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29 Aug 13:35

Johnny Cash Sings “Barbie Girl” in the Style of “Folsom Prison Blues” … with a Little Help from A.I.

by OC

The YouTube channel There I Ruined It creates new versions of songs using AI-generated voices. For Dustin Ballard, the channel’s creator, the point is to “lovingly destroy your favorite songs.” Take the example above. Here, an AI version of Johnny Cash’s voice sings the lyrics of Aqua’s “Barbie Girl,” set to the music of Cash’s “Folsom Prison Blues.” Recently, Ballard explained his approach to Business Insider:

My process for these is a little different than most people. I first record the vocals myself so that I can do my best imitation of the cadence of the original singer. Then I use one of their own songs (like ‘Folsom Prison Blues’ rather than the original ‘Barbie Girl’ music) to add to the illusion that this is a ‘real’ song in the artist’s catalog, though clearly all done in jest. Finally, I use an AI voice model trained on snippets of the original artist’s singing to transform my voice into theirs. I have a guy in Argentina I often call upon for this training (although the Johnny Cash one already existed).

If you head over to There I Ruined It, you can hear other AI creations: Hank Williams sings “Straight Outta Compton,” Louis Armstrong sings Flo Rida’s “Low,” Frank Sinatra sings Lil Jon’s “Get Low” and more.

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17 Aug 13:49

The Band’s Classic Song, “The Weight,” Sung by Robbie Robertson (RIP) and Musicians Around the World

by OC

Yesterday Robbie Robertson, the Canadian songwriter and guitarist for The Band, passed away at age 80 after a long illness. As a tribute, we’re bringing back a video that pays homage to “The Weight,” a song Robertson wrote for The Band’s influential 1968 album, “Music from Big Pink.” The video features cameos of Robertson himself, and also Ringo Starr and other special guests. Enjoy…

Robbie Robertson’s “The Weight,” the Band’s most beloved song, has the quality of Dylan’s impressionistic narratives. Elliptical vignettes that seem to make very little sense at first listen, with a chorus that cuts right to the heart of the human predicament. “Robertson admits in his autobiography,” notes Patrick Doyle at Rolling Stone, “that he struggled to articulate to producer John Simon what the song was even about.” An artist needn’t understand a creation for it to resonate with listeners.

A read of “The Weight”’s lyrics make its poignant themes evident—each stanza introduces characters who illustrate some sorrow or small kindness. The chorus offers what so many people seem to crave these days: a promise of rest from ceaseless toil, freedom from constant transactions, a community that shoulders everyone’s burdens…. “It’s almost like it’s good medicine,” Robertson told Doyle, “and it’s so suitable right now.” He refers specifically to the song’s revival in a dominant musical form of our isolation days—the online sing-along.

Though its lyrics aren’t nearly as easy to remember as, say, “Lean on Me,” Robertson’s classic, especially the big harmonies of its chorus (which everyone knows by heart), is ideal for big ensembles like the globe-spanning collection assembled by Playing for Change, “a group dedicated to ‘opening up how people see the world through the lens of music and art.” The group’s producers, Doyle writes, “recently spent two years filming artists around the world, from Japan to Bahrain to Los Angeles, performing the song,” with Ringo Starr on drums and Robertson on rhythm guitar. They began on the 50th anniversary of the song’s release.

The performances they captured are flawless, and mixed together seamlessly. If you want to know how this was achieved, watch the short behind-the-scenes video above with producer Sebastian Robertson, who happens to be Robbie’s son. He starts by praising the stellar contributions of Larkin Poe, two sisters whose rootsy country rock updates the Allman Brothers for the 21st century. But there are no slouches in the bunch (don’t be intimated out of your own group sing-alongs by the talent on display here). The song resonates in a way that connects, as “The Weight”’s chorus connects its non-sequitur stanzas, many disparate stories and voices.

Robertson was thrilled with the final product. “There’s a guy on a sitar!” he enthuses. “There’s a guy playing an oud, one of my favorite instruments.” The song suggests there’s “something spiritual, magical, unsuspecting” that can come from times of darkness, and that we’d all feel a whole lot better if we learned to take care of each other. The Playing for Change version “screams of unity,” he says, “and I hope it spreads.”

Related Content:

Jeff Bridges Narrates a Brief History of Bob Dylan’s and The Band’s Basement Tapes

Stream Marc Maron’s Excellent, Long Interview with The Band’s Robbie Robertson

Watch The Band Play “The Weight,” “Up On Cripple Creek” and More in Rare 1970 Concert Footage

Martin Scorsese Captures Levon Helm and The Band Performing “The Weight” in The Last Waltz

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

21 Jul 16:45

GWAR Performs a Tiny Desk Concert: When Heavy Metal Meets NPR

by OC

In February 2020, a parody news site posted the headline: “GWAR asks NPR’s Tiny Desk Staff if They’re Ready to Get Their A******* Ripped Open.” In July 2023, NPR made good on the joke, inviting the heavy metal band to perform their own tiny desk concert. NPR writes: “As the band of intergalactic monsters strapped guitars to their battle-worn bodies, thunder and rain pounded the NPR building outside. As if the late Oderus Urungus was pissing his blessing from Valhalla, the prophecy had finally been fulfilled: GWAR came to destroy the Tiny Desk once and for all.” Enjoy.

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21 Jul 16:43

Bounce and Caper Among the Trees at UPLÅ, Canada’s Biggest Trampoline Parks

by Kate Mothes
A large trampoline installation in a forest in Quebec.

All photos © The Trekking Group and UPLÅ

At the base of Mont-Saint-Grégoire, a short drive from Montréal, the outdoor adventure designers behind The Trekking Group conceived of Canada’s largest trampolines for UPLÅ adventure park. A new location in Stouffville, Ontario, just outside of Toronto, expands the possibilities of play with a series of nets that soar amid the canopy. Suspended between trees and large posts, the vibrant, multi-level networks of spiraling ramps, tunnels, and rooms invites visitors onto a bouncy aerial plane, replete with climbing apparatuses, ball games, and giant bean bags. At night, the nets are illuminated with colorful lights and opened for nocturnal romps, which can be booked in advance.

The Trekking Group creates customizable adventure park that can be installed short or long-term, among other outdoor facilities like rope bridges and treetop platforms. See more of the company’s work on its website, and to find out more about UPLÅ or plan a visit, check out the park’s website and Instagram.

 

A large trampoline installation in a forest in Quebec.

A large trampoline installation in a forest in Quebec viewed at nighttime.

A large trampoline installation in a forest in Quebec viewed at night from above.

Photo by Bernard Brault

Children playing in a large trampoline installation in a forest in Quebec.

Children playing in a large trampoline installation in a forest in Quebec. A large trampoline installation in a forest in Quebec illuminated at night.

Two images. On the left, a network of nets illuminated at night. On the right, children play in a trampoline park in Quebec.

A large trampoline installation in a forest in Quebec, illuminated at night.  Children play in a large trampoline installation in a forest in Quebec.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Bounce and Caper Among the Trees at UPLÅ, Canada’s Biggest Trampoline Parks appeared first on Colossal.

19 Jul 14:10

Behold the Unique Beauty of Japan’s Artistic Manhole Covers

by Ayun Halliday

Visitors to Japan can’t help but be struck by the beauty of its temples, its scenic views, its zen gardens, its manhole covers

You read that right.

What started as a scheme to get taxpayers on board with pricey rural sewer projects in the 1980s has grown into a countrywide tourist attraction and a matter of civic pride.

Each municipality boasts its own unique manhole cover designs, inspired by specific regional elements.

A community might opt to rep its local floral or fauna, a famous local landmark or festival, an historic event or bit of folklore.

Matsumoto City highlights one of its popular folk craft souvenirs, the colorful silk temari balls that once served as toys for female children and bridal gifts.

Nagoya touts the purity of its water with a water strider – an insect that requires the most pristine conditions to survive.

Hiroshima pays tribute to its baseball team.

Osaka offers a view of its castle surrounded by cherry blossoms.

The proximity of the Sanrio Puroland theme park allows Tama City to lay claim to Hello Kitty and Pokémon-themed lids have sprung up like mushrooms from Tokyo to Okinawa.

Most of Japan’s 15 million artistic manhole covers are monochromatic steel which makes spotting one of the vibrantly colored models even more exciting.

In the fifty some years since their introduction, an entire subculture has emerged. Veteran enthusiast Shoji Morimoto coined the term “manholer” to describe hobbyists participating in this “treasure hunt for adults.”

Remo Camerota documents his obsession in Drainspotting: Japanese Manhole Covers and American traveler Carrie McNinch shares the joy of stumbling across previously unspotted ones in her autobiographical comic series You Don’t Get There From Here.

The ongoing popularity of this officially sanctioned street art is evidenced by the Japanese Society of Manhole Lovers, an annual manhole summit, and tons of collectible trading cards.

Explore a crowdsourced gallery of Japanese manhole covers here.

via Colossal

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Ayun Halliday is the Chief Primatologist of The East Village Inky zine and nine books, including, most recently Creative, Not Famous. Follow her @Ayun-Halliday

12 Jul 14:13

In the First Trailer for ‘Wonka,’ Timothée Chalamet Makes Magical Chocolate

by Bettina Makalintal
A screenshot of Timothée Chalamet as a young Willy Wonka in the forthcoming movie ‘Wonka.’ He wears a maroon jacket over a green vest and a brown top hat.
Timothée Chalamet asks us to “quiet up and listen down” in the first trailer for Wonka. | Screenshot via trailer

And takes on a notorious chocolate cartel

After almost two years of sporadic peeks and too-little information, the long-awaited first trailer for Wonka starring Timothée Chalamet is here. Directed by Paul King of the cult-favorite Paddington movies, Wonka is a prequel to the candy wonderland that captivated our imaginations in 1971’s Willy Wonka & the Chocolate Factory.

The trailer shows a young Willy Wonka returning from travels abroad, during which he perfected the art of making chocolate. “How do you like it?” he asks. “Dark? White? Nutty? Absolutely insane?” Wonka wants to open a chocolate shop, but budding chocolatiers in his town — where even daydreaming is prohibited — have had their dreams crushed by a restrictive chocolate cartel. In true Christmas movie fashion, Wonka and his imagination will presumably win out, setting the stage for older Wonka’s Everlasting Gobstoppers and chocolate river.

Unlike Tim Burton’s 2005 remake Charlie and the Chocolate Factory, King “didn’t want to reinvent” the iconic Gene Wilder movie. Instead, he wanted to create Wonka as a “companion piece” to it, as he told Entertainment Weekly. The cast includes Olivia Colman — who recently appeared in the standout seventh episode of season 2 of The Bear — and Paddington star Hugh Grant, as an Oompa Loompa.

Wonka hits theaters in the United States on December 15. To borrow Chalamet’s words in Little Women: “And I’ll watch.”

07 Jul 16:52

Hear the Beatles’ ‘Blackbird’ Sung in the Indigenous Mi’kmaq Language

by OC

To raise awareness of her native language, 16-year-old Emma Stevens sang a version of The Beatles’ 1968 classic “Blackbird” in the Mi’kmaq language, an Eastern Algonquian language spoken by nearly 11,000 in Canada and the United States. A member of the Eskasoni First Nation, the Nova Scotia student sang lyrics that were painstakingly translated by Katani Julian, a teacher who works in language revitalization. Julian told WBUR. “My language is very different from other ones.” “There’s a lot of syllables in ours. And there’s a lot of long words that translate into something really easy in English.”

You can find the lyrics below and the song above.

Pu’tliskiej wapinintoq
Kina’masi telayja’timk
tel pitawsin
eskimatimu’sipnek nike’ mnja’sin

Pu’tliskiej wapinintoq
Ewlapin nike’ nmiteke
tel pkitawsin
eskimatimu’sipnek nike’ seya’sin

Pu’tliskiej…layja’si
ta’n wasatek poqnitpa’qiktuk

Pu’tliskiej…layja’si
ta’n wasatek poqnitpa’qiktuk

Pu’tliskiej wapinintoq
Kina’masi telayja’timk
tel pitawsin

eskimatimu’sipnek nike’ mnja’sin
eskimatimu’sipnek nike’ mnja’sin
eskimatimu’sipnek nike’ mnja’sin

——————————————————–

Boo-dull-ees-kee-edge wobbin-in-toq
Kee-na-ma-see dell-I-jaw-dimk
dell-bit-ow-sin
ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin

Boo-dull-ees-kee-edge wobbin-in-toq
ew-la-bin nike’ num-mid-deh-geh
dell-bit-ow-sin
ess-gum-mud-dum-oo-sup-neg say-ya-sin

Boo-dull-ees-kee-edge, lie-jaw-see
don wassa-deg poq-nit-ba’q-ik-tuk

Boo-dull-ees-kee-edge, lie-jaw-see
don wassa-deg poq-nit-ba’q-ik-tuk

Boo-dull-ees-kee-edge wobbin-in-toq
Kee-na-ma-see dell-I-jaw-dimk
dell-bit-ow-sin

ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin
ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin
ess-gum-mud-dum-oo-sup-neg nike’ mn-jaw-sin

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09 Mar 00:34

Hand Dryers

Bgarland

Oh, dammit. Me too.

I know hand dryers have their problems, but I think for fun we should keep egging Dyson on and see if we can get them to make one where the airflow breaks the speed of sound.
18 Feb 18:31

After Sitting in Storage for More Than Three Decades, an Art Amusement Park Is Finally Going On Tour

by Kate Mothes
Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

Walls and a carousel designed by Keith Haring. All images courtesy of Phaidon

In the summer of 1987, a carnival like no other popped up for thirteen weeks on a public green in Hamburg, Germany. Walking through a gate featuring an oversized painting by Sonia Delaunay, visitors entered the world of Luna Luna, an amusement park brimming with rides and kiosks designed by some of the most recognizable names in 20th century art history like David Hockney, Roy Lichtenstein, and Salvador Dalí, to name a few. Altogether, thirty-five artists were invited to create new works for the fairground, which was slated for a global tour, including a Ferris wheel by Jean-Michel Basquiat and a carousel by Keith Haring.

Luna Luna saw nearly a quarter of a million visitors in its first—and only—summer. A change of ownership after its initial installation trapped the project in a legal battle, and it was instead locked away in storage. It was more than three decades before it was seen again. In 2022, a team of creatives organized to buy the contents of the original presentation, restore it, and launch a multi-city tour starting in 2024. To mark this new chapter, Phaidon has also re-issued Luna Luna: The Art Amusement Park, a book first published in 1987 that includes numerous photographs and documentation along with cover drawings commissioned by the artists.

At Luna Luna, art was for all. The book’s author, Austrian artist and curator André Heller, described that the ethos behind the project was that art “should come in unconventional guises and be brought to those who might not ordinarily seek it out in more predictable settings.” The artist-designed environment was an opportunity to imagine a kind of art utopia, drawing on the nostalgic popularity of amusement parks as places of entertainment and escape for people of all ages. The Luna Luna team aims to pick up where the original edition left off, evolving and incorporating new commissions from innovative and influential artists working today.

While the components of the park are currently being restored in Los Angeles, you can grab a copy of the book on Bookshop. Find more information on Luna Luna’s website, and follow on Instagram for updates about the upcoming tour.

 

A book spread showing a photograph of a carousel at Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

Keith Haring painting the carousel

Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

An overview of Luna Luna (1987)

Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

Visitors outside a ride designed by David Hockney

A book spread showing the entrance gate to Luna Luna Art Amusement Park featuring a painting by Sonia Delaunay.

Entrance gate featuring work by Sonia Delaunay

Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

A performer in a moon costume in front of a design by Roy Lichtenstein

A book spread featuring two photos of a small Ferris wheel designed by Jean-Michel Basquiat in 1987.

Ferris wheel designed by Jean-Michel Basquiat

Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

Luna Luna Art Amusement Park in 1987, Hamburg, Germany.

The book cover for 'Luna Luna' published by Phaidon.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article After Sitting in Storage for More Than Three Decades, an Art Amusement Park Is Finally Going On Tour appeared first on Colossal.

09 Feb 14:57

Spend Your Starbucks Stars Now, Before It’s Too Late

by Angela L. Pagán

The day many of us have been dreading is coming up fast. No, it’s not Valentine’s Day (there’s still time to spend way too much on a heart-shaped something) or the Super Bowl (when you can distract yourself with chicken wings). The day we all hoped would never come is Monday, February 13, the day on which Starbucks R…

Read more...

19 Jan 21:00

Interview: Dolly Parton on Why ‘There’s No Bad Way to Eat a Biscuit’

by Amy McCarthy
Dolly Parton, a blonde woman wearing a pink shirt and patterned yellow apron, stands in a kitchen holding pink boxes of cake mix.
JB Rowland

The icon — and current Duncan Hines collaborator — on her culinary roots, affinity for biscuits and gravy, and how old-school recipes are like country music

There is no person on the planet who more universally encapsulates the best things about the American South — and is more universally beloved — than Dolly Parton. She’s a country music legend, to put it mildly, a successful actress, a business mogul, and prolific philanthropist who’s donated millions of dollars to causes including childhood literacy and the development of Moderna’s COVID-19 vaccine. She is also, famously, deeply devoted to Southern food, from the cozy chicken and dumplings at her Dollywood resort in Pigeon Forge, Tennessee, to her 2006 cookbook Dolly’s Dixie Fixin’s: Love, Laughter, and Lots of Good Food.

In 2022, Parton teamed up with Duncan Hines to create a line of Southern-style banana and coconut cake mixes. They were an instant hit, selling out online in less than five minutes, and now they’re headed to supermarket shelves along with some new mixes, including “fabulously fudgy” brownies, sweet cornbread, and buttermilk biscuits. Just in time for the launch, Eater sat down with Parton to talk about all things Southern food, her most memorable cooking mistake, and her big plans for future collaborations in the frozen food aisle.

Eater: Your new line of baking mixes includes a sweet cornbread mix, but cornbread can be pretty controversial in the South. Some people like it sweet, others insist that there should never be sugar. Why do you think that people feel so strongly about cornbread?

Dolly Parton: Because we did so well with the cake mixes, we started thinking about what our next lap was going to be, and the public started saying that they really wanted some cornbread. So Duncan Hines got to doing their research about whether people like sweet cornbread or the regular, and I guess the sweet won out. I grew up eating the other, but we’re really trying to be true to the South and do the things that the majority of people want. But it’s also got a recipe on the back so you can make jalapeno cornbread if you don’t want it so sweet.

You also developed a buttermilk biscuit mix, which feels very Southern. What do you like on your biscuits — do you prefer sweet jam or honey or savory sausage gravy?

Everybody makes biscuits, but how many people make buttermilk biscuits unless you really are from the South? I love it all. I eat gravy and biscuits at least once a week for breakfast with sausage or whatever. With the same pan, I’ll get a biscuit and put apple butter or jam or jelly on there. Whatever looks good. There’s no bad way to eat a biscuit.

Your box mixes also include recipes to zhuzh them up, like adding pudding to your banana cake or adding cheddar and chives to the biscuit mix. What was the thinking behind that?

Duncan Hines has this history of great recipes on the back of their boxes; you know you can rely on them for foolproof cooking. When we started talking about doing the biscuits, we thought that it would be nice to have recipes that you can mix and match and flavor them up a little bit, depending on your taste for that day. You can add a little bit of this or that, if you know what you’re doing, and it just makes it more special.

What’s something that absolutely ruins a dessert for you? Are there any flavors or ingredients that are just off the table?

Well, no. I’m a big eater, so I’ll pretty much eat anything. My husband doesn’t like caramel, but I do.

What’s your favorite dessert to eat — and to make — at home?

I’ve had a lot of good luck with my coconut cake; everybody loves coconut cake. But I still love a good chocolate cake, with the deep, thick chocolate frosting. That’s one of my favorite things. Banana pudding has always been one of my favorite desserts.

What made you decide to get into the business of Dolly-branded cake mixes?

We’ve all relied on Duncan Hines in the past: When you don’t have time to start from scratch or [you] don’t really know how to cook, you get mixes like these, and you can’t make mistakes if you follow the directions. I just wanted to do something that was good for everybody, and what’s better than cornbread and biscuits? I like cooking, and I wanted to get involved in things outside of the music business, and it turns out I can make a lot of dough with this biscuit dough or cornbread batter.

Speaking of cooking mistakes, what’s your most memorable cooking mishap?

Back in my Tennessee mountain home growing up, we always kept things in big crocks — the salt, the sugar, the flour, the cornmeal. And it’s easy to mistake salt for sugar if somebody’s accidentally switched those crocks around. I remember baking a cake for a pie supper where I was trying to make an impression on a boy, hoping he would buy my pie. But turns out, I put salt in it instead of sugar. He still bought the pie, but it was not very good.

From cornbread to your cookbooks, your perspective on food is so influenced by your childhood. Can you talk about what it’s like to make this very old-school style of cooking still feel relevant in 2023?

Everybody knows that I grew up in that big family, and I’ve often talked about my mama’s cooking. At Dollywood, we have restaurants all over the park and we serve things that my family used to eat, like ham and beans. We have Southern meals, you know? We also have this new resort, the DreamMore Resort, with top-of-the-line chefs who make absolutely wonderful food and serve it beautifully. But I always try to incorporate the things that I grew up with, and make it special. It’s just good food, something you can always count on.

How has the food of your childhood influenced your music?

I really have talked a lot about food in my songs. Like in “Tennessee Homesick Blues,” there’s that line where I say I wish I could have some of mama’s homemade chocolate cake. I write so many songs about my past, and many of them do refer to mom’s cooking or what I’m craving.

Do you think your mama would have used your baking mixes?

Actually, she did use a lot of mixes after we all left [home]. When we were all home, she loved to cook — and we didn’t have the money to buy these kinds of things. But after she got older, I was making enough money to buy her some mixes if she wanted. She would’ve been more apt to use them than start from scratch, but I’m sure she would add her own little touches to it. She would never not throw her own love in there. A good cook knows what you can add without messing it up.

Now that you’re officially in the baking aisle, are there any other food collaborations that you want to put the Dolly stamp of approval on in the future?

Oh, yes. I’ve always wanted to have a line of frozen foods, to cook up Southern dishes that people love, like chicken and dumplings. I don’t know what Duncan Hines is interested in doing with me, but I will definitely be doing more things to bring good Southern food to the people who love it.

Do you feel a responsibility to preserve these old-school recipes for people who didn’t grow up with a mama making good biscuits in the kitchen?

I think of it like country music. I want to keep the old, original country music going. And you may not grow up in the country, but a lot of city people can still sing good country songs. To me, it’s important to keep things like country music and Southern food in their natural form. People are more health-conscious now than they used to be, back when everything was made with all that butter and grease and lard — all the stuff you need to make things good. But with something like cake mix, you can blend the past and the present and make it work well. There will always be a want and a need for this kind of stuff, because there’s a lot of big eaters out there, and I’m one of them.

This interview has been edited and condensed for clarity.

19 Jan 20:58

A Detailed Documentary Traces the Process of Making Artistic Manhole Covers in Japan

by Kate Mothes

There are myriad structures and objects in the built environment that many of us rarely give a second thought to, like the materials that make sidewalks and streets, the pipe systems below the pavement, or the manhole covers that keep those networks secure and provide essential access. In Japan, though, form follows function in a recent tradition of creating manhole covers that feature bold and colorful designs.

Video creators Process X visited the Hinode factory to document the manufacture of the ubiquitous lids from start to finish. Workers first melt metal and stamp the molten material into a form that produces a distinctive raised outline. The covers are then cooled and transported to a station where others hand-paint the details, heat the pigments to create a durable finish, and ready them for installation.

Japan’s aesthetic solution to an otherwise banal infrastructural object is thought to have originated back in the mid-1980s when municipalities were invited to design their own manhole covers, making costly sewerage updates more palatable. Following a handful of local contests and documentation by photographers and publications, the phenomenon continues to add vivid, unexpected designs to everyday surfaces.

Process X documents a wide range of manufacturing systems around Japan and publishes videos regularly on YouTube. (via Kottke)

 

A still from a short documentary about the making of manhole covers, which are colored and painted.

All images © Process X

A still from a short documentary about the making of manhole covers, which are colored and painted.

A still from a short documentary about the making of manhole covers, which are colored and painted.

A still from a short documentary about the making of manhole covers, which are colored and painted.

A still from a short documentary about the making of manhole covers, which are colored and painted.

A still from a short documentary about the making of manhole covers, which are colored and painted.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Detailed Documentary Traces the Process of Making Artistic Manhole Covers in Japan appeared first on Colossal.

09 Jan 18:18

A Wooden Artwork Miraculously Unfurls into a Functional Desk Designed by Robert van Embricqs

by Grace Ebert
An animated gif of the designer unfolding the desk

All images courtesy of Robert van Embricqs

The surge in remote work during the last few years prompted Amsterdam-based designer Robert van Embricqs to rethink how conventional desks would impact a home’s atmosphere. He wanted to invite “the user to fold that desk away when work is over” and created a now-viral piece that seamlessly transforms from office to artwork.

Constructed with warm wood and brass hinges, the “Flow Wall Desk” features flush vertical slats that twist and unfold into a tabletop. The small piece of furniture, which can support about 40 pounds, is minimal in aesthetic and mimics organic movements as it unfurls from sleek relief to functional space.

Find the desk and other modular designs in van Embricqs’ shop, and follow his work on Instagram. (via Hyperallergic)

 

A photo of the unfolded desk with a chair

A photo of the flat desk with a chair

A photo of the unfolded desk with a chair

A photo of the unfolded desk with a chair

A detail photo of the unfolded desk with a coffee cup and book

A photo of the designer sitting at the unfolded desk

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article A Wooden Artwork Miraculously Unfurls into a Functional Desk Designed by Robert van Embricqs appeared first on Colossal.

07 Jan 17:43

Puntarelle Alla Romana (Puntarelle Salad With Anchovy and Garlic Dressing)

by Andrew Janjigian
Overhead view of puntarelle salad on a colorful stripped background
Serious Eats / Andrew Janjigian

For someone that is as obsessed with Italian cuisine as I am (by which I mean: a lot), I have only been to Italy but one time, for a mere 10 days one November awhile ago. But I packed a lot of eating into that one short trip, including tasting and falling in love with puntarelle alla Romana for the first time, then proceeding to order it daily the rest of the time I was in Rome. (Late autumn is the beginning of puntarelle season in Italy, which runs from October to April.) 

Puntarelle salad is made by tossing crisp, juicy shreds of the mostly mild-mannered bitter green with a potent anchovy- and garlic-heavy dressing. The flavor of the salad is intense, no doubt, but, paradoxically, the texture and flavor of the puntarelle sands most of the edge off the garlic and anchovies, making it potent, but entirely pleasant. Case in point: My Midwest-raised wife does not care for salty, intense things like anchovies, olives, or capers, and yet even she loves this salad. It might seem like a strange dish to obsess over, but I love it madly, and I know I’m not the only one.

Puntarelle on a blue cutting board
Serious Eats / Andrew Janjigian

From a distance, heads of puntarelle look a lot like other members of the chicory family they belong to, with a crown of long, slender, serrated leaves, with pale white ribs and deep green dandelion-like fringes, not unlike escarole. But these outer leaves conceal a bizarre surprise within: a gnarled cluster of pale green asparagus-like shoots, oftentimes knotted around one another like a freaky, many-fingered fist. (The shoots’ vague resemblance to asparagus explains why another name for puntarelle in Italian is cicoria asparago, or “asparagus chicory.”) 

While the heart of puntarelle is sometimes braised, it is most commonly served raw, either as individual spears on an antipasto platter, or in the aforementioned salad. For the salad, the shoots are sliced into fine, long shreds with a knife, or, better yet, using a dedicated puntarelle cutter made from a series of gridded metal wires strung tautly across a wooden frame, which makes quick work of it. The shreds are then placed in a bowl of ice water for an hour or two, after which they form elegant, spiraled curlicues. (Produce stands and supermarkets in Italy sell pre-shredded and pre-curled puntarelle, eliminating the work entirely.) After that, the curls are tossed with a dressing made from olive oil, red wine vinegar, loads of pounded garlic and anchovies, herbs, and other salty, cured things like chopped olives or capers. 

Using a contraception to cut puntarelle
Serious Eats / Andrew Janjigian

When I came home from Italy, I looked high and low in my local farmer’s markets and specialty stores, but it seemed that nobody here in the Boston area grew puntarelle. Nor was it the sort of thing that showed up as an import from elsewhere, so my brief, passionate love affair came to an abrupt and well, bitter, end. (Puntarelle does show up in bigger markets like New York City and Los Angeles, so those of you living in places like that are fortunate enough to sustain an ongoing relationship with the vegetable.) 

Until I decided I could live with a stand-in for the puntarelle, that is. While it doesn’t really resemble the vegetable, at least in its native form, its fellow chicory-cousin endive actually does make a pretty great substitute. Not only does it have a similar crisp-juicy texture and a mild-but-piquant bitterness, but—as I discovered after experimenting with it a bit—it also curls nicely when cut into shreds and iced down for awhile! It’s not the same, by any means: Its texture is a bit more starchy-fibrous than that of puntarelle, and it doesn’t curl quite as dramatically. But it scratches the same itch for me, and I make it all the time.

A bowl of cut endives
Serious Eats / Andrew Janjigian

The method is the same as described above, with a few differences owing to the substitution. For starters, I like to use a mixture of white (Belgian) endive and red endive, which resembles white endive in form and flavor, except streaked red like the treviso—another chicory that has red-and-white variegated leaves like radicchio—it has been crossed with. (My local Trader Joe’s sells a mix of white and red in small packages.) To prep it, you quarter the heads without removing the core. You then slice each quarter lengthwise through the core into 1/4-inch-wide pieces. Leaving the core attached lets the pieces form frilly florets that curl chaotically when placed in ice water, giving them a bit more of a puntarelle-like appearance. 

Puntarelle salad
Serious Eats / Andrew Janjigian

If you can get your hands on actual puntarelle, by all means swap it out for the imposter here. Once in a blue moon, I’ve been able to procure the real deal myself, and it was as good as I remembered when made with this recipe. Either way, it'll do until the day we can both get back to Rome again.

Pluck the outer leaves off the heads of puntarelle, tear or cut into bite-sized pieces, and set aside. Remove the shoots from the heads and, if present, trim and discard the woody bottom end of each. Cut shoots into 1/4-inch-thick strips (you may need to halve or quarter them lengthwise first). If there’s a fatter core, trim off the tougher base, cut it in half lengthwise, and then cut the halves into strips.

Four image collage showing how to prepare puntarelle
Serious Eats / Andrew Janjigian
Gif showing how to further break down puntarelle
Serious Eats / Andrew Janjigian

Alternatively, if using endive, quarter endive lengthwise without removing cores. Slice each quarter into 1/8-inch strips lengthwise, at an angle through core, so leaves remain attached.

Four image collage of endives being prepared
Serious Eats / Andrew Janjigian

Transfer prepared puntarelle or endive to a bowl and cover fully with cold water and a handful of ice cubes. Cover with a small plate or other similar object to keep pieces submerged. Refrigerate until curled, at least 2 hours (they may remain submerged for up to 18 hours). 

Punterelle in a glass bowl with ice
Serious Eats / Andrew Janjigian

Drain puntarelle or endive and dry in a salad spinner. Refrigerate until needed.

Punterelle in a salad spiner
Serious Eats / Amanda Suarez

Meanwhile, place anchovies, garlic, and salt on a cutting board and mash with the back of a fork until a coarse paste forms. Transfer to a medium bowl. Add vinegar and whisk until uniform. Add oil in a thin stream, whisking constantly, until emulsified.

Four image collage of dressing being made for Punterelle salad with anchovies, salt, and garlic on a blue cutting board, mashed with a knife, oil being whisked into a the mixture and finished dressing.
Serious Eats / Andrew Janjigian

Add puntarelle or endive, parsley, and half of the capers to bowl and toss to coat with dressing. Season with pepper and salt to taste. Transfer to a serving platter, top with remaining capers, and serve.

Puntarelle topped with dressing and capers
Serious Eats / Andrew Janjigian

Special Equipment

salad spinner

Notes

Some supermarkets sell heads of red endive, which is actually a cross between endive and treviso. (Trader Joe’s sells them in mixed packs.) Use a mix of both if you can find them for a splash of color.

Make-Ahead and Storage

Once soaked, drained, and spun dry, endive or puntarelle will keep for up to 24 hours in the refrigerator.

29 Dec 18:27

Watch 80 Free Documentaries from Kino Lorber: Includes Films on M. C. Escher, Stanley Kubrick, Hannah Arendt, Hilma af Kint & More

by Colin Marshall

M. C. Escher, Hannah Arendt, Hieronymus Bosch, Hilma af Kint, Stanley Kubrick: if you’re a regular reader of Open Culture, you’re no doubt fascinated some or all of these figures. Now, thanks to film distributor Kino Lorber, you can watch entire films about them on Youtube. Having evidently put a good deal of energy toward expanding their Youtube channel in recent months, Kino Lorber has uploaded such documentaries as M. C. Escher: Journey to Infinity, Vita Activa: The Spirit of Hannah Arendt, Hieronymous Bosch: Touched by the Devil, Beyond the Visible: Hilma af Kint, and Filmworker (about Kubrick’s right-hand man, the late Leon Vitali) — all of them free to watch.


So far, Kino Lorber’s playlist of free documentaries contains 80 films, a number that may vary depending on your location. Some popular selections focus on music: that of Elvis Presley, that of Levon Helm and The Band, that of Greenwich Village in the nineteen-sixties and seventies.




But the documentary is a versatile form, able in the right directorial hands to contain a wide range of real-life subjects, from art (Louise Bourgeois: The Spider the Mistress and the Tangerine, The Jeff Koons Show) to food (Sushi: Global Catch, El Bulli: Cooking in Progress) to nature (More than Honey, The Woman Who Loves Giraffes) to religion (Brilliant Moon: Glimpses of Dilgo Khyentse Rinpoche, The Last Dalai Lama?), to cinema itself (Captured on Films: The True Story of Marion Davies, Blank City).

All this gives only a hint of the sheer aesthetic, intellectual, and cultural variety of Kino Lorber-distributed documentaries. To get a fuller sense, you’ll have to explore the playlist itself, down to its most recent additions like Finding Fela, Nollywood Babylon, and Lina Wertmüller: Behind the White Glasses. Like all documentaries worth watching, these don’t just address subjects of interest, but leave their viewers with newly open avenues of curiosity to follow. Your journey may begin with films about Glenn Gould, Charlotte Rampling, Johnny Cash, or Maya Deren, but to what realm it will take you — that of the Ballets Russes, of Mexican lucha libre wrestling, of the female Buddhists of the Kathmandu Valley — cannot be foretold.

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Related content:

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The Atomic Café: The Cult Classic Documentary Made Entirely Out of Nuclear Weapons Propaganda from the Cold War (1982)

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

29 Dec 18:26

Tom Lehrer Puts His Songs into the Public Domain & Makes Them Free to Download (for a Limited Time)

by Colin Marshall

“Christmas time is here, by golly / Disapproval would be folly / Deck the halls with hunks of holly / Fill the cup and don’t say ‘when.'” So sings musical satirist Tom Lehrer on his hit 1959 album An Evening Wasted with Tom Lehrer — which was recorded in March of that year, not that it stopped him from taking an out-of-season jab at the holidays. “Kill the turkeys, ducks and chickens / Mix the punch, drag out the Dickens / Even though the prospect sickens / Brother, here we go again.” If it seems to you that he takes a dim view of Christmas, you should hear how he sings about everything else.

Now, more easily than ever, you can hear how Lehrer sings about everything else, by simply downloading his music from his web site. “All copyrights to lyrics or music written or composed by me have been relinquished, and therefore such songs are now in the public domain,” he writes. “All of my songs that have never been copyrighted, having been available for free for so long, are now also in the public domain.” In short, he adds, “I no longer retain any rights to any of my songs.” We posted about the release of those songs themselves into the Public Domain a couple years ago, but last month Lehrer made the songs available online–for a limited time.




Not only is An Evening Wasted with Tom Lehrer free to stream or download on TomLehrerSongs.com — complete with tracks not available even on Spotify — so is its follow-up Revisited, That Was the Year That Was (featuring performances of the songs he wrote for the American version of That Was the Week That Was) and the three-disc collection The Remains of Tom Lehrer. Together these albums contain all the music Lehrer recorded before he stood up from the piano and became a professor, first of political science and later of mathematics (though he did teach some musical theater as well.)

Given his secular Jewish origins and his obvious disdain for the Mammonistic holiday season (at least “as we celebrate it in the United States”) Lehrer would surely get a laugh from us taking this free release of all his music as a Christmas gift. And yet, like all the best Christmas gifts, it has both a surface value and a deeper one. Despite their topical late-fifties-early-sixties references to things like “new math” and Vatican II, his songs can still make us laugh today. But they can also show younger generations a satirical sensibility they’ve never known: culturally literate, dry with well-placed plunges into the lowbrow, transgressive without cheap crudity, all supported by musical aplomb. Maybe Lehrer decided to make his music free because now, in his tenth decade, he can be sure that nobody will surpass him. Find his music here.

Related content:

Tom Lehrer Releases His All of Catchy and Savage Musical Satire Into the Public Domain

Hear Tom Lehrer Sing the Names of 102 Chemical Elements to the Tune of Gilbert & Sullivan

Tom Lehrer’s Mathematically and Scientifically Inclined Singing and Songwriting, Animated

Celebrate Harry Potter’s Birthday with Song. Daniel Radcliffe Sings Tom Lehrer’s Tune “The Elements”

Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

19 Jul 18:56

Brilliant Phenomena and Galactic Skies Light Up the 2022 Astronomy Photographer of the Year Shortlist

by Grace Ebert

An Icelandic Saga by Carl Gallagher

Whether in the form of nebulae or starry galactic expanses, natural light continues to dominate Royal Museums Greenwich’s Astronomy Photographer of the Year competition (previously). The 14th annual contest garnered more than 3,000 submissions from 67 countries, and a shortlist of finalists contains stunning shots of a September harvest moon illuminating Glastonbury Tor, the brilliant streaks trailing Comet Leonard, and the vibrant Aurora Borealis casting an ominous glow above a battered ship in Westfjords.

Winning photos will be announced on September 15 with an exhibition opening at the National Maritime Museum on September 17. Until then, peruse the full collection on the Royal Museum Greenwich site.

 

Oregon coast by Marcin Zając

Comet C/2021 A1 (Leonard) by Lionel Majzik

Equinox Moon and Glastonbury Tor by Hannah Rochford

Solar Wind Power by Esa Pekka Isomursu

Clouds of Hydrogen Gas by Simon Tang

Rosette Nebula Core Region (NGC2244) by Alpha Zhang

Badwater Milky Way by Abhijit Patil

12 Jul 18:46

Thread Grids by Laura Fischer Encase Stones in Exquisitely Knotted Webs

by Grace Ebert

All images © Laura Fischer, shared with permission

Precision is at the core of Laura Fischer’s practice. Using cotton and linen threads in neutral tones, the Bellingham, Washington-based artist sheaths smooth stones in impeccably exacting grids. She forms the tiny squares and rectangles with a series of knots, mimicking the loom weaving process but working directly on the natural material. Paired together, the sculptures are finished with a twisting rope wrapped around the circumferences and suspended in staggered positions.

A few of Fischer’s pieces are available on her site. Keep an eye on Instagram for shop updates. (via swissmiss)

 

12 Jul 18:21

For Restaurant Workers Who Have Experienced Abuse, Support Groups Can Help

by Jaya Saxena
Illustration of a man wearing a mask falling into a safety net held up by a person wearing a mask and apron.
Victor Bizar Gómez/Eater

“You are not powerless, you have choices and that’s enough: to seek support.”

In 2018, chef Zia Sheikh was struggling with burnout and addiction. He wound up getting fired from his job, another victim of the restaurant industry’s pressure and churn, and he says he sought out therapy as a result. Finding free counseling directly led to someone helping him get Medicaid, he says, and now, he sees losing his restaurant job as a blessing in disguise. “I started pulling all these different resources to help people in my position, because now I didn’t have a job, I didn’t have any insurance,” he said. “And I realized, not only can I help myself, but I can use this information to help so many others. Because anybody that’s worked in this industry knows that these issues are rampant.”

Even after high-profile reckonings, restaurant workers still report that the industry allows abuses to thrive. Tipped wages make fertile ground for exploitation, strict hierarchical kitchens easily lead to harassment and assault, and across the industry there is still a culture that insists if you complain, it just means you aren’t “tough enough.” “For folks across the entire gender spectrum, there’s sexual abuse and harassment from coworkers, from guests, and from superiors,” says Sara Nahshon, who has worked in restaurants and catering for nearly two decades. “And I could say for myself that, having experienced all those, there’s such a sense of powerlessness.”

For Sheikh, that collection of resources he compiled — dozens of crisis hotlines and support groups — has morphed into Restaurant After Hours, a non-profit organization focused on providing mental health resources for those who work in the restaurant and food-service industry. The group organizes virtual support groups, and helps direct people to various hotlines and resources for everything from offering free legal counsel, helping someone find housing or pay bills, or connecting someone with rehab. There are more resources than ever for restaurant workers — and it is absolutely worth reaching out. “You are not powerless, you have choices and that’s enough: to seek support,” says Nahshon, who now serves on the board of the RAH.

But finding services can be intimidating, especially if you’re not quite sure what you’re looking for. Stephanie Holt of the Victim Rights Law Center, a group that provides free legal services for sexual assault victims in Massachusetts and Oregon, recommends Googling what’s in your state — for instance, “Rape Crisis Center + your location” — to see what’s out there. And resources in other states might be able to point you in the right direction of something more local. No matter what, though, there are options for everyone besides enduring harassment or a toxic work environment in silence, and reaching out can result in material change. “I do think it’s so worth it to come forward,” says Holt. “Because everyone deserves to be in a workplace that’s free of violence.”

Mental Health Resources

One of the main issues with restaurant work is that, despite still being in a global pandemic that impacted food-service workers more than just about anyone else, most restaurant jobs still do not provide health insurance. And even if they do, taking advantage of insurance-provided mental health care is still an uphill battle. “Typically therapists work more standard work hours, and we know that folks in the restaurant industry have very non-standard hours,” says Erin Reifsnyder, a mental health advocate on the board of Restaurant After Hours.

This is why RAH started hosting virtual support groups, as well as a comprehensive database of mental health hotlines and support groups like Trans Lifeline, the National Eating Disorders Association, Chefs With Issues (a Facebook support group for restaurant industry professionals with mental health issues), and the Pin Project (where restaurant workers wear a pin to show their sobriety). And there are state-specific restaurant industry mental health resources, like Southern Smoke, which provides free mental health care to workers and their children in Texas, and Elevate in New York City. The hotlines provide conversations with trained therapists and mental health counselors, who can also set you up with resources like emergency shelter and financial counseling, and help finding in-person services and clothing.

Many of those hotlines are specifically sexual assault hotlines, like RAINN, RISE, and Resilience, as more people recognize what they experienced in the restaurant industry as incidents of sexual harassment or abuse. These organizations provide free and confidential one-time and long-term trauma therapy, medical and legal advocacy (including information on how to access medical care without visiting a hospital), and referrals to more specialized support.

Legal Resources

For anyone who is facing a legal issue in the workplace, the first thing to do is inform someone at work, even just another coworker, and document it. “Most people, when they report, they say it to someone first,” says Holt of the Victim Rights Law Center. “But follow up with that… it can be a text message just saying, ‘As you know I reported that X person did this to me while I was on my shift on X date, please let me know next steps.’ Just anything to show that you’ve informed that workplace and let them know exactly what’s going on.”

By reaching out to an organization like VRLC, restaurant workers can get counsel on what a legal case for their particular issue may look like, and make an informed decision on whether they’d like to proceed. Holt says the process can be difficult, and depending on the situation (like those involving assault), triggering. But “the best-case scenario is you go to an attorney, they file suit against that restaurant, and maybe the restaurant settles or maybe it goes to trial and you’re successful. You could get money from that and hopefully that financial penalty will convince that restaurant to either change, or if paying a financial penalty, they may not stay in existence.”

Sarah Leberstein, a supervising attorney at Make The Road New York, says that food-service and restaurant workers “make up one of the largest groups of workers that we see in our practice.” The community-based organization, which works with working class immigrant Latinx communities in New York, provides direct legal services to clients experiencing wage theft, discrimination, and sexual harassment. They also regularly provide Know Your Rights workshops and assist immigrants with paperwork and deportation defense.

The restaurant industry often relies on undocumented workers, and unfortunately, managers and owners use their status to threaten workers with deportation or arrest. “By and large, undocumented workers are protected by the core workplace labor and employment laws with some exceptions,” says Leberstein. “If their employer is trying to convince them that they don’t have the right to the minimum wage or that they’re not allowed to bring a complaint because they don’t have work authorization, that’s simply false.” By reaching out for legal support, undocumented workers have a better chance at recouping lost wages, or being compensated for workplace safety violations.

On top of organizations like VLRC that provide state-specific legal consultation, many cities also have walk-in legal clinics. Seeking legal counsel may sound intimidating, but holding a restaurant or other food-service workplace accountable for wage theft or harassment has great power to change the rest of the industry. “I would say don’t hesitate to reach out for legal services sooner rather than later,” says Holt. “Sometimes legal action is the only way to get these systems and these things to change.”

Funds for Bills and Rent

While there are pro-bono lawyers and free mental health hotlines at everyone’s disposal, there are situations in which workers just need money — they were injured or sick and lost work, or needed to reduce hours, or are just trying to leave the industry and need some help. There are a number of relief funds targeted specifically to food-service workers, many borne out of the pandemic. The One Fair Wage Emergency Fund was created in 2020 to help service workers “struggling with rent, bills, and feeding their families even as the restaurant industry reopens, and can no longer afford to remain in the service sector,” including funds for workers who are protesting their working conditions. The Southern Smoke Foundation was founded in 2015, and in 2017 shifted its focus to helping those in the restaurant industry affected by Hurricane Harvey. Since 2020, it has provided all kinds of food-service workers, from bartenders to farmers, with funds to pay for things like medical bills, mental health needs, and rent. ​​

“People are saying this [fund] is changing their lives when they didn’t have any hope,” said chef Sarah Grueneberg of Southern Smoke. However, for a while workers were not applying, which Southern Smoke founder Chris Shepherd chalked up to pride. It’s that attitude that many people in the industry hope is changing. “If you need help, take advantage of it,” said Grueneberg. “Don’t feel bad you’re applying for support. Part of the awareness is to fight any guilt or stigma.”

Victor Bizar Gómez is Mexican-American illustrator currently vibing in Portland, Oregon.

12 Jul 18:11

NASA’s Webb Space Telescope Reveals Astounding, Unprecedented Views of the Universe

by Grace Ebert

“Cosmic Cliffs” in the Carina Nebula. All images courtesy of NASA, ESA, CSA, and STScI

NASA’s James Webb Space Telescope unveiled its first-ever collection of high-resolution color images capturing an exceptional amount of detail about the universe. The instrument reaches deeper into the cosmos than any before.

Launched in December, Webb is the world’s largest and most powerful observer with the ability to view cosmic bodies like the atmospheres of exoplanets, or those outside our solar system, and some of the first galaxies to emerge following the Big Bang 13.5 billion years ago. The telescope is equipped with a host of near-infrared tools that will help visualize galactic phenomena and celestial bodies that are otherwise invisible to the human eye. Webb is capable of getting four times closer to the cosmological event than the Hubble Space Telescope, which helps scientists better understand how the universe has evolved since.

Preparation for the mission began in the 1990s, and the 6.7-ton telescope is currently focused on documenting planetary evolution and spectroscopic data about their chemical makeup, which involves targeting five cosmic objects: the gassy planet WASP-96 b that’s about 1,150 light-years away, the Southern Ring Nebula, Stephan’s Quintet galaxy, the SMACS 0723 galaxy clusters, and the 7,600 light-years away Carina Nebula with enormous stars that dwarf the sun.

 

The very first images include a stunning composite of SMACS 0723 as it appeared 4.6 billion years ago. Rich with glimmering galaxies, the composite comprises “a patch of sky approximately the size of a grain of sand held at arm’s length by someone on the ground,” administrators said in a statement. There’s also the mesmerizing Southern Ring Nebula, which is comprised of shells of dust and gas released by two dying stars, and Stephen’s Quintet, five glowing galaxies captured in Webb’s largest composite to date, reaching a size that would span approximately one-fifth of the moon’s diameter.

Perhaps the most stunning image from the first release of visuals is that of the star-forming region in the Carina Nebula, which shows what researchers refer to as “cosmic cliffs,” or what appears to be rugged, mountain-like forms that are actually the edges of immense gaseous activity. The tallest pinnacles of that celestial body are about seven light-years high.

Webb was designed to spend the next decade in space, however, a successful launch preserved substantial fuel, and NASA now anticipates a trove of insights about the universe for the next twenty years. Follow its movements with NASA’s tracker, Where is Webb?

 

Southern Ring Nebula (NIRCam Image)

Southern Ring Nebula (MIRI Image)

SMACS 0723 as it appeared 4.6 billion years ago

Left: SMACS 0723 captured by Hubble. Right: SMACS 0723 captured by James Webb

Carina Nebula, detail

12 Jul 18:04

KFC’s Internet Escape Pod Was Ahead of Its Time

by Angela L. Pagán
Bgarland

Fun or nightmare fuel? You decide!

Just like The Simpsons is often credited with predicting the future, I think KFC deserves some clairvoyant credit. The fried chicken fast food chain already understood five years ago that the state of the world would leave us all wanting to crawl into a pod and disappear long before we knew just how badly we needed…

Read more...

01 Jul 16:24

‘Modern Women/Modern Vision’ Celebrates the 20th Century’s Most Influential Photographers

by Grace Ebert

Sandy Skoglund (American, b. 1946), “Revenge of the Goldfish” (1981), Cibachrome print. Bank of America Collection. Image © 1981 Sandy Skoglund

One of the more accessible mediums, photography has long been an entry point for those relegated to the periphery of the art world, and a group exhibition on view now at the Denver Art Museum celebrates those who helped develop and define the genre as it grew throughout the 20th Century. Modern Women/Modern Vision features more than 100 shots by some of the era’s most influential photographers—the list includes Berenice Abbott, Dorothea Lange, Diane Arbus, Eva Besnyö, and Imogen Cunningham—showcasing their distinct aesthetics, politics, and styles.

An indication of the medium’s technical evolution as well as the shifting cultural milieu, the exhibition opens with the modernist sensibilities and painterly impulses popular around the turn of the century, evident in works like Abbot’s textured, black-and-white “Court of the First Model Tenement.” The show ventures into the moving, documentary images funded by the Works Progress Administration throughout the Great Depression—some of Lange’s most poignant shots are included—and then touches on the feminist practices of photographers like Flor Garduño, who captured the life of Indigenous populations throughout Mexico. Reflecting the rise find digital, the collection’s closing section incorporates a broader range of techniques and more directly addresses issues of race, class, and gender that continue to dominate conversations today.

Modern Women/Modern Vision is on view through August 28. (via Blind Magazine)

 

Berenice Abbott (American, 1898-1991), “Court of the First Model Tenement, New York City, from Changing New York” (March 16, 1936), gelatin silver print. Bank of America Collection

Esther Bubley (American, 1921-1998), “Greyhound Shop” (1942). Gelatin silver print. Bank of America Collection

Hellen van Meene (Dutch, b. 1972), Untitled (2000), color Chromogenic print. Bank of America Collection. Image © Hellen van Meene, courtesy of the artist and Yancey Richardson Gallery, New York

Helen Levitt (American, 1913–2009), New York, about 1940, gelatin silver print. Bank of America Collection. Image © Film Documents LLC, courtesy of Galerie Thomas Zander, Cologne

Flor Garduño (Mexican, b. 1957), Taita Marcos, Cotacachi, Ecuador (1988), gelatin silver print. Bank of America Collection. Image © Flor Garduño Photography

Karȋna Juárez (Mexican, b. 1987), “Insomnia” (from the series Acciones para recordar), Oaxaca, Mexico (2012), inkjet print. Bank of America Collection. Image © 2021 Karȋna Juárez

Dorothea Lange (American, 1895-1965), “Child and Her Mother,” Wapato, Yakima Valley, Washington (1939), gelatin silver print. Bank of America Collection

16 Jun 17:55

Skies Peek Through Foliage in French Knots in Embroideries that Peer Up From the Forest Floor

by Grace Ebert
Bgarland

The ones where you are looking up to blue skies are my favorites. I love to do this for real when I'm in forests, and apparently any simulcra as well.

All images © Sew Beautiful, shared with permission

Look up! The vibrant embroideries of the U.K.-based artist known as Sew Beautiful capture the awe-inspiring breadth of the outdoors within a tiny wooden hoop. Layering colorful French knots and long, straight threads in neutral tones, the artist transforms thin organza bases into fiber renditions of forests dense with autumn leaves or aerial shots capturing wide swaths of landscape. The hand-stitched pieces are vivid and tinged with whimsy, and Sew Beautiful has a few works currently available on Etsy. Follow shop updates and new embroideries on Instagram. (via So Super Awesome)

 

26 May 19:58

Scambaiters: Meet the modern-day heroes who scam scammers

by J.D. Roth

Both my ex-wife (Kris) and my current girlfriend (Kim) tell me I get too worked up about things sometimes. “You over-react,” they both tell me. Maybe so. I prefer to think of myself as passionate.

One of the things I'm passionate about is scammers. I hate them. Scammers are evil, evil people who prey on the most vulnerable members of society. They take advantage of social constructs in order to manipulate people into parting with their hard-earned money.

No surprise then that one of my favorite sub-genres of YouTube videos is “scammers getting scammed”. Scambaiters are modern-day heroes. As much as I despise scammers, I think scambatiers deserve high praise.

Today, I've collected together several YouTube videos (representing a couple of hours of viewing) that document, in an entertaining fashion, how scambaiters uncover scams, help victims, and are now actively working with law-enforcement agencies in an attempt to thwart the bad guys.

Scamming the Scammers

First up, here's a year-old YouTube video from Mark Rober in which he shows how he managed to use one of his famous glitterbombs to catch a phone scammer, who was then arrested.

Rober didn't do this on his own. He collaborated with some well-known YouTubers who specifically work to thwart scammers. Here, for instance, is Jim Browning's video about the above incident: Catching Money Mules.

And here's the Scammer Payback channel working with Rober. I like this video quite a bit, actually. It provides a lot of info.

But wait! That's not all! Here's another Rober video from a couple of weeks ago in which he documents his year-long quest to infiltrate the scam call centers in India in order to disrupt their operations (and, he hopes, to shut some of them down).

And let's wrap things up with Kitboga as he trolls a scammer into spending ten hours with him, eventually goading the crook into losing his temper in a nuclear-level meltdown. It's a thing of beauty. (Note, however, that the video is nearly ninety minutes long.)

I have zero patience for scammers. Zero. I believe they deserve the harshest possible punishments. But, as Rober mentions in one video, it's like playing whack-a-mole. You put one scammer out of business and five more rise to take his place.

Aside
In one of his sequels to Dune, Frank Herbert wrote: “Between depriving a man of one hour from his life and depriving him of his life there exists only a difference of degree. You have done violence to him, consumed his energy.”

Let's extend this comparison. If time is money (or, more precisely, money is a manifestation of the time required to create it), if money represents “life energy”, as the authors of Your Money or Your Life put it, then depriving a person of her money is also only different from murder by a matter of degrees.

Further Reading

Want more info on scams and how to prevent them? Here are some intersting articles and useful resources I've found over the years:

Let me know if there are other videos or resources I should add to this list!

29 Apr 16:27

Kehinde Wiley Addresses Vulnerability and Resilience in a New Series of Monumental Portraits and Bronze Figures

by Grace Ebert

“The Wounded Achilles (Fillipo Albacini)” (2022), oil on canvas, 70 1/8 × 107 7/8 inches. All images © Templon, Paris –Brussels, shared with permission

In 2008, artist Kehinde Wiley (previously) exposed the violence against Black bodies in a series of majestic portraits titled DOWN. Holbein’s painting “The Body of the Dead Christ in the Tomb,” which depicts an emaciated Jesus outstretched on white cloth, inspired Wiley’s collection that reimagined the 16th Century piece and other art historical works in the same vein with contemporary metaphors of pain and ecstasy. Centering on Black men lying on their sides with twisted limbs or supine against the artist’s signature floral backdrops, DOWN positioned the subjects as saints and heroes as they confronted death.

Now more than a decade later, Wiley returns to this series for a new body of work that expands on its themes and indictment of the continued brutality against Black people. An Archaeology of Silence, hosted by Fondazione Giorgio Cini for the Venice Biennale, exhibits new bronze figures and large-scale portraits featuring subjects in unguarded positions, their eyes closed, arms splaying outward, and bodies resting.

 

Front: “The Virgin Martyr Cecilia” (2022), bronze, 251 × 152 3/4 × 70 1/8 inches. Back: “Young Tarentine II (Ndeye Fatou Mbaye)” (2022), oil on canvas, 131 7/8 × 300 inches

Monumental in scale— “Femme Piquée Par Un Serpent (Mamadou Gueye),”  or “Woman Stung By A Snake (Mamadou Gueye),” is 25-feet wide, for example—the works portray Black men and women as icons, and while vulnerable, the figures exude a sense of resilience and perseverance, having endured exceptional pain and cruelty. Both sculptures and portraits speak to the ways technology has allowed more people to witness injustices that have been occurring for centuries. “That is the archaeology I am unearthing: The spectre of police violence and state control over the bodies of young Black and Brown people all over the world,” Wiley says, explaining further:

While this work is not specifically about tomb effigies, it does relate to death, mortality, powerlessness, and the downcast figure—the juxtaposition of death and decay in the midst of a narrative of youth and redemption. It is an expression of my desire to depict the struggles of Black and Brown youth globally, through the rubric of violence and power.

An Archaeology of Silence will be on view through July 24. You can explore more of Wiley’s practice on Instagram, and visit his shop for goods and prints that support Black Rock Senegal, the residency the artist established in 2019 in Dakar.

 

“Morpheus” (2022), bronze, 26 3/4 × 59 × 29 1/2 inches

Detail of “Morpheus” (2022), bronze, 26 3/4 × 59 × 29 1/2 inches

“Femme Piquée Par Un Serpent (Mamadou Gueye),”  or “Woman Stung By A Snake (Mamadou Gueye),” (2022), oil on canvas, 131 7/8 x 300 inches

“Dying Gaul (Roman 1st Century)” (2022), bronze, 21 1/8 × 18 7/8 × 47 inches

Detail of “Dying Gaul (Roman 1st Century)” (2022), bronze, 21 1/8 × 18 7/8 × 47 inches

“The Virgin Martyr St. Cecelia (Ndey Buri)” (2022), oil on canvas, 77 1/8 × 143 6/8 inches

“Sleep (Mamadou Gueye)” (2022), bronze, 11 4/5 × 51 1/6 × 21 1/4 inches

28 Apr 12:59

As good as it gets

by J.D. Roth
Bgarland

Everyone should have a friend like J.D. Roth. This broke my heart.

It's December 1972. I am three years old. My parents have to be away for the night. They drive me to stay with Dad's brother and his family. It's cold and it's raining. We stand on a covered porch and knock. A big lady with a big smile opens the door to greet us.

“This is your Aunt Janice,” Mom tells me. “And this is your cousin Nicky.”

You are standing behind your mother. You are eight years old. This is the first time we meet. You're not interested in a little kid like me, and I'm too timid to pay much attention to you.

Mom and Dad leave. Your mother reads to me: The Little Engine that Could, Curious George, Doctor Seuss. You sit nearby and listen. Before bed, I learn that you wear plastic pants like I do. You're a big boy but you still wet the bed.

It's a Sunday in autumn 1978. You are fourteen; I am nine. My family is visiting yours after church. You are curled up in a chair watching football on a black-and-white television. You have a magazine in your lap. I am watching you watching football. We don't have a TV, and I don't know anything about football.

“What are you doing?” I ask.

“I'm watching the Pittsburgh Steelers,” you say. “They're my favorite team.” You show me the magazine — an entire magazine only about football. It lists the teams and the players and the schedules for the entire season. You show me how you take notes in the magazine, writing down the scores of each game, writing notes about your favorite players.

I tell you that I like comic books. When the game is over, you take me upstairs to show me your comics. You don't have many, and none of them are about superheroes, but when you offer me a Richie Rich, I take it home with me.

This is our first real interaction not as cousins, but as friends.

We see each other often at family gatherings during our childhoods. We are friendly, but the five years between us is a very real barrier at this point. Soon, that barrier will fall.

Nick's senior picture

It's sometime during 1983. I'm riding in the car with Dad. He hands me the newspaper and tells me to turn to a specific page. It's an article about you. You are nineteen. You have been convicted of a crime, a crime that I don't understand. Dad explains it. You've hurt somebody very badly.

We don't see you at family gatherings for a couple of years.

It's summer 1986. You're living down the road at grandpa's house. Since grandma died, he's been struggling and it's helpful to have somebody living with him. You have the entire upstairs to yourself. At first, I'm nervous about visiting you. You are a criminal. I cannot let that go from my mind. Eventually, however, I let my guard down. I allow myself to move on.

You've begun working for Dad as the box factory's first employee. When I help in the shop after school, you and I chat. We talk about music. We talk about books. (After you read Zen and the Art of Motorcycle Maintenance, we talk a lot about Quality.) We talk about movies, especially your favorites like Being There and After Hours.

Now and then, I walk down the road to visit you. We sit upstairs and you play your records for me. You play Yes and Deep Purple and Queen. (You play me a lot of Queen.) You play Styx for me: The Grand Illusion. To you, it's an okay album. To me, it's a revelation. It becomes part of the soundtrack to my life.

It's September 1991. I've graduated from college without a plan. I take a job selling insurance door to door. The job requires I live near Portland, so I move in with you. You're renting a duplex in Canby.

Your home is a mess. It's chaos. It's a disaster area. There are dishes piled high in the sink. There are clothes piled high on the floor. There's Stuff everywhere. But you have a spare bedroom for me, so I live there.

You work at the box factory. I sell insurance. In the evening, we chat and play games while watching MTV. Nirvana's “Smells Like Teen Spirit” is in heavy rotation. We don't know what to think of it.

I buy a Super Nintendo. I buy a Game Boy. I buy a Geo Storm. “You're spending a lot of money,” you tell me. “It's money you don't have yet.” You warn me about going into debt, but I don't listen.

It's spring 1993. You've been watching me struggle with money. You lend me a copy of The Only Investment Guide You'll Ever Need by Andrew Tobias. You show me how to use Quicken to track my money. You teach me about mutual funds.

I begin investing $150 each month in Invesco mutual funds. You are pleased. So am I. But this adventure ends when I decide that I'd rather have a new computer. I cash out my shares to buy a new Macintosh. You are disappointed in me.

It's autumn 1994. You've purchased a house in Molalla. But because you're a cheap bastard, it's a cheap house. It's 80 years old. Maybe more. It's in rough condition. You don't care. It's yours.

On Sunday mornings, I drive out to watch football with you. I buy donuts and chocolate milk, which we consume in great quantities. We watch the Pittsburgh Steelers. In the afternoons, we watch the Seattle Seahawks. Some days we play computer games instead. We play Warlords and Warlords II. We play Darklands. We play Civilization.

We have become close friends.

We attend concerts together. We eat dinner together. We talk about music and movies and games and books. You are one of the only people in my life who is willing to engage in deep, philosophical conversations and I appreciate that.

It's July 1995. Dad is dying. The cancer is dragging him under. He's decided to leave 60% of the box factory to Mom, 10% to me, 10% to Jeff, and 10% to Tony. He's also leaving 10% to you, his nephew. More importantly, he's leaving you in charge of the business.

Since your father died five years ago, my father has stepped into that role for you. He truly sees you as a son.

Nick with a new part for the box factory

During the final weeks of Dad's life, you begin leading the business. You're also active in helping him put his personal affairs in order. The day he dies, you're the one who is responsible for getting his will notarized. You personally dig Dad's grave at the church cemetery. It's a monumental task but you see it as a debt you owe him.

(Twenty-seven years later, I deliberately seek to pay you the same respect. During the last two months of your life, I'm with you as much as possible. “I want to be your hands and feet,” I tell you, and I mean it.)

It's summer 1996. You have embraced your homosexuality. You are living the Gay Life. You are partying and dating and going to the gym. You introduce me to some of your friends: Tom, David, Shad, Hector.

You sell your house and rent an apartment in Portland. You begin to travel. You're interested in European history, so you tour Greece and Italy with Hector. You make another trip to see Italy with your friend Kathy. You tell me that I ought to travel too. I'm not interested in travel.

You've been a life-long stamp collector, but now your focus turns to ancient coins. Ancient coins give you a chance to combine two passions: collecting and history.

It's summer 1999. One afternoon I come back from making sales calls and have a bunch of trading cards in my hand. “What are those?” you ask.

“They're Magic cards,” I say. I explain that Magic: The Gathering is a game played with collectible cards. Each card bends the rules in some tiny way. Your aim is to use your pool of cards to build a deck that can defeat the deck your opponent builds. “I guess it's a little like the card game War,” I say.

I teach you to play. Within a few months, you know more about the game than I do. Much more. You become obsessed with it. You buy boxes of cards. You play in tournaments. You're not especially good, but you enjoy it. And you have moments of brilliance. In fact, at one tournament you actually defeat the number one player in the world. Mostly, though, your play is fair to middling.

During the next 20+ years, you build a vast collection of Magic cards. You have thousands of cards. Tens of thousands of cards. Hundreds of thousands of cards.

You also dive deep into ancient coins. You order bags of “uncleaned coins” from internet dealers, then meticulously soak and scrub them. When they're clean, you get the joy of trying to determine which coins you've acquired. You buy books on coins. You read about coins. You try to share your passion with your family and friends, but nobody else is interested.

It's July 2007. I've just returned from my first trip to Europe: two weeks in the U.K. with my wife and her family. I'm back at the box factory but struggling. I don't want to be there. I want to be anywhere but the box factory.

You are angry. You are bawling me out. “You never should have gone on that trip,” you spit. “Your absence made it abundantly clear just how little work you do around here.”

You're not wrong. For a while, I've done almost nothing at the box factory. My attention has been focused on this blog, on Get Rich Slowly. In fact, I'm now earning as much from the blog as I am from the box factory.

“You're right,” I say. “So why don't I quit?” It takes a few months for me to get the guts, but I do it. I leave the box factory to become a full-time writer.

It's November 2008. You and I spend an afternoon cleaning the moss from Mom's roof. While doing so, we have another one of our deep conversations. This one is about money. It's about wants and needs. I turn this conversation into a blog post, and the ideas we discuss become a key part of my financial philosophy.

It's September 2012. You and I take a three-week tour of Turkey. We make it up as we go along. It's the first time we've traveled together, and we're pleased to discover that we're perfect travel companions. There's an easy flow to our journeys.

We enjoy strolling through Istanbul together, we enjoy taking the bus to Pamukkale, we enjoy the early morning hot-air balloon ride over Cappadocia. But we're also willing to give each other space. I spend one day at the hostel, writing and drinking beer. You spend a day exploring small villages in central Turkey. It's a grand adventure that we both enjoy.

Nick endures a pitch from the Turkish carpet salesman

When we return from Turkey, we agree that we should travel together in Europe on a regular basis. But life gets in the way.

It's Spring 2017. It's been five years since our trip to Turkey. We're ready travel together once more. After a year of talking and planning, you and I and Kim have plotted a month-long driving tour of Spain. Mostly, we're going to make it up as we go along — just as we did before. We spend a Saturday evening finalizing details over a bottle of red wine. “I'll start booking places next week,” I say.

But on Monday, you phone me. “J.D, don't start booking yet,” you say. “This is the thing. I have cancer. I've been getting some tests and the results just came back. I have esophageal cancer, and I need to start treatment immediately. I can't do the trip.”

My heart sinks — not for me, but for you. It's the family curse. Grandma died of cancer. Your father died of cancer. My father died of cancer. Your brother died of cancer. All of us Roth males live in fear. We're waiting for the day we learn that the curse has struck. And now it has struck you.

It's Summer 2018. The doctors have been treating your cancer with immunotherapy. You and I grab the dog on a Wednesday morning and drive to the Oregon coast. You tell me all about your cancer, its survivability (bleak!), and the things you still want to do.

“I want to travel, J.D.,” you say. “You and I still have time to see the world.”

Your prognosis waxes and wanes. Some days it seems like you'll live for years. Others, it seems like you have only weeks. Still, we manage to plan and execute a family trip to Europe in December. Your brother and three members of his family join us to explore Christmas markets in Austria, Hungary, Czech Republic, Switzerland, Germany, and France.

After your brother's family returns home, you and I travel together for a week. Against your protests, I pay for us to ride the Glacier Express across the Swiss Alps. It's too expensive for your frugal nature. But you love it. You are in awe. “J.D.,” you tell me later, “I'm so glad you made me do that. It was one of the highlights of my life.”

All aboard the Glacier Express!

Birthday card for Nick's 55th

It's May 2019. You and I are in the middle of a two-week tour of northwestern France. We're making it up as we go along, as we like to do.

We spend a night on the island of Mont-Saint-Michel. You love it. We spend a night at Fontevraud Abbey, where we eat in the Michelin-star restaurant. You do not love the meal. The food is fancy but you are unimpressed. It's too expensive. You cannot believe that I would spend money on this.

As we drive across France, our discussions are deep and weighty. You are weak and tired. Your mortality is heavy on your mind. Like me, you are filled with self-loathing — the crime you committed in your youth is always on your mind — so we talk at length about what makes a person good and what makes a person bad. Does one mistake define a life? How can you forgive yourself for the wrongs you've done to others? Neither of us has any solutions, but it helps to talk about these things with someone you trust.

It's COVID times. You make yourself scarce. You are immunocompromised, so you're unwilling to take risks. You are angry at your brother and his family because they don't take COVID seriously. You vent your frustrations to me. You love Bob but this is causing a real rift in your relationship.

You continue your treatments — chemotherapy and others. Often, these treatments leave you drained and exhausted. You cannot even bring yourself to play Everquest. (You've been playing Everquest for nearly twenty years. You have a regular group that you play with. The game is a big part of your life.)

“Make some videos for me,” you say. You tell me this again and again. So, I make some videos for you.

I record myself playing Hearthstone. I record myself playing World of Warcraft. I record myself playing Civilization. When you don't have the strength and focus to play games yourself, you watch me playing my games. I have no idea why you find this appealing, but you do. So, I continue to record videos for you.

It's December 2021. You've grown much weaker. You are tired all of the time. It's a struggle for you to walk. Still, you're doing your best to live life as normal.

“I want to visit you and Kim in Corvallis,” you say. You drive down one Saturday and bring with you boxes of craft supplies. We spend hours building Christmas ornaments and decorations. In the evening, you introduce us to “The Great British Baking Show”.

The next Saturday, I drive up to Portland. You and I spend the day baking Christmas cookies. You're weaker even than seven days ago, so you sit at the table and mix ingredients. I do all of the moving around.

baking Christmas cookies with Nick

“I think I'm going to leave my coins and cards to you,” you say. I'm uncomfortable with the conversation.

“Whatever you'd like,” I say. Over the years, you and I have continued to play Magic: The Gathering. You frequently play online. I play only when you and I attend “pre-release” tournaments. Maybe once each year, we'll spend a Friday night with other nerds, playing Magic in local game stores. You remain a better player than me, but my skills are improving. I rarely lose anymore, but I don't win much either. I earn a lot of draws.

It's 11 February 2022. We're packing your apartment. You've decided to move to Canby so that you can be closer to your brother and closer to the box factory. You and I are sifting through 21 years of Stuff. We're creating a pile to donate. We're stuffing boxes with clothes and mementos. Mostly, we're packing your collections.

You have boxes and boxes of Magic cards. You have boxes and boxes of ancient coins. You have travel souvenirs. You have old computer games and manuals. You have children's books. You have crafting supplies. You have far too much food for a single guy — and most of that food is long expired.

As we pack, we reminisce. We talk about the things we've done together. We talk about the things we want to do — the things we wanted to do. You show me your new fish. You've always loved aquariums. During the 1990s, you and I both set up aquariums at the same time, but we lost interest after a few months. Now, at the end of your life, you've decided you want to keep fish again. You enjoy telling me all about them.

It's 26 February 2022. I've returned to help you pack. It's slow going because you have no stamina. You find it difficult to make decisions. You are having trouble breathing. “Hector says I should go to the E.R. when I have trouble breathing,” you say, “but that seems excessive.”

After two hours, though, you've changed your mind. You ask me to drive you to the hospital, so I do. The pneumonia you had in January has returned. And the doctors tell you that the reason you're having so much trouble breathing is that your left lung has collapsed.

It's 04 March 2022. I'm at your apartment to help you finish packing. You are scheduled to move the next morning. The phone rings. It's one of your doctors. You put him on speaker so that I can listen. You are seated on the sofa, your head bowed. As the doctor talks, you rock back and forth. Back and forth. Back and forth.

The doctor tells you that a feeding tube is not an option. “I'm sorry,” he says. “We can't take the risk. The procedure is likely to kill you.” The doctor is audibly uncomfortable, yet he spends twenty minutes talking you through what comes next.

“I know this hurts to hear,” he says, “but you only have a few months left. Maybe a few weeks. It's hard to say.” In reality, your life will end in 53 days.

“At this point,” the doctor says, “you should make your life about you. You should eat what you want to eat. You should drink what you want to drink. You should go where you want to go. You should see the people you want to see.”

You rock back and forth. Back and forth. Back and forth. “Thank you,” you say. “I understand.” After the call has finished, you sit in silence for a few minutes. I watch from the kitchen.

“Well,” you say. “I guess we should finish packing.” So we do.

I spend the night at your apartment. This is the first of 29 nights I will spend with you during the final 53 days of your life. From here on out, either your brother or I — often both of us — will be with you nearly all of the time.

It's 07 March 2022. Yesterday was your 58th birthday. Today, we are unpacking at your new apartment. In a strange twist of fate, it's the other half of the duplex you and I rented together in 1991.

You've set up three aquariums in the apartment, including one devoted only to Mbuna cichlids from Lake Malawi. That tank is currently home to six 34-cent goldfish, but you and I will gradually purchase nineteen cichlids over the next few weeks.

Your brother and his wife come over to help us unpack the kitchen. You sit in your walker and sort the boxes. You hand food to us. Audrey handles the food you're keeping, tucking it into cupboards. Bob boxes some food to take home. I box the rest for me and Kim.

After Bob and Audrey leave, you begin experiencing severe chest pains. I drive you to the emergency room. You and I spend the night in the E.R. while doctors perform a variety of tests. I show you the videos I've made of our trips to Turkey and France.

These videos take your mind off your situation. I promise that I'll finish the video of our family trip to European Christmas markets, but I never get the chance to do so. You're discharged at five and we head home.

It's 13 March 2022. You and I drive around Portland to look at fish. Your aim is to have 25 cichlids in your 90-gallon tank, but we start with six.

In the afternoon, Bob and Hector come over. The three of us have planned an important conversation with you, and you can smell it from a mile away. “You're taking away my keys, aren't you?” you say. Yes, we are taking away your keys. Driving has become dangerous for you. But that's not all.

Hector asks if you've considered hospice. You become defensive. You don't want to do hospice because you're afraid that means surrendering to the disease. You don't want to surrender. You want to fight. You want to continue driving to the E.R. whenever you have a problem.

Bob and Hector and I know this isn't a workable solution. We try to talk some sense into you. You are resistant. You and Hector bicker like an old married couple. In the end, though, you agree to meet with hospice to learn more about it. By the time I see you next, you have enrolled in a hospice program. It makes everything so much easier.

Over the next six weeks, we all come to appreciate the hospice nurses and volunteers. They're amazing.

Also over the next six weeks, you have us watch hundreds of hours of the Aquarium Co-Op channel on YouTube. The channel plays almost constantly on the living room TV. Eventually, you have me drive you to purchase a new $300 TV so that you can hear and see the Aquarium Co-Op videos better.

At first, I'm annoyed by the constant fish videos. In time, however, I grow to love them. They're comforting. And the host (Cory) is precisely the kind of YouTube personality I'd like to be — only he talks about fish and I'd like to talk about health and wealth. Bob and Hector and I may be the folks providing the bulk of your in-person care, but you demand Cory as a constant presence too.

It's 17 March 2022. We're driving to Portland so that you can visit your friend Kathy — and so that you can buy more fish. We're talking about all of the loose ends in your life. I ask why it took you so long to complete your will. I ask why you haven't designated beneficiaries on your investment accounts. I ask why you haven't made a list of your logins and passwords.

“I'm in denial, J.D.” you say. I tell you that I get it.

The conversation turns to your new apartment and all of the boxes left to unpack. “It would really help if you took some of this stuff down to Corvallis,” you tell me. “I keep saying it's okay to take some of the boxes of coins and Magic cards now before I die,” you say. “Why don't you do it?”

I shrug. “I don't know,” I say. “I guess I'm in denial too.”

You grab my right arm, causing me to veer slightly as I steer. “Thank you, J.D.,” you say. “Thank you. I get it too.”

It's 22 March 2022. I've been away for three days taking care of Real Life in Corvallis. I've just returned to Canby. You are surly and sour. You are in pain. You are uncomfortable. You are finding it difficult to breathe. You are taking your frustrations out on everyone around you, even those that you love. Especially those that you love.

I can see that Bob is frustrated. “How do you feel about buying some new fish?” I suggest.

“I feel great about buying some new fish,” you say. I drive you around Portland for four hours. You're too weak to exit the car, so I go into the pet stores and film their selection of cichlids. Then I return to the car so that you can see what each store has in stock. Eventually, we buy two fish.

We're near Uwajimaya, the Asian grocery store, and you decide you want to try to go in. We get you out of the car, change oxygen canisters, then find a shopping cart for you to lean on. It takes fifteen minutes to walk from the snack aisle to the deli section. The journey exhausts you.

It's precisely midnight between 23 March and 24 March 2022. You call from the other room: “Hello? Help!” I spring from the couch. Bob leaps from his recliner. We're by your side in seconds.

“I can't breathe,” you whisper. Your voice is plaintive, desperate. Bob wraps his arms around you and lifts you to a seated position. I pull the Pittsburgh Steelers blanket off you and then turn the oxygen dial to five, the highest it can go. You sit on the edge of the bed, gasping.

“I can't breathe,” you say. Bob whispers to you, stroking your bony back. I go to the kitchen to see what drugs we have at our disposal. We gave you an ativan when you went to bed at ten. You're supposed to go a minimum of four hours between doses but I don't care. I get another one for you. I draw some morphine.

Nick's medication counter

“I can't breathe,” you say as you take the drugs. Bob calls the hospice nurse. It's Tori, which gives me a sense of relief. Tori is awesome. She asks for your symptoms. She asks what drugs you've had during the past 24 hours.

“He's on his fentanyl patch, of course,” I say. “He's had two ativan in the past two hours. He's had eight doses of morphine in the past day, but he hasn't had any since six in the evening. He refused a dose at eight and again at ten.”

You don't want to take the morphine. It makes you tired. It makes you muddle-headed. It makes you feel like you're losing. In the afternoon, you blew up at a different hospice nurse. “I thought you guys were supposed to make me comfortable,” you barked. “Well, I'm not fucking comfortable.” When she suggested you take more morphine, you protested. “I watched when we gave my brother more morphine and he slipped away. The same thing happened with J.D.'s dad.”

“I can't breathe,” you say, and Tori promises to call the doctor in charge of your case. The wait is agonizing. You can't breathe. You can't breathe. You can't breathe. Tori calls back a few minutes later and tells us to increase the morphine.

“Give him another dose now,” she says. “In an hour, give him a double dose. Going forward, that's the new dosage.”

Soon, you can breathe. The ativan relieves your anxiety. The morphine relaxes you. Bob lays you back on the bed and covers you with your Pittsburgh Steelers blanket. He and I sit in your bedroom, silent. We watch as you breathe. When you fall asleep, he returns to the recliner and I return to the sofa. We struggle to fall back asleep.

It's 27 March 2022. You're feeling stronger. Not strong, but stronger. You tell me that you'd like to go to the Coast, so we do.

You had harbored a hope of seeing Europe once more before you died. COVID dashed those hopes. You moderated your dreams, telling me that instead you'd like to make it to Atlanta to visit the Georgia Aquarium. That's another dream that will never come true.

You decided that you'd be content if you could simply see the Oregon Coast Aquarium in Newport. Even that dream looked impossible for a few days. Now there's a window of opportunity, so we seize it.

On the drive, we talk about music. I explain at length why I am such a fan of Taylor Swift and her music. “I hear what you're saying,” you say, “but I just can't get into her.” You're a creature of habit. You like what you've always liked, and that mostly means classic rock.

As we drive, we take turns asking Siri to play songs on the car stereo. We steer clear of Taylor Swift and focus on the music you like. We listen to:

  • Kansas – Dust in the Wind
  • Mountain – Nantucket Sleighride
  • Grand Funk Railroad – I'm Your Captain (Closer to Home)
  • Neil Young – Old Man
  • Trio – After the Gold Rush
  • The Decemberists – Crane Wife
  • Pearl Jam – Just Breathe
  • James – Sound
  • CSN – Southern Cross
  • Jefferson Airplane – White Rabbit
  • Deep Purple – Hush

When we reach the aquarium, you're too exhausted to go in. I park in the sun so that you can be warm. You sleep in the car for an hour while I sit outside watching the Portland Timbers game on my phone. When you wake, you feel better. We get you in the wheelchair for the first time, and I push you around for 90 minutes so that we can look at the fishes.

Nick at the Oregon Coast Aquarium

Afterward, you ask me to stop at the candy store. We spend $100 filling bags with salt-water taffy, almond roca, and chocolate-covered twinkies. I think it's been a long day and that we should head home. You don't want to go home. You want to see more of the coast.

I drive slowly along the shoreline. I drive through the touristy parts of town. I drive along the shoreline again. You're not hungry, but you want to get fish and chips. We stop to look up the best fish and chips spot that's open at 6 p.m. on a Sunday night. It's located in a strip mall 45 minutes north.

The manager is friendly and accommodating. When you tell him you're cold, he brings you a hot chocolate. You drink your cocoa with a bowl of clam chowder. I have one beer with some fish and chips. I give you one piece of fish. You think the food is delicious. As I'm wheeling you out the door, you make me stop and call over the manager. You tell him it's the best fish and chips you've ever had.

On the drive home, you sleep. When we reach the apartment, you're too weak to climb into bed on your own. I have to lift you. As I turn out the light, you whisper, “Thank you, J.D. Thank you for everything.” I sit on the couch and cry.

It's early morning 29 March 2022. The past 24 hours have been rough. You cannot walk without assistance. Your cannot find the words you want. You cannot get enough air. You go to sleep early.

Then, for no apparent reason, you wake at 2:30 and you are almost completely your old self again. You walk to the kitchen and rummage through the fridge. You pour a glass of chocolate milk. You ask to watch a movie.

I choose Arrival. “It's a beautiful film,” I tell you, forgetting that the beginning also features a death like the one you're experiencing. As we watch, I try to explain some things because I know this is the only time you'll ever see the film. (And, in fact, it may be the last film you ever watch.)

“This story is about memory,” I tell you. “And time. And how the two are interwoven. It's sort of non-linear at times.” When the aliens appear and begin communicating with their circular “sentences”, I tell you this is the central metaphor of the film.

You are awake and engaged for the entire movie. You find it fascinating. You ask questions. I give you answers. When the movie is over, you want a bowl of ice cream. You get up unassisted, pull the vanilla ice cream from the freezer, then add some strawberry syrup to several scoops of the stuff. You wolf it down.

“What should we watch next?” you ask.

“Dude,” I groan. “I need some sleep. I need to drive home in a couple of hours.” So, we go back to sleep. But as I drift off, I'm filled with regret. What am I doing? Why am I sacrificing this precious time with you? Sure, I'm tired, but so what? All your life, you've said, “You can sleep when you're dead.” Well, you soon will be dead — I can sleep then.

I look over to see if you're awake, but you're not. You've nodded off in your recliner. I'll simply have to savor the three hours I just got to spend with the normal you. (This moment and this film also inspire me to start documenting these moments with you, and those moments become this blog post.)

It's 31 March 2022. After 48 hours in Corvallis to rest and recuperate, I drive back to your apartment to relieve your brother. I'm hopeful that you'll be just as awake and alert as you were two days ago. You're not. In fact, things are grim.

You barely respond when I greet you. When I ask you questions, you gaze at me vacantly. When you do respond, it's a guttural whisper or nonsensical steam of consciousness.

“What about the cigarette butt?” you ask as I clean the coffee table.

“What?” I say, looking around. “What cigarette butt?” Nobody in your life smokes.

“What about the cigarette butt?” you say, pointing to the coffee table. “The white one. What about it?”

Nothing you say over the next hour makes any sense. “Look at her eyes. She looks like a bug. Is the new girl in my medicine? The fish, the fish, the fish.” You have trouble completing thoughts. But even when you complete your thoughts, what you say is a sort of word salad. Sometimes I can puzzle out what you mean to say. Mostly, I can't.

You become restless. You remove your oxygen tube and attempt to stand. I give you support. I walk you to the kitchen. You open the refrigerator. “Hold on,” I say. “I'll get you a chair to sit in.” I let go of you for only a moment — for only enough time as it takes to lean over and grab a chair from the table — but in that moment, you collapse to the ground. I manage to slide partway under you in an attempt to break your fall.

“Wow,” you say. Yes, wow. Fortunately, neither of us is hurt. It takes several minutes, but you manage to crawl to your hands and knees, and from there I'm able to lift you to standing. This time, I don't let go. We get you into the chair. You eat some seafood salad and some smoked salmon, then I help you stumble back to your recliner.

“I'm not qualified to do this,” I text Kim. “I don't know what I'm doing.”

You wake in the middle of the night to make lists. You make lists of things to do. You make lists of things to give away. You make lists of people to call. Because you're a cheap bastard, you write your lists on the back of old envelopes or grocery bags.

You pick up a pillow from the floor and hold it to your ear. Then you hold it to your other ear.

“What are you doing?” I ask.

“Why is this so loud?” you ask. “Is it a bomb?”

It's 03 April 2022. Nurse Diane shows you how to use adult diapers (or “briefs”, as she calls them). I expect you to be defeated by this. You aren't. You're surprisingly pragmatic about their use.

It's 08 April 2022. I arrive back at your apartment after several days in Corvallis. You're in much better shape than when I left you. You're cheerful. You're lucid. You're engaged.

You ask to the go the tulip fields, so I pack your wheelchair and meds and oxygen tank, then we load into the car. There's a large crowd at the flower farm despite being a cool Friday afternoon. Although you grew up maybe two miles from the tulip fields, you've never been here before.

I push you around from row to row. You admire the color. You point out your favorites. I point out mine. In the catalog, you note the bulbs I should plant for next spring. We suffer through a chilly rain shower, caught unprepared in the open. Then we admire the rainbow that follows. We can see both ends, but no pots of gold.

Nick at tulip fields

You're hungry, so we drive to El Chilito, your favorite taco stand. It takes you twenty minutes to decide what to order: tacos dorados. When we take them home, you manage to eat one taco, but the rest of the tacos (and all of the chips) go to waste over the next several days. You have no appetite.

It's 09 April 2022. After the hospice nurse visits, I tell you I'm going to go grab groceries real quick. Despite not having an appetite, you still dream of food. You are constantly having me add things to the shopping list: seafood salad, Greek yogurt, shrimp, apple juice, pretzels, black grapes (crisp, plump, juicy, and delicious).

I tell you I'll be gone maybe thirty minutes, but you ask me to hold up. You want to go shopping with me. First, though, can I bring you the coupons from the mailbox? I do. It takes you thirty minutes to look through the flyers. There's nothing that you want.

Then you decide you want to send flowers to your friend Kathy, who is also having medical problems. To do that, you need to know if she's home, so you want to call Tom to learn Kathy's status. You dial Johnny, your Everquest buddy, by mistake. You ask me if I can do something to make your phone less confusing. I try but it's not the kind of phone I use, so I can't understand the settings.

Three hours later — after several such digressions — we pack up and head to the grocery store. There, you're immediately distracted by the Easter candy. You want malted milk chocolate eggs. We find them. Then it takes more than an hour to work through your short list of groceries. You're fussy. You want to chat with the workers and customers. When the developmentally disabled fellow offers us help, you tell him you like his accent. He doesn't have an accent. He has a speech impediment.

Later in the evening, you decide that it's time to do a water change in the 90-gallon cichlid tank. Before we do the water change, you want to vacuum the gravel. You're not happy with how I'm doing the job (it's the first time I've ever done it), so you stand to do it yourself.

“You shouldn't be standing,” I say. “And you should be wearing your oxygen tube.”

“If you'd do this right, I wouldn't have to stand,” you tell me. I fume inside, but let it pass. This, I remind myself, is why I aborted my return to the family box factory: I couldn't abide your need for perfection from everyone (except yourself). My anger passes quickly.

You sit back in the wheelchair, then bend over to pick up a book. Immediately, you bolt upright.

“Something's wrong,” you say. “I can't breathe. I can't breathe. I can't breathe.” I scramble to get the oxygen re-attached. I dash to the kitchen for the morphine. I grab my phone.

“Call Hector,” you tell me. I call hospice instead. “Goddamn it, J.D., call Hector,” you say. I bring your phone to you so that you can call Hector while I speak with the hospice nurse.

Hector tries to calm you through breathing exercises. Hospice has me administer lorazepam and haloperidol. They'll relieve your anxiety and help you breathe — but not for fifteen minutes. You're panicking. “Where are you, Hector?” you ask. “Why aren't you here?”

“I'm home in Vancouver,” he says.

“You guys are useless,” you say. “Where's Bob?”

“Your brother is at the coast,” I tell you. “He's a couple of hours a way.” Bob and Audrey have spent the day with friends. They've just finished eating fish and chips at the same place you and I visited a couple of weeks ago.

“I'm surrounded by fools,” you say. “I can't breathe!”

The oximeter says that you can breathe. Your oxygen saturation is fine. Your pulse, on the other hand, is bizarre. It's 40. Or 220. Or 40. The reading is inconsistent, but it's always one of those two. I try to take your blood pressure with the automatic cuff. I get nine consecutive errors. Some of these are because you're agitated and won't sit still. But why am I getting the others?

At last, I get a reading: 60/44. I write the number on my hand. I call hospice again. “He's in A-fib. You've exhausted all your tools at home,” the nurse tells me. “Call 911.”

I call 911. I've never called 911 before. They send an ambulance. I've never been involved with an ambulance or paramedics before. They pull off your shirt and attend to you. They ask me questions. They verify your POLST. They load you up and drive you to the hospital. I follow a few minutes behind.

As I drive, I call your brother. He's in Salem, on his way back from the coast. He'll meet us at the hospital.

At the hospital, I am surprised to learn that they're releasing you almost immediately. Bob arrives, and we chat with the doctor in the emergency room. He tells us you had an attack of atrial fibrillation with rapid ventricular response — A-fib with RVR. The paramedics shocked you with cardioversion to “reset” your heart. You can go home now.

We're surprised but pleased. You spend less than twenty minutes total in the emergency room. I drive you home. You ask to listen to Queen. Siri makes some odd song choices. First, The Show Must Go On: “Does anybody know what we are living for?” Then, You're My Best Friend: “Oooh, you make me live.” Finally, Who Wants to Live Forever. I wince at the playlist, but you don't say anything.

It's 10 April 2022. The hospice nurse is here to follow up after last night's excitement. You've been drugged and out of it for the past twelve hours. You ask me to take you to the toilet.

“J.D.,” you whisper as I help you to the commode. “I'm afraid. I don't think I'll make it past today.”

After the nurse has gone you fall back asleep. You sleep for 33 of the 36 hours following your visit to the emergency room. At one point, you wake with a coughing fit. I'm by your side with morphine. You dutifully take it.

“How long?” you ask.

“How long what?” I say.

“How long is there left to live?” you ask.

“I don't know,” I say, stroking your back. The answer to your question is: fifteen days. You have fifteen days left to live. But truly? When it's all over, we'll be able to look back and say that your weekend trip to the E.R. was the true beginning of the end. From here on out, you're not so much living as you are dying.

It's 11 April 2022. Hospice nurse Mary arrives. She's your primary nurse, but I've never met her. She's even more amazing than Tori. Even more amazing than Helen. She can tell that the mood in the house is gloomy. Our morale is dismal. You are defeated. You are waiting around to die.

Mary is having none of it. “I'm not supposed to say this sort of thing,” she confides, “but you are the one in charge. You are the one calling the shots. Who cares what the doctors tell you? If you want to fight, fight.”

“I do want to fight,” you mutter.

“Then we're here to help you,” your brother says.

Mary's visit lasts less than an hour, but has a profound effect. The morale in the house has gone from low to high. We have a plan. We're going to fight.

A visit from hospice

This enthusiasm is short lived. You lapse into delirium. You are frustrated and angry. You sleep most of the time. Bob and I wheel you from room to room at your request, but you have no energy to do anything. You eat little. Lucid conversation becomes rare.

At one point, you and I attempt to watch As Good As It Gets. It's been your favorite movie for decades. You think Jack Nicholson is hilarious in the film and you frequently quote Melvin Udall's lines, such as:

Where did they teach you to talk like this? In some Panama City “sailor wanna hump-hump” bar? Or is it getaway day and your last shot at his whiskey? Sell crazy someplace else. We're all stocked up here.

But you don't have the energy and attention to watch the movie. You fall asleep after twenty minutes. When you wake an hour later, you're confused. “What are we watching?” you ask. I don't try to explain.

It's 18 April 2022. You have returned from a weekend in “respite care”. You volunteered to stay in a hospice facility for a few nights so that Bob could celebrate Easter with his family and so that I could celebrate my ten-year anniversary with Kim.

Now, though, you are completely disoriented. You don't know where you are. You don't know why you're medicated. You don't know why you're confined to bed. You repeatedly try to climb down, but you lack the strength to do so. You are agitated and hostile, accusing me and Bob of playing a joke on you.

It's 19 April 2022. You remain agitated. You curse us. You demand that we get you out of bed. You demand that we take you to the kitchen, then to the living room, then outside to look at your flowers, then inside because it's too cold, then outside again because you've forgotten we were outside just five minutes ago.

Bob attempts to get some work done, but it's impossible. For ten hours, you are agitated and irritable. You are delirious. You try to bite Bob. You throw feeble punches at me. You are clearly frustrated, like a caged animal who does not understand its plight.

You have a few brief moments of lucidity throughout the day. In these, you tell us that you love us and appreciate us.

Nick telling Bob he loves him

Mostly, though, you are lost. “What happened?” you ask. “You have cancer,” we say. “I do?” you say. “Will I live?” you ask. Bob and I shake our heads.

Your agitation grows throughout the day. Again you accuse us of playing a cruel joke on us. You call Hector and berate him for pranking you. You call Kathy and do the same. Bob and I are at our wits' end. We call hospice and they send out Nurse Margaret.

Nurse Margaret gets permission for us to administer phenobarbital, which we do at six in the evening. Within fifteen minutes, you have calmed. Soon you grow groggy. You fall asleep.

It's 20 April 2022. You wake grumpy. Bob and I are reluctant to administer the phenobarbital because it knocks you out. But when we don't administer it, you are agitated. He and I discuss things with the hospice nurse and decide that we have to use the phenobarbital. Before we give you the next dose, however, we ask if you want anything to eat. “Eyes uh,” you say.

You want ice cream. I bring you a bowl of chocolate gelato. Bob feeds you three bites before you fall asleep. This is the last thing you will ever eat.

Hector comes to visit. So do your nieces and nephews. Despite the voices and laughter throughout the apartment, you do not stir.

Hector and Bob comfort Nick

In the late afternoon, you wake for a few moments. There's a crowd around your bedside. You look from face to face. It's not clear that you recognize us. “Nick, how are you doing?” Hector asks. “It's me, Hector.”

Hector points to your niece. “Do you know who that is?” he asks.

“Janissa,” you whisper.

Hector points to me. “Do you know who that is?” he asks.

“J.D.,” you whisper.

You make a move as if to hold Janissa's hand, but when she reaches out you flip your middle finger and grin.

These are the last words you ever say. This is your last conscious action. You fall back asleep. You will never wake again.

For the next several days, Bob and I sit by your bedside. We share childhood memories. He talks to me about his faith. I talk to him about my lack of faith. Bob plays hymns for you on YouTube. I play Taylor Swift. We watch the cichlids in your aquarium. Bob and I administer your care to the best of our abilities. We don't really know what we're doing but we love you and we do what we can. The hospice nurses praise us but we're not sure we deserve their kind words.

Hector drives down to see you nearly every day. He spends hours at your bedside. He cleans and grooms you. He adjusts your position to make you more comfortable. He chatters at you. When Hector is there, Bob and I run errands. We shower. We eat. Other friends and family come to see you and to sit by your side.

When we're bored, Bob and I begin doing the things we know will need to be done. We begin packing your stuff. We begin gathering account information and passwords. We begin cleaning the house. These actions no longer seem like a betrayal. They seem like acceptance.

I will come into your bedroom to find Bob asleep at your side, his hand in yours. Bob will come into your bedroom to find me asleep at your side, my hand in yours.

I sleep in a recliner next to your bed. Each morning, my back is sore but I don't care. I want to be close enough to hear changes in your breathing. Some nights, Bob sleeps in an office chair next to your bed.

We await the inevitable.

22 April 2022, 01:09 a.m.

It's 25 April 2022. Bob wakes me at five minutes before seven: “I think he's going.”

Your vitals are weak and erratic. I wake your nieces and nephews, who have stayed the night with us. I administer your meds, which are due at seven anyhow. Your vitals stabilize. We breathe a sigh of relief.

The family spends the morning sitting around your bedside chatting, much as we have all week.

Nurse Mary comes at ten for your daily visit. The kids leave the room while she and Bob and I talk about your condition. We adjust your bed. We re-arrange the cushions. We take your vitals. Taylor Swift's “Red” is playing in the background.

Mary removes your oxygen mask in order to clean your mouth. She and Bob lean in close. I am standing at the foot of your bed. Your oxygen saturation drops from 67 to 37 but your pulse stays steady at 105. The three of us focus on your mouth as Mary explains what she's doing with the cotton swabs. She wipes with one swab. She wipes with a second. I glance down at the pulse oximeter. There are no numbers there. The pulse line is flat. I look at your chest. You are no longer breathing.

“He has no vitals,” I say.

Bob and Mary step back from your bed. “He's gone,” says the nurse. And you are. You are gone. It is 10:15 on a Monday morning, and — just like that — you have left this world.

You were my cousin. You were five years older than me. You and I shared similar temperaments, similar interests, similar philosophies. We read similar books. We played the same games. We confided our deepest secrets with each other. We encouraged each other. We called each other out on our bullshit. You taught me much about life. I did my best to teach you. You were my cousin. You were my friend. Get Rich Slowly would not exist without you.

14 Apr 12:32

Dive Into the Process Behind Crafting a Kinetic Humpback Whale That Swims with a Hand-Crank

by Grace Ebert

Floating atop swirls of whimsically cut wooden waves, a miniature humpback springs to life with the help of a simple hand-crank. The kinetic whale is part of a growing marine menagerie designed by Sylvain Gautier, who whittles and assembles the mechanical sculptures from his workshop near Toulouse. This particular creature is carved from basswood, with a walnut frame and acacia base, and is named “Wooden Migaloo,” “after the albino humpback whale often seen on the coasts of Australia,” he writes. Get a glimpse at Gautier’s process in the short making-of video above, and head to YouTube for more of his aquatic automata. (via The Kids Should See This)

 

30 Mar 14:26

Earthen Messages: Nikola Tesla in his Laboratory (ca. 1899)

This photograph of Tesla, produced for The Century Magazine, shows the inventor seated beneath his giant “magnifying transmitter”, arcing 22-foot-long bolts of electricity.

08 Mar 15:03

What Is the ‘Corned’ in ‘Corned Beef,’ Anyway?

by Lillian Stone
Bgarland

“YA GOT CORNED, FOOL!”

Of all the adjectives in the world, “corned” may be the best. It’s an unusual state of being in the sense that it’s only applicable to beef. After all, you don’t hear about a “corned” drumstick or a “corned” candy cane. You don’t soak your kid brother in brine and scream “YA GOT CORNED, FOOL!” You’ll never see a…

Read more...

02 Mar 18:12

Facebook Researchers Find Its Apps Can Make Us Lonelier

by msmash
An anonymous reader shares a report: When Facebook hosted an internal competition a few years ago to develop new product ideas, a handful of employees teamed up to build a robot named Max. Shaped like a small, upside-down bowl, Max was designed to be a companion -- a physical device humans could talk to that could detect their mood, according to two people familiar with the hackathon project. The creators gave Max little ears and whiskers so the device would be more fun and approachable, like a cat. Max never evolved beyond the hackathon. But engineers and researchers at the company, now called Meta Platforms, are still grappling with the thorny problem the experimental robot cat was designed to combat: loneliness. Meta, with a mission to help people connect online, has discovered through internal research that its products can just as easily have an isolating effect. As the company struggles to retain and add users for its already-massive social networks, making sure those people are happy is key to Meta's financial success. Loneliness has come into sharper focus at Meta during the Covid-19 pandemic, as people use its social media apps as alternatives to in-person experiences. Meta has promoted its role as a digital connector, running ads touting its groups and messaging products. "We change the game when we find each other," reads a tagline for one of its recent commercials. But internally, employees are questioning their products' impact on mental health.

Read more of this story at Slashdot.