I'm about to die.
RIP me.
Oh my God.
Michelle Obama is a Wonder Woman,
and I look up to her so much.
She is my idol.
OK, here we go.
On the count of three.
One, two, three, lift.
[gasping]
Ooh!
Nice!
Ahh!
MICHELLE OBAMA: It's a mystery box inspired by the White House
Kitchen Garden.
OK.
One of my greatest passions is making sure
that kids like you have the nutritious food
you need to grow up healthy.
So for your mystery box challenge,
I'm asking all of you to come up with an original recipe that's
healthy and follows the MyPlate symbol,
filling half your plate with fruits and veggies and the rest
with whole grains, lean protein, and dairy.
Michelle Obama wants me to cook vegetables.
Not happening.
I don't like vegetables.
They're evil.
For more infomation >> This Mystery Box Is Inspired By The White House Kitchen Garden | Season 5 Ep. 6 | MASTERCHEF JUNIOR - Duration: 1:20.-------------------------------------------
10 Experiments that Almost Killed Millions of People - Duration: 12:13.
For more infomation >> 10 Experiments that Almost Killed Millions of People - Duration: 12:13. -------------------------------------------
BMW 1 Serie 116I BUSINESS+ SportLine/ NaviProf/ Xenon/ ECC/ PDC V+A - Duration: 1:03.
For more infomation >> BMW 1 Serie 116I BUSINESS+ SportLine/ NaviProf/ Xenon/ ECC/ PDC V+A - Duration: 1:03. -------------------------------------------
iPhone 7 – Sticker Fight – Apple - Duration: 1:01.
♪ Boys Are Boys and Girls Are Choice by The Monks ♪
♪
♪ Boys are boys and girls are joys. ♪
♪
♪ To you and me they're more than toys. ♪
♪
♪
[MESSAGE TONE]
♪
♪ Gonna find one so I won't be lonely ♪
♪ She'll be mine forever only. ♪
♪ And when I do, it'll be all right. ♪
♪
♪ Boys are boys and girls are joys. ♪
-------------------------------------------
Can You Really Multitask? - Duration: 4:40.
Maybe you're driving home from work and traffic's a little heavy, so you decide
to call your mom.
Or maybe you're watching SciShow while doing some calculus homework.
And it seems like both tasks are going well enough, since you might consider yourself
good at multitasking.
Sound familiar?
Sure, you might think you're doing well.
But as it turns out, you're just not noticing your mistakes.
According to lots of psychology studies – from researchers ranging from the University of
Michigan to Stanford – when you think you're multitasking, you aren't actually doing
two tasks at the same time.
Instead, you're switching between them quickly so that you don't even notice.
And, in the process of switching, you're taking longer and making more mistakes on
both things than if you were doing one at a time.
So, why can't we multitask?
Your brain just isn't designed to do two things at once, and that has to do with your
brain's executive control processes.
These processes take place with help from your prefrontal cortex, the brain region you're
using to concentrate right now.
And they're responsible for most of your control and decision-making.
And you might be thinking "Hank, how are you so sure I'm concentrating right now?"
It's because you are hearing what I'm saying!
And if you are not, you are not concentrating.
So I know!
Psychologists think executive control processes have two distinct phases: goal shifting and
rule activation.
In the goal shifting phase, your brain concentrates on doing Task A instead of Task B.
And in the rule activation phase, your brain focuses on turning off the rules it needs
for the first task and turning on the rules for the next one.
So, in the example, one study asked participants to multitask by solving simple math problems
while also classifying different shapes.
So first, your brain might work on the math problems instead of sorting shapes.
It would focus on the rules for how to do math – like order of operations or how to
add numbers – instead of the rules for choosing circles or squares.
And when you switch tasks, first your brain would have to shift goals from math to shapes,
then it would have to recall the rules to classify shapes.
Going through these stages helps your brain shift between tasks without you realizing
it – but it also takes time, even if it's just a few tenths of a second.
Now, that doesn't seem like very long, but those delays will add up over time.
The same study also showed that multitasking with more complicated or unfamiliar tasks
caused the delays to get longer with even more mistakes.
Those short delays can have real-world implications – like, a tenth-second delay while switching
between answering your phone and paying attention while driving is about all it takes to cause
an accident.
Besides making you less productive, there's a chance that multitasking might affect, or
be affected by, the structure of your brain.
One 2014, peer-reviewed study from the Public Library of Science looked at the relationship
between how often people multitasked and their brain structure.
The participants who multitasked the most had less gray matter, the brain tissue that's
mostly neurons, in a region called the anterior cingulate cortex, which is located near the
prefrontal cortex and is involved in decision-making and impulse control.
But since it was a correlational study, the researchers were just observing people and
weren't actually manipulating variables.
In other words, they couldn't determine if more multitasking causes the tissue loss
or if less neurons in that region just happens to be related to the behavior, so more research
needs to be done before we can draw any conclusions.
So, the research seems to suggest that we stop multitasking and focus on one thing at
a time.
But what if it isn't that easy?
Whenever you complete a small task – like sending out a funny tweet while working on
a big project – your brain releases the hormone dopamine, which makes you feel a small
sense of reward and accomplishment.
Since that's such a great feeling, it encourages you to keep multitasking.
Even though you might be doing each small task inefficiently or with more errors, your
brain keeps releasing dopamine, so the multitasking continues.
It's kind like a vicious cycle.
On top of that, your prefrontal cortex is easily distracted and excited by new things,
like kittens and memes, and whole internets worth of those things, so it makes multitasking
even more tempting.
But, for the sake of your job or your GPA, maybe finish that project you're working
on,
Then come catch up on SciShow!
Thanks for watching this episode of SciShow Psych!
And special thanks to our patrons on Patreon for helping us get this channel off the ground!
If you'd like to help us make more episodes like this, check out patreon.com/scishow.
And if you wanna be the first to see new episodes here, you can go to youtube.com/scishowpsych
and subscribe!
-------------------------------------------
FIRE JOHN MCCAIN! After What McCain Said Today, He Should Not Have A Job Anymore! - Duration: 1:38.
FIRE JOHN MCCAIN!
After What McCain Said Today, He Should Not Have A Job Anymore!
By Paris Swade
John McCain is back at it.
He is the media darling and literally will say anything.
He said today on CNN that President Trump needs to provide him with concrete proof that
Trump Tower was wiretapped.
Congressional Republicans agreed and called on Trump to hand over evidence that Trump
tower was wiretapped.
This dude is such a RINO!
John McCain: �The president has to provide the American people, not just the intelligence
committee but the American people with evidence that his predecessor, former President of
the United States was guilty of breaking the law because our Director of National Intelligence
General Clapper testified that there was absolutely no truth to that allegation.�
Clapper is not a general.
John McCain is wrong.
John Clapper also did not �testify� under oath that there was no wiretapping of Trump
Tower.
According to analysts, Trump Tower was wiretapped two separate times.
SHARE this if you think that John McCain needs to lose his seat.
This dude is a Democrat in disguise!
Comment �FIRE JOHN MCCAIN� and pass this article along.
Let�s get this guy fired!
-------------------------------------------
Frosted Pink | Pink Panther and Pals - Duration: 7:22.
(gurgling)
(slurping)
(gulps)
(clattering)
OH!
(growls)
(gulps)
HA!
(whimpers)
(exhales)
(gasps)
(gasps) (gasps)
AAH!
HMM?
(yells)
(phone ringing)
(indistinct chatter)
YEAH!
(dance music plays)
AAH!
(bowling pins clatter)
HMM?
AAH!
AH, HA!
AAH! AH.
(clears throat)
(whistles)
-------------------------------------------
Republican Rep. Steve King's Tweet Earns Praise From Former KKK Leader - Duration: 4:41.
Republican Representative Steve King from Iowa tweeted out this past weekend that we
cannot rebuild our civilization with other people's babies.
Now this may seem like an innocuous statement, but it really wasn't, and the folks on Twitter
were very quick to pick up on this.
What Steve King was referring to was that we can't rebuild White America with foreign
immigrants, other people's babies.
Steve King is saying that he wants to rebuild this White civilization, this myth, that he
somehow has in his mind of what America is supposed to be.
A nation of people that look exactly like Steve King.
A nation of people who do not want people with different skin colors or people who worship
different gods to enter this country that belongs to people like Steve King.
Steve King has a very long history of associating with White Nationalists, both here in the
United States as well as in Europe.
This tweet that he sent out this past weekend was actually lauded by David Duke.
David Duke, the former Grand Wizard of the KKK, applauded Steve King, Republican Representative
from Iowa, for this tweet.
If you think that this tweet has maybe been misconstrued, I suggest you look at David
Duke and his tweet, and his applause for Steve King, because there was no misconstruing here,
there was no badly worded phrase.
Steve King actually went on national news later in the evening and defended this tweet
saying, "I said what I meant."
Steve King is a racist.
Okay?
There is absolutely no other way to phrase that.
There's no other way to spin it.
He goes out there says this thing, "We do not want other people's babies, foreigners,
in this country, because we have to rebuild our civilization."
The civilization, okay, by the way, that we built by destroying the indigenous peoples
who were already on this continent when we landed here.
This is not our civilization, and it sure as hell isn't a White civilization.
Steve King, open your eyes buddy.
We're the immigrants.
We're the foreigners.
We're the people who took this land forcibly and slaughtered the people who were here.
If we want to rebuild American civilization, then I suggest you go ahead and buy a one-way
plane ticket back to wherever it is your ancestors came from, because you, just like most other
people in this country, your ancestors came here as immigrants.
We took over this land.
Furthermore, it makes no sense, both economically, both in terms of scientific advancement, in
terms of just general equality, to want to keep anyone out of this country.
"Yeah, maybe we get those bad hombres," like Donald Trump talked about.
Maybe we should keep them out.
When we look at the fact that 83% of the top science and math students in high school,
in the United States, are actually the sons and daughters of immigrants, yeah we kind
of need those people here because they're helping us.
They're helping us with scientific advancements.
They're helping us grow as a country.
They're providing to our economy.
They're the reason the United States continues to grow.
People like Steve King want to hold that back.
They don't want those people over here.
They're happy to kick every dark-skinned individual out of the United States and let this country
devolved into some sort of hell hole with no economy, no environment, just a bunch of
White guys running around acting like they've been here since the beginning of time.
That is the civilization that Steve King wants to rebuild.
-------------------------------------------
Stewie Is Mistaken For A Girl | Season 15 Ep. 15 | FAMILY GUY - Duration: 1:07.
Ugh, she just put her tampons on top of the bread.
Take the groceries out.
We gotta start over.
Mom, can I go bare hand raisins from the bulk aisle?
OK.
But if you get caught, just say "oopsie poopsie,"
like a simpleton.
Hey!
Watch your fat arms.
Excuse me, ma'am?
Your little girl dropped her teddy bear.
What?
Little girl?
Ha ha!
Yeah, she hates it when she drops that.
He's actually a little boy, but thank you very much.
Did she just think I was a girl?
Why would she think that?
I don't know.
Maybe she saw you try to throw that feather in the yard
yesterday?
Hey, don't watch me when I'm doing stuff.
MAN: What are you doing, kid?
Those aren't free.
CHRIS: Oopsie poopsie!
MAN: Aw, god bless you.
Help yourself.
-------------------------------------------
Mr. 59 with the win, flop shot gone wrong & the adventures of Beef & Daly - Duration: 4:10.
The snake did not bite Adam Hadwin.
He painted the scoreboard with red numbers this week at the Valspar Championship.
Annc: It's in the hole! Are you kidding me?
Big congrats to the latest Mr. 59.
Adam Hadwin adding his first PGA TOUR victory to the resume at Innisbrook this week.
Hadwin was the last player to shoot a sub-60 round on TOUR without a win.
Obviously, he took care of that.
Adam Hadwin, winner.
This guy, definitely not.
You can just tell right off the bat, this isn't a good idea.
In. The. Face!
Yeah not quite like Phil's famous flop shot.
Sorry bro.
That guy clearly needs a hug after that unfortunate facial.
I'm sure Harold Varner III would volunteer.
Winner Adam Hadwin also tried to give himself good vibes in the Snake Pit this week on the
Copperhead Course.
Looks like it worked.
I don't blame you Adam, I'm not a fan of snakes either
As we all know, Beef kills it on social media and this week him and John Daly nearly broke
the internet.
Ladies and gentleman I present to you, the Adventures of Beef.
Now this is a crew!
Apparently Daly tried to teach Beef the American way, and in the process the two became the
two best friends that anyone could have.
Daly: We're like brothers.
Beef: That's it. Best friends.
Daly: Best friends. We do everything the same.
Beef's acclimation to America didn't end there.
He went to his first hockey game.
And by the looks of the photo caption, he might need a few more American English lessons.
Beef: Hey it's Beef here, I've found Henrik.
And maybe a few more reps in-front of the camera.
Beef: Ehh that's good. How long emm. Ohh I messed this up.
Beef: I heard ya got your family out here. And I heard your little one ran out onto the course?
Stenson: Yeah that was on Friday. Kids were out of school and they came up from
Orlando for the day. And I think she was pretty pleased to see me.
So she cam hurtling down the left side there and caught me.
He did do a good job asking Stenson about his daughter
running out on the course this week during play, though. An adorable moment captured
on PGA TOUR LIVE that caught fire on social media.
Annc: ohh that's beautiful. Some how little one got loose
got on the course. And sometimes you just gotta give your Daddy a hug.
We love you Beef and I'd definitely watch a golf broadcast with you commentating.
He wasn't the only one trying new things this week.
Rickie Fowler had us wondering if he's trying to pull a Michael Jordan and take a crack
at baseball.
Just kidding, I think Rickie is doing just fine on the PGA TOUR.
But he did take some time out of his schedule to toss a bullpen session at St. Louis Cardinals
spring training this week.
Rickie resides in Jupiter where the Cardinals train and fellow Murrieta, California, kid,
Patrick Wisdom a Cardinals minor leaguer, has been living with him this spring.
hashtag roommate goals.
Switching gears to this week's Arnold Palmer Invitational.
We will be honoring Mr. Palmer's memory all week-long on PGATOUR.com & on PGA TOUR
LIVE.
It's a special one for everyone, especially Arnie's family.
Arnold Palmer's grandson Sam Saunders shared a sneak peak of the new statue at Bay Hill
and it gave us all the feels.
Saunders wrote, quote: "hard to make a statue substantial enough to recognize such a great
man, but this one comes close."
It most certainly does.
We are honored to march in Arnie's Army this and every week.
I know I will be during The Takeaway – where I'll recap all the action each day after
play ends starting on Thursday on PGATOUR.com.
Have a great week!
-------------------------------------------
Peter Tries To Talk Joe Into Going To A Drug Bust | Season 15 Ep. 15 | FAMILY GUY - Duration: 1:08.
Thanks for giving me a ride, Joe.
Hey, since we're in a cop car, let's talk about our hunches,
and how something doesn't add up.
All right.
I have a hunch Madea's not really a girl.
Yeah.
Something doesn't add up about that.
RADIO: All units, report to a drug deal in progress
at 5th and Maple.
Shots fired.
Suspect possible armed.
Well, shots fired, so definitely armed.
Duh.
Dispatch much?
Sorry, guys.
5th and Maple?
That's right near here.
We gotta go!
No can do.
I gotta go to the station and tidy up the bulletin board.
No one's biting on those guitar lessons.
What are you talking about?
There's a drug deal going down.
Peter, there's a lot you don't understand about police work.
What's to understand?
I watch TV.
Come on, Joe.
Let's put this '70s siren on your car and go.
Did you just wipe a booger on my roof?
Let's go, let's go!
-------------------------------------------
Comfort with a Price (Comedy) - Duration: 28:36.
♪♪♪
♪♪♪
If you've seen our award-winning movie, "Audacity,"
I'm sure you enjoyed the scenes with impersonations
from "Australia's Got Talent" finalist, Ben Price.
The video you're watching is Ben's full comedy routine,
which we couldn't fit into the film.
It also includes some powerful closing words from Ray Comfort.
So, sit back, relax, and enjoy "Comfort with a Price."
All right, everybody. We're gonna keep this going.
Please, by the way, remember to trip your waitresses,
try the veal.
I wanted to say that so bad. Okay, here we go.
Our next act is not Gallagher, but he does spit a lot,
so people, cover up.
Ooh!
He doesn't spit that much.
All right, all--you guys, this is like the big kaboom.
This is gonna be a special treat.
I don't know if you realize this,
but there's actually an "Australian Idol."
Are you familiar?
They've got "Australian Idol,"
and then there's "Australia's Got Talent."
They're basically the same shows here,
just different time thing, and they're both upside down.
But this guy, his zoom to fame was--
what was the name of the show?
Was it "America's Got Talent?" No, "Australia's Got Talent"?
"Australia's Most Wanted,"
please welcome Ben Price, everybody.
[audience applauding]
Thank you!
Thank you.
How y'all doing? How y'all doing?
It's great to be here. I'm super excited.
I don't even know why I'm talking like that.
I'm Australian. Good evening, g'day!
How is everyone?
It is good to be here, thank you.
You are such a warm audience.
I've met a few of you guys around.
Man, someone today, they said, "Where's your accent from?
You've got the funniest accent.
Where are you from?"
I said, "Well," I tried to sort of say,
"Well, I'm from somewhere where there's really
dangerous creatures and they can kill you."
"Oh, you're from Compton?"
I'm from Compton.
I've been getting used to the roads here.
It's been unusual because, well, driving on the other side,
you know, intentionally of course.
But I was driving--I've got this GPS--well,
I've got the Bear Grylls GPS.
You know Bear Grylls from "Man Vs. Wild"?
You're driving along, and when you're in these parts
of East L.A., you don't wanna get out of the car.
They say a man is beaten every 5 minutes.
I feel sorry for that man. He must be in so much pain.
But luckily, I've got vitamins, and I've brought protein,
and it's all packed in a can of alphabet soup.
And I don't wanna drop it on the ground
or it could spell disaster.
It probably won't.
I don't know how many people know "The Simpsons."
I've got the Homer Simpson GPS.
You're driving along the 71.
We're gonna take the next exit on the left.
Wait, was it the left or was it the right?
Hang on, think.
Brain, what are we--d'oh!
Oh, just stop here for some doughnuts.
Mmm, doughnuts.
Is there anything they can't do?
Who wants to come for a drive with me?
We're now going to Ray Comfort on the Comfort Zone
to someone who really does tell it as it is.
Okay, welcome back
to the Comfort Zone with Ray Comfort.
And okay, my name is easy and your name is hard.
Ray, we're gonna have a look at this clip of you down
at Huntington Beach, and you got to share the gospel
with Sean Connery.
That's right. Have a look at this.
Sean Connery, tell me something.
I've got a little tongue-twister for you.
How 'bout this, can you say what's on--
Oh yes, this is a very difficult one.
Yes, boy, let me see.
She sells seashells by the sea--I can't.
Let me ask you, have you ever stolen anything?
Well, I've stolen a lot of ladies' hearts
over the years in my youth.
That makes you a thief.
Oh, boy.
You ever look at a woman with lust?
I think I just answered your question, yes.
Okay, well, that was great, Ray. How'd it end up?
Yeah, he was a little shaken, but not stirred.
Okay.
So, I mean, I think Ray's gonna meet a lot of people.
I don't know if he meets, you know,
people like Barack Obama, you know?
You think you're a good person, Barack?
Well, my approval rating says 42%.
I'd love it if he met George. I mean, I used to love George.
I used to love Bill Clinton, you know?
When Bill Clinton was handing over,
you know, to George, and he was like,
"I wanna show you around the Oval Office here.
I'm gonna ask you to sit in the corner."
George said, "Well, where can I find it?"
I'd love it if he was trying to fix
the whole global recession, you know?
He'd be like, "It's good to be here.
We're gonna economalize the world,
and we're gonna economify and stimilficate.
We're gonna fix this KFC.
Won't happen overnight.
You know, they say Paris wasn't built in a day,
and when Michelangelo painted the Sixteenth Chapel,
it took a long time."
The funniest one that--I love it.
He actually said this one.
He actually said, "Rarely is the question asked,
'Is our children learning?'"
Actually said.
Most of you got that, yeah.
I think there's some people from Arkansas going,
"Yeah, that's a good question."
[audience laughing]
No, I'm not having a go.
I mean, I did--I met one guy from there.
He was like--you know, he got real excited,
you know, 'cause--I don't know who I'm talking like now,
but he got really excited.
He said, "I finished a jigsaw puzzle in a week."
I said, "Wow."
"Yeah, it said 3 to 4 years on the box, you know?"
I'm just saying.
All right, but--thank you.
[applauding]
Well, I love Arnold Schwarzenegger.
He's done a movie recently with Sylvester Stallone.
Sylvester's like, "You know, I'm wondering,
you know, would you like a--you know,
would you like cameo in my latest movie?"
And Arnie's like, "I'm too busy for cameo,
but how 'bout a small part?"
"But you know, we're getting pretty old now."
"That's right, and for me, instead of saying lines like,
'I'll be back,' it's, 'Ah, my back!'
It's crazy."
I'll tell you, I wanna use these action heroes
to ring up call centers.
Do call centers annoy you?
We get call centers ringing us in Australia.
I don't know if it's the same here.
I get--Indians must love me, 'cause I have one ring me
every second day.
I had a guy--no, this guy rang me up the other day.
He's like, "Excuse me, Mr. Price."
I thought it was my friend doing King Julien.
I'm like, "Oh, the 'New York Times'!
Oh ho ho.
I like to move it, move it.
I like to move it, move it, oh!
Oh, throw your hands in the air."
It was one of those calls.
He said, "Are you interested doing a short survey?"
I said, "I'm not interested."
"Okay, question number two. Why not?"
"I'm not interested!"
"Number three, would you ever consider?"
"No!"
"Thank you, come again."
I wanna ring 'em up like Arnold Schwarzenegger.
In fact, I would love to go even one step further.
I'd love to ring 'em up as Liam Neeson from "Taken."
Could you imagine getting on the phone saying...
Oh, it helps if it's the right way.
"I don't know who you are.
I don't know what you want,
but I have a very particular set of skills that make me
a nightmare for people in call centers.
If you stop ringing my home at dinnertime, that'll be it.
I won't look for you. I won't pursue you.
But if you don't, I will hunt you down,
I will find your call center, and I will kill you."
"Good luck, sir."
Oh, I'm gonna do that.
Thank you. Thank you, guys.
I mean, no one else--no one else
could've done that role like Liam.
He was perfect, Liam Neeson.
Would you agree?
I don't know, he possibly was the first choice to play it.
I don't know if you guys know, but there's a lot of
first choices to play certain movie roles.
They remade "Charlie and the Chocolate Factory"
a few years ago.
Johnny Depp got the role, Robert De Niro was asked to play
the role of Willy Wonka.
True.
Can you imagine Robert De Niro Willy Wonka?
Hey, listen to me, Charlie, hey.
Don't mess with me, hey.
Don't mess with me.
You are good, yes you--yes you are.
Yes you--yes you are.
You've gotta get--yes you do.
Yes you do.
I am watching you.
Hey, thank you, hey.
[applauding]
Don't make me go back there.
Don't make me--I don't wanna get my Oompa Loompas out.
Otherwise, it's Oompa Loompa doopity dees.
If you're not wise, I'll break both your knees, okay?
Thank you, thank you.
He was the first choice to play--Robert De Niro
can do anything.
I mean, he could be on "Dancing with the Stars."
A little bit of this, a little bit of, a little bit of this.
I'd love to see--imagine dancing with all the stars.
And we got, well, we got all the stars here
in the backstage room.
We've got Christopher Walken, who,
you've got an unusual dance.
What kind of dance?
Excuse me, hello!
My dance for this week is the hokey pokey.
You put your left hand in, you put your left out.
Your left hand in, and you shake it all about.
Do the hokey pokey, you turn around, wow.
That's what it's all about.
Thank you.
Thank you, wow.
Mr. Bean's here, ladies and gentlemen.
How many people know Mr. Bean?
You're doing--oh, going to be dancing, oh.
Ooh! Ooh!
Where was Mr. Bean when they had the auditions
for the role of Batman?
Batman's always had a voice
that's really hard to understand.
You know who they needed to get?
Someone who's got a really good voice,
someone like James Earl Jones, the voice of Mufasa.
That's a good voice.
I was at a Christian bookshop. This is true.
I saw--you can get the whole Bible audio version
by James Earl Jones.
Can you imagine the whole Bible?
In the beginning, God created the heavens and the earth.
[breathing like Darth Vader]
Now we turn to the Book of Luke.
I am your father, Luke.
I mean, he's got a good voice.
There's also the Jack Nicholson Bible.
And the truth will set you free,
unless you can't handle the truth.
That's one I'd like to--any others you'd like to see?
Who else?
Who else would do a good version?
(male) Morgan Freeman.
Morgan Freeman could--he'd read--
And now, we're going to read the genealogy
of the book of Jesus.
Abraham was the father of Isaac.
Isaac was the father of Jacob.
And it doesn't matter what happened then,
because you just wanna hear my voice.
Oh, yeah.
No, it was good. Who else?
(male) Eddie Murphy.
Eddie Murphy would be great.
Who else? No, okay.
I'll tell you what I'll do is I'll finish with--
you know what I'd love to see?
A little trailer for a movie called--
I'll call it, "The Twelve Disciples."
Imagine we're in the movies now and you see something
a little bit like this.
In fact, exactly like this.
This is the story of twelve ordinary men
whose lives were changed by one extraordinary man
in "The Twelve Disciples,"
starring Russell Crowe as Simon Peter.
Yeah, but I was just--I cut the ear off one of
the Roman soldiers.
I knew it was the wrong thing to do,
but I apologized to the guy.
He didn't listen.
He couldn't listen.
Tom Cruise as Thomas.
Hee, hee, hee. Whoo!
Wait, wait, you're telling me he's alive?
Hey, wait, no, hey, show me the nail marks.
Show me the nail marks.
Show me.
Better not be messing.
Whoo!
Thank you. All right.
[applauding]
Arnold Schwarzenegger as John.
It's fantastic.
I was writing the Book of Revelation.
There was the Isle of Patmos. It was fantastic.
It was all about the end of the days.
It was amazing.
The best part was when he said, "I'll be back."
Yeah.
And finally, Donkey, Shrek, and Puss in Boots
as the rest of the disciples.
Oh, Lord, it is you. You are alive.
It has been an honor to serve with you.
All right, back to our fishing now.
Okay, we're gonna catch those fish over there,
far, far away.
What are you talking about? Man, he's alive.
Man, it's so exciting, man.
I mean, he was dead on a Friday,
but man, he's alive now on a Sunday.
I'm so excited, man.
This is the happiest day of my life, man.
Now we'll just get some waffles, heh heh heh.
"The Twelve Disciples," coming soon.
Thank you, ladies and gentlemen.
Thank you!
Thank you! Thank you.
Thank you, guys.
Thank you.
Hey, hey.
Oh man, thank you, guys.
Thank you.
I'm gonna recommend all you guys to other comedians
because you're fantastic.
I'll tell everyone in Australia all about you guys.
I'm gonna bring Ray here in a moment.
I just wanna tell you guys I'm so excited to be
a part of this film.
I love--I'm passionate about comedy,
but even more passionate about Jesus,
as you can see.
And so, I love the gospel.
The gospel's the most beautiful and the most brutal thing
in my life, but I love it and I'm so happy
to be involved in something like this.
And I could tell you my whole life story,
but I do wanna say, a few years ago,
God spoke to me.
It was almost like Dr. Phil speaking to me to say--'cause
I'd go to church all my life.
I used to go to Bible study.
I used to read the Bible.
I thought I was a pretty good person.
And you'd look at me and you'd go,
"You're not too bad.
You're not the worst of the worst."
But I knew that I had to just give everything in my life
over to God, and I felt like at one point,
God just said to get real.
I was chasing the dream of being the world's
most famous comedian.
I wanted to be in--well, we're in a movie.
We're in "Audacity."
I wanted to do all that stuff.
I wanted to be pursuing that, but I really knew that--
you know, I looked at the Scriptures where it says,
"Whoever--whosoever tries to save his life will lose it,
but whoever loses his life for My sake in the Gospel
will find it."
And that's where I came to the point of just saying,
"God, my life belongs to You, whatever You want," and it was
like from that point on where God just said to get real.
And I'm gonna let Ray explain a little bit more of the Gospel,
but I could tell you a lot more.
But if God can awaken a comedian and use the foolish things
to shame the wise, you know,
I want God to challenge you guys as well.
But I'm gonna pass on to Ray, and thank you so much, guys.
God bless. God bless you.
[applauding]
Thank you.
Someone asked what my accent is.
I trust you can figure the difference between
an Australian and a New Zealand accent after listening to Ben.
Australians talk more like this, don't they, mate?
Okay?
So, I'm from New Zealand.
The guy that asked, New Zealand is down under.
We're upside down.
We have summer when it's winter here,
winter where it's summer here.
We celebrate Christmas in the middle of summer
and we walk around singing,
"I'm dreaming of a white Christmas,"
and we really mean it.
But New Zealand has a population of about 4 million people.
There's between 30 and 40 million sheep,
but they're not sure of the exact amount because
the guy that counts them keeps falling to sleep.
But I was born twice in New Zealand,
so I'd like to share for a few moments a little bit
about my first birth.
My mom was Jewish.
She married a Gentile, and because I was born
just after the Second World War, they put Methodist
on my birth certificate or the information about my birth
so I would escape another Hitler that arose.
So, I was given no Christian instruction about God
or anything through my whole life.
The age of 7, an aunt taught me the Lord's Prayer,
which I read aloud out of habit each night.
But around the age of 19 or 20, I started to think.
I was too busy enjoying myself to think deeply,
and this is what I thought.
I thought to myself,
"You know, we're all part of the ultimate statistic.
Ten out of ten die."
We're like condemned criminals waiting to be executed.
Now, Sal has got a nice, big, blue roof,
good air conditioning, good lighting,
but this life is like a holding cell.
It was though the whole of humanity was in a line,
waiting to step off a cliff, and I was waiting for my turn.
And the question I had was: any way to get out of this line?
And nobody talked about death, it was crazy.
I thought medical science could help,
perhaps, to extend this life, but science was too busy placing
a man on the moon to wonder what's going here on earth.
And I went to a doctor to see if at least I could extend this
life by living healthy, walked into the doctor's room,
and he was sitting there smoking a cigarette,
looking like death warmed up,
and he was dead a few years later.
So, I kind of lost hope that there was any chance
of breaking out of this prison of death.
And I remember one night, I sat on a bed,
looked at my wife, and thought, "If she died,
I'd have nothing to live for," and I cried out,
"Why?"
Why? It just seemed so futile.
I didn't pray.
It wasn't a prayer, but God heard my prayer,
and 6 months later I was on a surfing trip with a buddy.
He was a Christian, and he explained to me why we die.
We die because we violated an eternal law.
The Bible says, "The soul that sins,
it shall die."
Now, I didn't think I was a sinner until I saw
the Words of Jesus.
He said in Matthew 5, "You've heard it said by them of old,
you shall not commit adultery."
And I thought to myself, "Well, if there's a heaven and a hell,
I'm fine because I've never committed adultery."
But then I saw the Words of Jesus,
"But I say to you, whoever looks upon a woman to lust after her
has committed adultery already with her in his heart."
And I just thought, "Man, if that's God's
standard on Judgment Day, I'm in big trouble,"
because the Bible teaches He sees our thought life.
He considers hatred to be murder.
Lying is so serious in the sight of God,
the Bible says, "Lying lips are an abomination to the Lord
and all liars will have their part in the lake of fire.
No thief, no adulterer, no fornicator,
no blasphemer, no liar will inherit the Kingdom of God."
And I realized on Judgment Day, I'd be condemned
and end up in hell.
And it was then that I understood the cross,
that God became a human being 2,000 years ago,
suffered on a cross to take the punishment
for the sin of the world.
You and I violated God's law and Jesus paid our fine.
That means God can legally dismiss our case.
If you're in court and you're guilty,
and someone pays your fine, the judge can say,
"This fine's paid, you're out here."
And God can say that with any sinner who repents and trusts
alone in Jesus because the sins are washed away.
Jesus cried, "It is finished," on that cross.
In other words, the debt has been paid,
and through the death and resurrection of Jesus Christ,
God can dismiss our case.
He can let us live forever
because the suffering death of Christ.
So, I repented that night, April 24, 1972,
1:30 in the morning, became a new creature,
came back to my hometown of the city of Christchurch,
city of 350,000 people, and immediately purchased
a 34-seater bus and put across one side
in 12-inch high professional lettering,
"Jesus said, 'I'm the way, the truth, and the life.'"
"The gift of God is eternal life through Jesus Christ
our Lord," on the other side.
I had a billboard put on the front of our home.
I purchased a printing press and began to print literature
in my own business, which I used to have when I was
20--I used to have my own business.
Someone asked, "What do you do for a living?"
I'd say, "I mind my own business, what do you do?"
Which I did.
But on the front window in 3-inch high lettering,
I had John chapter 3, verses 1 to 16,
because I had found everlasting life.
You know, I had a moral obligation.
I'd witness to everyone I met, not as a wide-eyed fanatic,
but just sharing that they could live forever
and didn't have to stay in that line.
There was a way out if they'd obey the Gospel.
I even got on a soapbox and began to preach
in the heart of our city every day for 12 years.
If anyone could've been considered a fanatic
in those days, it was me.
Today, I'm much worse because I've found everlasting life.
And I gotta tell you, everything looked different.
The flowers blossomed to His glory.
The trees raised their arms in His praise.
The birds sung His praises each morning.
I was different because God had made me a new creature in Christ
and caused me to love that which I hated.
Now, I used to have a surf shop. I didn't look like this.
Look, matching belt, matching pants.
When I was a surfer, the idea with surfers is to look
as much like seaweed as you can.
I had sun-bleached hair down to my shoulders,
bright turquoise shirt, white flowers,
orange corduroys.
That's why I was surprised when a 91-year-old
Presbyterian minister walked into my surf shop and said,
"I hear you've become a Christian."
He reached out his hand, he shook my hand,
and he left $10 in it.
I liked that man from the moment I met him.
You gotta realize, this was--I was counter-culture.
I was hippie,
and this was a 91-year-old Presbyterian minister
in a 3-piece suit coming into befriend me,
and we became the closest of friends for the next few years.
One day, his wife called and said,
"George is about to die.
Would you come and be with us at this time?"
And I said, "Sure."
Went around to his house, she was on the phone, let me in.
The phone was right by his bedroom door,
had a loud ring because George was partly deaf.
She ushered me into his room, I sat next to him.
He was in bed and he says, "Is that you, Ray?"
I said, "Yeah, George.
I've come to be with you at this time."
He says, "I'm gonna be with Jesus."
And I thought, "How incredible that I have the privilege
of being present when a saint goes marching through to glory."
Now, a saint isn't someone with a plate on their head
3,000 years ago and fat babies with wings on
flying shoulder height.
That's not a saint.
A saint is anyone who's repented and put their faith
in Jesus Christ.
That's the teaching of the Bible.
If you don't believe it, read the Ephesians to the saints
at Ephesus or the Book of Philippians
to the saints at Philippi.
And I was there present when a saint was going
marching through to glory.
And I sat there for about the next 20 minutes
and just kept repeating in my mind,
"How will he go, Lord? How will he go?"
And after that 20 minutes,
suddenly George raised his hand to the sky,
pushed his finger toward the heavens, and said,
"Jesus said, 'I'm the way, the truth, and the life.'"
[groaning]
And I thought, "Wow, what a way to go!"
Suddenly, the phone rang, he sat up,
and I was the one that just about died.
He lasted another 2 years.
But when he did go, we sung that great hymn,
"To God be the glory, great things He has done.
So loved He the world that He gave us His Son,
who yielded His life in atonement for sin
and opened the life-gate that all may go in."
So, we have a glorious Gospel.
How can we not preach that which we've seen and heard.
So, every Christian has a moral obligation to stand up
and be counted, and that's why we produced this movie.
We want God to use this in your hands to reach those neighbors
that you've got.
So, let's close this in prayer, shall we?
[audience applauding]
Father, we thank You for tonight.
We thank You that everything went great.
And we pray that this movie will glorify Your name
and that You will use it to touch dying sinners,
and that they would truly repent,
confess, and forsake their sins and pass from death to life
because of Your kindness.
In Jesus' name we pray, amen.
So, I got a new way to give out tracks.
This is the first time I've ever used it,
but let's see if it works.
[cheering]
Hey!
Okay, thank you for coming.
If you enjoyed this, you're going to absolutely love
the award-winning movie, "Audacity."
The film is about an inspiring comedian named Peter
who's encouraged by his friend Ben, played by Ben Price,
to perform at the local comedy club.
Stage fright isn't Peter's only fear.
When confronted by his coworker Diana about one of today's
most divisive issues, homosexuality,
he feels compelled to speak, but can he?
"Audacity" uses a unique approach to address
a very sensitive topic in contemporary society.
Regardless of where you stand on the issue,
you'll gain fresh insights and a new perspective.
You can find many helpful resources and watch the film
free on AudacityMovie.com.
(female) I don't want to offend you,
but I have a sister who's gay.
You don't know the struggle she's been through from people
who are telling her that she's gonna go to hell for,
what, loving someone?
Where are these two gonna go if I pull the trigger?
♪♪♪
How come the word "homosexuality" hasn't been
in the Bible until a few decades ago?
And if homosexuality is such an abomination,
then why is the word "abomination"
used to describe eating shellfish?
And if God is love, then why--
♪♪♪
(Ray) I noticed when I came up, you two were kissing in public.
You are obviously gay.
What do you think of gay marriage?
I love gay marriage.
I have a lot of gay friends. I love the gay community.
(Ray) Are you two married?
No, we're not married.
(Ray) Are you thinking of getting married?
Yes.
I think everybody should be able to love who they want to love,
no matter if you love a woman or a man.
Who cares?
Gay marriage, I think they should be able to do
whatever they want.
Love is love. Love has no color.
I think that everyone should be free to marry who they want.
I just know that I love gay marriage.
I love gay people.
(Ray) So, what does God think of homosexuality?
That's a stupid question.
I think he should just stay out of it.
I have a lot of gay friends that go to church every Sunday.
They believe in God and they're gay.
Are they gonna burn in hell for being gay?
(Ray) Are people born that way?
I believe so. I was.
(Ray) Do you think they're born that way?
They're born that way.
(Ray) You sure? No attraction to men?
Nope.
None whatsoever since the day I was born.
(Ray) You've always had gay tendencies?
Always.
(Ray) You've changed your mind?
Yeah, you just--yeah, you enlightened me real fast.
(Ray) Does that make sense?
Yes.
(Ray) Does that make sense?
That makes sense, yeah.
That does make sense.
You're very good at this.
Honestly, this is actually a very good argument.
So, I've been watching the videos that you showed me,
like, all day today.
But I'm kinda starting to feel a little nervous
because it's starting to all make sense.
(Ray) Does that make sense?
It does. I have a question for you.
Can you tell that I'm a lesbian?
♪♪♪
...
-------------------------------------------
Eduardo de la Torre y el paro de la Liga MX: "No debemos ponerlo como excusa" - Duration: 3:53.
For more infomation >> Eduardo de la Torre y el paro de la Liga MX: "No debemos ponerlo como excusa" - Duration: 3:53. -------------------------------------------
Kat Von D Artistry Collective - MEET LEAH CARMICHAEL! - Duration: 4:56.
I think where I can relate to Leah the most
most is when it comes to the subject of depression
Leah: I've been struggling with depression
anxiety and depression my whole life so
it's something that is very challenging
for me to live with and have a normal life with.
Kat: I feel a lot and super sensitive and things that might not
necessarily affect most people can be
soul-crushing for me, but at
those points that's when art really
comes to save the day and it has since
the time I was born.
I feel like the minute that I could hold a
pencil and start drawing this with my
outlet and I know that when Leah looks
at an opportunity to do makeup it's not
just make up. It's her lifeline.
My name is Leah Carmichael and I'm 32 years old
and I'm from Huntington Beach, California.
I've been struggling with anxiety and
depression my whole life so it's
something that is very challenging for
me to live with and have a normal life with.
Everything is so up and down all
the time and I'm terrified of failing
and terrified of dying in a car accident.
It's really hard to have a normal life
and to deal with that sometimes.
There was a long period of time where I took
medication for it and then I kind of
realized I don't want to do that, I want to be myself.
My whole family deals with it.
Jill: It's imperative to have something.
For me it was writing -- poetry and words.
For Leah it was painting. During her adolescence
I think it got her through a lot and
I'm sure that doing makeup as an
extension of that.
It's hard. It's a struggle to deal with but it's always there
It's always going to be there.
My childhood was really interesting.
My mom was a labor and delivery nurse.
She was gone all night and my dad is a
musician. So he was gone all night.
Dorothy: So Leah spent a good of time at our house.
Leah: My grandparents are artists so there was
lots of painting and coloring.
Things that I never really did with my
own parents.
Jill: She was in high school I think,
plucking your eyebrows and doing makeup constantly.
It became apparent that was what she
wanted to do. That was it.
Jill: Any kind of artistic expression you have
to be able to fan the flame and keep it
going if there's any inkling of it in a child.
I have a thirteen-year-old boy, Damian.
I had my son really young.
I had just turned 18 when I had him.
Damien: I don't really have any other
friends that their mom does makeup,
Some people at my school know who my mom is
because they like her makeup.
Leah: I don't know what I'm going to say what about him besides
he's so cool.
Having a child is live changing and being that young
I was forced to grow up really fast which is
probably why I always worked so much.
Dorothy: You change your habits, you become more aware of your own health.
Leah has really matured and
became responsible mother.
Leah: I couldn't have asked for a better boy.
He makes me live.
Kat: To me, I feel like when you're moved and
when you're inspired that's the
beginning of good ideas.
She may not say it, but I feel like he's
a huge inspiration for a lot of things that she does.
You wouldn't think that necessarily translates to make up,
but it does.
Leah: What I love the most about being a makeup artist is you can transform
anybody into anything with makeup.
Steffanie: I feel like anything she touches turns to gold.
If I could have anybody on the
planet my makeup, it would be her.
Kelsey: She does these looks that are so beautiful,
but they're like grungy and cool and
simple but they just have this really
powerful impact.
I think that's
really unique about Leah.
Tara: She's like my life, my Artistry Collective mom.
If I didn't have her, I don't think I
would be able to breathe.
Leah: Being a part of the Artistry Collective is unreal.
Everything I've ever wanted, I've been my
training myself my whole life for this.
Kat: Not only of course is she experienced and awesome at makeup,
but she really is there for you.
I feel really lucky that she's on my team.
-------------------------------------------
Get Real With Descendants 2 | Cameron's Hair - Duration: 0:46.
- But it's just, um, you know,
we have a lot of cool locations
that we're shooting at constantly.
So when you're not doing anything,
you gotta explore it, you know?
So it's pretty cool.
There it goes.
So this is the wig I wear
throughout the whole movie, but actually in the first scene,
uh, we wanted to give more of a "Descendants 1" look,
so we took this wig and we had to, like...
both: Slick it back.
Um, so it didn't look quite like the first movie.
Um, but yeah, this is-- this is sort of the--
the new cool look, so it's pretty awesome.
-------------------------------------------
The Age of Female Dominance, Brought to You by Robots - Duration: 5:49.
What does the future look like?
Ha, what does it look like?
We'll be sleeping in tubes and flying cars, ah-
OK, here's a more specific question:
How will the future of work be different for women and men?
Well we're about to see a new wave of intelligent machines
primarily due to advances in the field of artificial intelligence.
These new technologies-
Advanced robotics, advanced materials, artificial intelligence-
Mean that machines are going to be able to go to work.
In fact, nearly half of all U.S. jobs are at risk of being automated in the next 20 years.
Automation can lead to both losses of jobs and changes in skill sets.
Robots and machines are going to be particularly good at tasks
that involve visual perception or physical activity.
They're not typically going to be good at person to person interaction
or where you have to understand people's emotions or intentions.
So Kaplan has this interesting idea: that the age of automation
is actually going to be worse for men.
Now this is only true because we do have gender differences
in the various professions.
Of course whether this is nature or nurture is up for debate, but it's true.
We might wish the world were different
but unfortunately that simply is a statistical fact.
You see a lot of the jobs that are held by men involve perception and manipulation,
and sometimes that's in conjunction with physical strength or physical exertion
such as swinging a hammer or trimming a tree.
Overall, workers whose jobs involve manual or physical labor
are more concerned about being replaced by robots or other machines.
Take construction. 97% of construction workers are men.
And those are just the kinds of jobs that are likely to be replaced by various kinds of robots.
But robots are really bad at other kinds of tasks,
like anything that happens in a chaotic environment
or involves reading human emotions.
Care related work, whether it's child care,
elder care, education, or healthcare, is still likely to remain very human.
And those are the types of jobs that tend to be dominated by women.
Like nursing. 87% of nurses are women.
If your job involves distracting a patient when you're delivering an injection,
or guessing whether a crying baby wants a bottle or a diaper change
you don't really have to worry that a robot is going to take your job
at least for the foreseeable future.
This shift is not just about specific jobs.
It's about something much bigger -
about how automation and robots could change what we value.
What kinds of human skills and abilities do we begin to reward in our society?
You know one of the things people have been speculating on
is that more human skills are going to become more important.
So collaboration, creativity, ability to work with others,
to see connections between different trends.
Persuasion, or face to face interactions, or empathetic reactions to people,
those are the skills that are going to be more important in the future.
Men have traditionally been better at linear thinking
as opposed to webbed thinking. And so they're likely to be more disadvantaged
at not having exercised that particular skill set.
To some degree men as a class will have to adapt to the kinds of jobs
that'll be available in the future.
It doesn't mean it can't be done.
Currently, American women spend 30 more minutes per day on household tasks than men do,
and the World Economic Forum says that automation of these tasks could relieve this burden.
So with less housework and more flexible hours,
how might the balance of power between genders change?
To the extent that the job skills of men are less valuable in the future,
and the job skills of women are more valuable,
that obviously shifts the balance in a family and as to who ought to be out working,
In this version of the future, men could find that they're most valuable working in the home.
There are also huge changes in the aspiration of women themselves.
And so in my view, we will see more women going into the workforce,
taking advantage of the ability to work flexibly and from the home,
we will see a premium being placed on care professions,
and the natural advantage that women have so far had in collaboration and creativity,
they're also going to win out because of that.
it's going to give them a greater currency for negotiating the balance of power if you will.
The coming wave of automation is likely to empower women
in ways that they are not empowered today.
Automation and the rise of artificial intelligence intersects with a lot of things.
There are still very real barriers to women in the global workforce.
But wouldn't it be exciting if automation did usher in
unique and important opportunities for women to excel,
if it reshaped the division of labor at home and narrowed the gender gap once and for all?
This thing just crapped out on me.
Give me a second.
I hate computers! You can put that in your piece.
-------------------------------------------
Ole Miss Cross Country: NCAA Championships (2016) - Duration: 1:40.
♫ Took a high road out in the open under those stars
♫ And all the while, I just got closer going too far
♫ So now I'm running like you set me free out in the wild
♫ Got my heart in my hands while my head's up--
- You know, on the women's side,
we really wanted to be a top-25 program.
We finished 23rd so we felt very good about that,
especially never having qualified before.
It's always difficult your first time here to really
put it together so I thought they did a very good job.
On the men's side, we came in ranked 11th.
Our goal was to just beat our ranking,
Let's try to be in the top 10.
We had an outside shot, we thought, and a long shot
at getting on the podium, which is top four.
♫ And I said
Every one of our guys really stepped up.
They knew we had no margin of error
if we wanted to somehow sneak onto the podium.
We just kept saying, "Podium, podium, podium.
"We're really close."
And all those guys closed it up well over the last 2K,
passed a couple of people coming in the home stretch,
and we got it by 10 minutes, unbelievable.
(people cheering and clapping)
- Are you ready?
- [Crowd] Hell yeah, damn right.
Hotty toddy, gosh almighty, who the hell are we?
Hey!
Flim flam, bim bam, Ole Miss by damn! (cheers)
-------------------------------------------
Stupid crashes #44 ( English subtitles , March 2017 ) - Duration: 18:11.
For more infomation >> Stupid crashes #44 ( English subtitles , March 2017 ) - Duration: 18:11. -------------------------------------------
Exporting files in Inkspace to SVG - Duration: 1:15.
- [Instructor] In the Wacom Inkspace app,
files created with layers
either as they were drawn on the Intuos Pro Paper
or by using the editing tools within Inkspace
can be exported to layered vector files.
This can be a powerful way
to break out phases of an artistic process,
or keeping vector elements and objects
discreet from potentially overlapping layers.
To export a file with or without layers
to any vector program,
like Illustrator, Flash, or InDesign,
right click on the file in the library
and select export,
or with the file selected in the library,
select the export icon
in the upper right of the preview panel.
Then select export as SVG.
SVG is a scalable vector graphic.
Give the file a name,
and select where the file should be saved.
Then select save.
The drawing will now be a vector
and infinitely scalable file.
If the Inkspace file had layers,
those layers are now in perfect alignment
in the vector graphic application of your choice.
No more scanning drawings
and trying to figure out how to convert them to vector.
-------------------------------------------
Changing Nibs on a Wacom Pro Pen 2 - Duration: 0:53.
- [Instructor] Wacom's Pro Pen 2 comes with
a new nib design.
With the Cintiq Pro, Intuos Pro, and Intuos Pro Paper,
the nibs are in the pen stand.
With the MobileStudio Pros, the nibs
are in the pen case.
Nibs can be removed using the included nib removal tool.
On the pen case, the nib remover is available
by opening the case.
On the pen stand, it is available on the bottom
of the stand itself.
Place the nib in the hole, and lean the pen just enough
to get a grip on the nib.
Then, the pull the nib away.
Once the nib has been removed, simply press
a new nib back into the hole.
The nibs may need to be changed once
a month or so under heavy use.
Or, when the nib is just worn down.
-------------------------------------------
Colouring - About You - Live
For more infomation >> Colouring - About You - Live-------------------------------------------
Mercedes-Benz B-Klasse 180 CDI AMBITION, Exclusief pakket, Zwart leder, Automaat Trekhaak, Stoelmemo - Duration: 1:01.
For more infomation >> Mercedes-Benz B-Klasse 180 CDI AMBITION, Exclusief pakket, Zwart leder, Automaat Trekhaak, Stoelmemo - Duration: 1:01. -------------------------------------------
Mercedes-Benz B-Klasse 180 CDI / AIRCO / AUDIO AF FABR. / LMV / EL. PAKKET / TREKHAAK - Duration: 0:59.
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How Kubrick Made 2001: A Space Odyssey - Part 7: Jupiter and Beyond the Infinite [B] - Duration: 32:42.
You might recall hearing some alien sounds echoing around the room that Dave finds himself in.
There was a time when we might have actually seen the aliens as well.
Clarke had written a draft in which we would see Dave make contact with an alien.
From the earliest days of preproduction, "Kubrick had commissioned hundreds of alien concepts
from a variety of sources" and it was reported that no aspect of the film had been more "rethought
and revised" (Cinefex 113).
Wally Gentleman said, "In one treatment… the alien was to come along and take Bowman
by the hand.
It was going to be a towering insect-like creature—rather light and vaporous.
One logical way to do this would have been to shoot the creature with a variable anamorphic
lens to elongate the image onto film.
With such a lens, you can squeeze the image from side to side and from top to bottom,
and you can increase or decrease the ratio of the squeeze.
Then, by projecting that squeezed image onto a mirror positioned in front of Bowman at
an angle 45 degrees to the camera, we could have made the alien appear to be standing
right next to him, and it would have been on the original negative.
Quite traditional, really – the technique goes back to the stage arts.
There were many other alien concepts – most of them created after I left.
One was a cone-shaped thing with pea bulbs all over it – a tall mass of glittering
light that looked like a Christmas tree.
Kubrick had Doug Trumbull working on the thing, but Doug was rather contemptuous of the whole idea" (Cinefex 113, 114).
In an interview, Douglas Trumbull details some of the many design concepts for the look
of the aliens.
"I produced quite a few alien effects using video feedback.
Video feedback has a strange kind of lifelike quality to it, so I made a video feedback
system for creating totally nonhumanoid shapes [and] shapes of pulsating light…
I also created some aliens using the same concept as the City of Light, only rather
than having a lot of little light bulbs, I put together a kaleidoscope projector that
produced varying-diameter shapes, and then multiplied those into four facets and projected
them onto a piece of white cardboard.
As this thing moved in space, it would create a light image of variable volume that would
be somewhat humanoid in shape.
By changing the patters in the kaleidoscope from a small diameter to a sudden larger diameter,
and then tapering down and going into two thinner diameters, I could roughly create
the shape of a head, shoulders, arms, body and legs.
Yet it was all just volumetric light that looked sort of like a jellyfish—transparent luminosity.
There were things about it that worked and things about it that didn't—such as, it
was very difficult to get these light characters to move or articulate.
It just got to be terribly complex" (Cinefex 114).
Brian Johnson shares his experience working on another alien concept:
"At one point [Kubrick] wanted something like a Giacometti sculpture – humanoid in
shape, but very thin and distorted.
So I got involved in producing a suit of light with about five thousand tiny bulbs wired
onto it.
The idea was to put one of the dancers we had choreographing the ape sequence into this
suit – which was made out of black velvet – and then photograph him with star filters
on the lens and various other things.
The lights alone would define the creature.
Then we were going to try to squeeze the image in some way and distort it so that we'd
have this weird creature that would float about.
I worked on that for quite some time.
We also went though a variation of that idea, utilizing a black velvet suit with a whole
series of front-projection dots that we projected images onto.
The thinking was that, without thousands of pea bulbs wired onto his suit, the dancer
would have much greater flexibility of motion.
But all this was near the end of production, and it never got cut in.
I don't think it was quite what Stanley wanted" (Cinefex 114).
In a later interview, Johnson said, "I also recall helping Dan Richter dress up in a body
suit because Stanley had wanted to try to film an alien, and Dan was dressed up and
I had to put all of these little balls onto his suit.
I know that we did some tests of that, but in the end that didn't work either" (Johnson Interview).
Dan Richter: "Right, even at the end, one of the last things we were doing is they were
painting me white and putting polka dots all over me and putting me on polka dot fields
and shooting me with high-contrast film, so that it would like- lights moving in a field of lights.
We were trying to create aliens right up to the very end, but Stanley never used them.
Stuart Freeborn recounts an optical effect they were testing out:
"Stanley came up to me one day… and he said: 'I've got an idea.
What if we do a kind of optical illusion?'
He had seen a dotted pattern somewhere, in front of a dotted-pattern background – and
the result was something that was virtually invisible, yet somewhat visible just because
it was on a different plane than the background.
It was an intriguing idea, and Stanley asked me to begin working on something along those lines.
So we got a performer, and I made a white bald cap that fit him nice and tight; then
I put black round spots evenly all over it.
I did the same thing on a pair of tights that covered the rest of his body.
We got the largest paper hole-puncher we could locate, and stamped out perfect rounds of
black paper, which we glued all over his white form.
...right over his feet, all down his legs, everywhere.
Then we stood him against a white background with the same-size black dots all over it.
The effect was stunning.
Standing still, he would disappear into the backing; but when he moved, you could just
make out a shape.
It was an amazingly weird effect – quite extraordinary – but I don't think it really
fit in the movie.
I could never see how Stanley was going to use it – and, of course, he never did" (Cinefex 114).
In an interview with Playboy magazine, Kubrick alluded to the possibilities of what the aliens could be.
He said,
"When you think of the giant technological strides that man has made in a few millennia—less
than a microsecond in the chronology of the universe—can you imagine the evolutionary
development that much older life forms have taken?
They may have progressed from biological species, which are fragile shells for the mind at best,
into immortal machine entities—and then, over innumerable eons, they could emerge from
the chrysalis of matter transformed into beings of pure energy and spirit.
Their potentialities would be limitless and their intelligence ungraspable by humans" (Playboy).
Kubrick had done extensive pre-production on the film A.I. and at one point was planning
to direct before deciding that Steven Spielberg was better suited to direct the story and
he would produce.
The treatment to the film featured hyper-advanced robotic entities much like what Kubrick was
describing in the Playboy interview.
Perhaps this is close to what Kubrick had in mind for the aliens in 2001.
After traveling through the Stargate, Dave finds himself in a strange room.
Kubrick plays this sequence perfectly.
We had just gone through about ten minutes of psychedelic colors and abstract imagery
and now we are in a Baroque style room.
Kubrick knows very well that the audience is confused and yet, he has them in the palm
of his hand.
He waits, forcing us to soak it all in and contemplate the mystery of it all.
The sound design adds so much here.
The overwhelming soundtrack becomes understated—the imposing score is replaced with tones and
distant noises.
The Stargate sequence went hand-in-hand with a large awe-inspiring composition, but here,
with the wide shot of the EVA pod in the room, we become more analytical and Kubrick plays
into that by removing the music and having strange indefinable noises echo from beyond
the walls of the space.
We are trying to figure out what is going on and the sounds highlight the fact that
we know nothing.
Are they the voices of the aliens?
Kubrick very slowly brings in the sound of Dave's breathing, which would have been
what Dave had been hearing throughout the Stargate sequence, but it wouldn't have
worked cinematically.
Here, it brings Dave back into the film as a character who can take actions.
During the Stargate sequence, Dave was a passive observer much like the audience, but in the
room, he can move about and make discoveries.
I think some of the sound design in this scene accomplishes what Kubrick would later use
sound design for in The Shining.
It's not as jarring, but it creates a sense of unease along with the mystery of it all.
Dave is at the complete mercy of whatever is causing this to happen and he is at the
mercy of his own understanding of what is happening.
We also get similar shots of humans introduced at a long distance from the camera causing
us to recognize the shape of the out-of-place person and yet, the distance keeps us from
determining whether or not they are a threat.
I also really like the other layer this scene adds outside of the diegesis of the film.
Kubrick himself is seen as a mysterious figure and the recognition that he created all of
this and what will happen next gives him the same god-like power over the audience that
the aliens have over Dave.
The look of the room was based on the Dorchester Hotel in London.
When Kubrick's family arrived at the Dorchester Hotel in London in 1965 during pre-production,
Kubrick took these photos with a 35mm Widelux, which had a 26mm lens that gave an almost
cinemascope effect.
That's Christiane on the right, Vivian, Anya, Katharina, and if you look closely,
you can see Stanley with the camera reflected in a mirror on the left (A Life in Pictures).
In this picture, we can see Christiane, Jeremy Bernstein, and the kids.
But in these photos, you can sort of see the similarities to the mysterious room at the
end of the film.
Most noticeably the moldings on walls and some of the light fixtures.
The idea behind having the room look this way was that either the aliens constructed
it from images in Dave's mind and perhaps he had stayed at the Dorchester Hotel or that
the aliens had been observing the history of mankind and constructed what they thought
would be a normal looking habitat for a human.
Originally there was going to be a television of some sort displaying footage of nature
documentaries and other images of Earth life.
Ivor Powell acted as the Assistant Director on some of this sequence and mentioned in
an interview that the set was "intensely hot."
They used photo-flood lights under each floor tile to illuminate the room.
The lights were so hot that they began melting the tiles, so they had to shut the lights
off as soon as each take was over (Powell Interview).
Tony Masters said, "You never see behind the camera, so it isn't that apparent on
the screen; but, in fact, the set had no windows or doors in it – there was no way in and
no way out.
It was built something like twelve feet up from the stage, and the floor was made up
of three-foot squares of Perspex—each one with a 5K lamp underneath it.
I've never seen so many lamps.
It was like an oven in there" (Cinefex 116).
In this photo, we can see what looks like air conditioning being pumped into the room.
In this same photo, we can also see that Kubrick is filming Keir Dullea through a hole in a
sheet of wood.
This was likely to prevent the reflection of the camera from showing up in Dave's helmet.
It makes sense why Kubrick would have the light coming from the floor beyond the alien
look of it—this way, he would be able to show how confining the set is using a wider
angle, without having to show a normal source of the light, which likely would have looked
tacky in this situation.
There seem to be unlit candles on fixtures attached to the walls, which wouldn't really
provide adequate lighting even if they had been lit.
If there had been a lamp of some sort, it would raise the question of how the light
bulbs would be changed over the course of time Dave lived in the room.
But then again, where does the food come from?
It also seems possible that the light remained on during Dave's stay in the room because
we see the light at the same level even when he is in bed.
There were going to be props that didn't make the final cut of the film.
There was going to be a telephone that Dave would try to use only to find that the handle
was attached to the base.
There would also be a telephone book from June 2001, but when he opened it there would
be no phone numbers inside as well as a Gideon Bible with only blank pages.
Supposedly this would depict the concept that the room was constructed from his memories,
so he would have a memory of a phone book, but he wouldn't know any of the numbers
inside (Cinefex 117).
Trumbull explains another scene that didn't make the cut: "Bowman walks into the bathroom
in his spacesuit, pokes around in there, and sees himself in the mirror.
By the time he comes back out, the pod—which had been sitting in the room—is gone; but
on the bed is the housecoat that he ends up wearing in the next scene.
He goes over to the bed and sort of picks up the coat and feels it, then sees a pair
of slippers on the floor – it's as if people are coming and going while he's there.
But Stanley dropped all of that out, and instead went with these overlapping, interconnective
time jumps, which could occur in a split second or over thousands of years—who knows?" (Cinefex 117).
What's bizarre, and something I never seemed to notice before, was that there is a continuity
issue between these two shots.
The second shot leads us to believe that he is walking toward the doorway to the bathroom,
but this is on the opposite side of the room from the direction he is walking in the first shot.
You can see that there is no doorway in front of him and that the bed, which was on his
right side, is now on his left.
And we can see the bathrobe on the bed from the sequence that was cut.
This shot follows with a shot of the bathroom, so it still works within the story because
these two shots are not necessarily continuous, but could have cut between an undetermined
amount of time such as in the bone to satellite shot.
And it's possible that we are seeing time compressed in such a way that the different
periods of Dave's life exist all at once.
For all we know, the bathrobed Dave could have been in the main room the entire time
that Dave in the space suit was in the bathroom.
The last shots of older Dave in the space suit are intercut with a moving shot showing
his point of view.
So, when our last shot of Dave standing in front of the doorway is followed by a shot
looking through the doorway, we assume that this is another point of view shot, but the
older Dave in the space suit is already gone.
Kier Dullea: "You'll see where I knock the glass on the floor—I remember, this
was definitely my idea.
I thought it was an interesting way to be in mid-motion, to suddenly hear something
because each character, each of these versions of me, hears something off-camera."
This is the only time we see two Daves in one shot and allows for a fairly quick transition
without it being jarring.
The old age makeup was done by Stuart Freeborn.
The final stage in Dave's aging took 12 hours to do and one day to shoot.
2001italia made a post about this photo: On July 7th, 1966, Kubrick shot this pick-up shot.
This was after Keir Dullea and Gary Lockwood had left England.
On the set they referred to the monolith as "the cube" even though the monolith took
its final shape in late 1965.
An extremely aged Dave Bowman lays in bed when a monolith appears before him.
He reaches out and the monolith envelops the screen.
This is the only shot that takes place from outside the room.
If this had been done any time before now, it would have compromised the confinement
of the space.
But now, we get a view from outside looking in that gives us a possible angle of the aliens'
point of view.
What happens next is one of the most mind-blowing moments in cinema—on the bed, we now see
that Dave has become a Star-Child resting in a womb that looks like a luminous bubble
or halo of some sort.
Kubrick said, "The ending was altered shortly before shooting it…
In the original there was no transformation of Bowman.
He just wandered around the room and finally saw the artifact.
But this didn't seem like it was satisfying enough, or interesting enough, and we constantly
searched for ideas until we finally came up with the ending as you see it" (McAleer).
A biography of Arthur C. Clarke titled Sir Arthur C. Clarke: Odyssey of a Visionary contains
this passage:
"On October 3, during a telephone conversation with Kubrick, Clarke was presenting his latest
ideas for an ending, and one of them clicked.
'Bowman will regress to infancy,' Clarke suggested in an essay, 'and we'll see
him at the end as a baby in orbit.
Stanley called again later, still very enthusiastic.
Hope this isn't false optimism: I feel cautiously encouraged myself.'
Two days later, after much creative brooding, Clarke came up with a logical reason for Bowman's
appearing as a baby at the end of the film.
'It's his image of himself at this stage of his development.
And perhaps the Cosmic Consciousness has a sense of humor.
Phoned these ideas to Stanley, who wasn't too impressed but I'm happy now'" (McAleer).
The look of the Star-Child was inspired by the photography of Lennart Nilsson.
Nilsson did a series of photographs of fetuses meant to show fetal development.
The series was part of a book called A Child is Born in 1965.
Later that same year, the series was published in Life magazine where it [quote] "sold
eight million copies in the first four days" of its release (Wiki).
The series claimed that these were living fetuses, but sadly they were not.
They were [quote] "obtained from women who terminated their pregnancies under Swedish law" (Wiki).
Because of this, Nilsson was able to have a great deal of control over the photographs,
using specialized lighting and poses to create these images.
Despite the truth behind the origin of these photos, they became a symbol of the "pro-life"
movement in the 1970s (Wiki).
Interestingly, some of these images did travel to space on board the Voyager spacecrafts (Wiki).
Kubrick wanted the Star-Child to look more evolved than a normal baby.
You'll notice that it has a larger head and eyes, and a smaller mouth, much like what
classic aliens look like.
Kubrick had an artist named Liz Moore sculpt it.
The model was originally meant to have moving arms and fingers, but Kubrick scrapped that
idea in favor of having the Star-Child appear in a womb of light (Cinefex 117).
In the final version, only the eyes moved.
Brian Johnson said, "The eyes were made of glass, and I built a little mechanism using
drives and bearings and some selsyn motors that made them move sideways and slightly
up and down" (Cinefex 117).
Kubrick came up with a photographic technique to achieve the cocoon of light.
Douglas Trumbull explains:
Kubrick "shot it through about fifteen layers of a special gauze… with about forty thousand
watts of backlight—something like four big arc lights to rim-light it.
And he got this tremendous, overexposed glow effect.
This particular gauze—actually very rare women's stockings from pre-World War II
Europe – created a beautiful softening of the light without making it unsharp.
If you use a fog filter, or something like it, it makes the image unsharp because it's
actually a piece of glass with diffusion on it.
But with gauze, part of the camera lens is seeing right through it, without interruption,
so it tends to scatter the light without really stopping it from being sharp.
Stanley filmed a number of different moves on the Starchild—shots of it entering frame
and sliding through frame and so on.
Then I airbrushed the envelope that surrounded it onto a piece of glossy black paper, which
was photographed on the animation stand and matched in movement to the model, also with
a lot of gauze and overexposure" (Cinefex 117).
The ending of the film was going to be much more like the novel, but it ended up being
only implied with a subtlety that only someone who had read the book would pick up on.
This is a passage from Arthur C. Clarke's biography:
"In the novel the Star-Child detonates the nuclear weapons orbiting planet Earth.
This concept actually went to the shooting-script stage but was finally nixed.
Kubrick and Clarke agreed that it was to similar to Kubrick's ending in Dr. Strangelove" (McAller).
Arthur C. Clarke: "The feeble energies it contained were no possible menace to him,
but he preferred a cleaner sky.
He put forth his will and the circling megatons flowered in a silent detonation that brought
a brief, false dawn to half a sleeping globe."
When we see the Star-Child back at Earth, all of the satellites that were orbiting Earth
at the beginning of the Floyd sequence are nowhere to be seen.
It is possible that Kubrick didn't want to clutter up the mind-blowing final images
of the film, but it also works well with the idea that the Star-Child has erased them from existence.
Brian Johnson: "I think he would have liked another year or so shooting on it quite frankly,
but the money just ran out."
It sort of seems logical that they ran out of money considering the shooting ratio was
200 to 1—so for every shot used in the film, 199 shots were not (Trumbull Masterclass).
The world premiere of the film was on April 2, 1968 at the Uptown Theater in Washington D.C. (Wiki).
Arthur C. Clarke reported that the Apollo management rescheduled a meeting so they could
attend the premiere (Press Conference).
Two days later, it was screened again at the Warner Cinerama Theater in Hollywood and the
Loew's Capitol in New York (Wiki).
At the New York premiere, Kubrick spoke to a reporter about what made him interested
in the project.
Stanley Kubrick: "We started in 1965- early 1965.
Well, I became interested in the idea that the universe was full of intelligent civilizations,
which is the current scientific belief.
Well, the facts in the film only help you believe the story, but- scientists know now
that there are about a hundred billion stars in our galaxy and about a hundred billion
galaxies in the visible universe.
The point is that there are so many stars in the universe that the likelihood of life
evolving around them—even if it were possibilities of one in a million—it would be hundreds
of millions of worlds in the universe."
Just before the screening in Hollywood, Arthur C. Clarke gave a press conference.
Arthur C. Clarke: "What we were trying to do was to convey the wonder and the beauty
and, above all, the promise of space exploration—this great new frontier that's opening up in
our age and probably just in time.
However, besides doing this, at the same time, we were tackling an even more ambitious theme
and this was nothing less than an attempt to convey the possible, indeed the probable,
place of Man in the hierarchy of the universe."
After the premieres in Washington, New York, and Hollywood, Kubrick took the film back
into the editing room and cut 17 minutes out.
Apparently much of this was dialogue.
Make-up artist Stuart Freeborn theorizes that cutting so much out to service the ambiguity
had a specific goal.
He said that friends of his would say "I've seen it seventeen times—and I still go back
and enjoy it, because I invent something in my own mind each time" (Cinefex 117).
Whether or not this was Kubrick's goal, we will never know, but I agree that it's
part of the reason I keep going back.
Douglas Tumbull said, "Everything was 'sort of' supposed to represent something… but
the objective of the picture was to make it so ambiguous that people could interpret it
as anything they wanted to.
That was Kubrick's main intent, I believe.
People like to grab hold of things in a very literal way so they can make sense out of
them – but there was none of that [in] 2001.
Kubrick sought not to make sense out of it.
It was up to the viewer to interpret it.
In that respect, Kubrick succeeded in making a film that is more like a piece of music
than a story" (Cinefex 117).
On the ambiguity of his film, Kubrick had this to say:
"How could we possibly appreciate the Mona Lisa if Leonardo had written at the bottom
of the canvas: 'The lady is smiling because she is hiding a secret from her lover.'
This would shackle the viewer to reality, and I don't want this to happen to 2001" (Making 92).
Upon its wide-release, the film received mixed reviews.
Some critics raved about the film while others hated it.
Film critic Stanley Kauffmann said it was "a film that is so dull, it even dulls our
interest in the technical ingenuity for the sake of which Kubrick has allowed it to become dull,"
Renata Alder said the film was "somewhere between hypnotic and immensely boring,"
and super famous film critic Pauline Kael called the film "a monumentally unimaginative movie," (Wiki).
If we go on to read Kael's review you can see where it bothered her.
She said, "2001 is a celebration of a cop-out.
It says man is just a tiny nothing on the stairway to paradise, something better is
coming, and it's all out of your hands anyway.
There's intelligence out there in space controlling your destiny from ape to angel,
so just follow the slab" (Fandor).
The consensus of negative reviews seemed to straddle the slow pace and the suggestion
of human-kind's origins.
However, one unlikely positive review came from the Vatican who praised the film by including
it in a list of "great films."
In an interview with Playboy Magazine, Kubrick addressed the religious interpretations of
the film.
He said, "I will say that the God concept is at the heart of 2001 but not any traditional,
anthropomorphic image of God.
I don't believe in any of Earth's monotheistic religions, but I do believe that one can construct
an intriguing scientific definition of God" (Playboy).
I've linked to some letters written to Kubrick praising the film.
One I found particularly interesting is by iconic graphic designer Saul Bass who would
later work with Kubrick on some posters for The Shining.
He writes: Dear Stanley:
I saw your film and just wanted you to know how beautiful and exciting I found it.
Apparently most everybody else does too, even those few who worry about your ending.
For me it was a fascinating, breathtaking experience.
Very best regards, Saul Bass
The most positive reactions to the film arguably came from contemporary filmmakers and those
who would become the next generation of filmmakers.
Steven Spielberg: "No IMAX experience—being on the shuttle and looking down at earth—has
ever really put me in space as much as 2001 did."
Martin Scorsese: "You've never seen anything like it, I think.
We didn't see anything like it up at that point.
I still don't think you've been immersed in a world that way—certainly not in commercial—
(quote) commercial cinema (unquote)— you know, at that time, coming out "MGM Presents"
and suddenly you're taken to another timeframe."
It not only redefined the genre of science fiction and inspired countless serious and
thought-provoking science fiction films, it also pushed the envelope of special effects
enough to inspire leaps and bounds in the art of making the unreal real.
Kubrick won the Academy Award for Visual Effects for the film and this was a point of controversy
with the crew.
In 1968, there was a rule in the Academy that no more than three people could be nominated
for the visual effects work on one film.
However, there were four special effects artists that would have been up for the award for
their work on 2001 (Douglas Trumbull, Con Pederson, Wally Veevers, and Tom Howard) and
because of this, Kubrick listed himself as the sole visual effects credit for the Academy
Awards even though it has been said that he did not create or design the effects, he only
directed them.
To add to the controversy, Kubrick accepted the award and kept it himself—possibly because
it would be difficult to share one award among the several people who worked on the special effects.
Douglas Trumbull: "So, Kubrick decided to take the award for himself and we didn't
get anything and ever since that time, it's been a sort of bone of contention between
us because I tend to say, 'I worked on 2001 and I worked with these other guys and we
did these special effects,' but the press tends to say, 'Doug Trumbull, who did the
special effects for 2001, says blah blah' and then Stanley Kubrick reads that and he
calls back and says, 'Douglas, you didn't do all the special effects.
I did them and Con did them and Wally'- and I say, 'But I didn't say that.'"
I had a chance to see the award up close at the Stanley Kubrick Exhibit when it was in
San Francisco and the irony here, is that Kubrick—one of the greatest filmmakers in
the history of cinema—only won one Oscar and it was for the work of his crew (Hollywood Reporter).
After its initial release, theater attendance became sparse, but the film found new life
with the youth who would go see the film on psychedelics.
They even started marketing the film as "The Ultimate Trip" and used clips from the Stargate
sequence in the advertising.
In many ways, 2001: A Space Odyssey is a propaganda film—it was meant to invigorate the public
in the possibilities of space exploration.
Kubrick, Clarke, and Fred Ordway made sure to ground this science fiction story in a
base layer of science fact in order to make legitimate these possibilities.
The film has a feeling of reality that makes you believe that this is where our species
could be headed with the right focus.
The overarching quest for realism is probably why much of 2001's depiction of the future
is now a reality.
Tablet computing, televisions in airline headrests, glass displays in cockpits, videophones, space
stations, voice recognition, winged space shuttles, and the first attempt at computers
mimicking humans for assisting purposes.
What's your favorite movie?
Siri: "I don't really have a favorite.
But I hear that '2001: A Space Odyssey' got some good reviews."
Of course some of this may be directly inspired by the film.
For instance, Samsung used an image of Dave and Frank with their tablets in a court case
disputing Apple's patent of the original tablet design (Wiki).
2001: A Space Odyssey has remained just as relevant today because of continuing impact
on newer generations of fans (including myself).
The mystery of space exploration and the intrigue of mankind's origins will never become dated
and Kubrick and Clarke's story has become so iconic that it has found its way into a
wide variety of other pop culture icons.
I first saw the film about 16 years ago and I had already been exposed to much of its
imagery in popular culture.
"Ow."
There is even a nod to 2001 in another Kubrick film.
Steven Spielberg: "He kept saying, 'I want to change the form.
I want to make a movie that changes the form.'
And I said, 'Well didn't' you do that with 2001?'
He said, 'Just a little bit, but not enough.
I really want to change the form.'
So, he kept looking for different ways to tell stories."
That is part of the reason it has always captivated me.
For me, it doesn't just represent the unknowable in the universe, but in film itself as well.
It goes against nearly everything that we've learned makes a great movie— a great deal
of the movie is made up of shots of people traveling from one place to another.
It also likely has way more product placement in it than any other film.
Heywood Floyd, Dave Bowman, and Frank Poole are dull individuals, they don't have flaws
or really any character arcs.
Moon Watcher has a small arc, but Bowman—who we spend the most time with— doesn't have
any explicit personal revelations by the end of the film.
His trip through the Stargate and ultimate evolution into the Star Child doesn't have
any emotional payoff to backstory like in something like Contact or Interstellar—
Dave doesn't have a backstory.
I think this creates something bigger than a story.
Even though the film ends with a crescendo, the lack of a completed character arc makes
it feel as if what we experienced has no real end.
It is as infinite as the universe itself.
It is the first and probably only movie that I've seen that almost completely sidesteps
using the characters as an avatar for the audience's emotion and instead, it creates
just one emotion externally—awe.
Aside from the fear HAL experiences during his disconnection, the characters don't
really experience much classic emotion themselves.
We, the audience, are in awe from nearly the beginning of the film to its end.
There is no love story, and the story seems to be told through the universe itself more
than the characters that inhabit it.
I've said some of this before, but I believe this is what makes this movie so great:
First: there is a simple and captivating short narrative thread in the middle of the film
that is built on the greater mystery of the overarching narrative.
That is the story about HAL 9000.
This is very important.
I feel like a lot of experimental or ambiguous films miss the mark because they lack a simple
and intriguing narrative as a way in.
Second: the brilliant special effects and the greater theme of the unknowable in the
universe both captivate us with excitement for the future, with admiration for the ballet-like
beauty of space, and with wonder at the secrets of the universe.
Third: The use of legendary composers that forever redefine and link their music with the film.
Fourth: Kubrick hired great actors who hadn't reached a high level of fame and therefore
wholly become their characters.
Fifth: the innovative use of special effects mix spectacle with purpose leaving us with
the same feeling after witnessing a great magic trick.
Sixth: an ending that at once fits with the narrative, but also perplexes causing us to
think about the film long after it's over.
Seventh: Kubrick surrounded himself with a crew of great artists and gave them the opportunity
to experiment and find innovative solutions for problems.
Eighth: The absolute obsession with detail, from the scientific research of Fred Ordway
to the quality of the photography itself.
For example, Kubrick wanted every version of the title shot for other languages to be
first generation, so the entire shot of the planets and everything had to be done from
scratch 6 times for 6 different languages instead of just swapping out the titles (Cinefex 110).
Ninth: the aversion to cliché and the creative use of the medium to create something utterly cinematic.
And tenth: The historical context surrounding the period of the film's release.
It is very interesting to think that humans would land on the moon around only 15 months
after the film was released.
It has been really great seeing all of the positive support for this series and conversing
with fellow fans of this movie.
This series could not have been possible without the fans of 2001 more or less archiving every
word, photo, or video on 2001 and sharing them on the Internet.
I want to take a minute to thank some of the many resources that made this series possible.
First and foremost is 2001italia, whose website is a treasure trove of all things 2001.
Then there is the post on Cinephilia & Beyond, the videos from Eyes on Cinema, and interviews
from The TV Store Online.
And a Patreon supporter named Quincy Battieste (I hope I'm pronouncing that right) who
hooked me up with the issue of Cinefex that I drew from extensively for these last 2 episodes.
Many thanks to those and you can find a link for most of these in the description down below.
And thanks to all of the people interviewed for their accounts and memories.
Thanks so much for watching!
This final part was completed exactly two years after the first part was uploaded.
I thank you for your patience and engagement with these videos.
If you're new here, please hit that subscribe button now because there are plenty more videos
about Kubrick and more on the way for cinephiles like you.
Thanks again for watching!
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Mercedes-Benz B-Klasse 170 / NAVI / AIRCO-ECC / EL. PAKKET / RADIO-CD - Duration: 1:02.
For more infomation >> Mercedes-Benz B-Klasse 170 / NAVI / AIRCO-ECC / EL. PAKKET / RADIO-CD - Duration: 1:02. -------------------------------------------
Surfing with TIMELAPSE.. #70 🕵 - Duration: 11:44.
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AGBEFAHREN *DER FILM* - Duration: 30:58.
For more infomation >> AGBEFAHREN *DER FILM* - Duration: 30:58. -------------------------------------------
Abgefahren *TRAILER* - Duration: 1:42.
For more infomation >> Abgefahren *TRAILER* - Duration: 1:42. -------------------------------------------
Ghost in the Shell For more infomation >> Ghost in the Shell-------------------------------------------
For more infomation >> Ghost in the Shell-------------------------------------------
Citroën C5 2.0-16V VTR - Duration: 0:47.
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For more infomation >> Citroën C5 2.0-16V VTR - Duration: 0:47.-------------------------------------------
Citroën DS4 1.6 VTI 120 SO CHIC navi, 1e eigenaar! - Duration: 1:08.
For more infomation >> Citroën DS4 1.6 VTI 120 SO CHIC navi, 1e eigenaar! - Duration: 1:08. -------------------------------------------
For more infomation >> Citroën DS4 1.6 VTI 120 SO CHIC navi, 1e eigenaar! - Duration: 1:08.-------------------------------------------
Citroën C1 1.0-12V AMBIANCE - Duration: 1:10.
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For more infomation >> Citroën C1 1.0-12V AMBIANCE - Duration: 1:10.-------------------------------------------
Citroën Grand C4 Picasso 2.0 HDI LIGNE BUSINESS 7P / NAVI / AIRCO-ECC / PDC / AUDIO AF FABR. / LM - Duration: 1:01.
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Citroën XM 2.5 TD | LEER | CLIMA | TREKHAAK | UNIEK!! - Duration: 1:00.
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Pokédventure #2 - Duration: 21:22.
For more infomation >> Pokédventure #2 - Duration: 21:22. -------------------------------------------
For more infomation >> Pokédventure #2 - Duration: 21:22.-------------------------------------------
2017/03/11 Nickelodeon Kids Choice Awards 2017 RUS - Duration: 1:09:39.
For more infomation >> 2017/03/11 Nickelodeon Kids Choice Awards 2017 RUS - Duration: 1:09:39. -------------------------------------------
For more infomation >> 2017/03/11 Nickelodeon Kids Choice Awards 2017 RUS - Duration: 1:09:39.-------------------------------------------
COMMENT TUER L'ENNUI - Duration: 3:27.
For more infomation >> COMMENT TUER L'ENNUI - Duration: 3:27. -------------------------------------------
For more infomation >> COMMENT TUER L'ENNUI - Duration: 3:27.-------------------------------------------
Funny Cartoons for Kids For more infomation >> Funny Cartoons for Kids-------------------------------------------
왜 일부 사람들만이 왼손잡이인 것일까? (한글자막) - 다니엘 M. 애브람스 - Duration: 5:07.
For more infomation >> 왜 일부 사람들만이 왼손잡이인 것일까? (한글자막) - 다니엘 M. 애브람스 - Duration: 5:07. -------------------------------------------
GOT7 - Never Ever ( ADAPTACION PARA COVER ESPAÑOL ) - Duration: 3:36.
For more infomation >> GOT7 - Never Ever ( ADAPTACION PARA COVER ESPAÑOL ) - Duration: 3:36. -------------------------------------------
Roll With Me - A Force (Lyric Video) - Duration: 3:31.
Chorus: Whenever You need me, I'll be there...
Whenever you need me, I'll be there...
Giving you advice, gonna be real cuz I'm the one and only...
So Roll with me... So Roll with me... yeah... yeah... yeah
So Roll with me, just Roll with me, just Roll with me, just Roll with me yeah.
Roll with a real homie...
Roll with a real homie...
Roll with a real and that's me... and that's me... yeah.
Verse 1: The man that you were wishing for, who loves you unconditional. When your with me, I'll make you feel invincible. The kind of confidence that isn't so typical. I'll surprise you everytime, since I ain't predictable.
Make you feel special, by kissing your forehead. Send you a long message when you just go to bed. Your birthday I won't forget. Never making you upset. Memories we will collect, life with me will be perfect.
I will love you till the very last drop...
I can maintain it. It will never stop.
Girl I love your voice like I love HIP HOP.
That means i'll be the best man you ever got so...
Chorus: Whenever You need me, I'll be there...
Whenever You need me, I'll be there...
Giving you advice, gonna be real cuz I'm the one and only...
So Roll with me... So Roll with me... yeah... yeah... yeah
So Roll with me, just Roll with me, just Roll with me, just Roll with me yeah.
Roll with a real homie...
Roll with a real homie...
Roll with a real and that's me... and that's me... yeah.
Verse 2: Nothing is given, your love has me driven and I'm travellin your world so you can say that I'm livin
So, where do I start? I accept you as you are. No matter what happens i'll be here tomorrow.
Cuz with me there's no deception, open your perception.
They say time is money but time with you there's no recession.
Forget the phone calls, In person there's more connection.
You need to see me, It's about the first impression.
Roll with me.
Ah Ah
Roll with me.
You know I'm worthy.
Ah Ah
So worthy.
Roll with me. It's never too early.
If you're with me I'll ignore the controversy...
Roll with a real homie...
Roll with a real homie...
Roll with a real, and that's me... and that's me... yeah...
Ye...
Yours truly,
-------------------------------------------
Face Reveal/Update - Duration: 1:44.
Hello guys! CAPS here!
And, um...
Thank you for those who have subscribed!
Um...
I'm going to enter this "Creepypasta" [writing] contest and--
*my sis being annoying* *awkward silence*
Anyway--
I'm going to enter this contest and I'm going to start uploading that video on Saturday.
Um...
*more awkward silence*
I... I would love it if you guys could watch because...
I'm going to be making a story right in front of you guys.
And...
I'm determined to be first place...
...in that contest and um...
I'll let you know the results... right after.
Anyway--
*sighs and my sis taps my shoulder*
Just wanted to give you a heads up...
Face reveal!
AAAAAAAAAAAAAHHH!
Okay... [CAPS out!!]
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Toyota Yaris 1.5 Hybrid Aspiration - Duration: 1:01.
For more infomation >> Toyota Yaris 1.5 Hybrid Aspiration - Duration: 1:01. -------------------------------------------
Nightcore - Never Ever (KPOP) - Duration: 2:43.
Did you wait long, i'm so sorry?
I've decided now, are u ready?
I know i've wandered for a while
Don't worry now, i'll never leave again
Everytime I called you, I wasn't there Silence
Don't worry, i'm here now, shall we dance?
Let's have a toast, take my hand now
From now on, I will never let you go
It starts now, just the two of us Romance
Are you ready, I'm ready?
There's no fear, no hesitation
Let's go up, only our love
It start's now, our Romance
Are you ready, I'm ready?
There´s no fear, no hesitation
Let's go up, only our love
Never Ever Ever gonna let you go
I won't leave you again, don't worry?
Baby you're mine, mine, mine
Never Ever Ever gonna make you cry
I won't make you cry again, don't worry
Baby you're mine, Baby you're mine
As much as i've thought about it, I know for sure
All in I am bettung everything
Deciding from now on and forever more
I'm yours, you're mine Woh
Shall we take a vow, let's try it
Swear on our hearts, let's sign it
Get the ink, get the pen
I have no hesitation now now
It starts now, just the two of us Romance
Are you ready, i'm ready?
There's no fear, no hesitation
Let's go up only our love
It starts now, just the two of us our Romance
Are you ready, i'm ready?
There's no fear, no hesitation
Let's go up only our love
Never Ever Ever gonna let you go
I won't leave you again, don't worry?
Baby you're mine, mine, mine
Never Ever Ever gonna make you cry
I won't make you cry again, don't worry?
Baby you're mine, Baby you're mine
I was confused every night
I didn't think I could take care of you
But as time passed by
Surely more, clearly
I missed you girl
I kept thinking about
The way you looked at me
Baby you belong to me
Never Ever Ever gonna let you go
I won't leave you again. don't worry
Baby you're mine, mine, mine
Never Ever Ever gonna make you cry
I won't make you cry again, don't worry?
Baby you're mine, Baby you're mine
I will NEVER EVER EVER, NEVER EVER
-------------------------------------------
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How to Juggle Four Balls | Basic Four Ball Juggle | Phil's Juggling Skills | KickFire Hydras - Duration: 2:21.
Welcome to Phil's Juggling Skills.
Today I'm going to teach you the basic Four Ball Juggle.
To do that first you've got to have four balls.
Second you've got to be able to do two in this hand
and two in this hand in an opposite circle.
So this circle you'll notice is going from my view counterclockwise.
And this from my view is going clockwise.
Now once you've got these two mastered.
All your gonna do is do that at the same time with both hands in an offset pattern.
So throw throw throw throw throw.
None of the balls are crossing.
None of the balls are changing hands.
They're just going around in the separate loops at opposite times. Ready?
You'll notice that they don't cross.
They just go around in their little circles in front of me.
That's the basic four ball.
If you have any questions about how to do this or any of the other juggling tricks you've
seen on our channel please comment.
I'm glad to help.
In the meantime, Phil's juggling skills, out.
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How to Juggle Four Balls | Four Ball Multiplex | Phil's Juggling Skills | KickFire Hydras - Duration: 2:33.
Welcome to Phil's Juggling Skills.
Today I'm gonna teach you a different way to do the four ball.
We'll call it the Multiplex.
The way that we're going to do this is very similar to a three ball juggle but the fourth
ball just goes up and down in the one hand.
So you want to practice this first.
You take the two, you flick it off the front, off the top.
The top one just goes up and down.
So they both go up and down in that scenario don't they?
So get the balls in your finger like this.
So you can have the two fingers on the top ball.
That one's going to flick up and over and the other one is just kind of going to go
up and down in your normal juggling pattern.
So practice that a little bit.
Once you feel comfortable, try it.
You'll notice that one of the balls in my right hand just goes up and down.
It doesn't actually juggle into the pattern.
It just goes up and down on the one side.
It's called a multiplex for a reason.
You can actually do this with five.
Which I'll show you in another video.
You notice the other three balls are doing just a normal juggling pattern.
And that's four ball multiplex.
If you have questions about this or any of the other video's on our channel, please
feel free to comment.
I'm glad to help you with any of your juggling issues.
Until next time, Phil's juggling skills, out.
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Volkswagen Golf 1.2 TSI COMFORTLINE Executive Navigatie, 16"LM - Duration: 0:59.
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Audi TT 1.8 TFSI PRO LINE 160pk Leder, Navigatie, Xenon - Duration: 1:02.
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Sophia Loren Makeup Transformation Tutorial Inspired - Duration: 3:12.
Apply concealer as an eyelid primer
Apply a light matte taupe on the eyelid
Apply a matte chocolate brown halfway on eyelid. Concentrate near the lashes
Apply concealer on the waterline
Extend out the concealer to form a slim triangle at the end of the eye
Apply black eyeliner flat on the eye and connect with white triangle.
Notice how its flat, but slightly going upwards.
Once again, connect the black liner with the white triangle
I used a fine point brush with the gel liner
Apply mascara top and bottom
Apply wispy styled lashes. Make sure to lay it flat on the end point of the eye
Apply foundation
Highlight with concealer underneath the eyes, the jawline area, the nose, the brows, and the brow bone area.
Blend out with damp makeup sponge
Set with powder
Contour the cheeks angled down, heading toward the lips
Contour the forehead and chin area both flat
The bridge part of her nose is wide, but slims down in the middle
I'm contouring the sides of the nose as well
Elongate the lips with a pink mauve color
I'm going to apply a liquid with my gel eyeliner. I'm using this brand (INGLOT "Duraline") in particular, because it will last longer and intensify my look.
With a small angle make downward strokes
Her brows as a whole are arched, but on a midpoint heading toward the end, it straightens out.
I'm elongating the nostrils
Her chin was defined in the middle and flat
I'm adding touch-ups
A lovely quote from Sophia Loren= "Beauty is how your feel inside, and it reflects in your eyes. It is not something physical."
Thank you so much for watching. I hoped you liked it and please subscribe to see more of my art. Thank you :)
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How to Juggle Three Balls | Three Ball Tiny Throws | Phil's Juggling Skills | KickFire Hydras - Duration: 2:12.
Welcome to Phil's Juggling Skills.
Today, I'm going to teach you how to juggle three really teeny, tiny, small, teeny, tiny. Ya.
So, it's a fun practice to do.
As you're learning to three ball juggle you want to explore different heights.
So, sometimes you may wanna throw them up really high and out of the screen like you're
seeing now.
But, I encourage you to do little teeny tiny, teeny, tiny throws and get as close to your
hands as possible.
It builds up your coordination and your speed.
As you get lower, by necessity you have to go faster.
There's not really a secret to this.
Just concentrate.
And get lower till you're just rolling them off your finger tips.
Teeny tiny.
That's our trick for today.
If you have any questions, please put it in the comments.
In the meantime, it's Phil's juggling skills out.
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#ZULA 1 - Duration: 0:10.
For more infomation >> #ZULA 1 - Duration: 0:10. -------------------------------------------
EU III From Trade Block to European Government - Duration: 6:50.
And we're back!
Last episode we talked about how European Coal and Steel Community, the EEC, and how
it almost fell apart.
Today we're going to talk about the decades leading up to the founding of the EU.
So far there were 3 institution: the EEC, the Coal and Steel Community, and the European
Atomic Community.
They were 3 different organization with basically the same goal: unite Europe.
But all 3 acted independently from one another.
It was time to merge them into one.
So in 1967 the 'merger treaty' was signed, which, as you might have guessed, merged the
three institutions into one.
This treaty had 3 goals for the next 25 years: expand to other countries; create a fund that
would help develop poorer regions; and make it easy for people, products, services, and
money to travel between the countries.
And so, the European Communities was founded to achieve these goals.
Seeing the economic benefits, more countries WANTED to join.
They were Spain, Norway, Denmark, Ireland, and the UK.
The last four had actually tried joining a couple of years ago but De Gaulle, ever afraid
that the UK and USA would try to dominate the European Communities, vetoed their ascension.
Well, the French had elected a new president so they tried applying for membership a second time.
Spain was refused on the basis that it was a dictatorship.
The other four countries held a referendum where the citizens could vote on whether to
join the European communities or not.
The Norwegians voted against, the other 3 countries voted in favour.
And so 6 countries became 9.
Greece joined later in 1981… which I'm SUUUURE isn't going to cause any problems
in the future.
Greenland became independent in 1985, held a referendum, and left the European Community
as it doesn't agree with its fishing regulations.
Spain and Portugal overthrew their dictatorships and were now allowed to join the European
Communities as DEMOCRACIES in 1986.
Bringing the number to a grand total of 12 members.
In 1975 the European Regional Development Fund was created.
Its purpose is to transfer money from rich REGIONS, not countries, to poor regions to
improve infrastructure, attract investment, and create jobs.
This type of activity currently accounts for over 1/3 of EU spending.
I'll leave this map here if you want to pause the video and take a closer look.
Funny thing.
One of the reasons the UK voted to leave the EU in 2016 was because they did not want to
spend their money on poorer eastern European countries.
Well do you know who the biggest supporter was of this fun?
The UK.
They went so far as to make this a major issue when they joined the EU, pressuring the rest
to create this fund.
Why?
Because at the time, the UK had many of the poorest regions in Western Europe and they
received large sums of money to build up their economy.
There is some irony for you.
And in case you're thinking that this takes away prosperity from the rich countries, it
doesn't: when the poor become richer they have more money to spend, if they have more
money to spend they will buy more stuff, which means that rich people become richer because
they have more customers.
It also means that these previously-poor people are now able to produce new goods and services.
It is thanks to this fund that Estonia is able to develop Skype, it's why Poland has
become rich enough to create the Witcher series, It's why the UK was able to produce the
Harry Potter series.
It's thank to this fund that a stagnant economy like Spain grew to become the 5th
largest Economy in Europe, Behind Germany, the UK, France, and Italy.
Or to put it in another way.
Spain's Economy is as large as that of giant Russia because of such funds.
Then came the last goal of the European Communities: free movement.
Over the years, European countries had already made some progress towards this; European
citizens didn't need visas anymore cross borders.
You just showed your passport, got a stamp, and moved on.
So, if for example, you as a Portuguese citizen, woke up in the morning deciding you wanted
visit Paris, you could just hop on a plane and be in Paris that evening without first
going through the lengthy and expensive process of getting a visa.
And in 1985 this idea was expanded with the Schengen agreement, one of the most iconic
agreements of Europe: with this treaty anyone can travel between the member states without
being checked at the border, with this treaty you can walk from Portugal all the way to
Denmark without once being stopped to show your passport.
With this treaty countries save large sums of money as they no longer had to pay for
expensive border checkpoints.
Think about how radically different this is from, let's say, the USA and its wall with
Mexico, Israel and its wall with Palestine, the Soviet Union and its wall with western
Europe.
This: the idea, that people can just live, work, and study anywhere they want within
Europe.
that you, as a tourist, can at this very moment backpack to 26 countries with different cultures,
languages, and peoples.
That any of these countries can benefit from the knowledge, know-how, and experience of
any of the other countries without unnecessary bureaucracy.
This is at the core of what is European Union: an open continent united in diversity.
And now that people could move freely it was time that goods could as well.
This had been an economic boost in the BeNeLux.
While, yes, you no longer had to pay import taxes on your goods for decades, as discussed
in last episode.
Every country still had different legislation concerning these goods.
A product sold to Denmark would need to adhere to different standards then in let's say, Ireland
This means that if you sold to several countries in Europe, you would need to look into each
country's laws concerning your product, then make a different version of that product
for each country.
This drove up the costs of products and made it less appealing for companies to do business
in Europe.
This wasn't a big problem with large economies such as West Germany and France, but companies
might not be so eager to sell to small countries like Luxembourg or the poorer countries at
such as Portugal.
This could no longer be!
In 1986 the Single European Act was launched.
This was a vast 6-year program to sort out the differences in the national regulations
of each of the member states by harmonizing these laws.
It gave the European institutions the power to combine the economic laws of European countries
so it's easy for companies to do business in Europe, meaning more jobs and more stuff
for its citizens.
At the end of this program the European Communities had achieved its goals: a larger European
Communities, development funds, and free movement.
The European Communities lived up to its purpose and with this new Europe came a new name:
the European Union.
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