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Dec 182023
 

Movie and TV remakes are often garbage. But covers of songs? Sometimes the remake is a triumph. Some examples:

 

“My Body Is A Cage” by Arcade Fire, then covered by Peter Gabriel.

“Smooth Criminal” by Michael Jackson… then perfected by Alien Ant Farm.

 

“Hurt” by Nine Inch Nails. It was good… but what Johnny Cash did with it is astonishing.

 

“Tainted Love” by Gloria Jones from 1964 was utterly eclipsed by “Soft Cell’s” 1981 cover.

 

Cylon and Garfunkel’s “Sound of Silence” is peak 60’s pretentiousness. But Disturbed’s remake kicks substantial ass.

 

David Bowie’s “Heroes” is OK. Peter Gabriels’ cover gives it emotional depth wholly lacking in the original.

 

And… what the heck. “All Along The Watchtower” by Bob Dyna was meh, the Jimi Hendrix cover was pretty good, but Bear McCreary reworked it into the best season-ending cliffhanger music ever.

 

 

 

 Posted by at 4:03 am
Dec 112023
 

Long story short: I’ve been a *casual* watcher of “Dr. Who” for 40+ years. From watching it from time to time on PBS back in the 80s – the Tom Baker era, mostly – to catching the revived version in more recent years, I would generally find it amusing if somewhat baffling. The fact that not only was it stories set over multiple episodes, meaning you’re in the dark if you’ve missed any, but that it was terribly *British* meant that it just didn’t quite hit for me. But still, I liked it well enough, and I respect the IP and the fandom.

But not everyone respects the IP or the fandom. This includes the makers of the show these days.

One thing I could always expect from any iteration of The Doctor would be that he was some flavor of “British Man.” Generally some variant of the Brit known as the “boffin,” a weird eccentric science type. But then came the “insufferably smug British woman” variant of the Doctor. And next up… gay sub-Saharan African Doctor, which seems to be meant specifically to annoy the long-time fans. So, yeah, I haven’t felt the urge to watch Dr. Who in a good long while. Recent events have not changed that. In fact, recent efforts by the makers of the show to gaslight fans of the show make me actively uninterested.

The latest nonsense has been the race swapping of historical figure Isaac Newton. For a British show to *intentionally* replace an important English historical figure with an Indian actor seems at best odd, at worst part of a wider ongoing and undeniable effort to replace the English within their own history. But the people behind this have themselves a new strategy to defend their decisions from those who don’t like it:

‘Doctor Who’ Casting Director Responds To Criticism Of Race-Swapped Isaac Newton: “It’s Sad That We’re In A Time Where People Villainise Minorities”

Behold: pointing out that Newton was English, or Cleopatra was Greek, or Hannibal was Phoenician, has gone from merely being a racist position to now “villainizing minorities.” If you say that so-and-so wasn’t black or Indian or whatever, you are now equating blacks or Indians or whatever with criminals. It is dishonest, it is unhinged, it doesn’t make sense, but it’s what they’ve got.

That’s their argument against those who point out the folly and malignity of race swapping historical figures. What’s their argument *for* doing this? The Dr. Who casting director says:

“It then becomes even more important to give people a voice and for people to be represented, especially for young people growing up who might be trans or from any minority. If they can see themselves on screen, then that can be a huge lifeline for some people. That can make them feel part of the world, which indeed they are.” … “Growing up as a gay man, I’m as aware as anybody else of how this stuff makes you feel when you see it. “

Uh-huh. So he likes to see his little subset “represented.” But he somehow doesn’t understand – or pretends not to – how a large *majority* of people do not like to watch their “representation” getting not just erased, but culturally appropriated and colonized by outsiders who didn’t earn it, don’t deserve it and don’t fit in it.

 Posted by at 6:27 pm
Dec 042023
 

The Case of the Missing Vega AVUM Propellant Tanks

Turns out two of the propellant tanks for the fourth stage of the final Vega launch vehicle – a European launcher that first flew in 2012, designed for small payloads – went missing. That’s kinda inexcusable and inexplicable. But at least they found them. That’s good, right? Well…

 

They had been crushed and were found alongside metal scraps in a landfill.

Whoopsie.

Even better: as this is the *last* flight of a Vega, the production lines are long since shut down. So in order to pull off the planned 2024 launch, either tanks from pre-2012 ground tests will be scrounged – assuming they’re still in good enough shape – or a whole different unqualified-for-Vega upper stage will be used.

 

Maybe just fly on a Falcon.

 Posted by at 8:39 pm
Dec 032023
 

Black and white concept art, Rockwell illustration from the early 70’s represents the almost-final B-1A configuration, from back when being very supersonic was the goal rather than being stealthy at low altitude. Most obvious differences between this and the as-built B-1A are the ride control vanes (the small canards) and the discontinuity in sweepback angle between fixed and movable portions.

 

 

The full image  has been made available as a thank-you to APR Patreon and Historical Documents Program patrons at the $4 and above level, placed in the 2023-12 APR Extras . If interested in this piece or if you are interested in helping to fund the preservation of this sort of thing, please consider becoming a patron, either through the APR Patreon or the Monthly Historical Document Program.

 Posted by at 8:54 am
Dec 022023
 

On one hand, the utility of this ad for selling Chevy’s seems limited. After all, it doesn’t tell you much about how they perform or what they cost, though there is the suggestion that they can last a long time. On the other hand, the nature of the ad is such that people will be talking about it (and they are), and any publicity is good publicity. On that latter score it’s a remarkably effective ad, very effectively mastering the “holiday tearjerker” trope. If this *doesn’t* work you up a little, I can only assume that “Jurassic Bark” left you unmoved and the Iron Giant’s final “Suuupermannn” was met with a shrug.

 

 Posted by at 4:31 pm
Nov 252023
 

A late 1950’s project from Fairchild Aircraft for a STOL aircraft, the M-232. The propulsion system was fixed, but the wings were given large flaps that would direct the bulk of the propwash more or less downwards. Coupled with the extreme nose-up attitude on the landing gear, this would almost be enough for vertical takeoff and landing. An aircraft like this would be used in a role much like that of the OV-10 Bronco.

This came from a series of articles that have been scanned and made available as “Extras” to APR Patrons and subscribers at the $11 and up level. If you would like to help fund the acquisition and preservation of such things, please consider signing on either for the APR Patreon or the APR Monthly Historical Documents Program.




 

 

 

 

 Posted by at 11:50 pm
Nov 212023
 

Bruce Springsteen’s 1984 song “Born in the USA” is famous not only for having been incredibly popular, bit for being “misunderstood.” Springsteen’s intent, as is pretty clear by a straight reading of the lyrics, is to tell the tale not just of a Viet Nam vet (the US was barely a decade out from that expensive but successful war and incredibly unsuccessful peace), but of a nation in disrepair. But it was grabbed onto by the political right – such as President Ronald Reagan – as a a rah-rah USA USA USA song to rally around. Then as now, leftists explain this as Republicans & conservatives being “media illiterate” or simply dumb. But is that really the case? Consider my own experience.

When it came out I was a dumbass early teenager with no particular political leanings. Yet I also saw the song as pro-USA, and I loved the hell out of it. And, yes, I listened to and understood the lyrics, and saw the darkness therein. But I – and I suspect a whole lot of other people – simply interpreted them differently from the intention of Springsteen. Yes, the lyrics reference the dire economic situation faced by *many* people at the time, coming out of the OPEC oil embargoes and Carters economic flailings and the collapse of the Apollo program and all the rest. But here’s the thing: two people can look at the same thing and see very different results… same screen, different movies.

Everybody in the US in the early 80’s knew that things sucked. You could hardly experience Carter and inflation and stagflation and Iran and the Soviets and the collapse of the iron, auto, farming and a bunch of other industries and not notice it. But there are two ways to deal with “things suck:” despair and determination. And thus we had two different approaches to understanding the song:

Leftists: “Things suck in the USA, therefore the USA sucks.”

Rightists: “Things suck in the USA right now. But we’ll fix it.”

In 1984, things sucked. But they didn’t suck quite as bad as they had a few years before, and things were clearly improving. Those in the middle and on the right saw this, and interpreted “Born in the USA” in that light.

And we got this for the 1984 Presidential campaign:

Essentially, “Born in the USA” was a negative ad against the US that got turned into a positive ad for the US. And that irritated the hell out of a lot of lefties who wanted to wallow in despair… and wanted everyone else to do the same.  Turning it into a nationalistic anthem was a giant middle finger to the nattering nabobs of negativity.

Positivity and optimism can do wonders in an election, and in society. “I Like Ike,” JFK’s “Camelot,” “Morning in America,” “Make America Great Again,” etc. Turning a negative into a positive is a sign you’re on the right road.

 Posted by at 11:44 pm
Nov 202023
 

I recently re-watched the 1998 movie “Pleasantville.” For those unaware, this starred a pre-Spiderman Tobey McGuire as a kid who’s a fan of the fictional 1950’s black and white TV show “Pleasantville,” sort of a cliche of the bland, utopian family shows of the time. It turns into a fantasy when Don Knotts shows up as a TV repairman who gives Tobey’s character a magical remote that zaps Tobey and his sister, played by Reese Witherspoon, into an episode of “Pleasantville.” There everything is in black and white, the world is *extremely* limited, and the other people are devoid of curiosity or initiative, just fulfilling their roles. The two new people begin to add a note of chaos to things, and in the process the characters begin to have awakenings… and color seeps into the environment. A flower here, a tongue there, and soon signs, trees, cars and whole people are appearing in glorious technicolor as they realize that there’s more to life than their roles. It’s an amusing fantasy that I first saw in the late 90’s, and last saw probably more than 20 years ago.

But upon rewatching it… I’ve decided it’s not just some lighthearted fantasy. It’s a sequel to “Tron.”

The “TV show” is a simulation based on the old TV show. The characters are actual NPCs, nonsentient avatars just going through their programmed motions. The “magic remote” is a much more advanced version of the laser “scanner” from “Tron,” and it uploads the two new users into the Pleasantville grid. The simulation is capable of learning and growth, and the non-sentient NPC slowly, and sometimes quickly,  come to awareness. And when characters or objects get a resolution increase, they go from black and white to color. At the end, the simulation expands: previously, when you went to the end of Main Street, you found yourself at the beginning of Main Street: the simulated universe was at best a few miles across. but now there is a college in the town of Springfield, 12 miles away. The simulation is growing.

I assume Don Knotts is a former employee of Encom, likely a friend and co-worker of Kevin Flynn. In “Tron: Legacy” Flynn is stated to have disappeared in 1989, and we find out that he’d been stuck in a simulation of his own ever since. In 1982’s “Tron,” the laser scanner was the size of a building; by 1989 it was portable enough to be installed in a basement. I guess Knotts, who was clearly enough of a fan of the old “Pleasantville” show to have created a simulation based on it, had continued development to the point where the scanner was now hand-held. Throughout the course of the movie it’s shown that he stays in a “TV Repair” van outside the real-world house of the two experimental subjects; perhaps the scanner is connected to the actual simulation hardware contained within the van through a wifi system.

At the end of the movie, Tobey returns to the real world, while his mean-girl, vapid and slutty sister stays behind: she does so because she, too has come to an awakening, and is now going to the college that appears at the end of the movie. Since several days had passed within the simulation while less than and hour had passed in the real world, the sister should be able to get a fair education in relatively short real-world time; of course, the education will be uncredentialed. But it’s better to be educated than not, regardless of whether you can prove it with paperwork. On the other hand… at the end Knotts drives away, presumably taking the simulation with him. How will Tobey get back into it? How will his sister get out? How will they communicate? These are left unanswered

 Posted by at 1:27 pm
Nov 182023
 

A common trope in science fiction is the discovery of “an element that does not appear on the periodic table.” This is of course nonsense… if the element has three protons, it’s lithium, full stop. And we’ve discovered – or invented – every element up to Element 118, Oganesson. These higher elements are quite unstable, generally having half lives of microseconds to minutes… but there is a suspected “island of stability” with some of these heavier elements if you can nail the isotopes correctly. Which nobody has.

But even if you can reliably manufacture the stable versions of these heavy elements on an industrial scale, the likelihood of them being useful to make spaceships or battle armor is low… and they’d still appear on the periodic table. Their physical properties probably won’t be that terribly interesting. Oganesson, for example, melts at a boring 52 C/125 F, and has a density of only 7.2 gm/cubic cm.

But Amazing Materials are terribly useful in science fiction. Witness Star Trek’s “dilithium,” a crystal that somehow or other allows matter-antimatter reactions that are controllable and useful. In Babylon 5 there was Quantium 40, necessary for the construction of jumpgates.  So what the hell are these?

 

I kinda recall that “Quantium 4o” was just bog-standard potassium-40 that had been close enough to a supernova to be *somethinged,* and changed at the quantum level *somehow,* resulting in a material that does Amazing Things.  How about dilithium? Well, dilithium is a real substance…. just a molecule with two lithium atoms bonded together in the gas phase. It’s clearly not the same thing as Trek’s “dilithium crystals,” and certainly not the later “trilithium resin” which has the interesting property that a few grams of the stuff can cause all fusion to cease in a star moments after it’s dropped in.

So… what the hell are Trekkian “dilithium,” or “vibranium” or “adamantium” or “byzanium” or “naquadah?” A century or more ago, fabulous new elements like “cavorite” could be thrown in without issue, because the list of known elements was massively incomplete. We can’t do that today.

In general, unless it’s important to the story, there’s neither need nor benefit to explaining such details in a story… it just exists. But now we know that there are no slots in the periodic table for new elements, so introducing them raises questions. So how to create actual new elements?

Honestly… I don’t know. But I’ve got an ill-formed probably crappy idea.

 

Take “dilithium.” Clearly “lithium” has something to do with it. Presumably *two* lithiums, given the name. If you simply stick two lithium atoms together, you get the previously mentioned uninteresting real-world “dilithium.” If you mash the lithiums together hard enough that the nuclei bond together, you no linger have lithium, you have carbon. This is just the way it is.

 

But while we can’t really posit new elements, we *can* posit the discovery, creation, utilization of new particles. We’re not done discovering such things. So *perhaps* there is a particle that can, say, replace neutrons in a nuclei, fullfilling the same function of gluing the protons into place. But they have a different effect on the electron shells. Perhaps to the point where two lithium nuclei so modified will actually stick together, but not actually fuse into carbon. Sort of a contact binary nuclei. Or these mystery particles are simply added to the neutrons and protons; being the same mass as a proton, if you add six of these new particles to a lithium atom you double the mass… thus di-lithium. These modified atoms would undoubtedly have very different properties from the regular stuff… properties the writer can simply declare. Adamantium, for instance, is a modification of helium; this turns it into a metal that, apparently, melts at a low temperature *once*, but when it solidifies it becomes not only insanely hard and tough, its melting temperature shoots way up.

 

In recent years one of the more popular fictional elements is “unobtanium” from “Avatar,” a room temperature superconductor. This *has* to be a new pseudo-element, rather than an alloy or compound. Because if it was the latter, a technological species with the ability to create antimatter-powered relativistic starships could simply synthesize the stuff. There’d be no need to mine it light years away. But if it was a material made from exotic particles… shrug.

 Posted by at 11:50 pm