018), as previously covered in the Tower-ing Fiction series. And at its heart is the Glass Tower, a modern skyscraper, billed as “the tallest building in the world,” which of course will become the titular towering inferno, which will erupt over “a night of blazing suspense,” as promotional materials don’t attempt to hide. The plot of the film is fairly thin—architect Doug Roberts (Paul Newman) has returned to San Francisco for the dedication of the building he designed the builder, James Duncan (William Holden); an electrical fire breaks out on the 81st floor, likely because Duncan’s son-in-law cut corners; during the dedication ceremony itself, a full fire erupts, and fire chief Michael O’Hallorhan (Steve McQueen) is called in to try to rescue those trapped inside, many from the 135th floor Promenade Room, roof, offices, elevators, etc. The star-studded cast is populated by actors playing types (as named on the poster): Faye Dunaway as the Girlfriend, Fred Astaire as the Con-Man, Susan Blakely as the Wife, Richard Chamberlain as the Son-in-Law, Jennifer Jones as the Widow, OJ Simpson as the Security Man, Robert Vaughn as the Senator, and Robert Wagner as the Publicity Man. There is much fire, and yelling, and a few tests of wills, but the film focuses on moment-by-moment solutions to immediate danger—how will a cluster of our characters make it through the peril in front of them, and can they trust one another to do so? In the end, much of the fire is doused by blowing up roof-top water tanks, with O’Hallorhan’s ingenuity saving nearly all of those involved. ... From Prose to Screen The Towering Inferno was adapted from two fairly similar thrillers, The Tower (1973) by Richard Martin Stern and The Glass Inferno (1974) by Thomas N. Scortia and Frank M. Robinson. The Tower focuses on the grand opening of the World Tower Building in Lower Manhattan, built near the World Trade Center Towers (which had been completed in 1970 and 1971), and is billed as even taller, at 125 stories and 1,527’; the plot hinges on shortcuts in the electrical systems, a disgruntled sheet-metal worker with a bomb, which coupled sets off a fire that traps the important guests in the 125th floor Tower Room, some of whom are saved by a breeches buoy line secured to the nearby (and lower) North Tower of the World Trade Center. The Glass Inferno concerns itself with the “Glass House,” or more properly the National Curtainwall Building, which is some 66 stories tall an located in an unnamed American city; again, corners were cut in the construction of the tower, there are disgruntled employees, and a fire breaks out, and in this iteration, those remaining are saved from the penthouse Promenade Room by a combination of helicopter rescue and exploding water tanks to put out most of the fire. Warner Brothers bought the rights to The Tower and 20th Century Fox snagged The Glass Inferno, putting two similar films in to production. Allen convinced the two studios to jointly produce his film, splitting revenues, with domestic proceeds going to Fox and international to Warner Brothers. These parallel novels were then merged by Stirling Silliphant (who also wrote scripts for In the Heat of the Night (dir. Norman Jewison, 1967) and The Poseidon Adventure) in to one synthetic story, and copies of both novels were rolled out with film-specific branding. The two novels make their respective towers central characters. The Tower opens with a set of diegetic descriptions of the World Tower: It is the world’s tallest structure, and the most modern, an enduring tribute to man’s ingenuity, skill, and vision. It is a triumph of imagination. —GROVER FRAZEE at the World Tower dedication ceremonies. A monument to Mammon, product of man’s insatiable ego, an affront to the gods. That so much treasure should have been poured into the construction of this — this monstrosity while poverty, yes, and even hunger still stalk the land, is an abomination! There will be inevitable Divine retribution! —THE REVEREND JOE WILLIE THOMAS in a press interview. Which is then followed by an extended prologue, moving from the construction to the tower as a living thing: For one hundred and twenty-five floors, from street level to Tower Room, the building rose tall and clean and shining. […] By comparison with the twin masses of the nearby Trade Center, the building appeared slim, almost delicate, a thing of fragile-seeming grace and beauty. But eight subbasements beneath the street level its roots were anchored deep in the bedrock of the island; and its core and external skeleton, cunningly contrived, had the strength of laminated spring steel. […] Through its telephone, radio, and television systems operating at ground level, broadcasting through the atmosphere or via satellite, its sphere of communication was, quite simply, the earth. It could even communicate with itself, floor to floor, subbasement to gleaming tower. […] As the structure grew, its arteries, veins, nerves, and muscles were woven into the whole: miles of wiring, piping, utility ducting; cables and conduits; heating, ventilating, and air-conditioning ducts, intakes, and outlets—and always, always the monitoring systems and devices to oversee and control the building’s internal environment, its health, its life. Sensors to relay information on temperature, humidity, air flow and content; computers to assimilate the data, evaluate them, issue essential instructions for continuation or change. […] The building breathed, manipulated its internal systems, slept only as the human body sleeps: heart, lungs, cleansing organs functioning on automatic control, encephalic waves pulsing ceaselessly. […] Men had envisioned it, conceived it, and constructed it, sometimes almost lovingly, sometimes with near hatred, because, like all great projects, the building had early on developed a character of its own, and no man intimately associated with it could escape involvement. There is, it seems, a feedback. What man creates with his hands or his mind becomes a part of himself. And there, on this morning, the building stood, its uppermost tip catching the first rays of sunrise while the rest of the city still slept in shadow; and the thousands of men who had had a part in the building’s design and construction were going to remember this day forever. Later, in chapter 12, as the inferno rages, a character reflects that “the great shining World Tower she had visited so often during the years of its construction […] was crippled now, a helpless giant” and the people on the street gazing upon the tower, “like ghouls, spectators at a public execution lusting for more blood, more terror.” In the next chapter, an omniscient narrator characterizes the building a cursed: For some from the start it was one of those jobs you writhed in dreams about and awakened sweating. The sheer magnitude of the World Tower was frightening, but it was more, far more than that. The building taking shape seemed to develop a personality of its own, and that personality was malign. On a cold fall day a freak wind whipped through the huge empty space where the plaza would be, picked up a loose piece of corrugation, and scaled it as a boy might scale a flattened tin can. A workman named Bowers saw it coming, tried too late to duck, and was almost but not quite decapitated. The front tire of a partially off-loaded truck standing perfectly still suddenly blew out with sufficient force to shift the untied load of pipe, burying three men in a tangle of assorted fractures. On another cold fall day a fire started in a subbasement, spread through piled lumber, and trapped two men in a tunnel. They were rescued alive—just. Paul Simmons was standing outside the building, talking with one of his foremen, when Pete Janowski walked off the steel at floor 65. The Doppler effect accentuated the man’s screams until they ended abruptly with a sickening thunk that Paul, not ten feet away, would never forget. And finally, near the end of the novel, in chapter 30, when speculating on motivations of Connor, the bomber, we learn that: “[…] the World Tower building was the last real job he had. He was fired. There’s a connection, but maybe you have to be loony to see it. I don’t know. All I know are the facts.” In a vague kind of way it made sense. All three men felt it. The Establishment had killed Connors’s wife, hadn’t it? The World Tower building was the brand-new shining symbol of the Establishment, wasn’t it? Well? So, the World Tower, man’s creation (and mirror of himself) is both malign and the Man, the inferno of the novel a kind of public execution, spurred on by one man’s rage at its symbolic stakes. The Glass Inferno (1974) opens with teasing advertising copy: The snow that began falling on Thanksgiving Eve added an extra magic to the spectacular new sixty-six-story high rise known as the Glass House. It dominated the city skyline: the latest triumph of modern architecture and engineering. But unnoticed, deep within it, a tiny spark grew until it became an inferno that changed the lives of the hundreds who worked or lived in the building—as well as the architect who designed it, the contractors who built it, the newsman who first warned of its dangers, and the firemen compelled to risk their lives because of another’s man’s greed and misjudgment. A gripping story of fire in a modem high rise, The Glass Inferno is an unforgettable novel of men and women caught in crisis, their heroism and cowardice, their unforgivable weaknesses and surprising strengths. As much fact as fiction, this is the revealing account of a holocaust that no fire department anywhere is equipped to fight. A novel, as uncomfortably close to the city cliff dweller as tomorrow’s headlines, gives us a frightening insight into the new skyscrapers that march across the urban and suburban skyline—the towering apartment houses and business complexes that experts have dubbed “fire traps in the sky.” Lacking the more overt symbolism of The Tower, the Glass House is described in the first chapter as a “tower etched against the dark clouds”: Sixty-six stories of gold-tinted glass panels and gold-anodized aluminum. The location on the north side of the financial district had been selected so there would be no buildings for several blocks around that could challenge it. There had been no compromise on the size of the site itself—the plazas on each side of the building were spacious and inviting, you didn’t feel crowded as you strolled across them to the building’s entrance. Sixty-six stories—thirty commercial and office floors and thirty-six of apartment floors—straight up with no setbacks. On the southern exposure, a sheer wall marked the utility core and served as a golden backdrop for the scenic elevator to the Promenade Room at the top. […] the most popular postcards in the local drugstores were those of the Glass House at night. It had become a symbol of the city. The Glass House is a less audacious structure, described in chapter 31 as just “one of the tallest” high rises in the city, with similar construction problems as possible dangers, such as the “chimney effect” that would exacerbate a mid-building raging fire. Building the Glass Tower The Towering Inferno, along with its Allen-produced precursor The Poseidon Adventure (dir. Ronald Neame, 1972) and later films like Jaws (dir. Steven Spielberg, 1975) and Star Wars (dir. George Lucas, 1977) helped establish the modern conception of the blockbuster film, specifically in their publicity, merchandising, and the narrative of production used to pitch the films themselves. So, The Towering Inferno was not only the top-grossing film of 1974 (and was nominated for a Best Picture Oscar), but was also promoted by highlighting the story of its production, specifically how its special effects were achieved, including extensive documentation of the model-making for the film’s two main towers. Below are some of the variety of production materials that came out in relation to the film, sourced from a variety of fan sites, including The Towering Inferno Archive and The Towering Inferno Memorabilia Archive. ... Here are some storyboards Here are some parodies Parodies And, as with other major blockbusters, The Towering Inferno received some light ribbing from parody magazines. Prominent among these was the six-page “The Towering Infernal,” in Cracked #126 (August 1975), with original art by John Severin: And the eight-page “The Towering Sterno” in Mad #177 (September 1975), written by Dick De Bartolo, with art by Mort Drucker: An Enemy of the People Steve McQueen plays a man from a town who finds out a local business enterprise is sickening and makes it public against the towns desires Trailer Original Five Act Play bu Henrik Ibsen https://www.gutenberg.org/cache/epub/2446/pg2446-images.html Steve McQueen stunts Thomas Crown Affair/ The Great Escape/Bullitt/Papillon/Thomas Crown Affair Below is missed roles, very interesting the movies he passed up, he would have been even bigger. but the movies he passed on made others careers. MISSED ROLES uniform resource locator https://en.wikipedia.org/wiki/Steve_McQueen#Missed_roles content McQueen was offered the lead male role in Breakfast at Tiffany's, but was unable to accept due to his Wanted: Dead or Alive contract (the role went to George Peppard). He turned down parts in Ocean's 11, Butch Cassidy and the Sundance Kid (his attorneys and agents could not agree with Paul Newman's attorneys and agents on top billing),The Driver,Apocalypse Now,  California Split, Dirty Harry, A Bridge Too Far, The French Connection (he did not want to do another cop film), Close Encounters of the Third Kind and Sorcerer. According to director John Frankenheimer and actor James Garner in bonus interviews for the DVD of the film Grand Prix, McQueen was Frankenheimer's first choice for the lead role of American Formula One race car driver Pete Aron. Frankenheimer was unable to meet with McQueen to offer him the role, so he sent Edward Lewis, his business partner and the producer of Grand Prix. McQueen and Lewis instantly clashed, the meeting was a disaster, and the role went to Garner. Later, in an interview, Garner said: Oh, McQueen. Crazy McQueen. McQueen and I got along pretty good. McQueen looked at me kind of like an older brother, and he didn't want to have much to do with me, till he got in trouble, then he'd call. He knew he could trust me to tell him just what I thought. A lot of people wouldn't do that. And then we had... it wasn't a falling out... as I did Grand Prix, Steve was originally slated to do that movie, but he couldn't get along with Frankenheimer. So that lasted about thirty minutes, and Steve was out, and I was in. And Steve went over to do Sand Pebbles, which went about a year longer than they wanted to go. Big production, spent a lot of money and stayed over in [Taiwan] too long. So, when I got the part in Grand Prix, I called him, in Taiwan. and I said, "Steve, I want to tell you, before you hear it from somebody else, that I'm going to do Grand Prix." Well, there was about a twenty dollar silence there, on the telephone. He didn't know what to say, and finally said "Oh, that's great, great, I'm glad to hear it." Because, he planned to do Le Mans, which was another title at the time, but we were going to be out, and Grand Prix released before he ever even got to that film. But he said, "Great, great, well, I'm glad to hear it; that's good. You know, if anybody's gonna do it, I'm glad, you're doin' it." He didn't talk to me for about a year and half, and we were next-door neighbors, so it did get to him a little bit. Finally, his son, Chad, made him take him to go see Grand Prix. And from that time on, we were talking again. But Steve was a wild kid. He didn't know where he wanted to be or what he wanted to do. Director Steven Spielberg said McQueen was his first choice for the character of Roy Neary in Close Encounters of the Third Kind. According to Spielberg in a documentary on the film's DVD release, Spielberg met him at a bar, where McQueen drank beer after beer. Before leaving, McQueen told Spielberg that he could not accept the role because he was unable to cry on cue. Spielberg offered to take the crying scene out of the story, but McQueen demurred, saying that it was the best scene in the script. The role eventually went to Richard Dreyfuss. William Friedkin wanted to cast McQueen as the lead in the action thriller film Sorcerer (1977). Sorcerer was to be filmed primarily on location in the Dominican Republic, but McQueen did not want to be separated from Ali MacGraw for the duration of the shoot. McQueen then asked Friedkin to let MacGraw act as a producer, so she could be present during principal photography. Friedkin would not agree to this condition, and cast Roy Scheider instead of McQueen. Friedkin later remarked that not casting McQueen hurt the film's performance at the box-office. Spy novelist Jeremy Duns revealed that McQueen was considered for the lead role in a film adaptation of The Diamond Smugglers, written by James Bond creator Ian Fleming. McQueen would play John Blaize, a secret agent gone undercover to infiltrate a diamond-smuggling ring in South Africa. There were complications with the project, which was eventually shelved, although a 1964 screenplay does exist. McQueen and Barbra Streisand were tentatively cast in The Gauntlet (1977), but the pair could not get along and both withdrew from the project—though according to one biographer, they had briefly dated in 1971. The lead roles were filled by Clint Eastwood and Sondra Locke. McQueen expressed interest in the Rambo character in First Blood when David Morrell's novel appeared in 1972, but the producers rejected him because of his age. He was offered the title role in The Bodyguard (to star Diana Ross) when it was proposed in 1976, but the film did not reach production until years after McQueen's death; the film eventually starred Kevin Costner and Whitney Houston in 1992. Quigley Down Under was in development as early as 1974, with McQueen in consideration for the lead, but by the time production began in 1980, McQueen was ill. The project was scrapped until a decade later, when Tom Selleck starred. McQueen was offered the lead in Raise the Titanic, but felt the script was flat. He was under contract to Irwin Allen after appearing in The Towering Inferno and offered a part in a sequel in 1980, which he turned down. The film was scrapped and Newman was brought in by Allen to make When Time Ran Out, which was a box-office bomb. McQueen died shortly after passing on The Towering Inferno 2.

Read a story from my good news calendar https://aalbc.com/tc/blogs/entry/261-good-news-blog-stories-through-a-year/?tab=comments#comment-889 OR read it in here A little boy in the house with his father side mother, come into the study of his father. He hold a coloring page. Hey Papa, my school wanted me to color this shamrock image any color I wanted and share it online" The father look on and say: "Nice choice of green son" "What do you know about Saint Patrick's Day Papa": inquire the son. The father nip his son. His son rub the nipped spot and give a little smile, in a face of confusion. The father open his arms and the son sit on his lap, coloring page in hand: "Your grandmere nipped me if I didn't wear green on Saint Patrick's day, but beyond a little, I do not know much. We are not Irish. But I know someone who knows far far more" "Oh yeah, who dad" "Well, where do I begin..." Many years in the past, the father, a younger man, unmarried unparent, stand in front of a bar downtown Manhattan. A poster is in their window, and the day is Saint Patrick's day. He goes inside and take a seat side friends. A waitress come by and ask what they will drink. R and LD, or D and A want Guinnesses. The father to be, alone, choose the same. A waitress come by with a drink. He takes his sip and all five enjoy the day. As the sun is soon to sleep, the two couples go to their homes and the husband to be is alone, walking to fifty ninth street. He could had gone into the train station to get on the A train back home to Harlem, before the Blacks were pushed out. But, he chose to take a seat on a park bench and think of a lady on the other side of a southern sea. He walk about a bench when he gets a nip. He lift his foot up and he can not believe it. A little man is looking up at him. "Amadán mór thú!" : yell the little man and he continue: "Ní thuigeann tú mé ... ahhh watch were ya going you fathach seacláide!" The father to be look to the street. "Iontach!, what do you think you are doing, dreaming, or drunk" The husband to be squat and speak to the little man:"maybe I am" The little man howl a laugh: "I once out drank Fionn mac Cumhaill who as a boy was better than most men, when he last saw his wife, before he ventured away I challenged him to a contest of wine made in the deepest cave in Tir na nog by the loveliest tuathe de women... ahhh now we were truly drunk, you are merely a weak bellied" The father to be rise: "well, I apologize, happy saint paddy day" "AHHHH!!!": the little man yell out:"You dhaoine associate the shamrock with that blue scarved baiste, that is not the truth". The husband to be, sit on a park bench. The little man sit next to him, and he look out. "Don't worry, none can see me": and the little man continue to shine a shoe, a pendant made for a bigger neck rolled up at his side, and he continue as the father to be smile at him: "the truth is, saint patrick was a good man, but he never wanted all this philandering and ag ol. He wanted calm, serenity, for when the real magic happens" "Real magic?": query the husband to be. "Yes, like when someone like you step on an old shoe shiner like me": the little man hold the medallion and continue: "You need to be transported to a church for that old saint Patrick, the banshee will be there" The husband to be startle: "banshee" The little man laugh:" calm down, a banshee isn't like in your te-le-vi-sion stories, banshees are helpful, very helpful... they tell you who will pass away soon, sometimes appearing as loving ones". The little man throw the medallion to the husband to be and snap his fingers. Suddenly, the father to be is in a church. eemingly empty, the father to be hear names in the wind. He walk down the isle of the church looking for the speaker. He opines to the calm air in the church:"Ms or MRS Banshee" He hears names over and over, whispered. The air begin to mist and the voices get louder. He feels a cool behind him and sees a female emanation, that look like a stranger EMBED CODE She wails out names, and turns into a younger girl, and then a man, and then an elder. The husband to be do not comprehend why so many, who is going to be gone. The father to be then realize the truth. The medallion shine in his hand, and he snap from the church to the bench. The father to be look incredulous at the little man:" I don't get it" "The lesson is for you to figure out, that is what your kin never comprehend, the world you call magic is safe, so are old folk like from it, but your lives are mortal, are fragile, but your spirits are eternal, their magic is why we can speak to you sometimes, try to guide you, though..." : and the little man disappear from sight, the medallion leave the hand of the father to be, and the voice of the little man continue:"... we usually fail" The father to be rock in the park bench and get up, shaking his head, before the trek into the subway. Back in the present, his son ask a question. "Did you remember the names you heard, ever see that little man again?" The father hold the son tight: "no, I can not recall any name, but today I realize, the lesson" The son ask wondering: "what lesson" "The kin of each person is each other person" "Ceia is ready!": a female voice call out. The son run out of the room, the father smile behind him, and exit his chair. The father get to the door and he hear the sound of a tiny cobbler, and smile without turning back, to get his supper. THE END I only had one work of art in my deviantart gallery that returned something visual from green/luck/rainbow , but i found numerous in my favorites https://www.deviantart.com/hddeviant/journal/March-on-Green-Feature-expose-1168543402 If you like my story consider reading the following https://www.kobo.com/us/en/ebook/sunset-children-stories The irish song I like the most is one I first heard in a movie called the Nephew, in english , from 1998. LYRICS referrals https://lyricstranslate.com/en/fill-fill-run-return-return-my-love.html https://genius.com/Anuna-fill-fill-a-run-lyrics Lyrics in irish Fill, fill a rún [Verse 1] Ó crá ort, a shagairt Uí Domhnaill Nach dona go deo mar a d'imigh tú Ó léigh sé an tAifreann Dé Domhnaigh 's bhí sé maidin Dé Luan ina mhinistir [Chorus] Ó fill, ó fill a rún ó Fill a rún ó Is ná h’imigh uaim Ó Fill orm a chuisle ‘s a stóirín Ó is gheo-ghaidh tú an ghlóir má fhillean tú [Verse 2] Dá bheic-feadh sibh Neilí Dé Dómhaigh 'S a gúna bhán go sala uirthi Búclai buí in a bróga 's í á tarraingt sa ród mar phúca [Chorus] Ó fill, ó fill a rún ó Fill a rún ó Is ná h’imigh uaim Ó Fill orm a chuisle ‘s a stóirín Ó is gheo-ghaidh tú an ghlóir má fhillean tú [Verse 3] Tá malacht na sagart 's na mbráithre leat I do mhála ag imeacht duit 'S nach measa duit malacht do mháthartha Ná á bhaca tú aIríamh den bhunadh sin [Chorus] Ó fill, ó fill a rún ó Fill a rún ó Is ná h’imigh uaim Ó Fill orm a chuisle ‘s a stóirín Ó is gheo-ghaidh tú an ghlóir má fhillean tú Verse 4 Ó thréigh tú Peadar is Pól, agus Thréigh tú Eoin is an bhunadh sin Ó thréigh tú an Mhaighdeán ’s an ghlóir, is Nach dona go deo mar a d'imigh tú [Chorus] Ó fill, ó fill a rún ó Fill a rún ó Is ná h’imigh uaim Ó Fill orm a chuisle ‘s a stóirín Ó is gheo-ghaidh tú an ghlóir má fhillean tú Lyrics in english Return, Return my Love Oh woe unto you, oh1 priest Ó Domhnaill Don't ever be so wretched as when you left Oh he performed the mass on Sunday And was a minister2 on Monday morning Oh return, oh return, my love, oh Return, my love, oh, don't leave my side Oh return, my beloved3 and my darling oh And you'll receive the glory if you do return If you could see Neilí on Sunday And her white dress with heels on her Yellow buckles on the shoes She is being dragged in the street like a puck4 Oh return, oh return, my love, oh Return, my love, oh, don't leave my side Oh return, my beloved3 and my darling oh And you'll receive the glory if you do return The curse of the priests and the brothers5 You carry with you in your leaving bag And worse for you your maternal6 curse Don't ever block yourself from that heritage Oh return, oh return, my love, oh Return, my love, oh, don't leave my side Oh return, my beloved3 and my darling oh And you'll receive the glory if you do return Oh, you forsook Peter and Paul And you forsook John and this heritage Oh you forsook the Maiden and her glory, and Don't ever be as wretched as when you left Oh return, oh return, my love, oh Return, my love, oh, don't leave my side Oh return, my beloved3 and my darling oh And you'll receive the glory if you do return 1. vocative particle can be translated as oh or sometimes as my 2. i.e. he changed sides from Catholic to Protestant 3. a. b. c. d. literally: pulse 4. Irish mythical beings considered to be bringers both of good and bad fortune 5.religious brothers 6.or your mother's curse https://youtu.be/FjGSsBmZtOY?t=619

Wilhelm Beer born 1797 1834–1836 Mappa Selenographica URL https://de.wikipedia.org/wiki/Mappa_Selenographica 1837 Der Mond nach seinen kosmischen und individuellen Verhältnissen URL info https://archive.org/details/bub_gb_hO_mAAAAMAAJ/page/n31/mode/2up Embed

Groundbreaking for New York subway system 1900 The New York Rapid Transit Decision of 1900 (Katz) Full Article https://www.nycsubway.org/wiki/The_New_York_Rapid_Transit_Decision_of_1900_(Katz) Excerpt Construction of the first subway in New York City, the Interborough Rapid Transit underground railway or IRT, was officially begun on March 24, 1900 and completed, ahead of schedule, in late October, 1904.

Patrick Henry gave a speech to the Second Virginia Revolutionary Convention meeting at St. John’s Church, Richmond, on March 23, 1775 No man thinks more highly than I do of the patriotism, as well as abilities, of the very worthy gentlemen who have just addressed the House. But different men often see the same subject in different lights; and, therefore, I hope it will not be thought disrespectful to those gentlemen if, entertaining as I do opinions of a character very opposite to theirs, I shall speak forth my sentiments freely and without reserve. This is no time for ceremony. The questing before the House is one of awful moment to this country. For my own part, I consider it as nothing less than a question of freedom or slavery; and in proportion to the magnitude of the subject ought to be the freedom of the debate. It is only in this way that we can hope to arrive at truth, and fulfill the great responsibility which we hold to God and our country. Should I keep back my opinions at such a time, through fear of giving offense, I should consider myself as guilty of treason towards my country, and of an act of disloyalty toward the Majesty of Heaven, which I revere above all earthly kings. Mr. President, it is natural to man to indulge in the illusions of hope. We are apt to shut our eyes against a painful truth, and listen to the song of that siren till she transforms us into beasts. Is this the part of wise men, engaged in a great and arduous struggle for liberty? Are we disposed to be of the number of those who, having eyes, see not, and, having ears, hear not, the things which so nearly concern their temporal salvation? For my part, whatever anguish of spirit it may cost, I am willing to know the whole truth; to know the worst, and to provide for it. I have but one lamp by which my feet are guided, and that is the lamp of experience. I know of no way of judging the future but by the past. And judging by the past, I wish to know what there has been in the conduct of the British ministry for the last ten years to justify those hopes with which gentlemen have been pleased to solace themselves and the House. Is it that insidious smile with which our petition has been lately received? Trust it not, sir; it will prove a snare to your feet. Suffer not yourselves to be betrayed with a kiss. Ask yourselves how this gracious reception of our petition comports with those warlike preparations which cover our waters and darken our land. Are fleets and armies necessary to a work of love and reconciliation? Have we shown ourselves so unwilling to be reconciled that force must be called in to win back our love? Let us not deceive ourselves, sir. These are the implements of war and subjugation; the last arguments to which kings resort. I ask gentlemen, sir, what means this martial array, if its purpose be not to force us to submission? Can gentlemen assign any other possible motive for it? Has Great Britain any enemy, in this quarter of the world, to call for all this accumulation of navies and armies? No, sir, she has none. They are meant for us: they can be meant for no other. They are sent over to bind and rivet upon us those chains which the British ministry have been so long forging. And what have we to oppose to them? Shall we try argument? Sir, we have been trying that for the last ten years. Have we anything new to offer upon the subject? Nothing. We have held the subject up in every light of which it is capable; but it has been all in vain. Shall we resort to entreaty and humble supplication? What terms shall we find which have not been already exhausted? Let us not, I beseech you, sir, deceive ourselves. Sir, we have done everything that could be done to avert the storm which is now coming on. We have petitioned; we have remonstrated; we have supplicated; we have prostrated ourselves before the throne, and have implored its interposition to arrest the tyrannical hands of the ministry and Parliament. Our petitions have been slighted; our remonstrances have produced additional violence and insult; our supplications have been disregarded; and we have been spurned, with contempt, from the foot of the throne! In vain, after these things, may we indulge the fond hope of peace and reconciliation. There is no longer any room for hope. If we wish to be free– if we mean to preserve inviolate those inestimable privileges for which we have been so long contending–if we mean not basely to abandon the noble struggle in which we have been so long engaged, and which we have pledged ourselves never to abandon until the glorious object of our contest shall be obtained–we must fight! I repeat it, sir, we must fight! An appeal to arms and to the God of hosts is all that is left us! They tell us, sir, that we are weak; unable to cope with so formidable an adversary. But when shall we be stronger? Will it be the next week, or the next year? Will it be when we are totally disarmed, and when a British guard shall be stationed in every house? Shall we gather strength by irresolution and inaction? Shall we acquire the means of effectual resistance by lying supinely on our backs and hugging the delusive phantom of hope, until our enemies shall have bound us hand and foot? Sir, we are not weak if we make a proper use of those means which the God of nature hath placed in our power. The millions of people, armed in the holy cause of liberty, and in such a country as that which we possess, are invincible by any force which our enemy can send against us. Besides, sir, we shall not fight our battles alone. There is a just God who presides over the destinies of nations, and who will raise up friends to fight our battles for us. The battle, sir, is not to the strong alone; it is to the vigilant, the active, the brave. Besides, sir, we have no election. If we were base enough to desire it, it is now too late to retire from the contest. There is no retreat but in submission and slavery! Our chains are forged! Their clanking may be heard on the plains of Boston! The war is inevitable–and let it come! I repeat it, sir, let it come. It is in vain, sir, to extenuate the matter. Gentlemen may cry, Peace, Peace– but there is no peace. The war is actually begun! The next gale that sweeps from the north will bring to our ears the clash of resounding arms! Our brethren are already in the field! Why stand we here idle? What is it that gentlemen wish? What would they have? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what course others may take; but as for me, give me liberty or give me death! * William Wirt (1772-1834) reconstructed this accepted text of Patrick Henry’s “Liberty or Death” speech for his biography of Patrick Henry. Wirt’s Sketches of the Life and Character of Patrick Henry was published in 1817 and reprinted about two dozen times in the nineteenth-century. Historians and biographers have often debated the merits and limits of William Wirt’s reconstruction of the text. Patrick Henry's 1775 "Give me liberty, or give me death!" speech, depicted in an 1876 lithograph by Currier and Ives now housed in the Library of Congress in Washington, D.C. Uniform Resource Locator https://www.historicstjohnschurch.org/the-speech/ IN AMENDMENT The curiosity in Black history in the united states of america or the white european colonies that preceded it, isn't how people of Patrick Henry's appearance gave death or slavery to the first people/the native american while slavery or death to the black enslaved from africa. I argue said action is inevitable The curiosity is how said butchered or enslaved people had so many leaders who didn't resound the same message Patrick HEnry gave to his oppressors but instead sounded to their own people give me slavery or give me death. Often times Black leaders in the predecessor to the United States of America or the United States of America itself tell their phenotypical kin to accept death or slavery over the finality that liberty offers most. The Black people of Tulsa knew fully well the violence of whites and essentially built up a local financial paradise at knifepoint, slavery.

Stephanie Mills born 1957 so sexy Home When I think of home I think of a place where there's love overflowing I wish I was home I wish I was back there with the things I been knowing Wind that makes the tall trees bend into leaning Suddenly the snowflakes that fall have a meaning Sprinklin' the scene, makes it all clean Maybe there's a chance for me to go back there Now that I have some direction It would sure be nice to be back home Where there's love and affection And just maybe I can convince time to slow up Giving me enough time in my life to grow up Time be my friend, let me start again Suddenly my world has changed it's face But I still know where I'm going I have had my mind spun around in space And yet I've watched it growing If you're list'ning God Please don't make it hard to know If we should believe in the things that we see Tell us, should we run away Should we try and stay Or would it be better just to let things be? Living here, in this brand new world Might be a fantasy But it taught me to love So it's real, real to me And I've learned That we must look inside our hearts To find a world full of love Like yours Like me Like home... written by Charlie Smalls What Cha Gonna Do with My Lovin [Verse 1] Ooh, I'm wishin' Boy, I got my eyes on you This mystery is thrillin' I'm not sure just what to do Ooh-hoo-hoo, this oasis It is no mirage to me Touchin' gently Feel the love in me [Chorus] Tell me, what you gonna do with my lovin'? I'm crazy 'bout your smilin' eyes What you gonna do with my lovin'? Please don't make me fantasize What you gonna do with my lovin'? Tell me now, oh [Verse 2] So hard lovin' daydreams All my pleasure's make believe But with you as my daydream I never want to leave Ooh-hoo, ooh-hoo, this feeling Shines like a precious jewel And here, if you want me All my love is for you [Chorus] Tell me, what you gonna do with my lovin'? I'm crazy 'bout your smilin' eyes What you gonna do with my lovin'? Please don't make me fantasize What you gonna do with my lovin'? Tell me now, oh, tell me now [Outro] What you gonna do, what you gonna do? (Come on) What you gonna do? (Tell me) Come on Tell me What you gonna do, what you gonna do? (What you gon' do?) What you gonna do? (Tell me, come on) Tell me, tell me, oh What you gonna do, what you gonna do? (Baby) What you gonna do? (What you gon' do with my lovin'? Yeah) Ah, ah, ah Oh, tell me, baby What you gonna do, what you gonna do? (What you gon' do, baby?) What you gonna do? (What you gon' do?) written by Reggie Lucas +James Mtume Never Knew Love Like This Before [Verse 1.1] I never knew love like this before Now I'm lonely never more Since you came into my life [Verse 1.2] You are my lovelight this I know And I'll never let you go You're my all, you're part of me [Verse 1.3] Once I was lost and now I'm found Then you turned my world around When I need I call your name [Chorus] 'Cause I never knew love like this before Opened my eyes 'Cause I never knew love like this before What a surprise 'Cause I never knew love like this before [Verse 2.1] This feeling's so deep inside of me Such a tender fantasy You're the one I'm living for [Verse 2.2] You are my sunlight and my rain And time could never change What we share forevermore [Verse 1.1] I never knew love like this before Now I'm lonely never more Since you came into my life [Chorus] 'Cause I never knew love like this before Opened my eyes 'Cause I never knew love like this before What a surprise 'Cause I never knew love like this before [Verse 1.2] You are my lovelight this I know And I'll never let you go You're my all, you're part of me [Verse 1.3] Once I was lost and now I'm found Then you turned my world around When I need I call your name [Chorus] 'Cause I never knew love like this before Opened my eyes 'Cause I never knew love like this before What a surprise 'Cause I never knew love like this before Inside of me Never knew love like this before Opened my eyes [Outro] (Never) Never (Never) Never (Never knew love like this) I never knew, I never knew, I never (Never) Never (Never) Never (Never knew love like this) I never knew, I never knew, I never knew (Never) Never (Never) Never (Never knew love like this) I never knew (Never) Never knew (Never) Never (Never knew love like this) I never knew (Never) Never knew (Never) Never (Never knew love like this) I never knew, I never knew, I never knew (Never) I never knew, I never knew, I never knew (Never) I never (Never knew love like this) Never knew love like Never knew (Never) Never knew (Never) Never (Never knew love like this) Opened my eyes (Never) What a surprise (Never) Never (Never knew love like this) I never knew written by Reggie Lucas +James Mtume I Have Learned to Respect the Power of Love Mmmm, hmmm. Mmmmmmmmmmm. Ah, dee, uh, dee, duh, uhhhhh, mmmmm. I was a victim of my foolish thinking. Carelessly I risked my love and my life. There's no self-pity. I admit I obliged for the power by love, I pretended to be blind. Fate has survived all the doubts I summoned. My heart has stood all the failure and loss. Helpless, I cannot further be driven. (Mmmmmmm, ooooh, ooooh, oooooh.) I've learned to respect the power of love. I've learned to respect (Oh, ohhh.) the power of love. I've learned to respect, oh, the power of love. I've learned to respect, oh, oh, the power of love. I was always afraid of being the one left hurt (Ooooooh.) Running away from the one thing From which I've always yearned. I'm not ashamed to tell you. Many nights, I've tossed and I've turned. I've learned to respect the power of love. (Yeah, yeah, yeah, yeah, yeah, yeah, yeah.) I've learned to respect, oh, the power of love. (Yes I did.) I've learned to respect, oh, ooooooh, the power of love. (Oooooooooh.) I've learned to respect (Oooooh.) the power of love. I need you. Oooooh. I want you beside me. (Beside me.) I trust you. Oooh. I believe, I believe in you. I adore you. I love you so. Don't you know I've learned, I've learned. (I've learned to respect the power of love.) Oh, oh, oh. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. (I've learned to respect the power of love.) I've learned it. (I've learned to respect the power of love.) Baby, baby, baby, I've learned the power of love. (I've learned to respect the power of love.) I've learned it. Yes I did. Ohhhh, yeah. (I've learned to respect the power of love.) And I'm not ashamed to tell you. Oh, ohhhhhhhh. (I've learned to respect the power of love.) Oh, honey, honey, I need you. Oooooh. Oh, oh, oh, oh. It's that power. Ummmm. Baby, baby, baby, I've learned. (I've learned to respect the power of love.) And I'm not ashamed to tell you that. Oh. (I've learned to respect the power of love.) I'm talking about the power. Yeah. I'm talking about the power. Oh, oh, oh, oh. (The power of love.) Oooooooooooooooooooooh, ooooooooooh. The power. Oh, oh, oh, it's so good. It's so good to me. I'm talking about power. Oh, oh, oh, oh. (The power of love.) Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. The power of love. Whoo! Yes, it's to me. I'm talking 'bout. (The power of love.) And ohhhhhh, oh, oh, oh. Let's talk about the yearning. Oh. And everybody, I-I-I wanna talk about the feeling. (The power of love.) Ooooooooooh. Oh, oh, oh, oh. I'm gonna talk about the screaming. Ohhhhhhh, oooooooooh. Oh, yeah, yeah, yeah. Let's talk about the loving. (The power of love.) Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. Let's talk about the power. (The power of love.) (...the power of love.) Oh, 'cause I-I've learned the power. (I've learned to respect the power of love.) I've learned, I've learned, I've learned. Oh, ohhh. (I've learned to respect the power of love.) I said I-I-I-I've learned. Oh, ohhhhhhhhhhhhhhhhhhh. Baby, baby, I've learned it, oh, oh, (I've learned to respect the power of love.) And I'm not ashamed to tell you that, that I-I-I-I've learned it. Oooooooh. (I've learned to respect {The power of love} the power of love.) Oh, oh, oh. I'm not ashamed to tell you I've learned it. (I've learned to respect the power of love.) Oh, oh, oh, oh, and everybody, Everybody there needs to learn. Oooooooooooh. (I've learned to respect {The power of love} the power of love.) Oh, oh. Oh, baby, baby, I've learned it. (I've learned to respect the power of love.) Oh, oh, oh, yeah. Uhhhh. Honey, honey, baby. Songwriters: Rene Moore, Angela Winbush. I Feel Good All Over Mmm, hmm The night we met I often remember Two strangers meeting for the very first time Now here we are Facing each other Two lovers holding on to something real Something so meaningful If you wanna know how I feel I feel good (I feel good) Baby, I feel good all over (Baby, I feel good all over) You and I have what others dream about We've finally worked it out Say no more Your expression shows it I see a little sunshine inside of you Just to be with you is so exciting Who would have thought it could to me, mmm It's no secret we're in love Even a little child can see I feel good (I feel good) Baby, I feel good all over (Baby, I feel good all over) You and I have what others dream about You know I've been many places I've seen lots of faces Thought I knew just about everything Everything there is to know Yet you never (Never) Cease to amaze me (Cease to amaze me) The main reason I live is because You make me feel good (I feel good) Baby, I feel good all over (Baby, I feel good all over) When I think about all the good things you do You do to me, baby (I feel good) Oh, oh (I feel good) Baby, I feel good all, all, all over (Baby, I feel good all over) The way you hold me and smile my way (I feel good) Oh... (I feel good) I... I feel good You make me, make me feel so, feel so good (Baby, I feel good all over) Yeah, yeah, yeah, yeah I feel so good Oh, oh, yeah I feel good (I feel good) Can't you see I feel good all over? (Can't you see I feel good all over?) I wanna let you know (Wanna let you know) Yeah (From head to toe) I love you so, yeah (I love you so) (I feel good) Yes, I do (I feel good) Oh, baby Oh, honey Oh, sugar, I feel good all over? (Can't you see I feel good all over?) Sweet (Sweet things you say to me) Oh, yeah (Whoa, oh, oh, I love this, love this) I feel good (I feel good) Oh, baby I feel good all over (Can't you see I feel good all over?) You and I We have what others dream about We've finally worked it out Annette Hardeman + Gabriel Hardeman (You're Puttin') A Rush on Me You're puttin' a rush on me But I'd like to know you better You're puttin' a rush on me But I'd like to know you better What kind of girl do you think I am It's just too soon, can't you understand I'm not the kind of girl who has to Lay you down before I fall in love It's been kind of relaxed here waiting? But baby, you got to slow down You're puttin' a rush on me But I'd like to know you better (Maybe next time) You're puttin' a rush on me But I'd like to know you better (Baby) You're puttin' a rush on me But I'd like to know you better (Maybe next time) You're puttin' a rush on me But I'd like to know you better (Baby) Please just be patient if nothing else, oh, babe Just know that I respect myself, yes, I do But I hope I didn't lead you to thinking Thinking that I was that easy, boy I know that we're living in the 80s Yet some things never change You're puttin' a rush on me But I'd like to know you better (Maybe next time) You're puttin' a rush on me But I'd like to know you better (Baby) You're puttin' a rush on me But I'd like to know you better (Maybe next time) You're puttin' a rush on me But I'd like to know you better (Baby) I'm just an old fashioned girl When it comes down to love Before I give you some love I've got to be sure your intentions are pure (Oh, babe) You're puttin' a rush on me (Take it easy, baby) But I'd like to know you better (Don't rush it, baby) You're puttin' a rush on me But I'd like to know you better (Maybe next time, oh...) You're puttin' a rush on me (Oh, oh, oh, yeah, yeah) You're puttin' a rush on me (Puttin' a rush on me) Baby, can't you see (Oh, can't you see) Puttin' a rush on me (You're puttin' a rush on me) Yeh, ey, hey, hey You're puttin' a rush on me (Oh, babe) But I'd like to know you better (Puttin' a rush on me, don't-don't do it, babe) You're puttin' a rush on me (I can't stand it, baby) But I'd like to know you better (Don't you do it, baby, ah... oh... oh...) You're puttin' a rush on me (Oh... oh... oh... oh...) But I'd like to know you better (Yeah) You're puttin' a rush on me (You're puttin' a rush on me) Oh, baby, can't you see (Oh, baby, can't you see) Puttin' a rush on me (Puttin' a rush on me) Yeah, yeah, yeah, yeah, yeah, yeah, yeah, I'd like to know You're puttin' a rush on me But I'd like to know you better (Oh, baby, ooh, ooh, ooh, babe) You're puttin' a rush on me (Slow down, boy) But I'd like to know you better (Take it easy) You're puttin' a rush on me But I'd like to know you better Songwriters: Paul Laurence Jones, Timothy Monroe Allen Something in the Way (You Make Me Feel) [Chorus] Something in the way you make me feel Feel, feel (Tell you, baby) Something in the way you make me feel (Oh) Feel, feel (And it makes me feel real good) [Verse 1] I've been up and I've been down Until you helped me put my feet on solid ground I've been rich and I've been poor Then you showed me that there's so much more [Pre-Chorus] Than the rat race and the fast pace Could ever offer me When I look back, baby You've always been there for me [Chorus] Something in the way you make me feel (Ain't no doubt it) Feel (I wanna shout about it), feel (I tell you, baby) Something in the way you make me feel (Oh) Feel, feel (And it makes me feel real good, hmm) Something in the way you make me feel (Oh oh) Something in the way you make me feel (Oh oh oh) [Verse 2] I've been talked about and I've been scorned I've been praised and I've been adorned I've met all kinds, traveled over this world And still your love turned me into a different girl [Pre-Chorus] You got the right touch and I don't know what Came over me But when I woke up, honey It was so plain to see [Chorus] Something in the way you make me feel (I wanna talk about it) Feel (Get up and walk and shout), feel (I tell you, baby) Something in the way you make me feel (Oh) Feel (You make me feel), feel (I tell you, baby) Something in the way you make me feel (Oh, it's something in the way) Feel (Yes, it's something in the way), feel (I tell you, baby) Something in the way you make me feel (I wanna talk about it) Feel (Oh), feel (And it makes me feel real good, real good) Something in the way you make me feel (Oh oh) You make me feel real good-good-good-good Something in the way you make me feel (Yeah, yeah) You make me feel real good-good-good-good (Oh oh) [Bridge] You got the right touch and I don't know what Came over me When I woke up, honey It was so plain to see [Chorus] Something in the way you make me feel (Ain't no doubt about it) Feel (I wanna shout about it), feel (Tell the world about it) Something in the way you make me feel (I wanna talk about it) Feel (Yeah, yeah), feel (I tell you, baby) Something in the way you make me feel (You make feel it) Feel (You make me feel it), feel (Oh) Something in the way you make me feel (You make me feel it) Feel (You make me feel loved), feel (Oh, oh, oh, oh) Something in the way (Ooh) you make me feel (You make feel it) Feel (You make me feel it), feel (You make me feel real good all over, yeah) Something in the way you make me feel (You turn me in and out) Feel (You make me scream and shout), feel (Oh oh oh) Something in the way you make me feel (You make feel, oh) Feel (You make me feel), feel (Oh) Something in the way you make me feel (You make me feel) Feel (You make me feel), feel (Tell you, babe) Something in the way you make me feel Feel, feel (Touch that I need so much) Something in the way you make me feel Feel, feel Something in the way you make me feel written by Angela Winbush to see more images https://photos.app.goo.gl/R3tuukJR4BdMvkHP7

His birthday ! sunny days, everything's A O K

Michelangelo born 1475 For me Michelangelo is a greater sculptor, I know many like his paintings, like the sistince chapel but I prefer his sculptures. The Madonna of the Stairs (or Madonna of the Steps) is a relief sculpture around 1490, uses stiacciato low relief The Pietà (Italian: [maˈdɔnna della pjeˈta]; "[Our Lady of] Pity"; 1498–1499) is a Carrara marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Virgin Mary in Saint Peter's Basilica, Vatican City, for which it was made. Madonna of Bruges was the first sculpture by Michelangelo to leave Italy during his lifetime. In 1504, it was bought by Giovanni and Alessandro Moscheroni (Mouscron) for 100 ducats. The Mouscron brothers were wealthy cloth merchants in Bruges The Medici Madonna is a marble sculpture measuring about 88.98 inches (226 cm) in height. Dating from 1521 to 1534, the sculpture is a piece of the altar decoration of the Sagrestia Nuova( the New Sacristy and the Medici Chapel) in the Basilica of San Lorenzo, Florence Rachel is a sculpture of the Old Testament figure Rachel. it was part of the final, 1542–1545 design for the tomb of Pope Julius II in San Pietro in Vincoli, on which it is present at the time this photo was taken. The tomb of Giuliano de' Medici, Duke of Nemours, is a sculptural and architectural complex in marble (650x470 cm) datable to 1524-1534 and part of the decoration of the New Sacristy in San Lorenzo in Florence. Built in a cloister of the Medicean Basilica di San Lorenzo di Firenze the library was built to emphasize that the Medici were no longer just merchants but members of intelligent and ecclesiastical society. It contains the manuscripts and books belonging to the private library of the Medici family. The library was designed by Michelangelo and is an example of Mannerism Madonna del Silenzio c. 1538 Cleopatra black chalk on paper 230 mm (9.05 in); width: 180 mm (7.08 in) circa 1533-1534

Electronic Numerical Integrator and Compiler (ENIAC) is the first computer + first machine to make a weather model to predict the weather, here is how 03/05/1950 https://aalbc.com/tc/blogs/entry/482-electronic-numerical-integrator-and-compiler-eniac-is-the-first-computer-first-machine-to-make-a-weather-model-to-predict-the-weather-here-is-how/ IF YOU DONT WANT TO USE THE LINK ABOVE How? The first successful numerical prediction was performed using the ENIAC digital computer in 1950 by a team led by American meteorologist Jule Charney. The team include Philip Thompson, Larry Gates, and Norwegian meteorologist Ragnar Fjørtoft, applied mathematician John von Neumann, and computer programmer Klara Dan von Neumann, M. H. Frankel, Jerome Namias, John C. Freeman Jr., Francis Reichelderfer, George Platzman, and Joseph Smagorinsky.[THE ENIAC FORECASTS A Re-creation ][The Unheralded Contributions of Klara Dan von Neumann][A Vast Machine] They used a simplified form of atmospheric dynamics based on solving the barotropic vorticity equation over a single layer of the atmosphere, by computing the geopotential height of the atmosphere's 500 millibars (15 inHg) pressure surface.[Numerical Integration of the Barotropic Vorticity Equation] This simplification greatly reduced demands on computer time and memory, so the computations could be performed on the relatively primitive computers of the day.[https://archive.org/details/stormwatcherstur00cox_df1/page/208/mode/2up] When news of the first weather forecast by ENIAC was received by Richardson in 1950, he remarked that the results were an "enormous scientific advance."[The origins of computer weather prediction and climate modeling] The first calculations for a 24‑hour forecast took ENIAC nearly 24 hours to produce,[The origins of computer weather prediction and climate modeling] but Charney's group noted that most of that time was spent in "manual operations", and expressed hope that forecasts of the weather before it occurs would soon be realized.[Numerical Integration of the Barotropic Vorticity Equation] ARTICLES THE ENIAC FORECASTS A Re-creation https://maths.ucd.ie/~plynch/Publications/ENIAC-BAMS-08.pdf The Unheralded Contributions of Klara Dan von Neumann https://www.smithsonianmag.com/science-nature/meet-computer-scientist-you-should-thank-your-phone-weather-app-180963716/ Despite having no formal mathematical training, she was a key figure in creating the computer that would later launch modern weather prediction Sarah Witman June 16, 2017 Editor's note, May 20, 2021: We’ve updated this piece to more accurately reflect Klara Dan von Neumann’s contributions to the experiment that resulted in the first numerical weather predictions in 1950. The piece originally misstated that Klara was in charge of hand-punching and managing the 100,000 punchcards that served as the ENIAC’s read/write memory, when in fact she wasn’t present for this part of the experiment. The story has been re-edited to reflect this information. A weather app is a nifty tool that predicts your meteorological future, leveraging the strength of satellites, supercomputers, and other modern devices to tell you when to pack an umbrella. Today, computerized weather prediction—like moving pictures or seatbelts in cars—is so commonplace that most smartphone users don’t give it a second thought. But in the early 20th century, the idea that you might be able to forecast the weather days or even weeks ahead was a tantalizing prospect. One of the most important breakthroughs in weather forecasting took place in the spring of 1950, during an experiment at the Aberdeen Proving Ground, a U.S. Army facility in Maryland. For 33 days and nights, a team of scientists and computer technicians worked tirelessly to achieve something that meteorologists had been working toward for decades: predict the weather mathematically. This was well before the age of pocket-sized, or even desktop, computers. The team—led by scientists Jule Charney, Ragnar Fjørtoft, John Freeman, George Platzman, and Joseph Smagorinsky—was using one of the world’s first computers: a finicky, 150-foot machine called ENIAC that had been developed during the recent World War. Platzman would later describe a complicated, 16-step process they repeated over and over: six steps for the ENIAC to run their calculations, and 10 steps to input instructions and record output on punch-cards. Minor errors forced them to redo hours—sometimes days—of work. In one tense moment, a computer operator’s thumb got caught in the machinery, temporarily halting operations. But at the end of the month, the team had produced six groundbreaking weather forecasts (well, technically, "hindcasts," since they used data from past storms to demonstrate the method). An article in the New York Times hailed the project as a way to “lift the veil from previously undisclosed mysteries connected with the science of weather forecasting.” The benefits to agriculture, shipping, air travel and other industries “were obvious,” weather experts told the Times, offering the potential to save crops, money, and lives. An internal Weather Bureau memo commended “these men” for proving that computer-based forecasting, the cornerstone of modern weather prediction, was possible. This was mostly true—except, it wasn’t just men. Numerous women played critical scientific roles in the experiment, for which they earned little to no credit at the time. Two computer operators, Ruth Lichterman (left) and Marlyn Wescoff (right), wire the right side of the ENIAC with a new program in the pre-von Neumann era. US Army, via Historic Computers Images of the ARL Technical Library Like the ENIAC’s first programmers—Jean Bartik, Betty Holberton, Kathleen Antonelli, Marlyn Meltzer, Ruth Teitelbaum, and Frances Spence—the computer operators for the 1950 weather experiment were all women. While this highly skilled work would surely have earned them a co-authorship today, their names—Norma Gilbarg, Ellen-Kristine Eliassen, and Margaret Smagorinsky, who was the first female statistician hired by the Weather Bureau and the wife of meteorologist Joseph Smagorinsky—are absent from the journal article detailing the experiment’s results. Before most of the scientists arrived at Aberdeen, these women spent hundreds of hours calculating the equations that the ENIAC would need to compute in the full experiment. “The system that they were going to use on the big computer, we were doing manually,” Margaret recalled in an interview with science historian George Dyson before she died in 2011. “It was a very tedious job. The three of us worked in a very small room, and we worked hard.” But perhaps the biggest single contribution, aside from the scientists leading the experiment, came from a woman named Klara Dan von Neumann. Klara, known affectionately as Klari, was born into a wealthy Jewish family in Budapest in 1911. After World War I, in which Hungary allied with Austria to become one of the great European powers of the war, Klara attended an English boarding school and became a national figure skating champion. When she was a teenager, during Budapest’s roaring '20s, her father and grandfather threw parties and invited the top artists and thinkers of the day—including women. Klara married young, divorced and remarried before the age of 25. In 1937, a Hungarian mathematician, John von Neumann, began to court her. Von Neumann was also married at the time, but his divorce was in progress (his first wife, Mariette, had fallen in love with the acclaimed physicist J.B. Horner Kuper, both of whom would become two of the first employees of Long Island’s Brookhaven National Laboratory). Within a year, John and Klara were married. John had a professorship at Princeton University, and, as the Nazis gained strength in Europe, Klara followed him to the U.S. Despite only having a high school education in algebra and trigonometry, she shared her new husband’s interest in numbers, and was able to secure a wartime job with Princeton’s Office of Population Research investigating population trends. By this time, John had become one of the most famous scientists in the world as a member of the Manhattan Project, the now-notorious U.S. government research project dedicated to building the first atomic bomb. With his strong Hungarian accent and array of eccentricities—he once played a joke on Albert Einstein by offering him a ride to the train station and then intentionally sending him off on the wrong train—he would later become the inspiration for Stanley Kubrick’s Dr. Strangelove. While Klara stayed behind, working full-time at Princeton, John moved out to Los Alamos, New Mexico, running the thousands of calculations needed to build the first of these weapons of mass destruction. His work came to fatal fruition in 1945, when the U.S. dropped two atomic bombs on Japan, killing as many as 250,000 people. A chart of the series of operations required to create the first weather forecasts, chronicled later by scientist George Platzman. AMS Bulletin, ©American Meteorological Society. Used with permission. After the war, John decided to turn his mathematical brilliance toward more peaceful applications. He thought he might be able to use the ENIAC—a powerful new computer that cut its teeth running calculations for an early hydrogen bomb prototype—could be applied to help improve weather forecasting. As John began to pursue this idea, getting in touch with top meteorologists in the U.S. and Norway, Klara came to visit him in Los Alamos. Living apart during the Manhattan Project had been hard on their marriage, and Klara had suffered a miscarriage back in New Jersey, but the trip rekindled sparks between them. By this time, Klara had become quite mathematically adept through her work at Princeton, and she and John began to collaborate on the ENIAC. “I became Johnny’s experimental rabbit,” she told Dyson years afterward. “I learned how to translate algebraic equations into numerical forms, which in turn then have to be put into machine language in the order in which the machine has to calculate it, either in sequence or going round and round, until it has finished with one part of the problem, and then go on some definite which-a-way, whatever seems to be right for it to do next.”<br> <br> The work was challenging, especially compared to modern computer programming with its luxuries like built-in memory and operating systems. Yet, Klara described to Dyson, she found coding to be a “very amusing and rather intricate jigsaw puzzle.” Women computer scientists holding different parts of an early computer. From left to right: Patsy Simmers, holding ENIAC board; Gail Taylor, holding EDVAC board; Milly Beck, holding ORDVAC board; Norma Stec, holding BRLESC-I board. US Army Photo, via Historic Computers Images of the ARL Technical Library In the acknowledgements of the 1950 paper detailing the first numerical weather predictions, the authors thank Klara for her “instruction in the technique of coding for the ENIAC and for checking the final code.” But what is undoubtedly her most impactful contribution to the experiment took place several years prior: helping to transform the ENIAC from a rigidly hard-wired machine into one of the first stored-program computers, more akin to today’s personal computers. Both Klara and John felt this was a necessary improvement for future applications like the weather experiment, as it would allow them to store a vast repertoire of commands in the computer’s memory. In 1947, Klara and Nick Metropolis—a Greek-American mathematician and computer scientist, and leader of the Los Alamos computing group—collaborated on a plan to implement this new mode on the ENIAC, and in 1948 they traveled to Aberdeen to reconfigure the machine. After training five other people to program and run the ENIAC (two married couples and a bachelor: Foster and Cerda Evans, Harris and Rosalie Mayer, and Marshall Rosenbluth), they worked for 32 days straight to install the new control system, check it, and get the modified machine up and running. By the end of the trip, Klara had reportedly lost 15 pounds, and it took her several weeks and numerous doctor’s visits to recover from the experience. But she still managed to write a full report on the conversion and use of the ENIAC as a stored-program computer. “The method is clearly a 100% success,” John wrote at the time. By the time Charney and his team of scientists arrived at Aberdeen in early 1950, Platzman would recall years later, the “ENIAC had been operating in the new stored-program mode for over a year, a fact that greatly simplified our work.” In a letter to his wife written during this first week, Platzman gushed: “The machine is a miracle.” The ENIAC was still rudimentary: It could only produce 400 multiplications per second, so slow that it produced rhythmic chugging noises. But after working around the clock for over a month, the team had six precious gems to show for their efforts: two 12-hour and four 24-hour retrospective forecasts. Not long after the weather experiment concluded, tragedy befell the von Neumann family. John von Neumann was confined to a wheelchair in 1956, and succumbed to cancer a year later, (likely due, at least in part, to his proximity to radiation during the Manhattan Project). Klara wrote the preface to his posthumous book, The Computer and the Brain, which she presented to Yale College in 1957. In it, she briefly described her late husband’s contributions to the field of meteorology, writing that his “numerical calculations seemed to be helpful in opening entirely new vistas,” but gave no mention of her own role. Klara’s work with computers seems to have tapered off even before John’s death. Whatever her reasoning may have been for this, it was in line with the prevailing trend at the time. Janet Abbate recounts in her 2012 book Recoding Gender how, as the public perception of computers and their value to society evolved throughout the 1950s and ’60s, the number of women hired for those roles shrank rapidly. Abbate writes that, while the women who made up most of the workforce in the early days of coding “would have scoffed at the notion that programming would ever be considered a masculine occupation,” that’s exactly what happened within a matter of years. Today, less than 8 percent of software developers worldwide identify as women, nonbinary, or gender nonconforming. While female representation in the fields of science, technology, engineering, and math has increased as a whole since the 1970s, according to the U.S. Census Bureau, the number of women working in computing roles has actually declined over the past few decades. But without their early contributions to the field, we might have missed out on the breakthrough that led to modern weather prediction, or any number of scientific advancements. So the next time you scroll through your weather app before deciding whether to don a raincoat, think of Klara and the other women who helped make it possible. A Vast Machine https://web.archive.org/web/20120127215929/http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=12080 Computer Models, Climate Data, and the Politics of Global Warming Paul N. Edwards Table of Contents and Sample Chapters Computer Models, Climate Data, and the Politics of Global Warming Paul N. Edwards Acknowledgments Download Chapter as PDF Sample Chapter - Download PDF (71 KB) ix Introduction Download Chapter as PDF Sample Chapter - Download PDF (121 KB) xiii 1 Thinking Globally Download Chapter as PDF Sample Chapter - Download PDF (1.82 MB) 1 2 Global Space, Universal Time Seeing the Planetary Atmosphere 27 3 Standards and Networks International Meteorology and the Réseau Mondial 49 4 Climatology and Climate Change before World War II 61 5 Friction 83 6 Numerical Weather Prediction 111 7 The Infinite Forecast 139 8 Making Global Data 187 9 The First WWW 229 10 Making Data Global 251 11 Data Wars 287 12 Reanalysis The Do-Over 323 13 Parametrics and the Limits of Knowledge 337 14 Simulation Models and Atmospheric Politics, 1960–1992 357 15 Signal and Noise Consensus, Controversy, and Climate Change 397 Conclusion 431 Notes 441 Index Download Chapter as PDF Sample Chapter - Download PDF (106 KB) 509 Global warming skeptics often fall back on the argument that the scientific case for global warming is all model predictions, nothing but simulation; they warn us that we need to wait for real data, "sound science." In A Vast Machine Paul Edwards has news for these skeptics: without models, there are no data. Today, no collection of signals or observations—even from satellites, which can "see" the whole planet with a single instrument—becomes global in time and space without passing through a series of data models. Everything we know about the world's climate we know through models. Edwards offers an engaging and innovative history of how scientists learned to understand the atmosphere—to measure it, trace its past, and model its future. Edwards argues that all our knowledge about climate change comes from three kinds of computer models: simulation models of weather and climate; reanalysis models, which recreate climate history from historical weather data; and data models, used to combine and adjust measurements from many different sources. Meteorology creates knowledge through an infrastructure (weather stations and other data platforms) that covers the whole world, making global data. This infrastructure generates information so vast in quantity and so diverse in quality and form that it can be understood only by computer analysis—making data global. Edwards describes the science behind the scientific consensus on climate change, arguing that over the years data and models have converged to create a stable, reliable, and trustworthy basis for establishing the reality of global warming. About the Author Paul N. Edwards is Professor in the School of Information and the Department of History at the University of Michigan. He is the author of The Closed World: Computers and the Politics of Discourse in Cold War America (1996) and a coeditor (with Clark Miller) of Changing the Atmosphere: Expert Knowledge and Environmental Governance (2001), both published by the MIT Press. Numerical Integration of the Barotropic Vorticity Equation https://a.tellusjournals.se/articles/10.3402/tellusa.v2i4.8607 Original Research Papers Authors J. G. Charney R. Fjörtoft J. von Neumann Abstract A method is given for the numerical solution of the barotropic vorticity equation over a limited area of the earth’s surface. The lack of a natural boundary calls for an investigation of the appropriate boundary conditions. These are determined by a heuristic argument and are shown to be sufficient in a special case. Approximate conditions necessary to insure the mathematical stability of the difference equation are derived. The results of a series of four 24-hour forecasts computed from actual data at the 500 mb level are presented, together with an interpretation and analysis. An attempt is made to determine the causes of the forecast errors. These are ascribed partly to the use of too large a space increment and partly to the effects of baroclinicity. The rôle of the latter is investigated in some detail by means of a simple baroclinic model. The origins of computer weather prediction and climate modeling https://web.archive.org/web/20100708191309/http://www.rsmas.miami.edu/personal/miskandarani/Courses/MPO662/Lynch,Peter/OriginsCompWF.JCP227.pdf from Peter Lynch IN AMENDMENT Reading the Manual for ENIAC, the World’s First Electronic Computer https://thenewstack.io/reading-the-manual-for-eniac-the-worlds-first-electronic-computer/ ENIAC (Electronic Numerical Integrator and Compiler) was the world's very first fully electronic general-purpose computer. Smithsonian magazine once called it "the room-size government computer that began the digital era." And last week the I Programmer site shared a link to an original operating manual for ENIAC, originally published 75 years ago this month. Jun 16th, 2019 6:00am by David Cassel I don't know my love, I know a business exist. Michael jackson was a huge client, but he wasn't alone, many black people in the entertainment industry have skin lightened , and the newspapers don't tend to go into it. Feature image: US Army photo of the ENIAC. Sometimes you have to take a long look back to realize just how much things have changed. And if you looked around our modern-day, cloud-enhanced web this month, you’d find several sites sharing memories about the launch of the ENIAC computer in 1946 — and of all those unstoppable mid-century engineers who tirelessly made it work. ENIAC (Electronic Numerical Integrator and Compiler) was the world’s very first fully electronic general-purpose computer. Smithsonian magazine once called it “the room-size government computer that began the digital era.” And last week the I Programmer site shared a link to an original operating manual for ENIAC, originally published 75 years ago this month. It’s dated June 1st, 1946 — it was published by the school of engineering at the University of Pennsylvania in Philadelphia — and the manual’s page at Archive.org show it’s been viewed just 2,309 times. (“There are no reviews yet,” reads the boilerplate on the site. “Be the first one to write a review.”) The archive identifies it as part of “the bitsavers.org collection” — a project started by a software curator at the Computer History Museum, with over 98,500 files and more than 4.7 million text pages. So what can we glean about the ENIAC’s moment in history from the manual which documents its operation? It seems like the machine was temperamental. For example, it warns that the DC power should never be turned on without first turning the operation switch to “continuous.” “Failure to follow this rule causes certain DC fuses to blow, -240 and -415 in particular.” But the consequences are even worse if you opened the DC fuse cabinet when the D.C. power was turned on. “This not only exposes a person to voltage differences of around 1,500 volts but the person may be burned by flying pieces of molten fuse wire” (if one of the fuse cases suddenly blew). In fact, the ENIAC was actually designed with a door switch shunt that prevented it from operating if one of its panel doors was open, “since removing the doors exposes dangerous voltage.” But this feature could be bypassed by holding the door switch shunt in its closed position. In a video shared by the Computer History Archives Project, chief engineer J. Presper Eckert Jr remembers that it was rare to go more than a day or two without at least one tube blowing out. And in addition to potential shocks, dust was another potential hazard. “Dust particles may cause transient relay failures,” the manual warns, “so avoid stirring up dust in the ENIAC room.” “Also, if any relay case is removed, always replace in exactly the same position in order not to disturb dust inside the case.” The ENIAC used an IBM card reader, but that had its own issues too. At one point the manual actually recommends against having the same number in every column of a punchcard, since “this weakens a card increasing the probability of ‘jamming’ in the feeding mechanism of the IBM machines.” Essential Instructions<br> Despite these limitations, ENIAC was a remarkable piece of technology. The manual includes intricate drawings and detailed diagrams of its racks, trays, cables, and wiring. But most important are the front panel drawings, which “show in some detail the switches, sockets, etc. for each panel of each unit.” “They contain the essential instructions for setting up a problem on the ENIAC.” ENIAC’s panels were equipped with neon lights corresponding to things like the “denominator flip-flop” and the “divide flip-flop.” The manual includes footnotes that carefully explain under what circumstances each light will be lit. “The square root of zero is perhaps the easiest test to repeat on the divider-square rooter…” It’s not until page 28 that it explains that turning on the start switch “starts the initiating sequences for the ENIAC, turning on the DC power supplies, the heaters of the various panels, and the fans…” And it also turns on a little amber light. “When this sequence has been completed, showing that the ENIAC is ready to operate, the green light goes on…” There were gates for a “constant transmitter” (which transmits to an “accumulator”), and its circuitry included “program pulse input terminals” — for add pulses and subtract pulses. And the machine also included two “significant figures switches.” “When 10 or more significant figures are desired, the left-hand switch is set to 10 and the right-hand switch set so that the sum of the two switch readings equals the number of significant figures desired.” There are tantalizing glimpses of how it all works together. The manual recommends a complicated test to make sure all the hardware is working properly. It involves a card with the value P 11111 11111, which gets input into the machine’s “accumulator” 18 times. The mathematical result — 19,999,999,998 — apparently exceeds the range of the accumulator, so the expected result is actually M 99999 99998. Then a card with the value P 00000 00001 is transmitted to the accumulators exactly twice — which instead of twenty billion (20,000,000,000) should give the value P 00000 00000. “Note that this test assumes that the significant figure switch is set to ’10’…” In Smithsonian magazine, technology writer Steven Levy remembers living in Philadelphia in the 1970s and renting an apartment from a man named J. Presper Eckert Jr. “It was only when I became a technology writer some years later that I realized that my landlord had invented the computer.” video not available https://www.youtube.com/watch?v=G8R6li54R20 In the early 1940s, Eckert had been a graduate student in the school of engineering who became the ENIAC’s chief engineer. A professor had proposed electronic calculations for munitions trajectories to help the American military during World War II. Levy calls it “a breathtaking enterprise. The original cost estimate of $150,000 would rise to $400,000. Weighing in at 30 tons, the U-shaped construct filled a 1,500-square-foot room. Its 40 cabinets, each of them nine feet high, were packed with 18,000 vacuum tubes, 10,000 capacitors, 6,000 switches and 1,500 relays… Two 20-horsepower blowers exhaled cool air so that ENIAC wouldn’t melt down.” By the time they’d finished building it — World War II was over. But there was still work to do. The Atomic Heritage Foundation site reports that ENIAC was used to help perform the engineering calculations for the world’s first hydrogen bomb (along with two other more-recently developed computers). “It took sixty straight days of processing, all through the summer of 1951.” Levy cites an Army press release describing ENIAC as a “mathematical robot” that “frees scientific thought from the drudgery of lengthy calculating work.” A recent documentary called The Computers reminds modern-day viewers that the ENIAC’s original programmers were all women — Kay McNulty, Betty Jennings, Betty Snyder, Marlyn Wescoff, Fran Bilas and Ruth Lichterman. There’s now also a site called the ENIAC Programmers Project that shares a brief overview of the documentary with more information. During World War II, the U.S. military had put together a team of nearly 100 women, trained in mathematics, who were calculating complex ballistic-trajectory equations. Six of them were selected to program the ENIAC. Back in 1996, the IEEE Annals of the History of Computing ran a profile of “The Women of ENIAC,” interviewing 10 of the women who’d worked with the computer during its 10-year run. The poster for the documentary describes them as “six women lost from history who created technologies that changed our world.” The ENIAC was eventually left behind by ever-faster and ever-cheaper computers. “By the time it was decommissioned in 1955 it had been used for research on the design of wind tunnels, random number generators, and weather prediction,” remembers an ENIAC web page at Oak Ridge National Laboratory. And even though ENIAC was decommissioned in 1955, 50 years later it was reassembled for a humble ceremony in Philadelphia, Levy remembers. “Vice President Al Gore threw a switch and the remaining pieces clattered out the answer to an addition problem.” According to Levy, the ENIAC’s chief engineer later groused “How would you like to have most of your life’s work end up on a square centimeter of silicon?” But Levy sees another way to look at it. “[T]he question could easily have been put another way: How would you like to have invented the machine that changed the course of civilization?” Yet legacies aside, it also seems like it was a real thrill just to have been a part of the work itself. “I’ve never seen been in as exciting an environment,” remembers Jean Jennings Bartik in the film. “We knew we were pushing back frontiers.” And more than 60 years later, she also still remembered that the ENIAC computer “was a son-of-a-bitch to program.” The Women of ENIAC https://web.archive.org/web/20160304052225/http://www.eg.bucknell.edu/~csci203/2012-fall/hw/hw06/assets/womenOfENIAC.pdf

Title: Around The First Flail Artist: RIchard Murray https://www.deviantart.com/hddeviant/art/1165312210the following is part of the poem linked above for The Voice of Valentine Contest entry Title: The End of the First Flail On our way home cover'd in foam The moon alone see we whisper lolli Always eterno couth the grasp between us booth The rest the night do blanket Yes! IN AMENDMENT ask an author from Serendipity Literary Agency presented by Regina Brooks Question to Donna Oriowo [ DRINK WATER AND MIND YOUR BUSINESS, will be released on May 13th, 2025 ( https://bookshop.org/p/books/feelin-myself-healing-self-esteem-for-black-women-donna-oriowo/21263397?ean=9781728281513&next=t&affiliate=10902 )]: who she dedicated her book to and why! Answer: It is easy to dedicate and not think about it, but i definitely thought about it. So I did a three part dedication. Part 1 was a quote. I am a girl who loves quotes. I love African proverbs. I feel like they mean something different to each of us. And for me the one that I chose was, don't expect to be healthy when your oppressor is feeding you. And for me the oppressor in this situation depends on who is oppressing you. yes, because I am thinking about the isms in life , colorism, texturism, racism, sexism, et cetera. And, how there are power dynamics there. But when I think of the people who are doing the oppressing. I think yes, of supremacy culture. But not just white supremacy, male supremacy, heterosexist supremacy, et cetera. So really, if you can identify one then this book is for you. Number two , to black women, my first loves, not just because I am a black woman, but because I came from a black woman, because my mother created other black women, and there was an entire village of black women behind me supporting me while I was writing this project, while I was conceptualizing this project and I will be remiss if I didn't say something. And my third dedication, well that one , I want them to read on their own and know that I thought of them. anyway, that is a little about who I dedicated to and why. https://www.linkedin.com/posts/regina-brooks_welcome-to-the-next-installment-of-ask-an-activity-7296181915571609600-nRBw/?utm_source=share&utm_medium=member_desktop&rcm=ACoAAC9jwHcBhMdyfurNH2JmdlAPjJgXHivmWR8

KWL Live Q&A: Music, Love and Storytelling with Xio Axelrod description The Kobo Writing Life team invites you to join us on February 27th from 12:00 PM-1:00 PM EST for a new Live Q&A. KWL director Tara and KWL author engagement manager Laura will chat to bestselling author Xio Axelrod. uniform resource locator https://www.youtube.com/watch?v=ziAHLKI6wzU video Xio Axelrod https://xioaxelrod.com/ MY TRANSCRIPT 00:02:00 Tara: how did music industry help you in the publishing? Xio: Her dad is a successful songwriter. She loves rock, her father is in rhythm and blues. Brought guerilla marketing tactics from indie music publishing into literary publishing industry. 00:04:00 Tara: What specifically did you bring from the music industry? Xio: She felt literary publishing was ahead of music space. In the music industry indie artist didn't have as much success at the time. She feels things like Boom going into indie writers backlist, and feels that may occur in the music industry. Both have many similarities. 00:06:00 Laura: What has been different in the industries? Xio: In music industry , not alot of peer support. You usually don't see musicians saying i like that album too but you see it in literature 00:07:00 Tara: what was challenges when you started? Xio: A huge learning curve to getting book out there. I needed cover art. She did her own covers/editing, what you tell new authors not to do. She was building her website and merch. Hardest part was reaching out to other people. She spent about a year, she thought it would be a side gig, watching other indie authors do what they did, cross promotion marketing. 00:09:00 Tara: What did you think of with pen names and website Xio: She had her pen name and website before she started. She interviewed authors on her blog and promoting her work. And she had authors saying you shouldn't do that. 00:10:00 Tara from Mauritzio Do you have any advice for an author who has published his first book, especially for promotion? Xio: Promoting others will get you known, and then when it is your turn , they will help. She told another author Bluesky is where it is at. Cross promotion matters. Good luck out there. Laura: I think cross promotion with authors who do the same genre as you 00:12:00 Laura: can you explain what a hybrid author is? Xio: She made eight books as an author before she signed a contract. she wanted to expand out, she spent her money on events, not advertisements. Source books approached her. She knew when you signed a traditional contract you have to give up some things. She thinks she is just finding it now. From the pandemic doing event after event, it is busier with success while still writing. She hasn't released a full indie in a few years. For her it is taking the time to write the book. 00:15:00 Tara: Did she think she will have influence once signed? Xio: Growing up, she knew, that a record label deal was not wise, from various people in the industry. But when she hit the wall, you can't get into bookshelves, or this or that store, you need to sign a contract. IF she can get someone where she can do what she wants while also signed . She is fortunate. 00:17:00 Tara: Readers don't follow the books Xio: She tells readers the more recent books are not her first. She has to get some old books back to print. 00:18:00 Tara: Can you walk us through your writing process? Xio: She does a lot of daydreaming. Xiovision. All of her characters live with her all the time. The scene will play over and over in her head and then she will write. She knows authors who get up is four in the morning and then they write to six. She does it day to day. Some days marketing, other days writing. She always consumes content. If she is on deadline, she turns off the phone on certain days. Surrounds herself with the art that helps her. Everyone has their own process. Her's is haphazard, no day is like the day before. 00:20:00 Tara: YOu do alot of events, do you write on the road? Xio: No , at an event she goes to an event mode. She thinks how many stickers she has for the table. Until the pandemic, she didn't know what process she needs. Her husband took over her office. The girl with stars in her eyes, was the hardest book. She knows now, if she wants to write, no package, no deliveries, so she can sink into her story. 00:22:00 Laura: What is your favorite film score to write to? Xio: JAne Eyre. She likes the soundtrack from the Piano. Any music with lyrics she can't use. But if love scene or fighting scene, she has five hundred sounds on her playlist. She writes playlist for every book she writes. 00:24:00 Laura: What are your thoughts to audiobooks, does she have any? Xio: She does. 2015 she thinks she should do this audio thing. She looked at catalog but not alot of romance. And she put up the money and it earned out. She encourages people to do audio, if you can get someone else to pay for it better, but she listens to audio exclusively now. Laura: her standards in audio are higher for background in music? Xio: She finds authors through the narrators. She asked who can she afford, in the beginning. And then she started writing characters for various voices. Girls with Bad Reputations, the characters were written with those voice authors in mind. A bad audio performance can ruin a book for her. 00:27:00 Laura: how do you approach genre blending? Xio: Write the book you want to read? She was reading anne rice, she didn't read romance into she actually wrote one. In "girl's with bad reputations" she wrote a scene that was a little wild, the editor questioned, but she said, it is alright. But throwing all the tropes and things she love in the blender, she can do it. it took nine months and two hundred chapters on my blog and it happened 00:29:00 LAura: what are your favorite tropes? Xio: Rivals to lovers. She doesn't approach books with tropes in mind? She had a book with many . Microtropes is having a big moment. Microtropes is the lifesblood of fan fiction 00:30:00 Tara: Your favorite microtrope? Xio: hue falls, she was a fanfic panel. Someone on the panel said she knows Xio writes fanfiction cause she manages the buffy fanfic lbrary. 00:32:00 Tara: Did you build this with your publisher? Xio: Initially the Lilly was one book in her head. When they approached about writing a series she can write a book for each girl. She was into this show called SKAN. It was very addictive, they had clips , like messages between characters. I can't do that with a book, but she can make similar. They have their own websites, book, esocial sites, the Lilyverse. 00:34:00 Tara: Do you write the esocial of the various characters? Xio: Yes, she does, she doesn't sleep. If she let someone else control, they would have more content. But it helps to write them to get inside their head. 00:35:00 Tara: would you let others try to work in the universe? Xio: We will see what source says. It has huge potential but we will see, and she owns her earlier work that someone did something from. We will see. 00:36:00 Tara: Would you need to compile a Lillyverse wiki Xio: She was thinking about having a series bible. A series bible will help but she will need to sit down. 00:37:00 Tara: Do you worry about easter eggs with having the various characters social? Xio: I don't think she has posted anything that isn't outside the story. 00:38:00 Tara: Any merchandise you have or most memorable? Xio: For the lilly series I have stickers. But she knew she would have alot of merch for the lilies with shirts for the concerts, album covers. She will sell shirts at Philadlephia convention. She gets giddy when fans love the lilies. She gets bracelets with the characters names and she gets magnets. She tells authors to find another point of contact with readers. Find a way to connect to another level 00:40:00 Tara: Do you take advice from readers on how to write? Xio: No, she likes feedback from the fanfic times but don't like all the people telling you what to do. Fans killed her passion for a story with their demands or desires on where it should go. She wants the lilies to be from where she wants. The training ground of fanfiction teaches you to stray away from fans desires to the future. 00:42:00 Laura: Any advice to indies for marketing their books Xio: She knows many indie authors do good work with advertisements but she likes events especially reader events. Everything is so tied to social media, and you never know what channel will work best. Figure out what is going on behind the scene and in romance authors are not averse to share information. She belongs to the authors guild as well. Marketing is tough, algorithm suppress what isn't paid for. 00:44:00 Tara: Do you focus on newsletters Xio: It is a chore for her to do a newsletter. Whenever she sits down to do a newsletter it sounds like corporate speak. She turned the newsletter over to her publishers. Get started early with newsletter. She tries to make the Lillies to independent. They have their own page on facebook. A fan said they would go to a place, that wasn't real. The temptation is to make it real. Sheet music exists on the back of the books. She can't wait to see people make covers, of the lilies work. 00:47:00 Tara: you mentioned the tenth anniversary of her book the callum Xio: She has always struggled with imposter syndrome. You can feel a failure when others are celebrating huge deals. She wished she learned early on to celebrate the wins of publishing a book and having others read her work. Work with your emotions and then get back to work. Be healthy emotionally. She wished she had learned early. It is great to have authors around you, have author friends. They will celebrate you and if they don't they are not your friends. People had said you did this or that and she had forgotten. And she remembered for her tenth anniversary 00:51:00 Tara: What was fans reaction to the series? Xio: Fans were happy. Her neighbor was one of her first readers. She got all teary with new stuff. She hopes fans of the lilly series, and she hopes they entertain her revisited book. 00:52:00 Laura: any upcoming projects Xio: Double deadline , writing tiff's story, the base player. Follow up to love on the Byeline, comes out later this year. It isn't quite as heavy. It will be interesting to continue this story of two friends. 00:53:00 Tara: any events in the future Xio: A polycon in April, doing romancecon this year, She will be quite a few places. She will be traveling not as much as last year. She is doing London and Vancouver. In book three the Lillies will be doing their first world tour so she will do research. UNANSWERED QUESTIONS FROM ME SI she pusblished internationally, has any of her books been translated ? Have you considered a character dying in the books and how would you handle their esocial? Xio Axelrod website [ https://xioaxelrod.com/ ] Xio Axelrod on Kobo [ https://www.kobo.com/ww/en/search?query=xio+axelrod&fclanguages=en ] Xio Axelrod merch [ https://xioverse-merch.creator-spring.com/ ] Xio Axelrod book [ https://xioaxelrod.com/books ] Xio Axelrod appearances [ https://xioaxelrod.com/appearances ] 03012026 Citation https://aalbc.com/tc/topic/12559-is-music-fading-as-a-storytelling-avenue-among-black-people/#findComment-80484 osted just now Thank you all:) @ProfD @aka Contrarian @Pioneer1 your all correct that the commercial aspect of the music industry has pushed music to be leisurely heard or commonly known that fits the high frequency rate of modern communication plus the boring , as in grinded in not dull, nature of modern communication While @Delano you are also correct and they concur that while one may have to be more an aficianado or put more work into the quality in which they listen, storytelling will never be completely dead in music and modern artists are still making storytelling songs with the same intention of those musicians in the past who told stories that opened imaginations with a tempo.

Poem of the Aeolian Heart Harp poem https://www.deviantart.com/hddeviant/art/1164090235 illustration https://www.deviantart.com/hddeviant/art/1164089424 IN AMENDMENT The Brothers Grimm & Dark Fairytales VIDEO TRANSCRIPT 0:00 this video has been sponsored by Squarespace I seriously doubt that any of us have managed to reach adulthood 0:06 without hearing at least a few fairy tales maybe it was the story of Little 0:11 Red Riding Hood or Cinderella or Jack in the bean stock or maybe it was one of the many adaptations spoofs and edgy 0:18 2010 retellings that were inspired by those Original Stories and not stereotype you guys but if you're 0:25 watching this video I bet you know that a lot of those modern fairy tales originated from the collection of the 0:32 brothers Grim today I want to take a deeper look at The Life and Times of the Grim Brothers investigate some of their 0:39 more obscure and perhaps disturbing stories to try and pin down why they 0:45 made it their life's work to study and preserve something as silly and 0:51 inconsequential as fairy tales yakob ludvig Carl Grim was born on January 4th 0:58 1785 in Hano a city in what we now know as Germany just about a year later on 1:05 February 24th 1786 his brother vilhelm Carl Grim was 1:10 born and due to their closeness in age the brothers were Incredibly Close growing up they were basically twins 1:18 except that they shared the middle name Carl instead of the womb while their family had never been particularly poor 1:25 their stations improved considerably in 1791 when the father of the family was 1:31 elected amtman which is basically a magistrate of the city of styo this gave 1:37 them land to live on a quite beautiful house and a rather stable income the 1:43 brothers flourished in styo with private tutors to teach them reading and writing 1:49 a nursaid to tell them stories and the entirety of the German Countryside at their fingertips okay and I have been 1:56 saying the German Countryside but technically where they were living was not Germany yet this was before the 2:03 unification of Germany when the country was still split up into much smaller kingdoms each with their own leader 2:09 still under the larger umbrella of the Holy Roman Empire as they had been for 2:14 over a thousand years I will be continuing to refer to the regions that 2:19 would eventually become Germany as Germany just for the sake of Simplicity 2:25 but you should probably be aware that technically it was not Germany until 8 185 however it is interesting to note 2:33 that the abundance of random small Kings and Kingdoms in the time of the Holy 2:38 Roman Empire may have contributed to the environment of the fairy tales that the 2:44 brothers Grim would collect and retell where there's always a king and a 2:49 princess and a castle but their peaceful Countryside upbringing could not remain 2:54 peaceful there was a lot of Chaos in Europe at this time the French Revolution was was going on and things 3:01 were only about to get more chaotic in the personal lives of yakob and vilhelm Grim in 1796 their father died of 3:09 pneumonia leaving 11-year-old yakob as the man of the house because their 3:14 father the amtman was gone they lost possession of the house they had lived in and they got a very small stipend 3:21 from the government in his memory but it was not enough to support them their mother dorota was unemployed at the time 3:28 but they were able to just barely scrape by with a lot of monetary support from 3:33 family members their greatest support would come from their aunt who was wealthy enough to provide for yakob and 3:40 vilhelm to attend a special school in the city of Castle this was the 3:45 opportunity of a lifetime but it did present its own unique challenges 3:51 despite their private tutoring educationally speaking the Grim brothers were far behind their peers and compared 3:59 to the other Rich Noble boys that attended this school they were country bumpkins they stuck out like a sore 4:05 thumb and constantly pressing on them was this feeling that even though they were children themselves between vilhelm 4:13 and yakob was the responsibility of being the man of the house through hard 4:19 work and a lot of focus they managed to claw their way through school becoming 4:24 just as educated as their classmates and in 1802 yak was accepted into University 4:32 while this was a great step forward for him it also meant that for the very first time the Grim brothers would have 4:39 to be separated this was a heartbreaking blow for them they had basically been 4:45 connected at the hip since they had been born and now suddenly they were entirely 4:51 alone we still have a lot of their letters that they exchanged from this time were they're expressing to each 4:56 other the pure heartbreak that they feel being completely alone without each 5:02 other yakob was doing quite well in University but vilhelm who had suffered from scarlet fever when he was much 5:09 younger was constantly plagued by poor health he was bedridden for a full 6 5:15 months not allowed to read or write only able to draw and to dream to pass the 5:22 time and while this was obviously quite difficult vilhelm would later explain 5:27 how much this time of intense boredom would spark his creativity and his 5:33 curiosity fortunately the brothers were soon reunited as vilhelm went up to University and it was there that the two 5:40 of them fell under the tutelage of Professor Friedrich Von svy svy nurtured 5:46 the spark he saw in the brothers urging them to be mindful and thorough in their scholarship and pointing them in the 5:52 direction of specifically German art culture and knowledge this was at odds 5:59 with the more classical University curriculum which emphasized the study of 6:04 the art and history of Rome and Greece and svi was likely inspired by the 6:10 growing wave of Romanticism in Europe the movement known as Romanticism was 6:16 just starting to pick up steam in the early 1800s and it sought to do away with all pretension and get to the heart 6:25 of what it meant to be human the art and literature of romantic ISM attempted to 6:31 isue the subject of the Rich and Famous and focus on Simplicity on the ordinary 6:37 person and their very ordinary lives they thought that in this Simplicity in 6:43 going back to Our Roots we might find some answers some kind of universal 6:50 truth that might guide us through rapidly Changing Times this meant setting aside the tales of Homer and the 6:57 wisdom of Aristotle and instead diving into folk wisdom into local history svy 7:05 would eventually request ycob to be his research assistant in Paris and yakob 7:10 dropped everything to take this opportunity derailing his University career and although this was a very 7:18 risky move everyone in his life including his mother approved of the decision somehow they knew that this was 7:25 something that he needed to do but as important as this stint imp Paris would end up being to his later scholarly 7:32 efforts it also meant that the brothers had to be separated once more and again 7:37 you can see in their letters the pain and frustration that being divided by 7:44 space gave them but by 1805 the brothers were together again moving in with their 7:50 mother and sister in Castle where they had first attended school as joyful as this reunion was their living situation 7:58 was still as dire as ever despite their education yakob and vilhelm struggled to 8:04 find work and tragically in 1808 their mother dorota Grim died to make things 8:11 all the worse it was right around then that the French arrived in Castle the 8:17 new French Emperor Napoleon bonapart had been sweeping his way across Europe throughout the 1800s and his armies 8:24 reached Castle in 1806 Napoleon positioned his youngest 8:29 brother Jerome bonapart as the new king of West philia and Castle was the 8:34 capital of the new realm and it was actually in the castle of this new French King that yakob finally found 8:42 work perhaps it was because he was the best one for the job or perhaps it was 8:47 just because he was the only academic in town desperate enough to take a position under their new French overlords yakob 8:55 was given the job of being the Royal librarian caring for over 12,000 books 9:02 in their collection his only real job was to look after the books and to make 9:09 sure that nobody but the approved people the king the queen and of course himself the Royal librarian was allowed to ever 9:16 look at the books and fortunately for him the royal couple was not very much 9:23 into reading so he kind of just had the library to himself and he had a lot of 9:28 downtime meanwhile vilhelms already fragile Health was just getting worse and worse so he was sent away to an 9:35 experimental doctor for treatment and when I say experimental I really do mean 9:42 experimental he was fed pills that made him vomit every morning his neck would 9:47 be rubbed with Mercury which yes is incredibly toxic which is what we now 9:53 know and they even played with the new technology of electricity using A 9:59 Primitive car battery basically to run electricity through his body in the hopes of settling his heart vilhelm 10:07 understandably didn't really enjoy these treatments but he found refuge in this time in learning about the local 10:13 folklore and folk music and you know what something that they did to him must 10:19 have worked because eventually the treatments started to make him feel better and he was able to return to 10:26 Castle and to his family still trapped under under the thumb of the French but with plenty of free time because of 10:32 yacob's employment and vilhelms continued unemployment the brothers found solace in diving deeper into 10:39 German culture inspired by Romanticism they believed that fairy tales the fairy 10:45 tales of the German people contained some kind of quintessential germanness 10:51 and they thought that preserving the Integrity of that germanness would be key to preserving the spark in the 10:58 hearts of the German people vilhelm would later describe it when a storm or some other catastrophe sent from the 11:05 heavens levels an entire crop we are relieved to find that a small patch protected by tiny Hedges or bushes has 11:13 been spared and that some solitary stocks remain standing when the sun shines once again and favors them they 11:20 will continue to grow alone and unnoticed no sickle will cut them down 11:25 too early so they can be stashed in a large silo but late in the summer when 11:30 they are ripe and fully grown some poor and Pious hands will come searching for them ear on ear will be carefully Bound 11:38 in bundles inspected and attended to as whole sheaths then they will be brought 11:44 home and serve as the staple food for the entire winter perhaps they will be 11:50 the only seed for the future this is how it seemed to us when we began examining the richness of German literature in 11:58 earlier times and saw that nothing much had been preserved from that richness 12:03 determined to preserve what was left of the storytelling tradition of bygone days the brothers began to collect fairy 12:12 tales now the Contemporary impression seems to be that the brothers Grim 12:18 gathered these stories themselves that they canvased across Germany going door Todo hearing these stories 12:25 firsthand but that's not entirely accurate in certain special cases they 12:30 were able to do so such as in the case of their neighbors the Wilds who were literally their nextd door neighbors 12:37 they had four daughters who really enjoyed telling stories and some of the tales that we get in the very first 12:43 volume of grim Fairy Tales come from those sisters and in some cases the 12:48 brothers had to get a bit creative about how they collected their stories because 12:53 not everyone was willing to give them up to some random academic according to One account they tra an old man his stories 13:01 in exchange for a couple of pairs of their old trousers and they actually stayed in communication with that old 13:07 man and he would frequently send them letters asking if they had any other used trousers that he could take which I 13:14 think is nice and then in other cases they would have to send in children to little old ladies to get them telling 13:21 their stories because the little old ladies didn't want to tell their stories to grown men but for the most part the 13:27 brothers Grim asked other people for help they sent out to their colleagues and fellow Scholars requesting that they 13:35 record any Snippets of folktales that they might hear everything from the old 13:40 washer woman talking around the well to the thief in a prison cell and just 13:45 about everyone in between in 1811 they sent out an open letter requesting that anybody who has fairy tales send them in 13:53 it didn't matter yakob said if the stories taught a lesson or were just fun to listen to whether they were happy or 14:00 sad what was important was that the person writing down the story should capture every word the teller said even 14:08 if the story didn't make sense the way that it was told the brothers Grim certainly were not the first Scholars to 14:16 ever think of recording folklore but you could argue that for their time they 14:23 were the best a lot of other recorders of the time would only take very vague 14:29 notes on the original orally told story and then it was accepted practice for 14:35 them to embellish change and sometimes entirely make up the rest of the story 14:42 from that Bas line they could make the stories do whatever they needed them to do in order to confirm their scholarly 14:50 intent the brothers Grim however were comparatively far more mindful although 14:57 that's not to say that they didn't change anything anything for example in the original Snow White the orally told 15:03 version of the story the evil stepmother was actually Snow White's mother but 15:09 that didn't quite fit in with what the brothers Grim were trying to do and they 15:15 firmly believed in the goodness and purity of the role of a mother so they changed it from being a wicked mother to 15:22 a wicked stepmother and while that is a significant change it doesn't really 15:27 change the message of the story all too much plus the convention of the wicked stepmother was something that they saw 15:34 in other Tales so it wasn't a particularly difficult or a seriously transformative change to make so they 15:41 certainly did change things but they really worked hard to preserve what they saw as a story's essential truth vilhelm 15:50 Grim once compared it to cracking open an egg when you crack open an egg 15:56 there's always going to be a little bit of white that gets left behind in the Shell it's inevitable and you could try 16:03 and scrape it out but you're just going to lose some of it but what's important is that the Yoke stays intact and 16:10 especially compared to other Scholars of their day the brothers Grim were really mindful of keeping the truth that yolk 16:18 of the story intact and discernible even in their Rewritten stories by modern 16:24 standards they editorialized a bit and it's hardly a spot-on firsthand account but especially 16:32 in the context in which they were operating the scholarly work that the brothers Grim did was groundbreaking one 16:40 scholar who wasn't quite so concerned with maintaining integrity was an old 16:45 friend of the Grim Brothers Clemens brentano brentano had also been working 16:51 on a fairy tale compilation at the same time as the brothers Grim but his work 16:56 was far less precise and mindful in fact some of the storytellers that the Grims 17:02 approached had had previous encounters with brentano and whatever he did they 17:07 were so scarred by the experience that these storytellers refused to share their tales with any other Scholars 17:15 including the Grims still the brothers wanted to hold on to that friendship and 17:21 so when brentano requested a copy of their manuscript for him to examine of 17:26 course they gave it to him fortunately they did make a separate copy of the 17:31 manuscript before they handed it over which was good because brentano took that manuscript and never gave it back 17:38 in fact it went missing for decades and was only fairly recently found despite 17:44 trials and disagreements and a whole lot of work in 1812 the brothers Grim 17:50 published Kinder un house the title translates to the children's and 17:55 household tales and it contained 86 of of their collected stories and although 18:01 this was called children's tales it was not originally intended to be a book for 18:08 children rather than having illustrations or etchings you know the stuff kids kind of like to see in their 18:14 books this book contained footnotes and assiduous notes on all of the stories 18:21 and where they came from yakob explained that although the book very well could be enjoyed by children it was origin 18:28 Ally intended as a serious scholarly Pursuit intended for adult consumption 18:35 this was a misconception that would continue to reoccur throughout the fairy tale work of the brothers Grim while 18:42 children really enjoyed the book and they devoured the stories a lot of the 18:47 Educators and adults in their lives were a bit more skeptical Not only was the 18:53 book dull and illustration it was also throughout most 18:58 of it incredibly dark there are some seriously bloody and brutal moments in 19:06 those stories that you could argue are not acceptable for children in fact 19:11 there's one of the stories that I'm going to share later on that was deemed so brutal and horrifying that it was cut 19:18 by the brothers Grim from later publications of their books yakob would 19:24 remain steadfast in the idea that this book was not intended for children and that it should not not be adjusted to 19:29 Pander to them it was written to be a scholarly preservation of German culture 19:36 vilhelm however did begin to change his mind over time vilhelm had always been a 19:43 bit more of the Romantic between the two of them yakob was very much dedicated to 19:48 the facts and vilhelm was more interested in larger spiritual truths 19:54 and he was willing to Pivot their work to cat more towards a younger audience 20:01 this is something that would be a bit of a point of friction between the two of them when they were working together but 20:07 on the second collection of fairy tales vilhelm would have the chance to Pivot 20:13 their intent however he liked 1812 was a really rough year to be Napoleon 20:20 bonapart the French were facing defeat in Russia and higher-ups like King Jerome were beginning to see the writing 20:27 on the wall he began to to pull out of CLE and while they were trying to work on the second book he kept yakob very 20:34 busy collecting up German books and art to smuggle with him as he fled for 20:39 France and once Napoleon's defeat was finalized yakob was kept even more busy 20:45 with politics he was sent to Paris from 1814 to 1815 to recover German art and 20:52 literature that had been taken by the French it was during this lengthy 20:57 separation that a lot of the work was done to compile the second edition of Grim's fairy tales meaning that most of 21:04 it was done under vilhelms hand and as always when the brothers are physically separated we get a lot of very angsty 21:11 letters where they're getting upset about miscommunications due to just how long it takes to get a letter from 21:18 France to Germany the second volume when it was published wasn't quite the smash 21:23 hit that the first one was but it did a lot to establish the brothers grim as 21:29 the voice in German folklore the brothers would be reunited in 1816 and 21:35 fortunately they would never be seriously parted again they would continue much of their work together 21:42 editing and recompiling fairy tales exploring German folklore and history 21:48 and doing some groundbreaking work on the study of the German language in 1825 21:54 vilhelm would marry dor wild one of their former Nextdoor neighbors who had 22:00 contributed stories to the first volume of grim fairy tales yakob would never 22:05 marry but he did live out the rest of his life in the same house as vilhelm dorota and their four children over 22:13 their years they spent time as Librarians professors and members of The Academy of Sciences and in 1838 they 22:21 began work on the dees V the most comprehensive German dictionary ever 22:27 created vilhelm passed away in 1859 and yakob would carry on after him 22:33 just 4 years later but they left behind a remarkable Legacy be it their 22:39 linguistic studies their scholarly practice and of course their preservation of German culture at an 22:47 incredibly volatile point in history adaptations like the Disney Princess 22:53 movies loving satires on the original fairy tale stories and yes even the edgy 23:01 gritty 2010 dark fairy tale remakes none of these would have been able to exist 23:07 without the groundwork laid by the brothers grim and yet there are a lot of stories from these collections that 23:13 aren't quite as well known but they can tell us a lot about the values that these Tales wanted to promote the 23:21 questions and controversies around them and how these stories were crafted and 23:29 changed throughout time and space let's begin with my new favorite ever fairy 23:34 tale the mouse the bird and the sausage this Story begins as so many do with a 23:41 mouse a bird and a sausage getting together and buying a house and at first 23:47 they are experiencing domestic Bliss they each have their own special jobs the bird goes out into the forest to 23:54 gather wood the mouse stays home and takes in water from the well starts the 23:59 fire and sets the table and the sausage of course does all of the cooking and as 24:04 a final step to all of the cooking he takes his little body and slithers through the food to season it so that 24:10 it's perfectly salted every time it's just the perfect setup and they've got an excellent thing going however one day 24:17 the bird gets talking with another bird and that other bird is like hey to me it 24:22 looks like you're doing most of the work in the house because after they finished cooking the mouse and the sausage get to 24:30 relax they don't have to do anything but it's the bird who has to wake up early in the morning and spend all day 24:38 Gathering wood the bird insists that they try and change jobs for a day and 24:43 so they draw lots to decide who's doing what and their fate is sealed the 24:48 sausage goes out into the wild to gather firewood and the results are disastrous 24:55 not far from their home the sausage had encountered a dog now this dog had 25:00 considered the sausage free game and had grabbed him and swallowed him down the little bird arrived and accused the dog 25:07 of highway robbery but it was of no use for the dog maintained that he had found 25:12 forged letters on the sausage and therefore the sausage had had to pay for 25:17 this with his life with the sausage dead for his socalled crimes the bird flies 25:24 home to find even more chaos the mouse had been making dinner and since he had 25:30 seen the sausage cooking he knew that the final step was to slide your body 25:35 through the vegetables but the mouse isn't greasy enough and he gets stuck halfway through and he burns to death 25:43 between the potatoes when the bird returns he can't find the Mouse anywhere so he throws the firewood all across the 25:50 floor so that he can search for the mouse but the firewood then catches on fire and the whole house is consumed in 25:58 Flames the bird rushes to the well to try and get a bucket out but the bucket Falls in and pulls the bird in behind it 26:05 and the bird drowns truly you can learn just so many lessons from this story you 26:12 don't carry forged papers um cops might eat you if you're 26:18 an anthropomorphic sausage and you really shouldn't try and slip inside through a pan of hot vegetables if you 26:24 aren't greasy enough and perhaps most importantly you shouldn't change up a good thing although it may look like it 26:31 the grass is not always greener on the other side and even if it looks like your friend has the easier side of 26:38 things it might not go so well trying to walk a mile in their shoes I will be 26:44 honest that I first read this story because it had a mouse in the title and you guys know how I feel um about 26:50 rodents but I've been thinking about this story for days and I need as many people as humanly possible to hear it 26:58 and maybe a great way for me to get the word out about the mouse the bird and the sausage would be to build it its own 27:05 platform using this video sponsor Squarespace Squarespace is the allinone 27:11 website building platform that's going to allow you to stand out and succeed online using their Cutting Edge design 27:17 intelligence technology you can build yourself a beautiful website and unlock your creative potential creating 27:24 something that perfectly matches your needs your Square space site is going to be there to do whatever it is that you 27:31 need to do including creating and selling your own courses start with a 27:36 layout that fits your brand upload videos and customize everything with their next Generation editing technology 27:43 you can even put those courses behind a pay wall if you want with a one-time payment or an ongoing subscription you 27:49 can even raise funds and donations directly from your Squarespace site they give you a dashboard to access donor 27:55 contact info and history every everything that you need conveniently in one place if you're interested in 28:02 creating a new brand for yourself or updating an existing one you should give Squarespace a try just head on down to 28:09 squarespace.com for a totally free trial and when you're ready to launch go to squarespace.com slj ofthe Shire to get 28:17 10% off your first purchase of a website or domain thanks so much to Squarespace 28:23 for sponsoring this video and thanks to all of you for checking out my sponsors so the mouse the bird and the sausage is 28:32 I can admit ridiculous but this next one is not and it is very gruesome and 28:38 bloody so if you want to skip it go ahead to this Tim stamp in the story titled how some children play at 28:45 slaughtering we meet a couple of five and six-year-old kids who are playing 28:52 butcher together one of them is the butcher the other is the assistant who's holding a bowl to to catch the blood in 28:59 and then one of the children is cast as the pig in this game imitating The 29:05 Butchers that they've watched they pin down the pig cut its throat and collect 29:10 the blood one of the town's people sees what has happened and they panic and 29:16 they grab the kid who has done the murdering and take him before the local Court there they just have no idea what 29:23 to do until a wise man suggests that the judge present the boy with an apple and 29:30 a gold coin if the boy took the apple he was to be set free if he took the coin 29:36 he was to be killed the judge took the wise man's advice and the boy grabbed 29:42 the apple with a laugh thus he was set free without any punishment in the first 29:48 edition this was followed up by a part two which is somehow even more brutal so 29:53 I'm not going to share it here but that story was deemed so gruesome that it was 29:58 taken out of later editions of the brothers Grim stories it only appeared in the very first publication and this 30:06 was actually something that yakob himself protested heavily apparently this was one of the stories that had 30:12 come from the mouth of their own mother and yakob remembers that after hearing the story he certainly played a lot more 30:19 carefully there definitely was value to the story and while I get why you 30:25 probably wouldn't want kids reading that one I I think that in the original intended context of it being a 30:31 collection of folk stories for adults it makes a lot of sense to have that story 30:37 in there while it is a warning to children to play carefully it's also a 30:42 really interesting exploration into the culpability of children at what age does 30:48 a child become fully responsible for their actions at what age should their 30:54 conscience prevent things like that from happening no one likes to consider the 31:00 fact that children can do really terrible things but sometimes they do 31:05 and this story presents something very interesting the child is allowed to choose between an apple the instant 31:12 gratification and sweet treat of an apple versus a gold coin which is something that an adult would certainly 31:19 choose over an apple and the child chooses the Apple meaning that in all 31:24 likelihood he just didn't understand the serious ious nness and the adultness of 31:31 the act that he was performing it asks questions about who is accountable when a child does something wrong is it the 31:39 butcher who allowed the children to watch as he slaughtered pigs was it the 31:44 child himself who had no comprehension of his action or was it maybe even the 31:49 parents who probably should have been watching their kids a bit closer this isn't a fun story and it's probably not 31:56 one I'd um you know bring to story time at the local library but it does what 32:01 the best stories do it asks questions that provoke us to think further our 32:07 third story is way less brutal and that is the tale of the old woman in the 32:13 forest it tells of a servant girl left all alone in the forest after her 32:19 employers are killed by robbers she cries and cries thinking that she's going to die out there but then she's 32:26 saved by a dove holding a key the golden key unlocks a nearby tree where she 32:32 finds an entire Cas of delicious food she eats and when she grows tired the 32:38 dove brings her another key she unlocks another tree to find a beautiful bed for 32:43 her to sleep in and another tree where she finds a whole Wardrobe full of 32:49 beautiful clothing after many days of living in luxury in the forest the dove asks her for something in return I'm 32:56 going to lead you to a small cottage said the dove you are to go inside where you'll find an old woman seated right 33:03 next to the Hearth she'll say good day to you but you are not to answer her no matter what she does go past her to the 33:10 right where you'll come upon a door open it and you'll find a room where there will be lots of different kinds of rings 33:17 lying on a table you'll see magnificent ones with glistening stones but you're 33:22 to leave them alone pick out a simple one that will be lying among them and 33:27 bring it to me as fast as you can the girl hastens to obey enters the home and 33:33 ignores the old woman even as she screams at the girl to stop and finally 33:38 she makes her way into the room that the dove described while she was looking for the ring she noticed the old woman 33:45 slinking by with a bird cage in her hand the woman was about to make off with it but the maiden went up to her and took 33:51 the cage out of her hand when she lifted it up and looked inside she saw a bird 33:57 with a Le ring in its beak she snatches the ring and runs but returns to find 34:02 her Dove nowhere to be seen while she's waiting she leans against a tree but 34:08 suddenly that tree begins to move its branches wrap around her and when the 34:14 girl turns around she finds that the tree has become a handsome young man and 34:19 the two Embrace he explains that he is actually a prince and that him and his 34:26 servants and his entire house have been turned into trees by the wicked witch he 34:31 was able to become a dove for a few hours every day but so long as the old woman had the ring he was trapped by 34:39 stealing the ring the girl has freed him and they ride off into the sunset 34:44 together that story is really interesting to me because although it is certainly unique it contains so many 34:52 very familiar fairy tale elements helpful birds can be seen in in many 34:58 different fairy tales the image of a child lost in the dangerous Woods is pervasive that child breaking and 35:05 entering a witch's cabin is practically a staple and of course the girls saving 35:11 the prince and turning him human can be found in many tales but to me it rang 35:16 most similarly to the classic tale of Beauty and the Beast now what's 35:22 interesting is that Beauty and the Beast is not German it is a very specifically 35:29 French story with some Italian influences but it's definitely not 35:34 German which is really interesting that either it has influenced this story or 35:39 this story has probably influenced it either way there is some kind of crosscultural bleed there now I'm not 35:47 trying to say that the old woman in the forest is like fanfiction of Beauty and the Beast or something but it is some 35:54 kind of proof that although they didn't necessarily know it or acknowledge it in their time the stories collected by the 36:01 brothers Grim are not solely German in origin and I do think it's worth 36:07 examining if that's important and because a lot of people think it is why that is so important in their 36:14 exploration on the brothers Grim Alfred and Mary David explain all the labors of 36:19 the Grims whether in philology or in folklore stem from a basic premise that 36:24 they share with most of the major figures of the Romantic Movement there is a spiritual force in nature that 36:30 finds expression in literature nature means not only external nature mountains 36:37 forests Lakes but human nature which responds to these things the ancient 36:43 poets the Grims and their fellow Romantics felt had lived closer to Nature and their Works were therefore 36:50 imbued with fundamental truths and values these truths and values had been 36:56 given their noblest embod in the ancient epic poetry much of it lost but they still survived in the 37:03 humbler form of the folk tale there was a belief that only intensified over time 37:10 that coming from a more ancient like primitive more connected to Nature time 37:16 these stories contain some kind of German quintessence that by studying and 37:22 popularizing these stories they would find some kind of over seing national 37:28 identity to which they could cling now that's not entirely inaccurate these 37:33 stories told by a particular people and region are significant and of course they were in study but consigning 37:41 anything to belong specifically to any one nationality can be a bit of a 37:47 slippery slope for example very classically German things like vogner's ring cycle and the stories of the 37:55 brothers Grim were adopted and upheld by 38:00 particular movements of the 1930s and 40s that I can't name or else YouTube 38:05 will block this video suffice it to say trying to claim that anything is 38:11 quintessentially German and defining what values make someone quintessentially German or 38:17 quintessentially any nationality you risk alienating people that don't 38:22 specifically fit into that mold it also means that stories like the ring cycle 38:28 or like the stories of the brothers Grim may be written off by people who for 38:33 whatever reason don't want to engage with things that are German specifically 38:38 in the case of the Allies in World War II they specifically avoided things that were considered very German and that 38:46 included the tales of the brothers Grim despite the fact that the tales of the brothers Grim had nothing to do with the 38:54 certain political movements that had taken over Germany and what's really crazy is that these stories aren't even 39:01 technically German in a lot of cases first off Germany didn't exist when a 39:07 lot of them were being told and collected and stories don't really 39:13 respect arbitrary borders that's like expecting um rivers or Wildlife to 39:19 respect the arbitrary lines that we draw on maps in fact a lot of the 39:24 storytellers that contributed things especially for the first volume of fairy tales they were actually French people 39:31 who just a couple of years before had migrated over to Germany so they weren't 39:36 even technically German whatever that means because it's a human term that we 39:42 have applied to stories but the stories themselves do not obey those labels you 39:47 can find crossover and influence from stories from all across Europe in the 39:53 tales of the brothers grim and you could probably make Fair arguments that there are international stories sprinkled in 40:00 there some things are a bit Universal while the idea of a sausage um sliding 40:06 his body through the vegetables to season them may be admittedly um quintessentially German the concept of a 40:13 little girl lost in the forest is universal and can be found in the 40:18 stories of almost all if not all cultures on his essay exploring the idea 40:24 of ownership and the Grim fairy tales Donald hos explores this idea very thoroughly that essay is linked in the 40:31 description along with a lot of other very interesting discussions uh revolving around the brothers Grim but 40:38 he dispels the idea of a story being able to be owned by a single nationality because first off that's a dangerous and 40:45 limiting way to look at stories and second off stories rarely actually 40:50 respect International borders but even then the alternative to that sometimes 40:56 people swing a little bit too far in the direction of universality okay so if stories don't 41:02 belong to a single nationality if they don't belong to America or to England or to Germany who do they belong to you 41:10 could say they belong to all of us that the folk in folk tale is all of humanity 41:16 and that stories like fairy tales contain some kind of universal human value but the problem 41:24 with that is what are those Universal human values I think that 41:29 internationally we can all kind of agree that children with knives isn't a good call but beyond that you get into 41:37 generalizing and stereotyping that just doesn't really Encompass the full 41:43 breadth and variety and diversity of The Human Experience so we're left in a 41:48 place where the nationalistic definition doesn't satisfy nor does the concept of 41:54 universal ownership in both cases fairy tales are supposed to depict or 42:00 prescribe for us what is true as well as what forms of behavior are typical 42:05 normal and acceptable whether we view them as yours and mine or as ours fairy 42:11 tales read from these perspectives confine and limit us narrowing our views 42:16 of reality while allegedly giving us greater insight into the other into ourselves or into Humanity from these 42:24 perspectives fairy tales own us we don't own them I do find it kind of 42:31 unfortunate that this is a conversation that has to happen at all but the idea that a story can be owned by one 42:38 specific person has become so prevalent over the last few centuries the idea of 42:45 copyright has had a huge impact on The Art of Storytelling in that we feel the 42:50 compulsive need to assign ownership and to consider the ownership of everything 42:57 it can't just be a collection of fairy stories it is the brothers Grim collection of fairy stories it is 43:04 Disney's Cinderella it is this actor's show it is this author's book it is this 43:10 producer's movie ownership is important obviously it matters who originally told 43:16 a story and what their intent was but that can't be where our consideration of 43:21 a story ends because the moment that a story leaves one person's mouth and enters another person's mind it is 43:29 changed it is the egg being cracked open even if all of the pieces are still 43:34 there it will never quite be the same it is totally fair to attribute that 43:40 specific collection of fairy tales to the brothers grim and even to the larger country of Germany but that cannot be 43:48 where a consideration of these stories ends Donald hos explains so who owns 43:54 fairy tales to be blunt I do and you do we can each claim fairy tales 44:00 for ourselves not as members of a national or ethnic folk group as French 44:05 German or American not as nameless faces in a sea of humanity and not in the 44:11 Disney model as legal copyright holders we claim fairy tales in every individual 44:18 Act of telling and reading it is by this process of continual transformation that 44:25 stories stay alive without Shrek I bet a whole generation would never have heard of The Muffin Man 44:33 Without Disney's Snow White The Tale of Snow White may be just as obscure as the 44:38 mouse the bird and the sausage and without the brother's Grim collecting 44:44 preserving and retelling these stories we wouldn't have this entire plethora of 44:50 beautiful educational and imaginative fairy tales that we have today I 44:57 honestly think I might uh perish if I try and get through a video without talking about tolken a little bit so I 45:03 wanted to bring up one of his storytelling concept and that is the idea of The Cauldron of story speaking 45:11 of the histories of stories and especially of fairy Stories We may say that the pot of soup The Cauldron of 45:18 story has always been boiling and to it have continually been added new bits 45:25 dainty and UND dainty a story is not an individual incident it is an ongoing 45:32 process once it has been put out into the world a story drops down into The 45:38 Cauldron where it simmers away breaking into its component parts exchanging 45:44 flavors with the tails that lay around it until a new teller wants to spin 45:49 their tail and they dip into the pot take out these older elements reform 45:55 reshape them repurpose them and put them back into the pot once the new story is 46:01 told the same as it ever was but irrevocably Changed by time and by the 46:08 complexities of the human mind tolken mentions many stories that have found 46:13 their way into the cauldron the tale of King Arthur of fafnir and of sigur and 46:20 of course the classic fairy tale I wish to point to something else that these Traditions contain a a singularly 46:27 suggestive example of the relation of the fairy tale element to gods and Kings 46:34 and nameless men illustrating I believe the view that this element does not rise 46:40 or fall but is there in The Cauldron of story waiting for the great figures of 46:46 myth and history and for the yet nameless he or she waiting for the 46:51 moment when they are cast into the simmering Stew one by one or all together without consideration of rank 46:59 or precedence the important part of tolk's cauldron of story is not necessarily what's put in or who put it 47:06 in or what their reasoning was what's important is what we take out of it and 47:12 that means that it's really impressive when we find something like the tales of the brothers Grim something that has been in this cauldron for so long but 47:20 something that continues to prove itself to be flexible Timeless and significant 47:25 because it is Tales like that that will continue to flavor the stew of our 47:31 imaginations for generations to come you guys know that I absolutely love 47:37 researching highly specific and kind of random topics and putting together this 47:42 video was an absolute blast I pretty much didn't know anything about the actual Brothers Grim going into this and 47:50 they had incredibly interesting lives and there's a lot of stuff that I wasn't able to get into in this video so if if 47:56 you want to learn a little bit more and do a bit of research yourself I highly recommend checking out anything by Jack 48:02 zipes he's written a lot of stuff that was hugely helpful for putting this video together and his translation of 48:09 the grim tales is topnotch so go ahead and check that out I will link a couple 48:15 of things in the description and then of course my sources are also in the description in the comments let me know 48:21 what your favorite Brothers Grim fairy tale is especially if it's one of the more obscure ones on but I mean who 48:28 doesn't love the classics I think my favorite other than the mouse the sausage and the bird is probably Little 48:35 Red Riding Hood because I've always been a big fan of cloaks and also because we had that really creepy 3D animated movie 48:43 Hoodwinked on DVD as a kid and that kind of imprinted on my mind like I'm a baby 48:50 duck and I still think about that movie a lot today I am planning on hopping on 48:56 the patreon this weekend to do a little cozy read through of some more of the 49:02 brothers Grim fairy tales we'll pick a couple I might do it with the rats so 49:07 that I have somebody to read too other than the Silence of my own mind but if you're interested in that my patreon is 49:14 linked right below thank you so much for joining me this week I really love making videos about Tolen but I really 49:20 like making videos about other stuff too and it means the world that you guys are here supporting me even when when I'm 49:27 doing slightly more out there topics and I hope that you have a very happy hoby 49:33 day [Music] 49:42 [Music] MY COMMENT What are your thoughts on Giovanni Francesco Straparola or Giovanni Boccaccio ? I think those two predecessors inspired the grimms initial style of a full range of tales, to the merger of christianity with folk tales from the countryside of europe. That gentleman mouse on the wall will never switch places with the bird + sausage. Thanks for sharing the stories. Great point, on culture attributation. Funny that most whites in the usa are german americans. Good point on how human cultures influence each other with their folklores. you may enjoy : the roach family and the mouse; the mouse and the potato chips; the park mouse and the apartment mouse https://www.kobo.com/us/en/ebook/sunset-children-stories Yes, copyright has taken over creativity with stories. I wonder is this the problem with all arts. When whites have issue with the presence of black ballerinas? When blacks have issues with the presence of white rappers? I concur to Tolkien in that the stew builds over time. Any writer who interprets work over one hundred years old knows this to be true. hmm my favorite grimm is the bremen town players:) It makes me giggle thinking about it, and i like the version when they scare the robbers and lie in that house on the road, not reaching bremen. it is an excellent story about what inspires migration, a destination thought well like bremen, but what inspires immigration is finding a home along the way, like a house on the road

Economic Corner - Space Mineral Race MY THOUGHTS I must first say the parts below. FISCAL NOTES FROM THE ARTICLE OR FROM CITATIONS- quick notes to look at, all financial info is there CITATION NOTES FOR ARTICLE ELEMENTS- for persons or organizations BASE ARTICLE - the main article that inspired this edition INVESTIGATED FINDINGS - other articles I found that are valuable to share Now... to my thoughts The history of mineral rushes throughout human history is clear, 99% who venture for mineral riches end in failure, so the money in the space mining industry is and will be in the support system to mining. SpaceX and others who have affordable ways to reach outer space will profit on the profiteers. The biggest challenge legally will be on claims to asteroids and ownership of content back to earth. Currently no international framework exist and with the governments of USA/China/Russia all in rattle the saber mode, the legal environment for space mining will offer opportunities. The 1% who strike it rich will change whole industries on Earth for the mineral resources brought to earth will literally augment the quantity and sequentially value of mineral resources on Earth. Extreme attention need to be made on the management of satellites , routes into deep space. Depending on the legal scenario, money can be made by leasing out space in outer space, for use by space miners or others trying to get their project to work most efficiently. Black countries need to focus on food grown in space. As wealth from outside earth joins earth, it will lead to excess, and that will need higher demands of food from population growth. FISCAL NOTES FROM THE ARTICLE OR FROM CITATIONS Cost of Brokkr-1 not mentioned publicly Details to Brokkr-1 not mentioned publicly Rideshare on SpaceX is 1.1 million dollars for 200 kilogram slots Astroforge raised $55 million in funding [ https://www.astroforge.com/updates/firing-on-all-cylinders-announcing-40m-and-mission-3 ] fifteen million is from private or unlisted. Forty million is from : Nova Threshold {citation : https://www.gaebler.com/VC-Investors-FAE25306-F35B-4688-AB64-AF128C7CDA3A-Nova-Threshold } , SevenSevenSix{https://sevensevensix.com/}, initialized {https://initialized.com/}, Jed McCaleb {http://jedmccaleb.com/ ; https://en.wikipedia.org/wiki/Jed_McCaleb}, Y Combinator { https://www.ycombinator.com/ } , Uncorrelated Ventures { https://www.uncorrelated.com/ } , Soma Capitol { https://somacap.com/ } , 468 capitol { https://468cap.com/ } , Day one ventures { https://www.dayoneventures.com/ } , L2 Ventures { https://www.l2v.com/ } Matthew Gialich stated [goto "The CEO of Astroforge Matthew Gialich said" below] the business model of Astroforge relies on SpaceX customer prices. Cost of Odin - not mentioned publicly Cost of Using undisclosed dishes in India, South Africa, Australia and the United States- not publicly stated The financial goal is to get rare metals in the Platinum Group [goto "Platinum Group Metals : " below] From Mitch Hunter-Scullion, paraphrase: 117,000 tons of platinum is about 680 years of global supply, 1,000 tons of platinum is the next half century of mobile phones From Joel C. Sercel industrial steps: 1) living off land in space - early energy from space [ https://aalbc.com/tc/topic/11498-economiccorner017/ ] 2) export products back to earth [ Platinum group metals] 3) affordable automated systems will be built for work outside earth 4) factories will turn asteroids into products sent back to earth intermittent steps - 1a) high speed internet service will mostly come from outer space with hundreds of thousands of satellites 1b) data processing will need to move into space[the biggest cost of data processing on earth is power, solar power in space will make it cheaper] 1c) energy beamed from space to earth [ maybe earlier than the others] 1d) space products will be built from material in space 2a) space mining will take off with an off earth infrastructure [ rocket propellant from moons or asteroids; asteroid or moon rocks to build structures;] efficient methods will win 2b) real estate will be the most important industry [ first tourism, then people who want freedom ] The U.S. Commercial Space Launch Competitiveness Act (H.R.2262) focuses on making guidelines, but focuses on private public sector, doesn't speak of penalties, doesn't speak of contingencies, doesn't speak of legal scenarios like ownership claim disputes, it brings no clarity on potential international conflicts, it speaks of designing plans for safety and management. So financially the lack of clarity legally will make future investments value unknown based on the unknown legal climate. The act sets up space as an international wild west in space. CITATION NOTES FOR ARTICLE ELEMENTS Astroforge [ https://www.astroforge.com/ ; https://www.linkedin.com/company/astroforge/ ] - name of firm attempting to land and mine on asteroid. Only the Rosetta spacecraft of the European Space Agency has achieved a landing on an asteroid before it was on asteroid 21 Lutetia. Ashton Meginnis[ https://www.linkedin.com/in/ashton-meginnis-b2927440/ ] Wesley Tunelius [ https://www.linkedin.com/in/wesley-tunelius/ ] Ben Fields [ https://www.linkedin.com/in/benjaminozerfields/ ] Matt Gialich [ https://www.linkedin.com/in/matthew-gialich/ ] David Gump [ https://www.linkedin.com/in/davidgump/ ARTICLE: https://www.linkedin.com/pulse/asteroid-mining-next-revolution-after-low-cost-launch-david-gump/] Deep Space Industries [ https://www.linkedin.com/company/deep-space-industries-inc/ ]- sold of in 2019 , never reached an asteroid Astroforge Demonstration [ https://www.astroforge.com/updates/an-update-on-mission-1-mission-2-same-name-new-vehicle-new-standard-for-space-exploration ; video: https://youtu.be/K83Jp3V_hac?t=340 ] Athena lander from Intuitive Machines [ https://investors.intuitivemachines.com/news-releases/news-release-details/intuitive-machines-im-2-mission-lunar-lander-encapsulated-and ] NASA’s Lunar Trailblazer [ https://www.jpl.nasa.gov/missions/lunar-trailblazer/ ] License from the Federal Communications Commission [ https://www.astroforge.com/updates/fcclicense {International Telecommunications Union defines deep space as greater than 2 million kilometers from Earth. }] Part 5 Experimental Licensing from Federal Communications Commission [ https://www.fcc.gov/space/part-5-experimental-licensing ; Code for PART 5—EXPERIMENTAL RADIO SERVICE (method to obtain license) {https://www.ecfr.gov/current/title-47/chapter-I/subchapter-A/part-5} ; OET Experimental Licensing System { https://apps.fcc.gov/oetcf/els/index.cfm} ] Asteroid 2022 OB5 [ https://en.wikipedia.org/wiki/2022_OB5 ] Unconfirmed - potentially Astroforge is the only public firm preparing to go to an asteroid, this does not count completely private or government ventures Stephanie Jarmak [ https://sjarmak.com/ ] Platinum Group Metals : ruthenium, rhodium, palladium, osmium, iridium, and platinum. (resistant to corrosion found raw in nature/noble, low quantity on earth/rare, conducts heat or electricity well/metal)[ https://en.wikipedia.org/wiki/Platinum_group ] Mitch Hunter-Scullion (he looks like a bond villain)[https://www.linkedin.com/in/mitch-hunter-scullion-2aa921a3/?originalSubdomain=uk] Asteroid Mining Corporation (Their mission I quote: Use Space technology to disrupt Earth markets , Use Earth revenue to unlock Space markets);(Bond Villainy confirmed) [ https://www.asteroidminingcorporation.co.uk/ ] Joel C. Sercel (cohagen alert)[ https://www.linkedin.com/in/joelsercel/ ] TRansAstra [ https://transastra.com/ ] Video Interpretation of TransAstra bag grabbing an asteroid Unconfirmed - Joel C. Sercel states "not enough P.G.M.s in asteroids to justify that as a stand-alone business" U.S. Commercial Space Launch Competitiveness Act (H.R.2262) [ pdf https://www.govinfo.gov/content/pkg/PLAW-114publ90/pdf/PLAW-114publ90.pdf ; html text https://www.govinfo.gov/content/pkg/PLAW-114publ90/html/PLAW-114publ90.htm ; article https://www.geekwire.com/2015/asteroid-riches-president-obama-signs-space-resource-bill-into-law/ ] Michelle Hanlon [ https://www.forallmoonkind.org/ ] Benjamin Weiss [ https://eaps.mit.edu/people/faculty/benjamin-weiss/ ] Lindy Elkins-Tanton [ https://lindyelkinstanton.com/ ] UNIFORM RESOURCE LOCATOR BASE ARTICLE https://www.nytimes.com/2025/02/23/science/astroforge-launch-asteroid-mining.html BASE ARTICLE Earth’s 1st Asteroid Mining Prospector Heads to the Launchpad The dream of mining metals in deep space crashed and burned in the 2010s. AstroForge’s Odin mission to survey a potentially metallic asteroid is packed and ready to lift off. By Jonathan O’Callaghan Jonathan O’Callaghan reported on AstroForge in 2023 when its asteroid mining mission’s destination was a secret. Image Three Astroforge workers in hairnets and blue gloves give a thumbs up to the camera as they pose next to a small spacecraft in a large white facility. From left, Astroforge personnel Ashton Meginnis, Wesley Tunelius, and Ben Fields with Odin during final assembly testing.Credit...Astroforge Feb. 23, 2025 A private company is aiming to heave a microwave oven-size spacecraft toward an asteroid later this week, its goal to kick off a future where precious metals are mined around the solar system to create vast fortunes on Earth. “If this works out, this will probably be the biggest business ever conceived of,” said Matt Gialich, the founder and chief executive of AstroForge, the builder and operator of the robotic probe. That may sound familiar: A decade ago, news stories were aflutter about the wealth promised by asteroid mining companies. But things didn’t quite work out. “We blossomed three or four years too early for the big gold rush of investor enthusiasm for space projects,” said David Gump, the former chief executive of Deep Space Industries, one of the earlier batch of would-be asteroid miners. Eventually the money dried up; Deep Space Industries was sold off in 2019 and never reached an asteroid. AstroForge is betting on things being different this time around. The California company has already launched a demonstration spacecraft into Earth orbit and raised $55 million in funding. Now the company is set to actually travel toward a near-Earth asteroid in deep space. AstroForge’s second robotic spacecraft, called Odin, is bundled into a SpaceX Falcon 9 rocket that will also launch a privately built moon lander and a NASA-operated lunar orbiter as soon as Wednesday from Florida. About 45 minutes after the launch, Odin will separate and begin its solo journey into deep space, while the moon missions — the Athena lander from Intuitive Machines and NASA’s Lunar Trailblazer — take off on their own separate journeys. No commercial company has ever launched an operational mission beyond the moon, and AstroForge is the first company to receive a license from the Federal Communications Commission that allows it to transmit from deep space. AstroForge will communicate with the spacecraft using undisclosed dishes in India, South Africa, Australia and the United States. At first, AstroForge kept its target asteroid a secret, fearing competitors. But in January, the company announced the destination, an object called 2022 OB5. Mr. Gialich said he was more confident of AstroForge’s advantage. “We’re the only one that’s actually doing anything,” he said. “Who else is preparing to go to an asteroid?” Asteroid 2022 OB5 is small, no more than 330 feet across, about the size of a football field. AstroForge’s science team assessed the asteroid by using telescopes, including the Lowell Observatory and the Large Binocular Telescope in Arizona, to estimate its metallic content. They believe that 2022 OB5 is an M-type, a class of asteroids comprising 5 percent of known space rocks that may have a high amount of metal. The analysis of the asteroid has not yet been published. Image A view looking into two very large mirrors of a ground-based space telescope at dusk. The Large Binocular Telescope in Arizona, which helped Astroforge’s science team assess Asteroid 2022 OB5.Credit...Joe McNally/Getty Images Stephanie Jarmak, a planetary scientist at the Harvard-Smithsonian Center for Astrophysics, said the company’s analysis was plausible. “There are several different ways to determine whether it’s an M-type or not,” she said, including studying the asteroid’s brightness, or albedo. A higher brightness suggests the presence of more metal. She lauded the company for being more open about its target asteroid. “I thought that was really nice,” she said. M-type asteroids are thought to be rich in metals such as iron and nickel. These could be useful as a resource for construction in space, perhaps to build new spacecraft and machinery. However, some M-types may also be rich in more valuable platinum group metals, or P.G.M.s, used in devices such as smartphones. The windfall would be huge if these could be mined in abundance and brought to Earth. “A single one-kilometer-diameter asteroid, if it was platinum-bearing, would contain about 117,000 tons of platinum,” said Mitch Hunter-Scullion, the founder and chief executive of the Asteroid Mining Corporation in Britain. His company is taking a slower approach and plans to demonstrate technologies on the moon later this decade. “That’s about 680 years of global supply. You’re talking about centuries of platinum demand from a single asteroid,” Mr. Hunter-Scullion said. “Even if you get 1,000 tons of platinum, you’re sitting there with the next half century of mobile phones.” Not everyone is convinced that so much valuable metal will be found inside M-type asteroids. “There’s not enough P.G.M.s in asteroids to justify that as a stand-alone business,” said Joel C. Sercel, the founder and chief executive of TransAstra, a company that is developing a giant bag that could be used to grab and extract resources from asteroids in the future. The company will test a small mock-up of the technology aboard the International Space Station following a launch to the station this summer. The legalities of mining asteroids and selling their resources remain uncertain. In 2015, President Obama signed a law allowing asteroid resources to be sold on Earth. But no one has yet put this law to the test. “Is AstroForge going to make a claim? Does the fact they reach this asteroid before anybody else mean nobody else can go to it?” asked Michelle Hanlon, a law professor specializing in space at the University of Mississippi. “It’s going to be interesting to see the international reaction.” Image Looking up at the payload of a SpaceX rocket just before encapsulation. Odin, lower right, will be hitching a ride with the Athena lander from Intuitive Machines aboard a SpaceX Falcon 9 rocket.Credit...SpaceX Odin will arrive in late 2025 after a journey of about 300 days to 2022 OB5. The asteroid follows an orbit around the sun similar to Earth’s. The probe will fly past the asteroid at a distance of 0.6 miles, using two black-and-white cameras to snap pictures. Zooming by the object at thousands of miles per hour, the spacecraft will have an encounter that will last five and a half hours. “And it’s probably only the last 10 minutes that we’re getting pictures bigger than a pixel,” Mr. Gialich said. The goal is for these pictures to be enough to tell if the asteroid is metallic. “Hopefully it looks shiny,” Mr. Gialich said. However, it’s very possible that any metal could be mixed into the asteroid’s soil and not be visible. “I’m not sure how much compositional information they can get purely from images,” Dr. Jarmak, the planetary scientist, said. Craters on the surface may hint at hidden metal though, Mr. Gialich said, adding: “We expect to see cracking on the surface” that could be indicative of metallic content. The spacecraft will also precisely track the asteroid’s position in space during the flyby. Doing so could allow the density of the asteroid to be calculated, based on its gravitational tug on the spacecraft. Higher density would hint at more metallic content. Success is not guaranteed. AstroForge’s first mission, Brokkr-1, was launched into low-Earth orbit in April 2023 to test the company’s planned asteroid refining technology. But the mission encountered problems and burned up in the atmosphere. Mr. Gialich said that AstroForge had improved its technologies on the Odin spacecraft by relying on components produced in-house. Vestri, the third mission of AstroForge, will be its most ambitious. That spacecraft, the size of a refrigerator, will be designed to land on an asteroid as soon as next year, possibly even 2022 OB5 if the metallic content is confirmed. Vestri’s landing legs would be equipped with magnets designed to stick to the surface of the asteroid and be capable of estimating how many P.G.M.s are present. Image The Odin spacecraft rests on a small platform in light from the sun at the edge of a large facility. Testing Odin’s solar arrays with natural sunlight from the loading bays at AstroForge’s facility in SealBeach, Calif.Credit...Astroforge It’s unclear how successful this mission will be. “If it’s made out of solid metal it will stick,” said Benjamin Weiss, a planetary scientist at the Massachusetts Institute of Technology. However, many asteroids are known to be rubble piles, essentially collections of rocks held together loosely by gravity, such as the asteroid Bennu that was visited by NASA’s ORISIS-REx spacecraft. “They are barely held together,” Dr. Weiss said, meaning that the magnets might just end up pulling a few rocks away from the surface as the lander drifts away. Only one spacecraft, the Rosetta spacecraft from the European Space Agency, has visited a suspected M-type asteroid before, a flyby of the asteroid 21 Lutetia in 2010. The presence of metal at that time was inconclusive. A much more capable mission, NASA’s $1.2 billion Psyche spacecraft, is currently on its way to an asteroid bearing the same name by 2029. Astronomers think the asteroid may be a fragment of a failed planet’s core and is rich in metal. Results from the Odin mission’s analysis of 2022 OB5 could be a tantalizing tease for Psyche. “If it turns out it’s made of solid metal, that would support the idea that some of these larger bodies like Psyche could be the cores of differentiated bodies,” Dr. Weiss said. Lindy Elkins-Tanton at Arizona State University, the principal investigator on Psyche and also an adviser to AstroForge, said that the opportunities afforded by commercial deep space missions like Odin are exciting, enabling small and fast missions at low cost. “It’s going to be a bit of a game-changer,” she said. Others are more focused on what Odin means for asteroid mining in the present tense. “It’s probably the highest achievement in the sector so far,” Mr. Hunter-Scullion of Asteroid Mining Corporation said. Mr. Sercel of TransAstra also applauded the company. “We’re gung-ho for AstroForge and wish them the best of luck,” he said. “We’re behind them 100 percent.” Now there’s just the small matter of the launch and journey to the asteroid, and the hope that what Odin finds will lead to the riches long touted from asteroid mining. “If we make it, I’m popping champagne,” Mr. Gialich said. INVESTIGATED FINDINGS Brokkr-1 mission Uniform Resource Locator https://youtu.be/K83Jp3V_hac?t=340 Video SUB TRANSCRIPT Brokkr-1 mission 5:44 up what are the chances it finds an asteroid and then I guess subsequently what's the chances that it comes back so 5:51 broker one went up to show that we could mine an asteroid in space it is just in low earth orbit it is not going outside 5:56 of Earth's gravity well it is orbiting the Earth right now and we'll start experimentation with it shortly to show 6:01 that we can refine what we expect to be one of these asteroids right this ball of iron with very high concentrations of 6:07 pgms on it okay so there's some low earth orbit asteroid um we brought up our own asteroid oh I 6:15 got it right that this can work in space yep nobody has been able to really 6:21 refine in space right and that's a big process of what we need to do so we want to prove that in a very cheap easy to 6:27 use 6u cubesat which to be fair SpaceX still has the transporter missions that's what we went on and those are a 6:32 fraction of the costs that we could have even got to space 10 years ago so uh what is that called ballpark to send 6:37 something up these days um obviously we're under ndas with a lot of these companies we can't talk about well you can go look on spacex's website 6:43 right a Rideshare slot is about 1.1 million dollars to send I I believe those are 200 kilogram slots got it okay 6:49 so there's standard ticket prices a million bucks it's very affordable we're not talking about tens or hundreds of 6:55 millions of dollars but the key to your Innovation is you're going to do the 7:01 mining in space so does that mean this I mean uh I'm sorry to be a near right here but does that mean there's like a 7:07 drill bit on this thing and it's going to drill in take a sample and then process it and say hey this is dust oh 7:13 this is Platinum let the dust flake off and just only 7:18 bring Platinum back so the way we do it is we go out to the asteroid we dock with the asteroid use the right word there right these are 7:24 very small bodies they're about 30 meters in diameter uh so we're talking very very small rocks that we're docking 7:29 with we use a process of directly heating the surface till it vaporizes so there is no actual mechanical Parts here 7:36 this is all done with with a laser we vaporize the surface we collect that vapor and then we sort it and and this 7:42 is essentially the experiment we're testing out in low earth orbit we've proven it to work in our thermal vacuum Chambers on Earth uh that allows us to 7:49 sort out Platinum from stuff we don't care about right iron Cobalt other trace minerals in these asteroids and then we 7:55 bring back only the Platinum Group Metals now the reason for that is bringing back is still expensive and 8:01 weight in space means a lot we only want to bring back the stuff that's worth a lot of money we are kind of limited on 8:06 what we can bring back so that's how we do it so the lasers pick out the good stuff 8:12 you sorted out then how does it get back because every time I see something come back it burns up these asteroids burn up 8:19 before they hit so how is your vehicle designed so that it can bring back the 8:26 payload and how many ounces is it going to bring back yeah so I mean our vehicle has a heat 8:31 shield on it and the nice thing about our heat shield is we're not bringing back humans we're not bringing back really experiments we're bringing back 8:37 raw Commodities right this is a block of metal which means we come in a lot hot and heavier than really any other 8:42 spacecraft there's a lot of uh presidents for doing this before NASA has done deep space return multiple times so we really understand the 8:48 physics behind deep space return it all comes down to sizing the heat shields correctly got it on average with our 8:54 projections right now and our trajectories we can bring back right around a thousand kilograms of Platinum Group Metals per Mission so that's what 9:01 Raymond will bring back uh what is a thousand kilograms um it's about a ton it's a metric ton 9:07 wow pgm's permission you can be able to bring a ton back okay so how big is your vehicle is it like the size of the 9:12 vehicle a car it's not that big the vehicles that we will mine with are about 200 kilograms 9:18 what's the size of them she said the the the the asteroids were about 100 feet wide or something so the vehicle itself 9:24 is ten feet the size of a mini fridge it is not a big vehicle when you look at it 9:30 yeah well Platinum is very very dense right so kind of weight is very very high so we store this metal right behind the heat shield it's volumetrically 9:36 actually not that much material that we bring back if you can tell from the 9:41 podcast lately we've been doubling and tripling down on Founder University launch in fact it's basically the future 9:48 of our Venture Capital firm and that's awesome because I'm working with a couple of hundred early stage Founders 9:53 really early and getting to see what tools they use you know what tool they show up with most they show up with 9:59 Squarespace they put up their first website instantly quickly with Squarespace and it's beautiful and it 10:04 makes them look like a million bucks the thing you may not be aware of is that Squarespace beyond the beautiful templates that make your company look 10:11 like a million bucks and that work on mobile it's not just a pretty website it 10:16 is a powerful e-commerce platform now and they have member areas what's a member area you know people like to sell 10:22 content now and premium content it's a big business well they have that built in to Squarespace and they don't take 10:29 you know double digit percentages of your Revenue like those other platforms do and they also have appointment 10:34 scheduling so you know if you're doing a business where you're a consultant you want to charge for your time well you IN AMENDMENT The CEO of Astroforge Matthew Gialich said [ https://youtu.be/K83Jp3V_hac?si=3bxF2s0s9e2HxiNQ ] SUB TRANSCRIPT 24:43 hope to do at the end of this year and none of this would have been possible if SpaceX hadn't figured out how to do what they do absolutely not let's be honest 24:50 about this Elon led the way here he showed that you know if he got the money for building Falcon 1 through Falcon 9 and dragon that there was a huge kind of 24:56 pot of gold at the end of that rainbow and this really allowed VC to open up to say uh holy sh these companies can 25:03 actually exist and they're possible and I mean again 20 years ago I think we would have been laughed out of every room because it just wasn't feasible to 25:10 do in fact you saw this right planetary resources and Deep Space Industries the two asteroid mining companies that came 25:15 before us they're cost models were just so much higher than ours are now to go try to do the same thing I mean I those 25:22 both of those Founders have been awesome and been very helpful to us and I think their timing was just off I think the timing is now for this to happen due to Building Civilization in Space | Joel C. Sercel URL https://www.youtube.com/watch?v=rBZ3GaNeUbo VIDEO TRANSCRIPT 0:00 some people think that we can go into 0:01 space by just launching everything from 0:03 the earth and going out and living on 0:05 what we brought that's patently absurd 0:08 that would be like what if the original 0:11 settlers that came to North America 0:13 brought all of their food and all of 0:17 their housing with them on ships it 0:19 wouldn't be able to last you have to be 0:21 able to grow your own food and live off 0:23 the land of where you're going so space 0:25 mining to a first approximation is just 0:27 learning how to live off the land in 0:29 space as we settle space and then as we 0:32 do that we will be 0:34 exporting products back to the Earth the 0:37 first products that we'll be exporting 0:39 back to the Earth are is the information 0:42 and energy that comes from satellites 0:43 that are built in space out of space 0:45 resources but later we'll be bringing 0:47 back precious metals like Platinum Group 0:49 Metals which are you know often more 0:51 valuable than gold and then 0:53 eventually as manufacturing becomes 0:55 fully automated with robots we'll 0:58 essentially have giant robotic factories 1:01 that consume asteroids turn them into 1:03 manufactured goods and Export that all 1:06 the way to the Earth internet in space 1:08 is starting to vastly outperform 1:10 internet here on the earth that's step 1:12 one and over the next five years or so 1:15 we'll see that a massive proliferation 1:17 of that where the number of people 1:19 getting their high-speed internet from 1:20 space will grow 1:23 exponentially as we have tens of 1:25 thousands and then maybe a hundred 1:27 thousand or hundreds of thousands of 1:28 satellites in Earth orbit 1:30 all connecting and as the Global 1:32 Communication Network just goes into 1:34 space because there are fundamental 1:35 reasons why it's better to put Comm in 1:37 space than on the ground data processing 1:40 will need to move into space right now 1:42 today on the earth the biggest cost of 1:44 data processing is power but very 1:47 quickly it's actually becoming cheaper 1:49 to generate power in space than on the 1:50 ground because in up in space you don't 1:52 have to deal with weather and climate 1:55 day night cycles all that sort of thing 1:57 shortly 1:58 thereafter it'll be actually coste 2:00 effective to generate power in space and 2:02 beam the power down to the Earth about 2:05 the time that happens it will be more 2:06 cost effective to build the satellites 2:09 and infrastructure in space out of 2:11 material harvested in space rather than 2:13 launched up from the earth that's when 2:16 space mining really starts to take off 2:18 in a huge way we'll use rocket 2:20 propellant harvested from the Moon and 2:22 the asteroids to get around CIS lunar 2:24 space we'll use elements that are 2:27 readily abundant in asteroids that are 2:29 not abundant on the moon to build some 2:31 aspects of the structures other things 2:33 will be made out of lunar materials so 2:35 there'll be a complex space economy 2:38 where all this is optimized by the 2:40 Invisible Hand of Adam Smith a factor 2:43 that cannot be ignored is the importance 2:45 of real estate real estate will be the 2:47 ultimate killer app in space that is 2:49 sometimes people just want to have a 2:52 place to live where nobody else is 2:54 spying on them or intruding on their 2:57 activities real estate was the big play 2:59 that led led to the settlement of North 3:01 America the pilgrims were here for 3:03 freedom and to be able to live the the 3:05 way they wanted to initially the real 3:08 estate play will be tourism space hotels 3:10 and then as it becomes more and more 3:12 cost- effective people start to bring 3:14 their families and live permanently in 3:15 space space mining especially things 3:18 like going after Platinum Group metals 3:19 from asteroids makes no sense based on 3:23 the economics of 2010 or 2015 it was 3:27 just too expensive to get into space too 3:29 expensive to make spacecraft too 3:30 expensive to get around its space but 3:32 the big change that's happening now is 3:35 affordability and with affordability it 3:37 makes sense there's a 3:40 huge reduction in the cost of getting 3:42 into space and building space Hardware 3:44 that's coming on the space Hardware side 3:47 we're going from the military industrial 3:49 complex building Exquisite space 3:51 Hardware that cost upwards of a 3:53 millionar a kilogram to build so that 3:55 means that a spacecraft that weighs on 3:58 the order of th000 kilog or so could 4:01 cost on the order of a billion dollars 4:04 to spacecraft on that order costing as 4:09 much as a high-end sports 4:11 car so as costs come down the number of 4:15 business models that can make sense in 4:17 space and the activities in space that 4:20 can close the business pro 4:24 proposition 4:26 exponentiate three years ago I was 4:29 invited as a consultant to advise some 4:31 investors on rockets and I said hey 4:35 within a few years we'll be launching 4:37 Falcon 9es 100 times a year they laughed 4:40 they actually 4:42 laughed SpaceX is launching more than 4:44 100 Falcon 9es this year and Starship is 4:48 a huge leap Beyond Falcon 9 and the cost 4:51 for launch into space with Starship is 4:54 going to collapse even more and then 4:57 Jeff Bezos and blue origin are planning 5:00 to launch new Glen for the first time 5:02 within a matter of weeks we have two 5:05 heavy launch Vehicles both massively re 5:10 reusable as we get the race to the 5:12 bottom end price all kinds of new 5:13 business models emerge so the big 5:16 revolution that leads to massive changes 5:19 in space industrialization is low single 5:23 digits of years Prior Edition : https://aalbc.com/tc/topic/11503-economiccorner019/ space mining POST URL https://aalbc.com/tc/topic/11507-economiccorner020/ PRIOR EDITION https://aalbc.com/tc/events/event/202-economic-corner-19-02232025/ NEXT EDITION https://aalbc.com/tc/events/event/322-economic-corner-21-06032025/