aufzugshilfe

Powered by a waterwheel, a simple tow-line pulling patrons to the top of the slope, the first skilift, the invention of hotel handyman Robert Winterhalder had its debut to the public on this day in 1908 at a resort in Schollach bei Eisenbach. Another impetus for its creation was the clientele that the guesthouse caterer to: those suffering from asthma and allergies who sought refuge and healing in the clean air of the countryside. Winterhalder wanted those guests to be able to experience the thrill of downhill skiing without the distress and exertion of climbing first. Up a gradient of some thirty metres over a distance of a quarter of a kilometre from the valley to the mountain hut, users were pulled upwards on a continuous loop. Residents re-enacted the centenary of its premiere, albeit with decidedly less snow in 2008.

6x6

a note to asterius’ daughter signed ‘from your valentine’: the reliquary and relics of the third century martyr 

lost in my dms: a brief history of Dungeons & Dragons the animated series—see previously  

barlow & bear: talented duo bringing Bridgerton the musical to TikTok  

but patty’s only seen the sights a girl can see from brooklyn heights: a century of the identical twin trope of Hollywood and one actor playing multiple roles, juxtaposed with actual twin child actors sharing a single role 

universal language: two examples of diplomats breaking out in song—here and here 

anteros: Cupid in the arts through the millennia

your daily demon: kimaris

Among our most scholarly encounters yet, this infernal marquis mounted on a black steed teaches those who summon him grammar, logic and rhetoric (the trivium) and is the finder of lost treasures. This sixty-sixth spirit is an infernal marquis governing twenty demons whose name and identity may be derived from the Egyptian scarab-faced creator god Khepri or from the Assyrian war-like and nomadic people the Cimmerians who were said to dwell in perpetual darkness. Ruling from today through to 18 February, Kimaris is countered by the angel Manakel.

ring around the collar

One signature feature of Hanna-Barbera characters (human or otherwise) was to portray them with a necktie or necklace or some similar accessory (Betty Rubble, Boo Boo Bear, Baba Louie, Mister Jinx, Penelope Pitstop and so on) owes its existence to the cost saving measure of limited animation—only having to redraw the face and head but not the entire body for every frame is far less time-consuming and the apparel at the next made for a good guide for continuity. Though largely rendered an obsolete trope (though to some extend used to signal gender to the audience where not otherwise apparent or important) by the use of digital animation techniques, it is often retained or reference in homage to the classics.

here we come on the run with a burger in a bun

We enjoyed very much this appreciation of the Cabazon dinosaur ensemble, a novelty roadside attraction two decades in the making created by theme park artist and sculptor Claude Bell (of Knox Berry Farm fame) off the freeway near Palm Springs to draw diners to his nearby restaurant, the Wheel Inn (1958 - 2013). The Brontosaurus, Dinny the Dinosaur, and Mister Rex are made of out of salvaged, reclaimed road construction materials and since the restaurant’s closure, have been host, in a surprising turn, to a gift shop and a museum devoted to doctrine of creationism (inside of Dinny—the Tyrannosaur formerly had a slide in his tail but has been since filled with concrete due to safety concerns)—selling dinosaur related souvenirs with the rather shrill caveat that the “fossil record does not support evolution” (see also) and espousing young Earth beliefs, that place Adam and Eve among the dinosaurs about six millennia ago. Exhibits run counter to a frieze that Bell painted along the internal passage way that portray a scientific point of view and timeline that includes Cro-Magnon, Java Man and Neanderthals. More from Pasa Bon! at the link up top.

7x7

the lady and the dale: a con-artist and the “car of the future”  

the lovers, the dreamers and me: after a five-year hiatus Snarkmarket makes a return to analyse and discuss two songs from The Muppet Movie—via Kottke and RSS reader 

tennesee tuxedo as a school-marmish cereal cop: children’s animated breakfast commercials often touted dark, authoritarian narratives  

i don’t want to be carrot man but i am carrot man: a delightful vintage guide on making costumes 

act-out: one hundred eighty-five German stage, television and film stars stage mass coming-out in support for greater representation and gender diversity in roles, via Super Punch 

like a small boat on the ocean sending big waves into motion: Trump’s legal defence wraps up a bizarre, specious rebuttal  

the witch of kings cross: a dramatization of the persecution that a sorceress and healer faced in 1950s Australia—via Strange Company’s Weekend Link Dump

the one that got away

Via our peripatetic companion, Things Magazine, we learn about a centuries’ old Japanese method that fishermen used as a means of recordkeeping for logging their catch that is still employed though somewhat rarefied as an art form. 魚拓 (gyotaku, from fish + [stone] impression) is a printmaking technique which renders caught subjects as printing plates, brushing them with ink and carefully pressing a rice paper sheet over it. Details about the fish species, location and other conditions were captioned with the image along with an authenticating, notarising seal and traditionally a few gyotaku exemplars were prepared and dispatched to sellers as way of evaluating the quality of the harvest, which could also be thought of a regulatory measure to “brand” stocks and mitigate over-fishing. The detail transferred in the anatomy of aquaculture represents one of the first large scale nature studies.

an experiment in modern music

On this day in 1924 at New York City’s Aeolian Hall, bandleader Paul Whiteman’s jazz orchestral jazz ensemble accompanied composer George Gershwin (*1898 – †1937) for his premiere performance of Rhapsody in Blue (see previously). Considered by some to be the inaugural concert of the Jazz Age—though that’s subject to debate and conjecture—the overarching tune of this free-form piece, recognisable still regardless of variation, abridging or extension, is considered one of the most readily identifiable works to the public, on par with Beethoven’s Fifth Symphony. Reportedly afterwards there was only a smattering or applause and a mostly stunned, silent audience, prompting Gershwin to turn to them, saying, “Well, your kids will love it!”