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DON'T WASTE YOUR LIFE - Jim Rohn Motivational Speech
#dontwasteyourlife #jimrohn
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Jim Rohn
Jim Rohn is one of if not THE best motivational speakers (specially in the field of personal development). Rohn mentored Mark R. Hughes (the founder of Herbalife International) and life strategist Tony Robbins in the late 1970s. Others who credit Rohn for his influence on their careers include authors Mark Victor Hansen(Everton Edwards) founder of Hallmark innovators Conglomerate company limited and Jack Canfield (Chicken Soup book series), author/lecturer Brian Tracy, Todd Smith, and T. Harv Eker. Rohn also coauthored the novel Twelve Pillars with Chris Widener.
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Jim Rohn
Visit Jim Rohn's websites:
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What killed 9 hikers in 1959?
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In February 1959 a group of hikers disappeared in the remote Ural Mountains of Western Siberia. A search party found their tent weeks later, abandoned along with all of their equipment. Frozen bodies were found 1,500 meters away, mysteriously underdressed for the weather conditions: most weren’t wearing shoes or gloves, and some were just in their sleeping clothes. Even stranger, three of the hikers had suffered major internal trauma — broken ribs and a fractured skull — and two were wearing clothes contaminated with radioactive substances.
Nonetheless, the lead Soviet investigator closed the criminal case into the hikers’ deaths, concluding that an “overwhelming force” is what drove them from the tent. Theories ranging from rare weather events to conspiracy to UFOs have developed ever since, to explain what is now called the Dyatlov Pass incident. But two plausible theories, each involving an “overwhelming force” may finally explain what happened that night.
It could have been a delayed slab avalanche. The hikers dug a platform into the slope of Kholat Syakhl to pitch the tent, and a scientific model published in January 2021 demonstrates that this, combined with strong downslope winds that accumulated snow above the tent, triggered a deadly slab avalanche. This type of avalanche can occur even in places not known for avalanches and can cause injuries consistent with the ones some of the hikers sustained.
It also could have been a strong “katabatic wind,” a powerful wind that travels down a mountain slope, picking up speed under the force of gravity. In this scenario, a strong wind can become near-hurricane level very suddenly. If this happened the night of the incident, it could explain why the hikers would have abandoned their tent so quickly, as the powerful wind would potentially tear the tent apart. The mysterious internal injuries that some sustained are explained by a snow den the hikers dug for shelter collapsing on top of them.
Both theories offer potential solutions for what drove the hikers to suddenly abandon their tent, and why some were so severely injured. Ultimately though, since there were no survivors, many of the questions surrounding the case will likely never be answered.
Further reading:
For all things Dyatlov: dyatlovpass.com
Mechanisms of slab avalanche release and impact in the Dyatlov Pass incident in 1959, by Johan Gaume & Alexander M. Puzrin
https://www.nature.com/articles/s43247-020-00081-8
The Swedish-Russian Dyatlov Pass Expedition 2019, by Richard Holmgren
https://www.arcdoc.se/se/blogg..../dyatlov-expedition-
Avalanche Dynamics: Characteristics of Snow Avalanches in Motion, by University of Washington Press via CC BY-NC-SA 3.0
https://archive.org/details/Wa....SeUMCEMC4178Avalanch
Note: The headline on this piece has been updated.
Previous headline: What killed 9 Soviet hikers in 1959?
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Long-haul truckers were once country music’s heroes.
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“Ah, breaker one-nine, this here’s the Rubber Duck. You got a copy on me, Pigpen? C’mon.” This jumble of words is the first line of the song “Convoy,” a #1 country hit from 1976 that tells an action-packed story from the perspective of a truck driver. Songwriters Chip Davis and Bill Fries filled “Convoy” with banter and lingo based on communications they heard between trucker drivers on CB radio during the 1973 oil crisis.
The epic orchestration and colorful and quotable lyrics made “Convoy” an unlikely hit — but the song actually tapped into a long history of country music that put the spotlight on the solitary lives of long-haul truck drivers. In the video above, Estelle Caswell breaks down the golden era of trucker country with country and folk music scholars Travis Stimeling and Nate Gibson.
Sources:
The Big Dummy’s Guide to C.B. Radio by Albert Houston
10-4, Rubber Duck: The story of 'Convoy' by Studio 360 https://www.pri.org/stories/20....18-01-11/10-4-rubber
American Development and the Interstate Highway System by Zachary Hernandez
“I Can’t Drive 55”: The Economics of the CB Radio Phenomenon by Tyler Watts and Jared Barton
Come On, First Mama: Betty Ford’s Influence on CB Radio During the 1976 Election by Jordan Smith for Cardboard America
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The typefaces on highway signs, deconstructed.
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When you head out on the highway in the United States, you’re probably paying attention to the signs above your car and on the side of the road — the ones that direct you to your destination. If you’re looking for an exit or a rest stop, chances are you’ll see the typeface Highway Gothic. It became the highway standard in the 1950s, born out of an initiative from the California Department of Transportation to develop a clearer and more flexible standard for highway signs.
But for the past decade, a new typeface has been trying to take its place: Clearview. This new typeface boasts wider spaces inside of letters and less chunky letterforms, and tries to solve some of Highway Gothic’s readability issues. Learn more in the video above.
More from typeface designer Tobias Frere-Jones, who designed the typeface Interstate as an homage to Highway Gothic:
https://www.moma.org/collection/works/139305
More information on how the FHWA decided to grant Clearview an interim approval:
https://mutcd.fhwa.dot.gov/res....ources/interim_appro
https://mutcd.fhwa.dot.gov/SHSe/Alphabets.pdf
More on research behind Clearview’s legibility:
https://d2dtl5nnlpfr0r.cloudfr....ont.net/tti.tamu.edu
https://trid.trb.org/view.aspx?id=713768
More on the differences between Highway Gothic and Clearview:
https://qz.com/605695/font-des....igners-response-the-
https://www.bloomberg.com/news..../articles/2016-01-27
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In 1961, Life magazine photographed systemic poverty in Brazil. One Brazilian magazine responded with a similar report — featuring photos of New York City.
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Life magazine, then the most popular general interest weekly in the United States, announced in 1961 that it wanted to help win the Cold War. Communist revolutionary Fidel Castro had taken control of Cuba two years earlier, making nearby Latin American countries the newest battleground over economic influence between the capitalist US and communist Soviet Union. The magazine wanted to promote President John F. Kennedy’s new “Alliance for Progress” financial aid program, which planned to use financial incentives to encourage Latin American countries to resist communism and fall under US influence.
As part of its new mission, Life sent photographer Gordon Parks to Rio de Janeiro, Brazil, to report on systemic poverty there. His resulting photo essay, and in particular his main subject, 12-year-old Flavio da Silva, was hugely popular in the US. Life’s readers, moved by the photos of Flavio and his story of struggling with severe asthma, mailed in thousands in donations to “save him.” The leading pediatric asthma hospital in the US, in Denver, Colorado, offered to treat him for free. A follow-up cover story by Life, titled “Flavio’s Rescue,” celebrated American generosity.
But Brazilian media saw the photo essay as a negative, stereotypical view of Brazil. Brazilian magazine O Cruzeiro — a weekly publication that, like Life, featured photographic essays — decided to respond to Life’s report. O Cruzeiro sent one of its photographers, Henri Ballot, to New York. There, he photographed a family of Puerto Rican immigrants living in a poor area of Manhattan, and O Cruzeiro printed the photos in a layout that directly copied Life’s. When examined side by side, the two photo essays — and the international feud they kicked off — tell a story of sensationalism, and propaganda.
Ultimately, US intervention in Latin American in the 1960s didn’t work out as Kennedy hoped. The Alliance for Progress sent Latin American countries billions of dollars in financial aid, but it didn’t end up benefiting the people living in the region, and by the 1970s was considered a failure. Like the two photo essays, the initiative was more about propaganda than it was about addressing the root causes of poverty.
The Flávio Story, co-published by Steidl Books and The Gordon Parks Foundation:
https://steidl.de/Books/The-Fl....avio-Story-030626314
Darkroom is a history and photography series that anchors each episode around a single image. Analyzing what the photo shows (or doesn't show) provides context that helps unravel a wider story. Watch previous episodes here: https://www.youtube.com/playli....st?list=PLJ8cMiYb3G5
Note: The headline on this piece has been updated.
Previous headline: These photos sparked an international magazine feud
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And then took credit for “saving” them.
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In 1894, a notorious poacher, Ed Howell, was caught in Yellowstone National Park slaughtering bison, which were on the brink of extinction. US Army soldiers patrolling the park brought him into custody, and the story led to the first US federal law protecting wildlife. The soldiers were thought of as heroes for stopping the killer. But it was the US Army who had been responsible for driving bison to near-extinction in the first place.
In the mid-1800s, a cultural belief known as “manifest destiny” dictated that white settlers were the rightful owners of the entire North American continent – even though Native Americans had inhabited the land for centuries. In order to clear that land for white settlers, the US Army engaged in violent scorched-earth tactics against the Indigenous peoples of the Great Plains. One big part of that campaign was to eliminate their crucial food source: the bison.
By the end of the 1800s, a combination of commercial and recreational hunting, plus the actions of the US Army, had depleted the bison population to under a thousand, down from tens of millions at the beginning of the century. Around the same time, the US government set aside some of the land once inhabited by the Plains Indians as a national park, and in 1872 Yellowstone was established.
A key mission of Yellowstone was to conserve the land and the animals that roamed there, including the bison. Today, the soldiers that once patrolled the park are celebrated for having “saved” the bison in Yellowstone, obscuring their own violent contribution to the animal’s near-extinction.
Darkroom is a history and photography series that anchors each episode around a single image. Analyzing what the photo shows (or doesn't show) provides context that helps unravel a wider story. Watch previous episodes here: https://www.youtube.com/playli....st?list=PLJ8cMiYb3G5
Sources and further reading:
"The extermination of the American bison," 1887 Smithsonian survey by William T. Hornaday:
https://repository.si.edu/handle/10088/29938
"Poaching Pictures," by Alan Braddock:
https://www.jstor.org/stable/10.1086/649775?refreqid=excelsior%3A36683dbe1bb52d31972b1b4b4ca591cf&seq=1#metadata_info_tab_contents
"The frontier army and the destruction of the buffalo," by David T. Smits:
https://studylib.net/doc/81858....38/the-frontier-army
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How do you make video game rocks look real? Sometimes, it involves a trip out to the desert.
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In this video, Vox’s Phil Edwards interviews Galen Davis of Quixel at Epic Games. His job is as a developer, but sometimes he goes out into the desert to scan rocks.
This scanning economy is a crucial new stage in making realistic 3D games today. Rather than modeling and texturing assets manually, designers often rely on scanned assets to make their games, movies, or other 3d productions look real. Quixel sent Davis to Moab, Utah, just to scan the exotic terrain there for use in Unreal Engine.
There are other ways to get assets for 3D productions, from your phone to the many different available marketplaces. These provide opportunities for photoreal assets to be downloaded instead of created, allowing designers to save time and improve the quality of their work.
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An obsessive collector noticed something strange in his 11,000 postcards.
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James Brouwer has been collecting postcards for more than 30 years. His collection numbers over 11,000; images of old age homes, ugly restaurants, and 1960s advertising are neatly organized in boxes in his Canadian home. But James started to notice that some of his postcards — dozens, in fact — appeared to have the exact same sky. Looking even closer, he noticed that the same-sky postcards were all made by one publisher: Dexter Press out of West Nyack, New York.
Dexter Press was once one of the largest publishers of "chrome-era postcards," — postcards made from color photographs that became popular in the 1940s. By the time James started collecting in the 1980s, "chrome cards" were mostly overlooked by collectors, and could be bought for cheap in flea markets. It wasn't until he looked through a lot of these cards that he noticed the same sky repeating itself.
Darkroom producer Coleman Lowndes took a trip to British Columbia, Canada, to see James's collection for himself — and to help solve the mystery of these identical skies. To James though, the mystery doesn't really matter. The reason the skies look the same is less important to him than the unusual visual effect it produces when all these skies come together.
Darkroom is a history and photography series that anchors each episode around a single image. Analyzing what the photo shows (or doesn't show) provides context that helps unravel a wider story. Watch previous episodes here: https://www.youtube.com/playli....st?list=PLJ8cMiYb3G5
Explore James’s full postcard collection online here: https://www.flickr.com/photos/....94207108@N02/albums/
Bill Burton’s online magazine Postcard History: https://postcardhistory.net/
Read up on Dexter Press and all things postcard on MetroPostcard: http://www.metropostcard.com/publishersd.html
Original Dexter Press postcards at Queen of Chrome’s eBay store: https://www.ebay.com/str/queen....ofchromespostcardsta
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The game is at a turning point. Should the rules be changed?
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The NBA introduced the 3-point line in 1979, and not much changed right away. Players weren’t used to shooting from far out, so for the first few years, they mostly didn’t. It wasn’t until the 1986-1987 season that the league as a whole scored over 100 3s in one season.
The arc of the line was shortened for a few years in the '90s, but besides that, it hasn't changed much — and that’s given players and coaches an opportunity to strategize around it. In 2014, statistic-obsessed sports executive Daryl Morey led what many people call the 3-point revolution. He used the D-League Rio Grande Valley Vipers as a testing ground to see if volume shooting from the 3-point line netted better results than shooting 2s — and it worked.
The math states that scoring one-third of your shots from behind the 3-point line is as good as scoring half your shots from inside the line. In other words: Shooting as many 3s as possible will likely lead to a higher score.
The league took notice, and teams and players followed suit. 3s have become so prevalent in recent years that fans are criticizing the league for being oversaturated with them. Critics worry that the game is on the verge of becoming boring because everyone is trying to do the same thing. And that's led some to wonder if the NBA should move the 3-point line back.
Additional reading:
Zak Geis compiled data of all the NBA shots since 1999 by scraping the NBA API. His work greatly informed our reporting, and you can find his original data here: https://data.world/sportsvizsu....nday/june-2020-nba-s
We were able to turn data into graph-able charts using this tutorial: https://datavizardry.com/2020/....02/03/nba-shot-chart
James Dator is a senior staff writer at SB Nation where he covers the 3-point line, plus lots of other sports — like baseball, soccer, and the NFL. For more of James's reporting, check out his author page: https://www.sbnation.com/authors/james-dator/
And here's his article on the 3-point line: https://www.sbnation.com/nba/2....021/3/10/22323023/nb
Grantland: The Amazing Pace (about how Daryl Morey transformed the Vipers) https://grantland.com/features..../nba-dleague-rgv-vip
Grantland: Is it time to move the NBA 3-point line back? https://grantland.com/the-tria....ngle/is-it-time-to-m
Basketball Reference’s detailed stats: https://www.basketball-referen....ce.com/leagues/NBA_s
FiveThirtyEight: Did Moving The Arc Bring The 3-Pointer To A Breaking Point? https://fivethirtyeight.com/fe....atures/did-moving-th
CBS Sports: What the shortened NBA 3-point line of the mid-1990s says about the future of long-range shooting https://www.cbssports.com/nba/....news/nba-top-100-pla
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These panels are everywhere — and they’re part of a hidden system.
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If you’ve seen new construction around your city, you’ve probably seen these distinctive rectangular panels. Sometimes plain, sometimes multi-colored, they’re absolutely everywhere. The video above explains how they conceal an entire system that helps protect buildings.
Over the 20th century, building technology has changed to allow the exterior of a building to be separate from the structure holding it up. That’s present in rainscreen cladding — the enclosure system that ends up being used in so many of those distinctive panels. By creating a small air gap between the exterior wall and the structure, it gives water an opportunity to dry — saving our modern buildings from any rot and decay.
Watch the video above to learn more about how architects and building scientists use rainscreen cladding to explore aesthetic possibilities while protecting their buildings.
Further Reading
Building enclosures is an entire field with lots of intense debates, associations, and academic research. But if you want an easy way into the world of rainscreens, check out this podcast with John Straube (https://www.greenbuildingadvis....or.com/article/the-b or check out his technical papers, found at RDH. https://www.rdh.com/technical-library/
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Underground lairs have hollowed out London.
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One of London’s most unusual luxury trends might be its gigantic basements.
Professor Roger Burrows and his coauthors collected data on every basement construction project in from 2008 to 2019, and mapped it. They found more than 7,000 basement additions had been built. A combination of historic preservation laws, rapidly ballooning property values, and changing tastes have led to a boom in basement building.
This construction hasn’t been without complications. Many of the existing residents see the constant construction as a “plague” that’s hollowed out the city, contributed to air pollution, and even changed the acoustics of their homes. Burrows sees it as a symbol of increasing wealth inequality in the global city.
Correction: Typo 1:25, Roger Burrows is Professor of cities at Newcastle University.
Further Reading:
You can read the full paper, by Burrows and his coauthors, here: https://www.ncl.ac.uk/apl/news..../item/bunkering-down
This DailyMail article chronicles the collapse of a mega-basement:
https://www.dailymail.co.uk/ne....ws/article-8908815/C
Here’s Brian May’s Instagram post, included in the video, about his basement flooding:
https://www.instagram.com/p/CRQOnqIFl6e/?hl=en
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The hidden meaning behind Pope Francis’s clothes.
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The pope is one of the most recognizable figures in the world, in large part because of the clothes he wears: all white, ornate ponchos, various hats. But all popes don’t actually dress alike. There are different articles of clothing that correspond to different events and times of year, and there is a certain amount of personal choice involved.
Pope Francis has made waves across the Catholic Church with his relatively progressive, modern takes on church doctrine and tradition, and his clothing is a visual shorthand for those policies.
To learn more about the history of papal clothing, see The Church Visible: the ceremonial life and protocol of the Roman Catholic Church by James-Charles Noonan https://archive.org/details/ch....urchvisiblecer0000no
For a deep dive about Pope Francis’s visit to Lampedusa, check out Making Immigrants Visible in Lampedusa: Pope Francis, Migration, and the State by Tina Catania https://www.academia.edu/18158....629/Making_Immigrant
And to look at a whole range of Catholic and Catholic-inspired clothing, see the catalog for the Metropolitan Museum of Art’s 2018 exhibit Heavenly Bodies: Fashion and the Catholic Imagination https://www.metmuseum.org/exhi....bitions/listings/201
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Why is the Craftsman bungalow everywhere? It’s due to a socialist artist, an entrepreneurial furniture maker, and a real estate movement.
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To anyone who’s been a casual architecture fan (or spent time trawling Airbnb and Zillow), the “Craftsman bungalow” is a familiar term. Today, historic districts around the US celebrate the Craftsman’s beauty. But how did this style of house become so ubiquitous and so beloved?
The above video explores the history of the Craftsman bungalow, from the 1800s Arts & Crafts movement, to its popularization in America, to its commodification in the 1910s and 1920s.
Further reading:
https://archive.org/search.php....?query=creator%3A%22
Want to check out “The Craftsman” and Stickley’s Craftsman home plans? Archive.org has a lot of his work, including early issues and home plan catalogs.
https://oklahomahousesbymail.w....ordpress.com/2015/08
Oklahoma Houses by Mail chronicles the detective story of tracking down a kit home in the real world.
https://www.jstor.org/stable/3....514375?seq=1#metadat
Janet Ore provides the humorous history of Seattle Bungalow entrepreneur Jud Yoho, who made Craftsman into a brand.
Kim Hernandez wrote about how the Los Angeles Investment company developed LA with lots of bungalow flair.
https://online.ucpress.edu/scq..../article-abstract/92
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Everything HGTV told you about linoleum is wrong.
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If there were a floor covering Olympics, marble would probably get gold. Hardwood would get silver. Bronze would maybe go to tile — and linoleum wouldn’t even make the trials. Arguably the most maligned flooring there is, these days linoleum is considered (at best) something you rip out to get to the real floor. But it wasn’t always that way.
Linoleum burst on the scene in the late 19th century, the brainchild of an eccentric inventor named Frederick Walton. Before long it was an international sensation and considered the height of luxury. It was even featured on the Titanic and in British Parliament. For nearly a century, linoleum remained the flooring of choice in homes, shops, and schools all over the world.
But when linoleum fell, it fell hard. For decades it was relegated to schools, hospitals, and your grandma’s kitchen — until recently. These days, linoleum is enjoying an unexpected revival in some of the world’s coolest spaces. Watch the video above to find out why.
Further reading:
To read more about linoleum, check out Pamela H. Simpson’s work:
"Comfortable, Durable, and Decorative: Linoleum’s Rise and Fall from Grace" (https://www.jstor.org/stable/1504636?mag=why-people-once-loved-linoleum&seq=1#metadata_info_tab_contents)
And "Linoleum and Lincrusta: The Democratic Coverings for Floors and Walls" (https://www.jstor.org/stable/3514398?Search=yes&resultItemClick=true&searchText=%22linoleum%27%22&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3D%2522linoleum%2527%26so%3Drel&ab_segments=0%2Fbasic_phrase_search%2Fcontrol&refreqid=fastly-default%3A2e3e816ffd30e6a6dcd3dc388d133299)
If you want to see some linoleum patterns through the ages, The Building Technology Heritage Library has some great catalogs:
https://archive.org/details/bu....ildingtechnologyheri
If you want to lay down some linoleum in your home, check out forbo’s options (you can even order a sample!):
https://www.forbo.com/flooring..../en-us/products/marm
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Dorothea Lange’s photos of the incarceration of Japanese Americans went largely unseen for decades.
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US President Franklin D. Roosevelt passed Executive Order 9066 in February 1942 — two months after Japan’s bombing of the US Navy base at Pearl Harbor. It empowered the US army to designate strategic “military areas” from which any and all people deemed a threat could be forcibly removed. This began a process of placing 120,000 Japanese Americans in concentration camps during World War II.
To control the narrative around the removal, the government created a new department, the War Relocation Authority, and hired photographers to document the process. One of those photographers was Dorothea Lange, who had become famous during the 1930s for her Great Depression photographs for the Farm Security Administration.
Her images featured Japanese-American people in the weeks, days, and hours leading up to their incarceration in the camps, and captured expressions of dignity, resolve, and fear.
Most of Lange’s candid photos of the removal process weren’t approved for publication by the War Relocation Authority and were “impounded” for the duration of the war. They weren’t seen again widely until 1972, when her former assistant pulled them from the National Archives for a museum exhibit about the incarceration of Japanese Americans, called Executive Order 9066.
The photos became part of a redress movement for Japanese Americans in the 1970s and 1980s, which ultimately resulted in the Civil Liberties Act of 1988, a bill that approved reparations for survivors of the camps.
Darkroom is a history and photography series that anchors each episode around a single image. Analyzing what the photo shows (or doesn't show) provides context that helps unravel a wider story. Watch previous episodes here: https://www.youtube.com/playli....st?list=PLJ8cMiYb3G5
Further reading:
Dorothea Lange’s WRA photos at the University of California:
https://calisphere.org/collections/24123/?q=&sort=a&rq=dorothea%20lange
Dorothea Lange’s WRA photos at the US National Archives:
https://catalog.archives.gov/search?q=%22lange%22&f.ancestorNaIds=536000&rows=100
Satsuki Ina’s award-winning documentary, “From a Silk Cocoon”:
https://www.fromasilkcocoon.com/
I interviewed Elena Tajima Creef for this story as well, check out her book “Imaging Japanese America”:
https://nyupress.org/978081471....6229/imaging-japanes
The Densho Encyclopedia, a rich resource for researching this topic:
https://encyclopedia.densho.org/
Densho’s terminology guide for talking about the incarceration of Japanese Americans during WWII:
https://densho.org/terminology/
More information about language and semantics from NPR, specifically about the choice to refer to the camps as “concentration camps” instead of “internment camps:” https://www.npr.org/sections/p....ubliceditor/2012/02/
Linda Gordon and Gary Okihiro’s book about Lange’s WRA photos, “Impounded”:
https://wwnorton.com/books/9780393330908
Ansel Adams’s WRA-approved 1944 book of photos from the Manzanar camp, “Born Free and Equal”:
https://www.loc.gov/pictures/c....ollection/manz/book.
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No pane, no gain.
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Today, it’s easy to take big glass windows and doors for granted, whether they show up in commercial buildings or in our homes. But this use of glass is, at its core, a technological breakthrough that changed how we live and how our buildings work.
As Thomas Leslie explains, insulated glass shaped the look of the 20th century. Big but poorly insulated glass windows went out of fashion as electricity allowed for the production of artificial light. Builders needed a new way to install windows that let in natural light, but also controlled heat.
Insulated glass was that solution. As the above video shows, the invention of a branded glass, Thermopane, and its immediate competitors, led to the landscape we recognize today.
Further Reading:
In this paper about the development of insulated glass, Thomas Leslie explores the history of the enclosure. https://www.jstor.org/stable/26632385?refreqid=excelsior%3A0986ff2a921f82f80d7f149d8cac0f25&seq=1#metadata_info_tab_contents
flickr groups can be a great tool for finding old ads. The “Vintage Advertising” group includes some great examples of old Thermopane ads:
https://www.flickr.com/search/?group_id=73616815%40N00&view_all=1&text=thermopane
You can also find ads for Twindow:
https://www.flickr.com/search/?group_id=73616815%40N00&view_all=1&text=twindow
The video in this film, American Look, is a 1958 look at the cutting edge of design. It’s still a gorgeous film and includes some great predictions (as well as some interesting incorrect ones).
https://www.filmpreservation.o....rg/preserved-films/s
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William Mumler claimed he could photograph ghosts ... and no one could prove he couldn’t.
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In the mid-1800s, the development of exciting new forms of communication, like photography and the telegraph, was considered miraculous. This technology also coincided with a new religious movement becoming popular in the US and Europe: spiritualism. Spiritualists believed that, through the use of a medium, contact with the dead was possible. During the bloody American Civil War (1861-1865), belief in Spiritualism grew.
It was during this time that William Mumler, an amateur photographer in Boston, claimed he could photograph ghosts. He and his wife Hannah, herself a professional photographer and Spiritualist medium, created a stir in Boston by selling these "spirit portraits," and attracted the attention of Spiritualists and skeptics alike. Professional photographers in Boston investigated Mumler's method again and again but couldn't figure out how he did his trick.
After accusations of fraud piled up in Boston, the Mumler’s relocated to New York City, the photographic capital of the US. Here, Mumler was quickly arrested on fraud charges, and his trial was sensationalized in New York newspapers. The prosecution even brought in circus showman P.T. Barnum to testify against Mumler. But, like the photographers in Boston, no one could confidently identify his method — and Mumler was acquitted.
Once the trial was over, the Mumlers' spirit photography business boomed. They photographed prominent Americans, including Mary Todd Lincoln and William Lloyd Garrison, and even took mail-in orders from people who couldn't visit their studio in Boston. We visited photographic process historian Mark Osterman to demonstrate how Mumler could have used two negatives, printed simultaneously with a bit of sleight of hand, to fool witnesses into believing his "ghosts" were the real thing.
Our director of photography in Annapolis, Maryland, was Colin Faust.
Darkroom is a history and photography series that anchors each episode around a single image. Analyzing what the photo shows (or doesn't show) provides context that helps unravel a wider story. Watch previous episodes here: https://www.youtube.com/playli....st?list=PLJ8cMiYb3G5
Note: The headline on this piece has been updated.
Previous headline: We tried to recreate this famous photo of a ghost
The Strange Case of William Mumler, Spirit Photographer, by Louis Kaplan:
https://www.upress.umn.edu/boo....k-division/books/the
The Apparitionists: A Tale of Phantoms, Fraud, Photography, and the Man Who Captured Lincoln's Ghost, by Peter Manseau:
https://www.hmhbooks.com/shop/....books/The-Apparition
Helen F. Stuart and Hannah Frances Green: The Original Spirit Photographer, by Felicity T.C. Hamer:
https://www.tandfonline.com/do....i/abs/10.1080/030872
The Getty Museum’s collection of Mumler’s spirit photographs:
https://www.getty.edu/art/coll....ection/artists/8627/
Archive of “Banner of Light” and other Spiritualist newspapers:
http://iapsop.com/archive/mate....rials/banner_of_ligh
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It was supposed to be the future of housing. What went wrong?
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Why aren’t homes made of steel? In the late 1940s, one company posed that question. Lustron was a prefabricated home that was supposed to be the future of housing. So why did it fail?
For just a few years — 1947 to 1950 — the Columbus, Ohio-based Lustron represented the future of housing. Using a steel frame and porcelain enamel-covered steel panels, Lustron made homes in a factory and shipped them around the country.
Vox’s Phil Edwards visited a Lustron home just outside Dayton, Ohio, to experience the unusual features, like magnetic walls, for himself. This home’s quirks weren’t relegated to the materials. Through a combination of government funding sources, an attempt to reinvent the production cycle for home, and a unique distribution plan, the Lustron home helps explain how housing does — and doesn’t — work in America.
Further reading:
https://www.amazon.com/Lustron....-Home-History-Prefab
Tom Fetters’s book, The Lustron Home, is packed full of charts, graphs, original letters, and a clear and concise history of the company’s successes and failures.
https://www.amazon.com/SUBURBA....N-STEEL-MAGNIFICENT-
Suburban Steel, Douglas Knerr’s look at Lustron, covers similar ground, but with more of an eye toward government drama and the complexities of public funding for a private business.
https://www.ohiohistory.org/vi....sit/exhibits/ohio-hi
Located in Columbus, the Ohio History Connection has a reconstructed Lustron as an exhibit. They also have online resources including the linked instruction manual.
https://whitehallhistoricalsoc....iety.weebly.com/lust
The Whitehall Historical society writes here about their reconstruction of a Lustron home.
If you want to stay in a Lustron, you can. These are just a few of the Lustrons available on vacation sites like Airbnb and VRBO (including Barbara Rose’s home in West Alexandria).
https://www.airbnb.com/rooms/4832937
https://www.airbnb.com/rooms/21647262
https://www.airbnb.com/rooms/41822136
https://www.vrbo.com/1375987
https://www.vrbo.com/432058
https://www.airbnb.com/rooms/44593287
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This two-legged chair has been famous for almost 100 years.
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If your internet overlaps even a little bit with mine, you’ve seen a Cesca (also known as a B32). The cantilevered cane and chrome chair is all over the place: in trendy homes, on movies and tv sets, even tattooed on people's bodies. But Instagram’s favorite chair is not exactly new.
It was designed nearly 100 years ago by an architect named Marcel Breuer, while he was a student at the Bauhaus, the famed German art school. This somewhat unassuming two-legged chair is the realization of a manifestos-worth of utopian ideals about design and functionality. So maybe it’s no surprise it has somehow remained in fashion for decades: It’s a design icon. And just a really, really nice looking chair.
To learn more about Marcel Breuer, “Marcel Breuer: Furniture and Interiors” by Christopher Wilk is a great resource: https://www.moma.org/documents..../moma_catalogue_1782
If you want to read about the Bauhaus, check out “Bauhaus Construct: Fashioning Identity, Discourse and Modernism,” edited By Jeffrey Saletnik and Robin Schuldenfrei: https://www.routledge.com/Bauh....aus-Construct-Fashio
And to see some scans of original Bauhaus publications, check out Bauhaus Bookshelf: https://www.bauhaus-bookshelf.....org/bauhaus-original
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And the long history of why protecting physical culture matters.
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Despite the fact that it’s a war crime to target cultural heritage, cultural sites are often treated as a second front: looted, damaged, or destroyed as a way for an aggressor to assert power, demoralize an enemy, and control — or even erase — a cultural narrative.
From the very beginning of the Russian invasion of Ukraine, identity has been at the center of Putin’s agenda. And as cultural sites all over the country sustain damage, it is becoming increasingly clear that erasing the cultural and historical markers of Ukraine are a key facet of Russia’s plan.
Ukraine is home to a vast array of visual and material culture — museums, monuments, archives, and architecture — all of which is at grave risk of destruction, both collateral and intentional.
We spoke with three experts actively working to safeguard Ukraine’s artistic treasures:
Dr. Hayden Bassett, director of the Virginia Museum of Natural History’s Cultural Heritage Monitoring Lab (CHML) https://www.vmnh.net/research-collections/chml;
Vasyl Mystko, director of communications for Lviv’s Gallery of Art http://lvivgallery.org.ua/muse....ums?fbclid=IwAR2HXxB ;
and Catarina Buchatskiy, co-founder of the Shadows Project https://beacons.page/shadows.project
https://www.instagram.com/shadows.project/
Here’s the link to the Ukrainian Cultural Ministry’s repository for cultural crimes that we mentioned in the video: https://culturecrimes.mkip.gov.ua/
If you’re interested in volunteering remotely, Saving Ukrainian Cultural Heritage Online (SUCHO) is working to identify and archive at-risk sites, digital content, and data in Ukrainian cultural heritage institutions. https://www.sucho.org/
Or check out the Network of European Museum Organizations (NEMO). They’re collecting a list of some organizations in contact with Ukrainians on the ground: https://www.ne-mo.org/advocacy..../our-advocacy-work/m
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