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When Marvel Went FULL 80s Chaos: The Insane 1987 Macy’s Parade Float We All Forgot! Step back into Macy’s 1987 Thanksgiving Day Parade, when Marvel unleashed one of the most unbelievably bonkers floats ever created. The Marvel Universe Float rolled through NYC looking like Doctor Doom’s steampunk fortress —...

268,421 views • 8 months ago •via X (Twitter)

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A UFO chased these four men through the wilderness—in the middle of the night. “It was alive.” “It was some sort of plasma.” “I saw this neon blue cone of light coming toward us … ” Then, everything went dark. That’s the last thing they remembered. Charlie Foltz, Chuck Rak, and twin brothers Jack and Jim Weiner were camping in the Allagash Wilderness in 1976. They went canoeing on a lake in the middle of the night, with only the light of their campfire to guide them back. That’s when a plasma-like UFO found them. Charlie and Jim just sat down with Jesse Michels to share this wild story: Foltz: “We all turned and looked toward the back of the canoe, and I see this aspirin tablet-sized white circle.” “It makes a left turn, and then it starts coming straight toward us.” “As it gets closer, the tops of the trees are illuminated.” “When it was about less than 100 yards away from us … I thought, I wonder what the hell it’ll do if I flash an SOS at it.” “And then this thing stopped.” “No sound whatsoever.” “All of a sudden this big cone of light, like a neon blue light … starts from the bottom of this sphere coming out across the lake, toward the canoe.” “All I could hear behind me were Jack and Jim screaming, ‘paddle, Charlie, paddle!’” Weiner: “And it had this weird kind of life to it.” “The surface of this thing was like roiling.” Michels: “Like it was some sort of plasma—” Weiner: “Yeah.” Foltz: “This thing had a halo around it.” “And the sphere itself was in constant motion.” Weiner: “The other guy with us, he was just like catatonic with the paddle across his legs and just stared out.” Foltz: “It seemed like only a few moments from the time we started paddling to the time that Jack and Jim and I were … standing in front of the canoe on the sand of the beach.” “And this sphere had followed us all the way across the lake.” Weiner: “The last thing I remembered before we were suddenly at the shore was looking back to see where this thing was.” “It was right behind us, and I was like, ‘oh, Christ, we are not gonna make it back.’” “That’s the last thing I remembered until we [were back] on the shore of the campsite.” Michels: “So there’s a little blackout period, missing time in your memory.” Weiner: “Yeah.” Foltz: “I had a very vivid memory of my eyes focused on that campfire.” “Because that was the only indicator of where our campsite was.” “When we got to shore, the three of us were standing in the sand, I reached down … and picked up the flashlight again, and I gave it another SOS.” “This time, all it did was it just went away from us to the opposite side of the lake.” “It ascended up and away at a 45-degree angle.” Weiner: “I remember it hovering right over the water, and this cone of light was coming straight down under it on the water.” “And it was close.” “I remember thinking … I could hit this with a rock.” Michels: “Could you make out how big it was and the shape?” Foltz: “It was spherical.” Weiner: “Like 80 feet in diameter.” Jesse Michels American Alchemy

Holden Culotta

31,570 views • 2 months ago

🔥 Antifa Militant Eric G. King: “I Was Arrested After Throwing Molotov Cocktails at a Congressman’s Office” “I was arrested in 2014 after throwing Molotov cocktails at a congressman’s office in Kansas City. I had gone to Ferguson to participate in the uprising… when I came back into the city, no one in Kansas City was really open to direct action, or at least no one that I knew. And so we had our little tiny affinity group and got to work. And when that wasn’t really raising the temperature… I decided to take it one step further.” “So I was charged with… possession of an incendiary device. Using an incendiary device, using an incendiary device against a government building, and then possession of an incendiary device in a government building. So yeah, it’s all the same like it’s all one thing like you threw a fucking bottle… but they could stack charges, right. So it was a 15 year mandatory minimum… we took the non-snitch plea, got it down to just the one charge with a mandatory minimum of 10. And so I ended up doing 9 years and 5 or 4 months of that sentence. 7.5 of that was in solitary.” “When I got locked up, I considered myself like a Alfredo Bonanno, like insurrectionist type of anarchist… that was the foundation of my anarchism… it was based on like toppling that system as opposed to the system in here… it was through political like direct action and violence and all this jazz.” “I wanna build a community around me to where the people practice mutual aid, practice solidarity, practice looking out for each other, because people did that for me and I did that inside prison too.” A Molotov attack on a sitting U.S. congressman’s office should be a major part of our national memory. The fact that it isn’t says a lot about what gets buried in the story of political violence in America.

Stu Smith

36,457 views • 10 months ago

William Lustig on how Larry Cohen & he got the idea for "Maniac Cop" (1988) & how he got Bruce Campbell to star in the movie: "Larry Cohen was in New York shooting a movie – I think it starred Billy Dee Williams – and he had a falling out with the producers. So he left the project before it was finished. It was a snowy February in 1987, I’ll never forget it, and I was closing my apartment in New York. I had sublet it for a couple of years and now I was emptying it out. He calls me and says: let’s have lunch. And during that lunch the idea of 'Maniac Cop' came up. Larry asked me how come I never did a sequel to 'Maniac' (1980). And I told him I didn’t think it could be sequalized. At the time you had all these movies with COP in the title: 'Beverly Hills Cop' (1984), 'RoboCop' (1987), so Larry asked me: what about 'Maniac Cop'? So I said: Oooh, that sounds good! Then with that title and the copy line – You have the right to remain silent… forever! – but without a script or anything I started shooting the St. Patrick’s Day Parade the next month. I called Bruce and told him: Look, I’m doing a movie called 'Maniac Cop'. I’d like you to star in it. I don’t have script, but I would like for you to fly to New York and I wanna shoot some footage of you against the St. Patrick’s Day Parade. And I said: bring clothes that we can later duplicate. And that’s how it worked. While Larry wrote the script I put together the financing and everything. We shot the rest of the movie in August." (William Lustig's interview with Roel Haanen, 2019)

DepressedBergman

21,573 views • 4 months ago

The Lyrics of Imperfect Mew : Every moment in the song is based on a true story. 🗣️: Can you share some of it with us? Mew : Looking at the lyrics, the first verse starts from the moment of waking up. I wrote it when we were on a cruise, we went to the Caribbean together. The image of sunlight shining on his face, that messy, bedhead look right after waking up... just how incredibly cute he was 😆 Mew : The next verse talks about things we’ve experienced together, such as when we went traveling and missed a train. When we look back on it now, it’s actually funny. Or when it suddenly started raining and we didn’t have an umbrella, so we had to take off a shirt and cover ourselves. In those moments, the imperfection somehow became perfect for us. 🗣️: So this is all based on a true story? Mew: All of it is real. 🗣️: Not a scene from a series? 😂 Mew: No, it really happened. The train incident happened in Munich. Usually, he’s the one who checks the schedule. Like, where to go, which platform and what time. But that day, it looked like he read it wrong, so we rushed because we thought we were going to miss it. But actually, he didn’t read it wrong, the train changed platforms. We had to go to another one. It was funny. No one was at fault… the platform was the one that was wrong 😂 Mew : When I told him which moments behind the song, he related to it so much. He listens to it every night now. He probably knows the lyrics better than I do 😂 Mew : Usually when I write a song, I let him listen to it first. He relates to this one so deeply that he especially loves it.

💞

20,628 views • 5 months ago

We are used to seeing the 1920s in black and white. This is what London actually looked like, in full color, more than a hundred years ago. What you are watching comes from The Open Road, filmed in the summer of 1924 by a British cinematographer named Claude Friese-Greene. It is some of the earliest colour film of London ever made. What I love about this film is that the color collapses the distance between us and them. The black-and-white footage we are used to is beautiful, but it makes the past feel like another world. Colour changes that. Red buses, a blue sky, the green of the trees, and suddenly 1924 does not feel like history at all... What most people don't know is that this footage was one man's attempt to finish his father's life's work: Claude was the son of William Friese-Greene, one of the pioneers of early cinema. Together they had spent years developing a way to capture true color on film, using a system of spinning red and blue-green filters in front of the camera. The process was flawed. It flickered, it produced strange color fringes around anything that moved too fast, and it was soon overtaken by better systems and forgotten. Claude set out on a journey by car from Land's End to the north of Scotland, filming the whole country in his imperfect color, trying to prove that his father's dream could work. For decades the footage sat largely unseen, its flaws making it almost unwatchable. Then, in our own century, the British Film Institute used digital technology to clean away the flicker and the fringing, revealing what Friese-Greene had actually captured: a lost world, brought back to life in color.

James Lucas

170,198 views • 23 days ago

I see the player you mean. PLAYERNAME? Yes. Take care. It has reached a higher level now. It can read our thoughts. That doesn't matter. It thinks we are part of the game. I like this player. It played well. It did not give up. It is reading our thoughts as though they were words on a screen. That is how it chooses to imagine many things, when it is deep in the dream of a game. Words make a wonderful interface. Very flexible. And less terrifying than staring at the reality behind the screen. They used to hear voices. Before players could read. Back in the days when those who did not play called the players witches, and warlocks. And players dreamed they flew through the air, on sticks powered by demons. What did this player dream? This player dreamed of sunlight and trees. Of fire and water. It dreamed it created. And it dreamed it destroyed. It dreamed it hunted, and was hunted. It dreamed of shelter. Hah, the original interface. A million years old, and it still works. But what true structure did this player create, in the reality behind the screen? It worked, with a million others, to sculpt a true world in a fold of the [scrambled], and created a [scrambled] for [scrambled], in the [scrambled]. It cannot read that thought. No. It has not yet achieved the highest level. That, it must achieve in the long dream of life, not the short dream of a game. Does it know that we love it? That the universe is kind? Sometimes, through the noise of its thoughts, it hears the universe, yes. But there are times it is sad, in the long dream. It creates worlds that have no summer, and it shivers under a black sun, and it takes its sad creation for reality. To cure it of sorrow would destroy it. The sorrow is part of its own private task. We cannot interfere. Sometimes when they are deep in dreams, I want to tell them, they are building true worlds in reality. Sometimes I want to tell them of their importance to the universe. Sometimes, when they have not made a true connection in a while, I want to help them to speak the word they fear. It reads our thoughts. Sometimes I do not care. Sometimes I wish to tell them, this world you take for truth is merely [scrambled] and [scrambled], I wish to tell them that they are [scrambled] in the [scrambled]. They see so little of reality, in their long dream. And yet they play the game. But it would be so easy to tell them... Too strong for this dream. To tell them how to live is to prevent them living. I will not tell the player how to live. The player is growing restless. I will tell the player a story. But not the truth. No. A story that contains the truth safely, in a cage of words. Not the naked truth that can burn over any distance. Give it a body, again. Yes. Player... Use its name. PLAYERNAME. Player of games. Good. Take a breath, now. Take another. Feel air in your lungs. Let your limbs return. Yes, move your fingers. Have a body again, under gravity, in air. Respawn in the long dream. There you are. Your body touching the universe again at every point, as though you were separate things. As though we were separate things. Who are we? Once we were called the spirit of the mountain. Father sun, mother moon. Ancestral spirits, animal spirits. Jinn. Ghosts. The green man. Then gods, demons. Angels. Poltergeists. Aliens, extraterrestrials. Leptons, quarks. The words change. We do not change. We are the universe. We are everything you think isn't you. You are looking at us now, through your skin and your eyes. And why does the universe touch your skin, and throw light on you? To see you, player. To know you. And to be known. I shall tell you a story. Once upon a time, there was a player. The player was you, PLAYERNAME. Sometimes it thought itself human, on the thin crust of a spinning globe of molten rock. The ball of molten rock circled a ball of blazing gas that was three hundred and thirty thousand times more massive than it. They were so far apart that light took eight minutes to cross the gap. The light was information from a star, and it could burn your skin from a hundred and fifty million kilometres away. Sometimes the player dreamed it was a miner, on the surface of a world that was flat, and infinite. The sun was a square of white. The days were short; there was much to do; and death was a temporary inconvenience. Sometimes the player dreamed it was lost in a story. Sometimes the player dreamed it was other things, in other places. Sometimes these dreams were disturbing. Sometimes very beautiful indeed. Sometimes the player woke from one dream into another, then woke from that into a third. Sometimes the player dreamed it watched words on a screen. Let's go back. The atoms of the player were scattered in the grass, in the rivers, in the air, in the ground. A woman gathered the atoms; she drank and ate and inhaled; and the woman assembled the player, in her body. And the player awoke, from the warm, dark world of its mother's body, into the long dream. And the player was a new story, never told before, written in letters of DNA. And the player was a new program, never run before, generated by a sourcecode a billion years old. And the player was a new human, never alive before, made from nothing but milk and love. You are the player. The story. The program. The human. Made from nothing but milk and love. Let's go further back. The seven billion billion billion atoms of the player's body were created, long before this game, in the heart of a star. So the player, too, is information from a star. And the player moves through a story, which is a forest of information planted by a man called Julian, on a flat, infinite world created by a man called Markus, that exists inside a small, private world created by the player, who inhabits a universe created by... Shush. Sometimes the player created a small, private world that was soft and warm and simple. Sometimes hard, and cold, and complicated. Sometimes it built a model of the universe in its head; flecks of energy, moving through vast empty spaces. Sometimes it called those flecks "electrons" and "protons". Sometimes it called them "planets" and "stars". Sometimes it believed it was in a universe that was made of energy that was made of offs and ons; zeros and ones; lines of code. Sometimes it believed it was playing a game. Sometimes it believed it was reading words on a screen. You are the player, reading words... Shush... Sometimes the player read lines of code on a screen. Decoded them into words; decoded words into meaning; decoded meaning into feelings, emotions, theories, ideas, and the player started to breathe faster and deeper and realised it was alive, it was alive, those thousand deaths had not been real, the player was alive You. You. You are alive. and sometimes the player believed the universe had spoken to it through the sunlight that came through the shuffling leaves of the summer trees and sometimes the player believed the universe had spoken to it through the light that fell from the crisp night sky of winter, where a fleck of light in the corner of the player's eye might be a star a million times as massive as the sun, boiling its planets to plasma in order to be visible for a moment to the player, walking home at the far side of the universe, suddenly smelling food, almost at the familiar door, about to dream again and sometimes the player believed the universe had spoken to it through the zeros and ones, through the electricity of the world, through the scrolling words on a screen at the end of a dream and the universe said I love you and the universe said you have played the game well and the universe said everything you need is within you and the universe said you are stronger than you know and the universe said you are the daylight and the universe said you are the night and the universe said the darkness you fight is within you and the universe said the light you seek is within you and the universe said you are not alone and the universe said you are not separate from every other thing and the universe said you are the universe tasting itself, talking to itself, reading its own code and the universe said I love you because you are love. And the game was over and the player woke up from the dream. And the player began a new dream. And the player dreamed again, dreamed better. And the player was the universe. And the player was love. You are the player. Wake up.

KikiLove1111

18,309 views • 3 years ago

🐻 Oh the story about Chanel the cat was really shocking. 🐹 What Chanel the cat? 🐻 So there is so much stuff inside our dorm because there were five girls living there. At the time, Wendy was left at the dorm while Joy and I went out to watch a movie. Yerimie opened the main door because she was gonna go out when something scurried inside. At the time, Yerim was really scared of animals. Like she was just scared of animals themselves. So they texted 'something entered the dorm!' 'It seems like an animal entered the dorm'. In real-time, Wendy texted that it kept going around scratching at the door. Yerimie was so scared she couldn't go out because she didn't know what kind of animal it was. Meanwhile, in Sooyoung and I's case, we love animals so we were like 'Let's go back quickly and check!' At first we thought it was a puppy, because puppies are cute. So we were like, let's try to find it! But no matter how we looked, we couldn't find it. Since there was so much stuff, we couldn't find it even as we searched every corner. It just wouldn't come out. Then I kept hearing this meowing sound from somewhere. So we tried luring it out with some food but even so, it wouldn't come out. Then in one corner, we saw a white cat. Anyone looking at it could tell it was an expensive one. It's a Cheongdam cat, so of course! That's why we called it Chanel. It really felt like a 'Chanel'. So we were like 'Chanel~ Chanel~ come on out~'. We looked for the owner. We tried talking to the maintenance office and found that its owner lived in the same neighborhood. So we brought it back.

KSG Updates

15,415 views • 1 year ago

– #ENTROPY – Mew : The theme of this song is space. It tells the story of ENTROPY, one of the fundamental concepts in thermodynamics. There is a theory called "Heat Death (of the Universe)", which is the idea that all heat energy in the universe eventually fades away, meaning that the universe ultimately reaches its end. Mew : 😂 It feels like a physics class right now. Put simply, if we know that the universe will come to an end one day, would we still choose to maintain our relationships with the people beside us, knowing that everything will eventually come to an end anyway? Mew : The meaning is very deep and far-reaching. I'd like everyone to stay tuned and see how it's conveyed through the song. Mew : I both wrote and composed the song myself. 🗣️: What part of the universe were you in when you wrote these lyrics? Mew : I felt drawn to the idea that every relationship eventually reaches an end, no matter what kind of relationship it is. Whether it's parting ways or finally being separated by death, it's still an ending. But if we already know that ending is coming, what will our relationship be like from now until that moment arrives? I wanted the concept of "the end" to feel incredibly vast, so I thought of the universe. Then I looked into theories about the collapse of the universe and incorporated those ideas into this song. 🗣️: Was it difficult? Even hearing the concept makes me feel like I need to take notes. Mew : I feel like this is really about life. It's about parting ways. I wanted to interpret separation in a way that creates a clear image, both in terms of relationships and within a space theme. I’d like everyone to give it a listen.

💞

21,035 views • 1 month ago

"'Caddyshack' (1980) was a little disappointing when it came out and now it's just a miraculous irony that people have continued to embrace the film and love it." --- Harold Ramis Full Excerpt: "The fact that people are still watching 'Caddyshack' (1980) & showing it to their kids, their grandchildren and still talking about it amazes me because when the movie came out, we actually were a little disappointed because Doug Kenney and I had just done 'Animal House' (1978) and we were so arrogant at the time as we were writing 'Animal House' with Chris Miller. We would actually think to ourselves that it would be the most successful comedy of all time; which it turned out to be . It was like a grandiose delusion that was turned real on us. So then we thought well now we'll do 'Caddyshack' & that it will be the most successful comedy ever. we will do better than 'Animal House' and it didn't. It did half as well and a lot of critics scorned us. The New York Times called it an "amiable mess" which I kind of liked. I thought "all right I'll take amiable and the mess I can live with." So, it was a little disappointing when it came out and now it's just a miraculous irony that people have continued to embrace the film and love it. I once recognized the strange fact that when people used to read TV Guide and they would rate movies. 'Caddyshack' was a two-star movie for the first 10 years. Then at some point I noticed that it got a third star in the same publication and I thought "maybe it's like wine, the longer you keep it in, it just gets a little better."" (Harold Ramis' interview to AFI, 2009)

DepressedBergman

42,447 views • 5 months ago

“It was an advanced intelligence.” “When he looked into its eyes, it read his mind.” This is the most well-documented UFO crash retrieval ever. And a neurosurgeon who came face to face with a being with “red eyes” just revealed his shocking story: In 1996, a UFO crashed in Varginha, Brazil. A being with red eyes and oily skin was spotted by three young girls—then it was captured by the military and taken to a local hospital run by Dr. Italo Venturelli. Jesse Michels: “You have a person whose credentials are unimpeachable. He runs a chain of hospitals.” “He works on people’s brains as a neurosurgeon.” “He’s a concert pianist.” “And because he’s had a couple of life-threatening illnesses, he comes out and speaks.” “What does he say about his interaction with the being?” James Fox: “The being was very calm.” “It had sort of acquiesced to being in captivity.” “It wasn’t suffering, it wasn’t in pain.” “And he said when he looked into the eyes of it, it read his mind.” “Like it could just read all of his thoughts.” “He’s like, ‘it was an advanced intelligence.’” “I kept saying, ‘what do you mean by that?’” “He goes, ‘there’s nothing here on Earth like it.’” “He called it like an angel.” “One of the last things he said was, ‘there’s so much to learn from the eyes of that being.’” “And you hear other cases in the wild where people talk about looking in the eyes of the creature.” “Ruwa, Zimbabwe.” “Socorro, New Mexico.” “I remember the wife of Lonnie Zamora looking at me and she goes, ‘I don’t know what happened when he looked at that creature, but he was never the same.’” “There’s some communication that occurs with the eyes.” Michels: “What did he say about the physical characteristics?” Fox: “Big head, almond-shaped eyes, they were red.” “The skin was more white than brown.” Jesse Michels James Fox

Holden Culotta

21,607 views • 7 months ago