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Showing posts with label article. Show all posts
Showing posts with label article. Show all posts

In A Heartbreaking Open Letter, Doctor Explains Why He Checks Facebook Of His Dead Patients Before Notifying Their Parents

By​Neringa
One of the hardest challenges we face in life is the death of a loved one. But what we usually don’t see, is how breaking this devastating news to someone can be emotionally taxing for doctors as well. They are the first ones to see the suffering families and yet must to remain calm and professional.

Recently, Louis M. Profeta, an emergency physician at St. Vincent Hospital in Indianapolis, shared a sad and touching story about breaking the news to a parent that their child didn’t make it. Scroll down below to read the full story and learn why he always checks the Facebook profile of the patients that he loses. Be prepared to shed a tear or two! (Facebook cover image: PhotoSpirit)

A doctor revealed that he always checks the Facebook accounts of his dead patients before breaking the news to their parents


The doctor also described the devastating feelings that he faces whenever such a tragedy strikes
To some people, the open letter was not only touching but also eye-opening

AUDIENCES AT THE ORIGINAL RUN OF ‘THE EXORCIST’ LOSING THEIR SHIT

https://dangerousminds.net


While I love The Exorcist and watch it at least once a year—wherever Penderecki is booming from big speakers, I’ll be there—I’m unable to see it without thinking about hype, suggestibility and mass hysteria. Most promotional campaigns for horror movies are more or less artful variations on the tagline Dudley Moore’s ad man comes up with in Crazy People: “It will fuck you up for life!” Rumors of a cursed set, damned celluloidand occult frames were for The Exorcist what $1,000 life insurance policies were to William Castle’s Macabre. Since its release, the movie has benefited from the outsize expectations first-time viewers bring to it.

When I was growing up, I regularly heard The Exorcist cited not only as the scariest movie ever made, but as the legitimate exemplar of subliminal techniques in filmmaking. The first time I saw the movie (on VHS), I remember noticing that at least some of these subliminal images I had heard so much about, the ones that had supposedly been engineered to make you puke and cry from abject terror, were plainly visible to the naked eye when the tape played at normal speed; seemed pretty superliminal to me. If you’re aware that you just saw a flash cut of a ghoulish face, is it your unconscious mind that’s being manipulated, or your fear of subliminal editing?


The widespread belief that the movie used modern techniques of mind control probably had more to do with the reaction it provoked in audiences than anything William “Fuck them where they breathe” Friedkin did in the editing room. As with The Blair Witch Project, an inferior movie similarly hyped, audiences were primed for terror by hyperbolic news reports and hours standing in line, anticipating the most traumatizing experience modern media could deliver.

Below, in local news footage, audiences at the original theatrical run of The Exorcistwait for hours to buy tickets. There is much weeping, wailing and gnashing of teeth among those exiting the theaters. An usher describes the crackups he’s seen, and some moviegoers step into the lobby to get some air mid-screening. Smelling salts are requested.
In other words, it’s a pop sensation! What’s more reminiscent of The Exorcist than the shrieks, sobs and streams of urine that greeted matinee performances by Frank Sinatra and the Beatles?

‘I F$CK$NG HATE YOU!’: IGGY POP GOES APESH#T DURING COMBATIVE (AND AMAZING) 2003 STOOGES SHOW


On April 27th, 2003, a reunited Stooges played at Coachella, marking the first time in nearly 30 years Iggy Pop had performed with the Asheton brothers. It went so well that what was supposed
to be a one-off gig turned out to be just the beginning. For the next five-plus years, the Stooges toured the world over, playing in front
of adoring crowds—for the most part. Six months after the Coachella date, the band had another festival appearance, but instead of encountering their usual audience—fans thrilled to be seeing the Stooges—the group was met with indifference and hostility.
This REALLY pissed off Iggy, and brought out the fighting spirit in him. The Stooges’ set that evening recalled the confrontational shows of the past, and turned out to be one of the most memorable gigs this version of the band ever did.

In 2003, the annual Voodoo Music Experience festival was held at City Park in New Orleans from October 31st-November 2nd. The lineup was a mix of jam bands, rap acts, and groups that were popular on mainstream rock radio at the time. Plus, the Stooges. 



The Stooges hit the stage at 8:15 pm.
A photo taken by one of the few Stooges fans in attendance.
The first song is their usual set opener, “Loose,” from the second Stooges album, Fun House—
one of the greatest records EVER MADE—and the crowd just stands and stares. Iggy immediately recognizes that the audience doesn’t care, and he becomes combative. Throughout the show, 
Pop hurls a range of insults at the apathetic kids—including a guy he can clearly see is yawning. 
The best put-down of the night: “You suck like the bands you like.” But there are moments when Iggy’s doing his best to stay positive; at one point, he invites the audience to come on stage, 
though just one dude takes him up on it. Other times, as he unleashes on the dum dums in attendance, the Ig’s rage is palpable. 

The Stooges’ November 1st performance was scheduled between nu metal band Staind and the headlining act, Marilyn Manson. At the conclusion of Staind’s set, a good chunk of the young crowd—who we have to presume had never heard of the Stooges—left to check out another one of the fest’s stages, while most of those that remained were there to hold their ground for Marilyn Manson. When an MC came out and hyped the upcoming Stooges set, there was faint applause, but the kids went crazy when he mentioned Marilyn Manson




It turned out to be a fantastic performance, despite—no, scratch that—*because* of the aloof crowd, which spurred the band on. It’s the closest a reunited Stooges would ever get to the days of Metallic KO.

Grandville, Visions, and Dreams



With its dreamlike inversions and kaleidoscopic cast of anthropomorphic objects, animals, and plants, the world of French artist J. J. Grandville is at once both delightful and disquieting. Patricia Mainardi explores the unique work of this 19th-century illustrator now recognised as a major precursor and inspiration to the Surrealist movement.

The poet Charles Baudelaire greatly admired the graphic arts, writing several essays about the major caricaturists and illustrators of his day. He found something positive to say about each of them with one exception, the artist Jean-Ignace-Isidore Gérard, known simply as Grandville (1803–1847). And yet, despite Baudelaire’s antipathy, Grandville is arguably the most imaginative graphic artist of the nineteenth century, as well as the most influential on subsequent generations. Baudelaire was well aware of Grandville’s gifts, but his aversion was that of a true classicist:

There are superficial people whom Grandville amuses, but as for me, he frightens me. When I enter into Grandville’s work, I feel a certain discomfort, like in an apartment where disorder is systematically organized, where bizarre cornices rest on the floor, where paintings seem distorted by an optic lens, where objects are deformed by being shoved together at odd angles, where furniture has its feet in the air, and where drawers push in instead of pulling out.

Baudelaire’s comments were perceptive: these are the very characteristics that, while making him uncomfortable, appealed to the next century’s surrealist artists and writers who saw in Grandville a kindred spirit who shared their interest in the uncanny, in the dream state, and in the world of imagination.


Grandville died young, at forty-three, but in his short life his work ranged across the entire spectrum of graphic art, from political caricature to book illustration. His early drawing Let’s Put Out the Light and Rekindle the Fire! for the journal La Silhouette displays the eerie quality many found so disturbing: the censors are drawn with bellows for heads and one large eye, looking very like birds of prey as they go about their grim business of book-burning under cover of darkness. Behind them other censors resembling candle-snuffers in clerical garb join in, all working to extinguish the lumière, the Enlightenment.

read full article at:

In Istanbul, Drinking Coffee in Public Was Once Punishable by Death

BY MARK HAY

Rulers throughout Europe and the Middle East once tried to ban the black brew.


IN 1633, THE OTTOMAN SULTAN Murad IV cracked down on a practice he believed was provoking social decay and disunity in his capital of Istanbul. The risk of disorder associated with this practice were so dire, he apparently thought, that he declared transgressors should be immediately put to death. By some accounts, Murad IV stalked the streets of Istanbul in disguise, whipping out a 100-pound broadsword to decapitate whomever he found engaged in this illicit activity.

So what did Murad IV find so objectionable? Public coffee consumption.

Odd though it may sound, Murad IV was neither the first nor last person to crack down on coffee drinking; he was just arguably the most brutal and successful in his efforts. Between the early 16th and late 18th centuries, a host of religious influencers and secular leaders, many but hardly all in the Ottoman Empire, took a crack at suppressing the black brew.

Few of them did so because they thought coffee’s mild mind-altering effects meant it was an objectionable narcotic (a common assumption). Instead most, including Murad IV, seemed to believe that coffee shops could erode social norms, encourage dangerous thoughts or speech, and even directly foment seditious plots. In the modern world, where Starbucks is ubiquitous and innocuous, this sounds absurd. But Murad IV did have reason to fear coffee culture.


These crackdowns touched off in the 16th century because that’s when coffee reached much of the world. Coffee beans were likely known and used for centuries beforehand in Ethiopia, their point
of origin. But the first clear historical evidence of grinding coffee beans and brewing them into a cup 
of joe dates—as the historian Ralph Hattox established in his definitive tome Coffee and Coffeehouses—to 15th century Yemen. There, local Sufi Muslim orders used the brew in mystical ceremonies, whether as a social act to foster brotherhood, a narcotic to produce spiritual intoxication, or a pragmatic concentration booster. The drink soon spread up the Red Sea, reaching Istanbul in the early 1500s and Christian Europe over the following century.

In response, reactionaries cited religious reasons to outlaw coffee. “There’s always an undercurrent of” conservative Muslims “who think that any innovation … that is distinct from the time of the prophet Muhammad should be quashed,” says Ottoman social historian Madeline Zilfi. (Reactionary tendencies are not unique to Islam; later, in Europe, religious leaders asked the Pope to ban coffee as a satanic novelty.) Justifications included that coffee intoxicated drinkers (forbidden), that it was bad for the human body (forbidden), and that roasting made it the equivalent of charcoal(forbidden for consumption). Other religious figures charged (maybe legitimately, maybe dubiously) that coffeehouses were natural magnets for licentious behaviors such as gambling, prostitution, and drug usage. Others just thought the fact that it was new was reason enough to condemn it.



The first recorded coffee crackdown occurred in Mecca in 1511, when Kha‘ir Beg al-Mi‘mar, a prominent secular official in a pre-Ottoman regime, caught men drinking coffee outside of a mosque and thought they looked suspicious. The details of the crackdown are disputed, but he used religious justifications to order an end to all coffee sales and consumption. Later coffee crackdowns occured in Mecca (again), Cairo (multiple times), and Istanbul and other Ottoman areas.


By the late 18th century, though, more secular meeting places had emerged, and dissident groups were more entrenched. Shuttering coffeehouses was no longer a go-to dissent crusher, so the bans stopped—although rulers still posted spies in them to monitor anti-regime chatter, a practice some autocrats maintain to this day.

Murad IV, then, was an exceptionally brutal man. But he was not some insane reactionary. Instead, he and his peers speak to the power that a new commodity, such as coffee or tobacco, can have: Something as simple as creating a new culinary venue can wash away old mores and open up new spaces for engagement and thought. They speak to the horror and reactionary politics such innovations, such critical thoughts and challenges to accepted norms, can provoke.

Coffee culture won out against religious and political conservatism, though, and now we live in the world of Starbucks. And won’t it be surprising to see which social innovations stirring up apocalyptic prophecies today become as ubiquitous and uninteresting as the green mermaid logo a century or two down the road?

Darwin’s Polar Bear

Musings upon the whys and wherefores of polar bears, particularly in relation to their forest-dwelling cousins, played an important but often overlooked role in the development of evolutionary theory. Michael Engelhard explores.

 

As any good high school student should know, the beaks of Galápagos “finches” (in fact the islands’ mockingbirds) helped Darwin to develop his ideas about evolution. But few people realize that the polar bear, too, informed his grand theory.

Letting his fancy run wild in On the Origin of Species, the man accustomed to thinking in eons hypothesized “a race of bears being rendered, by natural selection, more and more aquatic in their structure and habits, with larger and larger mouths, till a creature was produced as monstrous as a whale.” Darwin based this speculation on a black bear the fur trader-explorer Samuel Hearne had observed swimming for hours, its mouth wide open, catching insects in the water. If the supply of insects were constant, Darwin thought, and no better-adapted competitors present, such a species could well take shape over time.

Systematic approaches to animals and their respective niches had long fertilized the intellectual landscape. Georges-Louis Leclerc, Comte de Buffon, in his Histoire Naturelle (published serially between 1749 and 1788) clearly distinguished a “land-bear” from a “sea-bear”. But his land-bear category was still muddled: it included a “white bear of the forest” as well as a brown bear.
The count would have likely heard of polar bears in the boreal zone of southern Hudson Bay and he thought them a separate species: his “white bear of the forest”. In a 1754 publication of coloured plates used in Buffon’s Histoire Naturelle, his white land-bear looks different from his sea-bear, clearly showing the shorter neck and snout characteristic of brown bears and black bears. Perhaps the count knew about British Columbia’s white black bears or “spirit bears,” which could have confused him. (Other contributions by Buffon were significant. He discovered the first principle of biogeography, noticing that despite similar environments, different regions have distinct plants and animals.) 


read full article at: 
 http://publicdomainreview.org/2018/02/21/darwins-polar-bear/

 
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