#noah's ark 2024

[asia2023animationgirl]

@jamalwhite12 @maryrose20070 @giulia266eyes

I made Noah's Ark vs Winnie the Pooh: Blood and Honey 2 Poster

[abybweisse]

Ch208 (p2), Were all of us being tricked?

There's not much to say here, as we see the last scene from ch207 -- Finny leaving and Doll holding Snake as he bleeds out.

I have to assume Snake means himself and all his snake friends when he says "us". Though he could also see Finny as being used, since they were both brought into the Phantomhive household and sent on this mission.

Of course, Doll and our earl are the ones who truly extended their hands to him. He doesn't know who else to blame, like Kelvin, Sebastian, or the others.

Then he starts to flashback to his days (years?) in a cage.

[thejewofkansas]

The Weekly Gravy #200

Starting the week off with some more shorts, including one requested by commenter Anand! Robin Hood-Winked (1967) – This may have been the last of the Noveltoons franchise produced by Famous Studios (which rose from the ashes of the Fleischer studio) and released by Paramount. Apparently part of the Fractured Fables series, it deals with Sir Blur, a near-sighted knight (think Mr. Magoo in a suit…

[tankertalk]

tankerTWEETland comix #1640: "Noah & his awe inspiring view from the Ark…” (2/16/2024)

The point of this comic is to make you think what Noah saw while on the ark every morning while drinking his biblical cup of coffee, or whatever "wake me up beverage" they had back during his time. The thought was at least early on, you could see Noah coming out on deck and seeing all those lifeless corpses floating and bobbing there in the water, what a glorious sight it must have been and he's praying to God thanking him for sparing his family the same horrific fate.

[jbaileyfansite]

Interview with Interview Magazine (2024)

Before he was known as the dashing Lord Anthony Bridgerton or Tim Laughlin, the character in Fellow Travelers for which he won a Critics Choice Award earlier this month, Jonathan Bailey caught the attention of Phoebe Waller-Bridge with his confident, self-possessed audition for her show Crashing nearly a decade ago. “You came in like a fireball,” said the Fleabag star on Zoom with Bailey, recounting how, while reading for the role of the sex-obsessed Sam, Bailey asked permission to lay his script out on the floor in front of him like a rainbow. “You had no embarrassment. You didn’t actually refer to it again, but you took those few seconds to just completely set up what you exactly needed for that audition, and then you were so free.” In the years since, with roles in Bridgerton, the Showtime drama Fellow Travelers, and the upcoming Wicked movie adaptation, Bailey has become one of the most sought-after actors in the business, capable of generating sparks with whoever’s on screen with him. Waller-Bridge attributes this to the 35-year-old’s distinct understanding of tension. “You’re like a chemistry machine,” she gushed. “There’s this incredible erotic energy that people are so excited about.” Last week, from a hotel room at Claridge’s in London, Bailey talked to Waller-Bridge about longing, orgasms, frosted tips, nostalgia, Shakespeare, and his very first role: playing a raindrop in a stage production of Noah’s Ark.

PHOEBE WALLER-BRIDGE: Hi.

JONATHAN BAILEY: Hi.

WALLER-BRIDGE: I’m taking my glasses off. Now I can be real.

BAILEY: I’ve just had a gin and tonic, actually. I had a meeting and he really wanted a glass of Whispering Angel, so I was like, “Well, I’ve got to dive in.”

WALLER-BRIDGE: What’s the time there?

BAILEY: Oh, I’m literally around the corner from you. Literally, I’ve come into Claridge’s Hotel and checked in for an hour just to have a Zoom.

WALLER-BRIDGE: Oh, god. That’s so chic. Jonny, I want all of your secrets.

BAILEY: I feel like you’ve got quite a few of them already.

WALLER-BRIDGE: I do, actually. And we’re not going to talk about any of those. But I did also get to do a little bit of research on you.

BAILEY: Oh, god. What have you got?

WALLER-BRIDGE: Jonathan Stewart Bailey, I’d like to jump straight in with the fact that the first professional job you had was playing a teardrop, or a raindrop?

BAILEY: There were teardrops, but yeah, I was playing a raindrop.

WALLER-BRIDGE: You were a crying raindrop.

BAILEY: A crying raindrop in Noah’s Ark.

WALLER-BRIDGE: And how old were you then?

BAILEY: I think I was about 5 going on 29. I was really upset because it didn’t rain. The bitch that played Noah, she forgot the cue for the rain to come. So my dance didn’t make it, but at the end of the show they allowed me to do it once everyone had applauded.

WALLER-BRIDGE: I asked you that specifically because you’ve also said that your grandmother took you to see a production of Oliver in London and that’s what changed everything.

BAILEY: Yes.

WALLER-BRIDGE: So was the raindrop before or after that? I am getting to something, I promise.

BAILEY: I think it was probably afterwards. I was really young when I went to see Oliver.

WALLER-BRIDGE: I’m interested because I read that seeing it made you decide you wanted to perform. Can you tell me the specific thing that made it click?

BAILEY: I’ll tell you, the most bizarre thing is that I had three seasons at the RSC under my belt by the age of nine. There was a moment where I played Prince Arthur, the kid in Shakespeare who gets his eyes gouged out and has to escape a turret. I remember doing that production and thinking I was aware of the power of words, if that makes sense. You’re so porous at that age, I think. It is such a gift, isn’t it, to be shown what iambic pentameter is.

WALLER-BRIDGE: Do you still feel passionate about Shakespeare now?

BAILEY: I do, actually. It’s my dirty, filthy habit.

WALLER-BRIDGE: Your dirty little habit. I know what you mean, though, how if you come to it quite raw, and it’s not something that you’ve had shoved down your throat at school, there is nothing more epic and spectacular.

BAILEY: And being around people who are just so committed to their vocation, whether they’re writing or creating. The smell backstage at the RSC at the Barbican was like cigarettes, stage makeup, Joe Fiennes, and hope.

WALLER-BRIDGE: That’s a lot of beautiful smells you’ve got going on there.

BAILEY: I know. Talk about top notes and bottom notes. I was like, “These men, these titans of theater!”

WALLER-BRIDGE: That’s extraordinary that you were exposed to that kind of level of professionalism. Because you are consummately professional, and I remember that. You have this incredible ability to be completely live and spontaneous and wild at the same time as being so incredibly professional, and that’s why working with you felt totally safe. I know that I’ve got a professional actor coming today, but I have absolutely no idea what’s going to happen because you still managed to keep that spontaneity and danger.

BAILEY: I suppose it’s sometimes dangerous. Today I had to do an interview. Crashing came up and I described working with you as being on the constant edge of an orgasm and also hysteria.

WALLER-BRIDGE: It did have a kind of wild, beautiful energy.

BAILEY: There’s a chemical alchemy when you get the right group of people led by the right people.

WALLER-BRIDGE: I haven’t had that in quite the same way since, where everyone has equal importance in the story. That’s the thing that feels quite rare, actually, there’s like six of you and they’re all as fucked up as each other. I remember your audition. You came in like a fireball and you already felt like you had a Sam energy. You sat in your chair, took out your script from your bag, and then you were like, “Give me a second,” and you laid out your script around you on the floor. You had no embarrassment about what you needed or in front of you. You didn’t actually refer to it again, but you took those few seconds to just completely set up what you exactly needed for that audition, and then you were so free. And I just wonder if you’ve felt that particular type of confidence your whole life?

BAILEY: That’s a really good question. I’ve got three older sisters and I wonder if they are a structure. I’ve definitely been in environments where I don’t feel free, and then you give the worst performance of your life. What I’ve found in the last few years is that, of course, you have to adapt so quickly to work out what you need in order to be able to be free. I think if I don’t have the equivalent of that on the floor, I panic or get really scared.

WALLER-BRIDGE: There’s something about that, which is being able to play dangerously in a safe environment. I feel like that’s got so much to do with an understanding of tension, which I think you have. You’re like a chemistry machine. Obviously, with Bridgerton and then in Fellow Travelers, there’s this incredible erotic energy that people are so excited about.

BAILEY: I really think it comes from Crashing.

WALLER-BRIDGE: It doesn’t come from Crashing, it comes from you. I think you’re the king of tension. I think you understand what that is.

BAILEY: I think you can give yourself butterflies, can’t you?

WALLER-BRIDGE: Is that what you’re looking for, the butterfly all the time?

BAILEY: Yeah, I’m always looking for my butterfly farm. The misty, slightly smelly greenhouse full of butterflies.

WALLER-BRIDGE: That’s your tummy?

BAILEY: Yeah, that’s my tummy.

WALLER-BRIDGE: Did you always dream of playing leading man roles growing up?

BAILEY: Not at all, no. I never thought I would be able to.

WALLER-BRIDGE: Why?

BAILEY: I’ve realized that I’m completely in awe of other people and performances and creative endeavors. I go to the theater and I love a performance and I’m like, “How do they do that? I can’t see the seams.” So therefore, I feel like I must be driven by that. And when something comes my way, there’s a fear that it won’t work.

WALLER-BRIDGE: What’s really exciting to me is when I see palpable dynamics between characters, which you have done multiple times, like the relationship between Tim and Hawk. There’s so much opportunity for intimacy and that kind of danger. And when you get to play those sorts of roles, when you know that you can stand in front of each other and you don’t really need to do anything because it’s giving you something, it must’ve just been a joy walking into this world because it’s like a banquet of stuff to play with, right?

BAILEY: Totally, and it feels sort of vital and sexy. I do remember this one memory, which I guess I’ll share with you now. I did play and there was a tiled wall,at eye level with a mirrored border around. And there was a guy, we were into each other, and I remember just looking up in the middle of a conversation and he was looking at me in a reflection. And I was like, “This is what life is about.” Anyway, I think that it must have something to do with feeling the most alive in that.

WALLER-BRIDGE: Do you know Esther Perel?

BAILEY: Yeah, I love Esther Perel.

WALLER-BRIDGE: So she’s written about how she believes that your next orgasm begins at the very end of your last one, which is basically our whole life just building up to our next orgasm.

BAILEY: That’s just fantastic. It’s just so positive and hopeful—

WALLER-BRIDGE: And so beautiful, isn’t it?

BAILEY: It is.

WALLER-BRIDGE: Everything that you encounter in your life, every conversation that you have, is in some way building up to the next euphoric physical experience. Every single character has to have that inside them one way or another, because every human does. And I think with Fellow Travelers, because you long for them so much as an audience and you want them to have everything that they want from each other, but they’re also brutal to themselves and to each other, there is something so extraordinary seeing characters in that time portrayed in the way that you guys have portrayed them.

BAILEY: One thing that we’re all born with is the sense of longing. Longing comes before anything else, doesn’t it? Whoever you put on the wall, laminate the poster or whatever, it’s there. And actually, if you long for someone, more often than not you don’t think you are worthy of it. And that, to me, is a way into characters.

WALLER-BRIDGE: Do you remember your laminated poster longing person?

BAILEY: I think I had the Simpsons, which was obviously me trying to disguise myself as much as possible. Lucy Liu was a big one for me, too.

WALLER-BRIDGE: Well, I can see that.

BAILEY: I suppose there’s the laminated wall in my literal bedroom and then there’s the laminated wall in my gay—

WALLER-BRIDGE: Mind.

BAILEY: Who was yours?

WALLER-BRIDGE: You know what? It’s really interesting, because I was the eagle in the Rescuers Down Under. That wasn’t necessarily a sexual longing, but it was a romantic idea, that overwhelming sense of watching the Rescuers Down Under and being able to run out of the back of my house on my own, age 10, and jump onto the back of a giant eagle and he’ll fly me around. But in terms of just a hottie that I really fancied, I think it was probably Leo [DiCaprio].

BAILEY: Oh, yeah.

WALLER-BRIDGE: Are you a nostalgic person?

BAILEY: Yes, I think so. I think a lot about my younger self. I’m always like, “Guys, remember this?” It’s slightly annoying, but I’m always drawing a line between the past and now for sure.

WALLER-BRIDGE: That’s how you measure your life, by remembering the time that’s gone by or what 11-year-old you would think of what you were doing?

BAILEY: I think I’m probably more romantic than nostalgic, if that makes sense.

WALLER-BRIDGE: Go on.

BAILEY: Well, I just think I’ve fully committed to the idea of everything being brilliant and then I work backwards from there.

WALLER-BRIDGE: Well, having starred in two hit period dramas and also being a huge part of the fact that they are a hit, that’s why I wondered about what your relationship is with the past and history, and how much you actually knew about McCarthy America?

BAILEY: Oh, no. Have you got a quiz?

WALLER-BRIDGE: I actually don’t. Do you want one?

BAILEY: No, that would be the worst.

WALLER-BRIDGE: Do you enjoy historical novels? Do you live in the past in any way in your mind? Or you are kind of like, “We’re here and we’re moving forward?”

BAILEY: I do think I’m here and moving forward. I really struggled with history at school, I could not take in information about the past. When it came to exams, I would remember the page where things were written but I couldn’t stitch together epochs and eras and kings.

WALLER-BRIDGE: It crashes my brain, too. I have a friend, and you can say to her, “June 24th, 1999,” and she can tell you pretty much what she was up to.

BAILEY: That’s amazing.

WALLER-BRIDGE: You can see her go into the diary in her mind. She has a very different wiring of her brain. But speaking of longing, are there any fictional or real life couples, gay or straight, that captured your heart over the years?

BAILEY: Oh my god, what a question. What about Michelle Williams and Ryan Gosling in Blue Valentine?

WALLER-BRIDGE: I think Morticia and Gomez Addams were the most romantic couple.

BAILEY: Yeah, I see that.

WALLER-BRIDGE: They understood it. They got it all.

BAILEY: Also maybe Ryan and Marissa in The OC.

WALLER-BRIDGE: Yeah, yeah, yeah. Any gay male couples that you ever looked up to or were romanced by?

BAILEY: Well unfortunately, there just weren’t that many were there growing up.

WALLER-BRIDGE: So wild.

BAILEY: But I met Matthew Rhys recently, who I just love. And I was thinking about that relationship in Brothers and Sisters. And then there was Queer as Folk. Russell, T. Davies changed the game. So many people owe so much to him just purely for visibility. There is no Tim and Hawk to a 2023 audience without Queer as Folk.

WALLER-BRIDGE: But did you feel frustrated?

BAILEY: Well, speaking of history, I was doing media studies with an amazing teacher and I decided that I was going to do my dissertation about the representations of Hutus and Tutsis and the Rwanda genocide, looking at Hotel Rwanda and Shooting Dogs. And then Brokeback Mountain came out and I was like, “Hang on, how can I possibly create a world where I can go and have a free pass to go to the cinema to watch it 10 times?” I’m really proud of my 17-year-old self, I wasn’t necessarily out, but I changed the topic to representation of homosexuality in Brokeback Mountain and I watched that film 10 times. And this amazing teacher, Dr. Brunton, who probably had an idea of what was going on, was just like, “This is brilliant, keep going, keep going.” And I think it was the best mark I ever got.

WALLER-BRIDGE: Do you still have it?

BAILEY: It must be on a hard drive upstairs in the attic. And obviously, that completely changed me, something chemical happened there. But it’s funny, I’m not clear on memories. And I do think it’s a common thing for a lot of people, growing up and having to survive and be basically in fight or flight, there’s a murkiness to how I recall.

WALLER-BRIDGE: Of course, because you couldn’t be truly present because you weren’t being completely yourself.

BAILEY: Totally, yeah.

WALLER-BRIDGE: When you look back and start unpacking it, do you feel overwhelmed with sympathy for how hard you were having to work as a 16-year-old, coming up with excuses to see the movie that you wanted to see?

BAILEY: Yeah. But I spent more time trying to be sympathetic towards the people that were around me who didn’t support or couldn’t help. I look back and I go, “Hell.”

WALLER-BRIDGE: Yes. But you are representing that and living that for so many people now. Your speech at the Critics Choice Awards the other day was so sublime and beautiful and straight from the heart. You are so electric as a human being and that is the most important thing. There aren’t many people in the world that can do that, that can stand there in front of people and speak from their heart about what it means to them to be given this opportunity. And I know that your career is just going to be the most extraordinary journey. When I first met you, I remember sitting with Josh [Cole], who was the producer on Crashing, and we were like, “If we get this guy, it’s going to be the game changer for the show.” And I know that every single person now wanting you on their project is feeling the same thing.

BAILEY: I definitely feel overwhelmed by that, but it’s lovely to hear.

WALLER-BRIDGE: Can I just ask you one question which I couldn’t remember about Crashing?

BAILEY: Yeah.

WALLER-BRIDGE: The frosted tips were your idea, wasn’t it?

BAILEY: I had this conversation today. I think it’s in the script. But my reference picture was Justin Timberlake in double denim.

WALLER-BRIDGE: No, I don’t think it was [in the script], because Sam’s a character that I hold closest to my heart because, in so many ways, he represents how I feel about maybe my inner life. I just love him so much, and your ability to play every single little corner of him that I dreamed of.

BAILEY: Maybe that’s the answer I was looking for when you asked if I was drawn to any romantic couples? No, it was just about wanting bleach blonde hair.

Source

[tomorrowusa]

Do you need more proof that Republicans are becoming even more homophobic by the week?

Whenever you hear somebody thinking of sitting out the election or ruminating about wasting a vote on some automatic loser third party, remind them of the insidious evil which the Republican Party has become.

MAGA Mike Johnson is now the highest ranking Republican in the US. He received every single vote of GOP House members, including the alleged moderates, to become House Speaker.

15 Not-Fun Facts About Speaker Mike Johnson

1. He masterminded Trump’s election coup. 2. He's the least-experienced House Speaker in 140 years. 3. He worked for the conservative legal group behind the case that ended Roe v. Wade. 4. He wants to ban abortion nationwide. 5. He blamed abortion for school shootings. 6. He also blamed abortion for Social Security and Medicare cuts. 7. He blamed mass shootings on the teaching of evolution. 8. He fought to make taxpayers fund a Noah’s Ark theme park. 9. He fought to ban same-sex marriage in Louisiana. 10. He led an anti-gay campus movement. 11. He wrote a lot of homophobic op-eds. 12. He introduced a national version of Florida's "Don’t Say Gay" bill. 13. He was an advocate for "covenant marriage," which makes it harder to divorce. 14. He blamed post-Katrina looting on America turning away from God. 15. He doesn't believe in the separation of church and state.

^^^ click the link to New York Magazine just above the list for details.

The 2024 election pits the 17th century against the 21st century. Republicans don't accept any of that newfangled thinking from The Enlightenment.

[lindseymcdonaldseyelashes]

“THE LIBRARIANS” COME HOME FOR THE “NEXT CHAPTER” 

AS THE SHOW MOVES TO TNT FOR A 2025 PREMIERE

Los Angeles, CA - August 23 – In a thrilling development for fans of the beloved TV series 

"The Librarians," Electric Entertainment, the Los Angeles-based production and distribution company, has revealed the exciting news of the spinoff, "The Librarians: The Next Chapter," making a triumphant return to its roots at the original broadcaster TNT. 

Dean Devlin states, "Our comeback to TNT with this franchise holds immense significance for us and we are thrilled by TNT's dedication to fans by offering them the continuation of one of their beloved fantasy series."

“The Librarians: The Next Chapter” is a spinoff of the original TV series “The Librarians,” that followed the adventures of the custodians of a magical repository of the world’s most powerful and dangerous supernatural artifacts. The new series centers on a “Librarian” from the past, who time traveled to the present and now finds himself stuck here. When he returns to his castle, which is now a museum, he inadvertently releases magic across the continent. He is given a new team to help him clean up the mess he made, forming a new team of Librarians. The new series stars Callum McGowan (Jamestown), Jessica Green(The Outpost), Olivia Morris (Hotel Portofino) and Bluey Robinson (Britannia). Caroline Loncq (Mammals) guest stars. Christian Kane will reprise his role as “Jacob Stone” in a Guest Starring role. 

“The Librarians: The Next Chapter” is produced by Electric Entertainment. Dean Devlin serves as showrunner and executive producer alongside Marc Roskin and Rachel Olschan-Wilson of Electric Entertainment. Noah Wyle serves as producer. Mark Franco of Electric Entertainment and Jonathan English of Balkanic Media also produce.  

The Librarians franchise started off as a compilation of made-for-TV movies featuring the titular librarian Flynn Carsen in 2004’s “Quest for the Spear,” 2006’s “Return to King Solomon’s Mines” and 2008’s  “Curse of the Judas Chalice.” The movies did so well, TNT picked up the concept for a TV series, “The Librarians” that aired for four seasons between 2014 and 2018.

Sonia Mehandjiyska, Head of International Distribution and Nolan Pielak, SVP, International Distribution and Co-Production at Electric Entertainment will be handling International Sales for “The Librarians: The Next Chapter.” Steve Saltman, Head of Domestic Sales for Electric Entertainment will handle digital rights alongside TNT.

About Electric Entertainment Headquartered in Los Angeles, California, Electric Entertainment is an independent studio headed by veteran producer Dean Devlin along with his partners Marc Roskin and Rachel Olschan-Wilson. Electric Entertainment also houses acquisitions and sales divisions, with domestic sales headed up by Steve Saltman and the international division headed by Sonia Mehandjiyska. Electric also has a satellite office located in Vancouver, Canada.

Among Electric’s hit television series are “Leverage: Redemption” the spin-off continuation of “Leverage,” which ran for five seasons on TNT.  Both series are currently streaming in the U.S. and U.K. on Amazon Freevee. Season 3 of “Leverage: Redemption” is currently in post-production for Amazon Prime Video. “Almost Paradise” is currently streaming on Amazon Freevee after having premiered on WGN America. Season 2 of “Almost Paradise” premiered in July 2023 on Amazon Freevee in the U.S and U.K. Electric’s new series “The Ark” premiered in February 2023 on SYFY. Season 2 of “The Ark” premiered in July 2024. Other Electric series include “The Librarians” which ran for four seasons on TNT. A new spin-off series, entitled “The Librarians: The Next Chapter,” is currently in post-production. “The Outpost,” which premiered its 4th season on The CW in 2021, is now streaming on Amazon Freevee.

Electric’s Feature Films have included “Bad Samaritan” starring David Tennant and Robert Sheehan, and most recently “The Deal” starring Sumalee Montano and Emma Fischer. Electric also acquires, distributes and sells worldwide rights to Electric’s produced and acquired content, as well as theatrical films from around the world, including “Blood On The Crown,” starring Harvey Keitel and Malcolm McDowell, and Rob Reiner’s historical biopic “LBJ,” starring Woody Harrelson.

[mental-health-and-jesus]

8-12-2024 | Bible App | Hebrews 11:

‘By faith Abel offered God a better sacrifice than Cain did. By faith he was commended as righteous when God gave approval to his gifts. And by faith he still speaks, even though he is dead. By faith Enoch was taken up so that he did not see death: “He could not be found, because God had taken him away.” For before he was taken, he was commended as one who pleased God. And without faith it is impossible to please God, because anyone who approaches Him must believe that He exists and that He rewards those who earnestly seek Him. By faith Noah, when warned about things not yet seen, in godly fear built an ark to save his family. By faith he condemned the world and became heir of the righteousness that comes by faith. By faith Abraham, when called to go to a place he would later receive as his inheritance, obeyed and went, without knowing where he was going. By faith he dwelt in the promised land as a stranger in a foreign country. He lived in tents, as did Isaac and Jacob, who were heirs with him of the same promise. By faith Sarah, even though she was barren and beyond the proper age, was enabled to conceive a child, because she considered Him faithful who had promised. By faith Abraham, when he was tested, offered up Isaac on the altar. He who had received the promises was ready to offer his one and only son, By faith Isaac blessed Jacob and Esau concerning the future. By faith Jacob, when he was dying, blessed each of Joseph’s sons and worshiped as he leaned on the top of his staff. By faith Joseph, when his end was near, spoke about the exodus of the Israelites and gave instructions about his bones. By faith Moses’ parents hid him for three months after his birth, because they saw that he was a beautiful child, and they were unafraid of the king’s edict. By faith Moses, when he was grown, refused to be called the son of Pharaoh’s daughter. By faith Moses left Egypt, not fearing the king’s anger; he persevered because he saw Him who is invisible. By faith the people passed through the Red Sea as on dry land; but when the Egyptians tried to follow, they were drowned. By faith the walls of Jericho fell, after the people had marched around them for seven days. By faith the prostitute Rahab, because she welcomed the spies in peace, did not perish with those who were disobedient. These were all commended for their faith, yet they did not receive what was promised. God had planned something better for us, so that together with us they would be made perfect.’ Hebrews 11:4-9;11;17;20-24;27:29-31;39-40

Photo from Pexels

[thekaijudude]

Ultraman 2024 Trademark Revealed

Apparently it's "Ultraman Arc"

Should be legit since this comes from our usual chinese leaker 809

No other leaks have accompanied this trademark as of this post

Might this ultra be related to Noa somehow? Considering that there's an obvious "Noah's Ark" reference here

And 2024 is Nexus' 20th Anniversary as well

Also, recall that we got trademarks for essentially 80% of the entire Blazar series lineup very early in January. Assuming its the same for Arc, stay tuned for the next few days for them

[darkmaga-retard]

5 Things the Bible Can Teach Us about Preparedness

By Milan Adams Preppgroup

August 15, 2024

While modern society likes to pretend we are somehow more advanced than previous generations, I believe we lack the knowledge, and many of the skills that helped past generations not only survive, but thrive.

What does the Bible say about Prepping?

The foundation of preparedness goes back to the beginning of time; its principles are found throughout the Bible, with numerous passages dedicated to preparedness, planning, and survival. For those that are Christian, many of these passages might sound familiar; for those that aren’t, there are still many truths that can be discovered by reading them.

Noah didn’t wait until it started raining to build the ark

Unfortunately, this is how most people live today, waiting until the last possible moment to prepare for what’s coming. On a small scale, this can be seen at your local grocery store every time a natural disaster warning is issued. Time after time, the unprepared masses descend on local supermarkets like locust, only to find the store has already been wiped clean by other unprepared people before them.

Genesis 6:21 (KJV) And take thou unto thee of all food that is eaten, and thou shalt gather it to thee; and it shall be for food for thee, and for them.

The wise prepare, the fool goes blindly ahead to suffer the consequences

This concept of preparedness is nothing new; in fact, long before the word Prepper or survivalist became part of the modern lexicon, the Bible encouraged the wise man to study the dangers ahead, and then take precautions to protect themselves and their family from those threats.

Proverbs 27:12 (KJV) A prudent man foreseeth the evil, and hideth himself; but the simple pass on, and are punished.

[rebeccalouisaferguson]

The Saturns, which honor the best in genre entertainment across film and television, are organized by the Academy of Science Fiction, Fantasy and Horror. Winners will be announced February 4, 2024 in a ceremony at the LA Marriott Burbank Airport Hotel and will stream live on ElectricNow.

Best Action / Adventure Film

Bullet Train (Sony Pictures) The Equalizer 3 (Sony Pictures) Fast X (Universal Pictures) John Wick: Chapter 4 (Lionsgate Films) Mission: Impossible – Dead Reckoning Part One (Paramount Pictures) The Woman King (TriStar Pictures)

Best Film Screenwriting

Avatar: The Way of Water, James Cameron and Rick Jaffa & Amanda Silver (Walt Disney/Lightstorm) Barbie, Noah Baumbach & Greta Gerwig (Warner Bros. Pictures) The Menu, Seth Reiss & Will Tracy (Searchlight Films) Mission: Impossible – Dead Reckoning Part One, Erik Jendresen & Christopher McQuarrie (Paramount Pictures) Oppenheimer, Christopher Nolan (Universal Pictures) Pearl, Ti West & Mia Goth (A24)

Best Film Editing

Avatar: The Way of Water, Stephen Rivkin, David Brenner, John Refoua, James Cameron (Walt Disney/Lightstorm) Fast X, Dylan Highsmith, Kelly Matsumoto, Corbin Mehl, Laura Yanovich (Universal Pictures) Indiana Jones and the Dial of Destiny, Andrew Buckland, Michael McCusker, Dirk Westervelt (Lucasfilm/Paramount/Disney) John Wick: Chapter 4, Nathan Orloff (Lionsgate Films) Mission: Impossible – Dead Reckoning Part One, Eddie Hamilton (Paramount Pictures) Oppenheimer, Jennifer Lane (Universal Pictures)

Best Film Visual / Special Effects

Avatar: The Way of Water, Joe Letteri, Richard Baneham, Eric Saindon, Daniel Barrett (Walt Disney/Lightstorm) The Creator, Jay Cooper, Ian Comley, Andrew Roberts, Neil Corbould (20th Century Studios) Guardians of the Galaxy-Vol. 3, Stephane Ceretti, Alexis Wajsbrot, Guy Williams, Dan Sudick (Marvel/Walt Disney Studios) Indiana Jones and the Dial of Destiny, Andrew Whitehurst, Kathy Siegel, Robert Weaver, Alistair Williams (Lucasfilm/Paramount/Disney) Mission: Impossible – Dead Reckoning Part One, Alex Wuttke, Simone Coco, Jeff Sutherland, Neil Corbould (Paramount Pictures) Oppenheimer, Andrew Jackson, Giacomo Mineo, Scott Fisher, Dave Drzewiecki (Universal Pictures)

Best Science Fiction Television Series

Andor (Lucasfilm/Disney+) Foundation (Apple TV+) The Mandalorian (Lucasfilm/Disney+) The Peripheral (Amazon) Silo (Apple TV+) Star Trek: Picard (Paramount+/CBS) Star Trek: Strange New Worlds (Paramount+/CBS)

Best New Genre Television Series

Andor (Lucasfilm/Disney+) The Ark (Electric Entertainment/Syfy) The Last of Us (HBO/Max) Lord of the Rings: Rings of Power (Amazon) Silo (Apple TV+) The Walking Dead: Dead City (AMC) Wednesday (Netflix)

Best Actress in a Television Series

Caitriona Balfe, Outlander (Starz) Lauren Cohan, The Walking Dead: Dead City (AMC) Emma D’Arcy, House of the Dragon (HBO/Max) Rebecca Ferguson, Silo (Apple TV+) Tatiana Maslany, She-Hulk: Attorney-at-Law (Marvel/Disney+) Rose McIver, Ghosts (CBS) Elizabeth Tulloch, Superman & Lois (Warner Bros. Television)

[dreaminginthedeepsouth]

Opinion  At 33, I knew everything. At 69, I know something much more important.

By Anne Lamott :: Contributing columnist

Anne Lamott is an American novelist and nonfiction writer. Her latest book, “Somehow: Thoughts on Love,” will be published in April 2024.

Today I woke up old and awful in every way. I simultaneously cannot bear the news and cannot turn it off: It’s cobra hypnosis — Gaza, Israel, the shootings in Maine. The world is as dark as a scarab. I have two memorial services on my calendar this week. A dear friend is in the hospital waiting for a liver, dying. She keeps assuring me, “I ain’t in no ways tired,” and I say, “Oh, stop with that or I’m not going to visit again.” I’m exhausted just driving 90 minutes to and from San Francisco to see her.

My body hurt quite a lot when I got out of bed this morning, and I limped around like Granny Clampett for the first hour, until it unseized. Worse, my mind hurt, my heart hurt and I hated almost everyone, except my husband, my grandson and one of the dogs.

I don’t think I could have borne up under all this 20 years ago when I thought I knew so much about life. That was not nearly as much as I knew at 33, which is when we know more than we ever will again. But age has given me the ability to hang out without predicting how things will sort out this time (mostly — depending on how I’ve slept).

In many of Albert Bierstadt’s Western paintings, there is a darkness on one side, maybe a mountain or its shadow. Then toward the middle, animals graze or drink from a lake or stream. And then at the far right or in the sky, splashes of light lie like shawls across the shoulders of the mountains. The great darkness says to me what I often say to heartbroken friends — “I don’t know.”

Is there meaning in the Maine shootings?

I don’t know. Not yet.

My white-haired husband said on our first date seven years ago that “I don’t know” is the portal to the richness inside us. This insight was one reason I agreed to a second date (along with his beautiful hands). It was a game-changer. Twenty years earlier, when my brothers and I were trying to take care of our mother in her apartment when she first had Alzheimer’s, we cried out to her gerontology nurse, “We don’t know if she can stay here, how to help her take her meds, how to get her to eat better since she forgets.” And the nurse said gently, “How could you know?”

This literally had not crossed our minds. We just thought we were incompetent. In the shadow of the mountain of our mother’s decline, we hardly knew where to begin. So we started where we were, in the not knowing.

In the center of many Bierstadt paintings, you sometimes see animals grazing or drinking. They’re fine, they’re animals; they are just doing animals. But they are not the point — the point is the light. No matter how low you are, the light can reach you. It falls on animals, including us. This is positively biblical. Some of Bierstadt’s animals are lined up at the water as if they’re going to march onto Noah’s Ark. Or they’re huddled together as on a park bench, just hanging out. You have to wonder if the older deer are slightly surprised upon waking every morning, as I am, fumbling around for their glasses.

The animals never seem to have anywhere to go. I used to have lots of places I had to get to. I had to go out for this or that, and it was an emergency — graph paper! I suddenly, urgently, needed to drive to town for graph paper. Also, in the old days when there was something to celebrate, I’d go out to a nice restaurant with friends. To celebrate now, I might exuberantly skip flossing for a night, and maybe if the news is good enough, the hip exercises. Wild times.

In my younger days when the news was too awful, I sought meaning in it. Now, not so much. The meaning is that we have come through so much, and we take care of each other and, against all odds, heal, imperfectly. We still dance, but in certain weather, it hurts. (Okay, always.)

The portals of age also lead to the profound (indeed earthshaking) understanding that people are going to do what people are going to do: They do not want my always-good ideas on how to have easier lives and possibly become slightly less annoying.

Now there is some acceptance (partly born of tiredness) that I can’t rescue or fix anyone, not even me. Sometimes this affords me a kind of plonky peace, fascination and even wonder at people and life as they tromp on by.

The price of aging is high: constant aches, real pain and barely survivable losses. But each time my hip unseizes, it reminds me that this life is not going to go on forever, and that is what makes it so frigging precious.

Another gift of aging is the precipitous decline in melodrama. Enjoying how unremarkable life is takes practice and time, and then the little things start to shine and delight. Life gets smaller and in its smallness it starts winking at you. On my first day back in New Mexico recently, the high desert looked barren and brown. Pretty, yes, but a little dead. Then the tiny desert flowers, yellow, lavender, magenta and baby blue, made their way into my consciousness, and the earth’s shades of ochre and red started to warm me, and before long the formerly dead desert was alive and awash in dynamic, undulating streams of color.

[Albert Bierstadt :: Yosemite]

Sometimes at the right or the top center of Bierstadt paintings is a trippy splash of light, often a mystical, jagged slash that breaks through dirty-looking or white-fire clouds. There might be bright reflections, or long, slanted fingers of sun shining down with religious airs, organ music playing softly in the background. Puffy rainclouds glow. All say, “Yes, there is the deep dark, but we have some light as well.”

Will my brothers or I inherit our mother’s Alzheimer’s? I don’t know. I do know that I recently parked in front of my house and sort of forgot to turn off the engine. Three hours later, a formerly standoffish young neighbor knocked on my door to tell me this, and I pretended to have known. I said the battery had been low and so I was letting it recharge.

“Ah,” she said.

Now she is sweet when she sees me. We wave to each other when we pass in our cars, reflecting a new affection. Reflections say, “In the dark, there’s still some light around. So don’t ever think things are too dark. We’re not going to give you the entire reserve, but we just want you to know it is there. And more may be on its way.”

[Anne Lamott]

[xtruss]

Twenty-Five Years Before The Wright Brothers Took To The Skies, This Flying Machine Captivated America

First Exhibited in 1878, Charles F. Ritchel’s Dirigible Was About As Wacky, Dangerous and Impractical as Any Airship Ever Launched

— June 11, 2024 | Erik Ofgang

“When I Was Making It, People Laughed at Me a Good Deal,” Charles F. Ritchel Later Said. “But Do They Did at Noah When He Built the Ark.” Illustration by Meilan Solly/Images via Wikimedia Commons under public domain, Newspapers.com

Charles F. Ritchel’s Flying Machine Made a Sound Like a Buzzsaw as its pilot turned a hand crank to spin its propeller. It was June 12, 1878, and a huge crowd, by some accounts measuring in the thousands, had gathered at a baseball field in Hartford, Connecticut. The spectators had each paid 15 cents for a chance to witness history.

The flying machine—if one could really call it that—was an unsightly jumble of mechanical parts. It consisted of a 25-foot-long, 12-foot-wide canvas cylinder filled with hydrogen and bound to a rod. From this contraption hung a framework of steel and brass rods that the Philadelphia Times likened to “the skeleton of a boat.” The aeronaut would sit on this framework as though it were a bicycle, controlling the craft with foot pedals and a hand crank that turned a four-bladed propeller.

The device did not inspire confidence.

“When I was making it, people laughed at me a good deal,” Ritchel later said. “But so they did at Noah when he built the ark.”

A self-described “professor,” Ritchel was the inventor of such wacky, weird and wild creations that a recounting of his career reads as though it were torn from the pages of a Jules Verne novel. Supposedly friends with both P.T. Barnum and Thomas Edison, Ritchel for a time made a living working for a mechanical toy company in Bridgeport, Connecticut, where he designed talking dolls, model trains and other playthings. But he was more than just a toymaker.

Left: Charles F. Ritchel filed more than 150 patents over his lifetime. Right: Ritchel's 1878 patent for his flying machine — Photographs: Public Domain Via Wikimedia Commons

Some years after the flying machine demonstration, the inventor proposed an ambitious attraction for the 1893 World’s Columbian Exposition (also known as the Chicago World’s Fair): a “telescope tower” that would rival France’s Eiffel Tower. The design consisted of a 500-foot-wide base topped by multiple nested structures that rose up over the course of several hours, eventually reaching a height of about 1,000 feet. After this proposal was rejected, Ritchel launched a campaign to raise funds to build a life-size automaton of Christopher Columbus, which the Chicago Tribune reported would speak more than 1,000 phrases in a human-like voice, rather than the “far-away, metallic sounds produced by a phonograph.”

By the mid-1880s, Ritchel claimed to have filed more than 150 patents. Not all of them were fun. He invented more efficient ways to kill mosquitos and cockroaches, a James Bond-esque belt that assassins could use to inject poison into their targets, and a gas bomb for use in land or naval warfare.

Yet never in his career was his quirk-forward blend of genius and foolishness more apparent than on that June day in Hartford. Because the balance of weight and equipment was so delicate, Ritchel was too heavy to fly the craft. Instead, he employed pilot Mark W. Quinlan, who tipped the scale at just 96 pounds. Quinlan was a 27-year-old machinist and native of Philadelphia, but little else is known about him. The record, however, is crystal clear on one count: Quinlan was very, very brave.

When preparations for the craft were complete, the crowd watched in eager anticipation as Quinlan boarded the so-called pilot’s seat. The airship rose 50 feet, then 100 feet, then 200 feet. Such a sight was uncommon but not unheard of at the time. The real question was: Once the craft was in the air, could it be controlled?

The first heavier-than-air flight (in which airflow over a surface like a plane wing creates aerodynamic lift) only took place in 1903, when the Wright Brothers conducted their famous flight in Kitty Hawk, North Carolina. But by the late 19th century, flying via lighter-than-air gases was already close to 100 years old. (This method involves heating the air inside of a balloon to make it less dense, leading it to rise, or filling the balloon with a low-density gas such as helium or hydrogen.) On November 21, 1783, Jean-François Pilâtre de Rozier and François Laurent d’Arlandes completed the first crewed, untethered hot-air balloon flight, passing over Paris on a craft built by the Montgolfier brothers. Later, balloons were used for reconnaissance during the French Revolutionary Wars and the American Civil War.

A drawing of the Montgolfier brothers' hot-air balloon Public Domain Via Wikimedia Commons

But free-floating balloons were, and still are, at the mercy of the winds. While balloon aeronauts can achieve limited control by changing altitude and attempting to catch different currents, they can’t easily return to the spot where they took off from, which is why even today, they have teams following them on the ground. Mid-1800s aviation enthusiasts dreamed of fixing this problem, which led to the development of dirigibles—powered, steerable airships that were inflated with lighter-than-air gases. (The word dirigible comes from the French word diriger, “to steer”; contrary to popular belief, the term, which is synonymous with airship, is not derived from the word “rigid.”) While some early aeronauts successfully steered dirigibles, none of these rudimentary airships could truly go against the wind or provide a controlled-enough flight to take off and land at the same point consistently.

In 1878, Ritchel was unaware of anyone who had successfully taken off in a dirigible and landed at the same spot. He hoped to change that with his baseball field demonstration. A month earlier, Ritchel had exhibited the airship’s capabilities during indoor flights at the Philadelphia Main Exhibition Hall, a massive structure built for that city’s 1876 Centennial Exposition. But there is no wind indoors, and the true test of his device would have to be performed outdoors.

After rising into the air, Quinlan managed to steer the craft out over the Connecticut River. To onlookers, it was clear that the aeronaut was in control. But as he flew, the wind picked up, and it began to look like a storm was gathering. To avoid getting caught in the poor weather and facing an almost-certain disaster, Quinlan steered the craft back toward the field, cutting through the “teeth of the wind until directly over the ball ground whence it had ascended, and then alighted within a few feet of the point from which it had started,” as the New York Sun reported.

Ritchel's dirigible, as seen on the July 13, 1878, cover of Harper's Weekly Public Domain Via Wikimedia Commons

The act was hailed far and wide as a milestone. An illustration of the impressive-looking flying machine was featured on the cover of Harper’s Weekly.

“The great problem which inventors of flying machines have always before them is the arrangement by which they shall be able to propel their frail vessels in the face of an adverse current,” the magazine noted. “Until this end shall have been achieved, there will be little practical value to any invention of the kind. In Professor Ritchel’s machine, however, the difficulty has been in a great measure overcome.”

Across the country, observers hailed Ritchel’s odd but impressive milestone in flight. In the years and decades that followed, this achievement was forgotten by almost all except a select group of aviation historians.

Wikipedia incorrectly lists the flight of the French army dirigible La France as the first roundtrip dirigible flight. But this event took place six years after Ritchel’s Hartford demonstration, in August 1884. Why has a flight so seemingly monumental in its time been relegated to the dustbin of history?

Given his eccentric nature and creativity, it’s easy to root for Ritchel and think of him as a Nikola Tesla-like genius robbed of his rightful place in history. The reality of why his feat was forgotten is more complicated. As Tom Crouch, an emeritus curator at the Smithsonian’s National Air and Space Museum, says, it’s possible Ritchel’s craft was the first to complete a round-trip dirigible flight. But other aircraft in existence at the time probably could have accomplished the same feat in favorable conditions. “La France made the first serious round-trip,” Crouch says.

Additionally, while Ritchel’s machine worked to a point, it wasn’t a pathway to more advanced dirigibles. Richard DeLuca, author of Paved Roads & Public Money: Connecticut Transportation in the Age of Internal Combustion, points out that the hand-cranked nature of Ritchel’s craft made it nearly impossible to operate with any kind of wind. “On the first day, he got away with it and directed the ship out and over the river and back to where he started, and that was quite an accomplishment,” DeLuca says. “But the conditions were just right for him to do that.”

Dan Grossman, an aviation historian at the University of Washington, has never come across evidence that any later pioneers of more advanced dirigible flights were influenced by Ritchel. “There are a lot of firsts in history that got forgotten because they never led to a second,” Grossman says.

An artist's depiction of the La France airship Public Domain Via Wikimedia Commons

The day after their first successful public outdoor flight in Hartford, Quinlan and Ritchel tried again at that same ballfield. This time, the weather was less cooperative, and the wind came in sharp gusts. Still, the pair persisted in their attempt. “Little Quinlan, even if he does only weigh 96 pounds, has confidence and nerve enough to go up in a gale,” the Sun reported. Up he went about 200 feet, but this time, the wind carried him away with more force. Quinlan was “seen throwing his vertical fan into gear, and by its aid, the aerial ship turned around, pointing its head in whatever direction he chose to give it.” Although he could move the ship about, “he could not make any headway against the strong wind.”

Quinlan descended about 100 feet, trying to catch a different current, but the wind still pushed him away from the ballfield. He raised the craft, this time going higher than 200 feet, but still couldn’t overcome the wind and was soon swept off toward New Haven, vanishing from sight like some real-world Wizard of Oz.

Eventually, Quinlan safely brought the airship down in Newington, about five miles away from Hartford. The inventor and his pilot were unfazed by this setback. They held more public exhibitions that year with a mix of success and failure—including an incident that nearly cost Quinlan his life. During a July 4 exhibition in Boston, the machine malfunctioned and continued to rise, soaring to what the Boston Globe estimated to be 2,000 feet. Quinlan couldn’t get the propeller to work, and the craft continued to rise, reaching as high as 3,000 feet.

Terrified but quick-thinking, Quinlan tied his wrist and ankle to the craft and swung out of his seat to fix the propeller, using a jack-knife he happened to have on him as a makeshift tool. The daring midair repairs worked, and the craft gradually descended. Quinlan landed in Massachusetts, 44 miles from his starting destination, after a 1-hour, 20-minute flight.

Per Grossman, the human-powered method Ritchel attempted to utilize was doomed from the start. “In the absence of an internal combustion engine, there really was no control of lighter-than-air flight,” he says.

Ritchel stubbornly refused to consider powering dirigibles with engines and did not foresee how powerful a better-designed aircraft truly could be.

“I have overcome the fatal objection of which has always been made to the practicability of aerial navigation—that is, I have made a machine that can be steered,” Ritchel told a reporter in July 1878. “I claim no more. I have never pretended that a balloon can be made to go against the wind, and I am sure it never could. It is as ridiculous as a perpetual motion machine, and the latter will be invented just as soon as the former.”

Left: A page from Ritchel's ballooning scrapbook National Air and Space Museum Archives. Right: The scrapbook covers the years 1878 to 1901. Photographs: National Air and Space Museum Archives

Even so, Ritchel was influential in his own way. “He was one of the first to really come up with the notion of a little one-man, bicycle-powered airship, and those things were around into the early 20th century,” says Crouch. After Ritchel, other daring inventors launched similar pedal-powered airships. Carl Myers, for example, held demonstrations of a device he called the “Sky-Cycle” in the 1890s.

Ritchel stands as one of the fascinating early aeronauts whose work blurred the line between science and the sideshow. “I refer to them as aerial showmen, these guys who came up with the notion of making money [by] thrilling people [with] their exploits in the air,” Crouch says.

According to Crouch’s 1983 book, The Eagle Aloft: Two Centuries of the Balloon in America, Ritchel and Quinlan took the airship on tour with a traveling circus in the late 1870s. Ritchel also operated his machine at Brighton Beach near Coney Island. He sold a few replicas of his device and later attempted to develop a larger, long-distance version of the craft powered by an 11-person hand-cranking crew. Perhaps unsurprisingly, this idea failed to gain momentum, and Ritchel faded from the headlines. Soon, the exploits of new aeronauts would upstage him, among them Alberto Santos-Dumont’s circumnavigation of the Eiffel Tower in 1901.

Left: Alberto Santos-Dumont's first balloon, 1898. Right: Santos-Dumont circles the Eiffel Tower in an airship on July 13, 1901. Photographs: Public Domain Via Wikimedia Commons

Despite many earlier dirigible flights, Crouch and Grossman agree that the technology only became practical when German Count Ferdinand von Zeppelin built and flew the first rigid dirigible in the early 1900s. Over the first decade of the new century, Zeppelin perfected his namesake design, which featured a fabric-covered metal frame that enclosed numerous gasbags. “By 1913, just before [World War I] begins, Zeppelin is actually running sightseeing tours over German cities,” Crouch says, “so the Zeppelin at that point can safely carry passengers and take off and land from the same point.”

For a brief period, airships ruled the sky. (The spire of New York City’s Empire State Building, built in the 1930s, was famously intended as a docking station for passenger airships.) But the vehicles, which use gas to create buoyancy, were quickly eclipsed by airplanes, which achieve flight through propulsion that generates airflow over the craft’s wings.

While the 1937 Hindenburg disaster is often viewed as the end of the dirigible era, Grossman says that’s a misconception: The real death knell for passenger airships arrived when Pan American Airways’ China Clipper, a new breed of amphibious aircraft, flew from San Francisco to Manila in November 1935. “Partly because they flew faster, they could transport more weight, whether it’s people or cargo, mail, whatever, in the same amount of time,” Grossman explains. “They were less expensive to operate, they required much, much smaller crews, [and] they were less expensive to build.”

Airplanes were also safer. “Zeppelins have to fly low and slow,” Crouch says. “They operate in the weather; airplanes don’t. An airplane at 30,000 feet is flying above the weather. Weather, time after time, is what brought dirigibles down.”

Today, niche applications for passenger airships endure, including the Zeppelin company’s European tours, as well as ultra-luxury air yachts and air cruises. But “it’s always going to be a tiny, tiny slice of the transportation pie,” Grossman says.

Crouch agrees. “People still talk about bringing back big, rigid airships. That hasn’t happened yet, and I don’t think it will,” he says.

The USS Los Angeles, a United States Navy airship, in 1931. Photograph Public Domain Via Wikimedia Commons

In some ways, Ritchel’s flying machine was a microcosm of the larger history of dirigibles: fascinating, fun and the perfect fodder for fiction, but ultimately eclipsed by more efficient technology.

As for Ritchel, he died, penniless, of pneumonia in 1911 at age 66. “Although during his lifetime he had perfected inventions that, in the hands of others, had brought in great wealth, he died a poor man, as he lacked the business ability to turn the children of his brain to the best advantage to himself,” wrote the Bridgeport Post in his obituary.

Even so, the public had not forgotten the brief time three decades earlier when Ritchel and his airship ruled the skies. As the Boston Evening Transcript reported, his flights captured “the attention of the world. In every country and in every language, newspapers and magazines of the day printed long stories of the wonderful feats performed by the Bridgeport aviator and his marvelous machine, of which nothing short of a cruise to the North Pole was expected.”

— Erik Ofgang is the co-author of The Good Vices: From Beer to Sex, The Surprising Truth About What’s Actually Good For You and the author of Buzzed: A Guide to New England's Best Craft Beverages and Gillette Castle: A History. His work has appeared in the Washington Post, the Atlantic, Thrillist and the Associated Press, and he is the senior writer at Tech & Learning magazine.

[artistsonthelam]

Goodbye, Grandma. I love you forever.

My maternal grandmother died in her sleep on August 16 in her house in Palatine, Illinois, at the age of 99. (Yes, the 17th was my birthday. I was told the news on the 18th, understandably.) She raised me while my parents worked. We had a special bond. Wrote much more at http://artistsonthelam.blogspot.com/2024/08/just-us.html

Pictured here:

1 - A candid moment between us at Noah's Ark Waterpark in Wisconsin Dells, August 26, 1996.

2 - Mirroring that, a candid moment between us on Class Day of my college graduation, Columbia University, New York City, May 19, 2009 (despite what her outfit would have you believe). I wanted to take a photo in front of the chapel where I ran a student art gallery in the basement.

5 & 6 - At O'Hare Airport to pick up my mom from her first business trip to San Francisco, August 1988.

7 - Celebrating my maternal grandparents becoming American citizens (they, my mom, et al. immigrated here in 1978), early 1990s (candid laughter as I, born troublemaker, had the moxie to mess with a man who shot brandy at every meal).

8 - My paternal grandma on the right and my maternal grandma looking into the camera, waiting to depart from the Big Buddha, Ngong Ping, Lantau Island, Hong Kong, December 30, 1996. Also pictured are my parents, and, if you look closely on the left, I'm in my then-favorite baseball cap and flannel pants and snacking on peanut butter cracker sandwiches.

9 - At the closing reception of Exquisite Corpse, the first art exhibition I curated independently, Chicago, September 17, 2011.

10 - My birthday on August 17, 2019.

[meetthetruthblogger]

April 3, 2024

Trust and Love

On Easter Sunday, I was visiting with close family members S, S, and A discussing the Lord’s Resurrection, the Creation and Noah’s Ark. As often happens, later, when our conversation had ended, I thought of some things I should have said to them and decided I would write a note. When I started putting my thoughts together, it occurred to me that this information is so important that I should share with my friends.

The following two sets of Scripture verses are ‘spot-on’ when talking about Trusting the Lord and the necessity of Loving the Lord and my fellow man. I am not saying these are the most important verses in the Bible, but I will say that without embedding these holy words into your heart, it will be very difficult to live a life pleasing to Jesus Christ.

 Trust

Proverbs 3:5-6 “Trust in the Lord with all your heart, And lean not on your own understanding; In all your ways acknowledge Him, And He shall direct your paths.”

Love

Mark 12:29-31 “…The first of all the commandments is: ‘Hear, O Israel, the Lord our God, the Lord is one. And you shall love the Lord your God with all your heart, with all your soul, with all your mind, and with all your strength.’ This is the first commandment. And the second, like it, is this: ‘You shall love your neighbor as yourself.’ There is no other commandment greater than these.”

Putting your Trust in the Lord when your life seems to be spiraling out of control might be counter-intuitive, but it is precisely at this time that it is most important. It is a growing process. You must pray, asking God to help you Trust in Him. It is also the case that the Holy Spirit will help you by giving you promptings to do something or to say something; when you start recognizing these prompting as the work of the Spirit, you will start to grow your Trust in the Lord!  For my part, I have come to understand that putting God first in my life and seeing myself as a follower of Jesus Christ enhances my ability to Trust God.

Likewise, loving your neighbor, (every person on earth is your neighbor) is also challenging. There is not a requirement to like your neighbor nor their behavior. You see, the Lord God is Creator of all human beings and He desires for all to be Saved. If their behavior is abhorrent God expects you to pray for them, to be patient with them, to Love them. He wants to be merciful to them as He has been merciful to you and I!

Please read these Bible verses, meditate on them, get comfortable with them and come to understand what God is saying to you.

Thanks for reading.

Tom Maloney

[andmaybegayer]

Last Monday of the Week 2024-01-15

back in the saddle

Listening: The Skeleton Dance, a single from Perennial which I clicked on solely because the title and band name go together so well.

Short and sweet post-punk snippet. Go check out their other albums, probably? I'm still going through those too.

Reading: New Murderbot, which I am very glad to say I actually liked. I did not really like Network Effect because it was too all over the place and felt more like three murderbot novellas in a trench coat. System Collapse is much more tightly written thing that actually fits its length.

Two big things going on that make it work: a strong focus on Murderbot having a hard time dealing with trauma because it refuses to acknowledge it is like a human in any way. Murderbot not wanting to be human and refusing all attempts to characterize it like a human are such strong parts of its personality that it's interesting to see it get hit by that revolving door.

The other thing is very tightly constraining the tools and environment. Murderbot has strict enough rules and solid enough explanations that mechanical limitations build well into actual narrative tension. Murderbot only having two camera drones and no armour is responsible for a solid half of the tension of the book, and controlling how much access it has to other systems is a big driver of the ebb and flow of that tension.

Murderbot as a series has such a delightful economy of worldbuilding. There's the entire implied world of hyperintelligent bots existing just out of view, things on par with Peri hiding in systems and allying with a select group of humans because it likes them. The whole human/construct/bot divide is repeatedly shown to be extremely blurry, which is fun because Murderbot treats it as unimpeachable truth.

Also one of the handful of book series where I read about some little thing and search for parts at my electronics supplier.

I have just started Hannah Ritchie's new book Not The End Of The World which is a bookified form of her general research on "things are getting better, there's a long way to go, but fatalism is not only unproductive it's incorrect". Having already read a lot of her work it retreads that a lot, and if you see a long patch of text without any citations you can skip over it, but it is handy to see all the numbers laid out.

Ritchie's research seems more correct than not most of the time, so while I do sometimes go "oh come on" at specific claims or propositions, it's generally interesting and worthwhile if you care about the data behind modern climate change and how it relates to economic and technological development.

It is really funny how much of climate discussion really does boil down to "for the love of god stop burning things."

Watching: Noah's Shark at Bad Movie Night, a Polonia Brothers movie about the curse laid on the secret fourth son of Noah when he brought a demonic third shark on the Ark. Yeah.

It's on YouTube in its entirety.

There's something funny about the fact that the Polonia team have put out so many movies that even their bad movies have flashes of clear competence in writing. Some genuinely good banter in between everything else going on in this movie.

Playing: Briefly picked up Dark Souls long enough to get to the Capra demon, but I have not tried to fight it yet.

Making: 3D printing a microphone holder for Dark Souls recordings because I did like editing those supercuts and the bad audio was killing me. Had a good time experimenting with dovetails and other sliding joints. Learning a lot about OnShape, especially poking at the Assembly system for the first time and finally using it enough to start picking up the shortcuts in earnest.

Tools and Equipment: Hey did you know that oranges are one million times easier to eat if you just cut them into slices and then peel the skins off. I have basically not eaten oranges for years because you can't peel them easily by hand. Oranges are great. Just cut them into quarters and go to town.