Interesting Things Thread

11 Hour Long Wrestling Match

This game of wrestling in the 1912 Olympic lasted 11 hours, and was fought by two middle weight wrestlers, Martin Klein from Estonia and Alfred Asikainen from Finland. There is an interesting fact between erstwhile Russia and Finland that one must know; Russia ruled over Finland for a long time. On the day of fight, Klein wore the dress of tsarist Russia. The final winner in this fight was Martin Klein, this was the semifinal match. However,Klein was so exhausted that he could not take part in the final match next day with Claes Johansson from Sweden. Thus, the fight of 11 hours proved costly for Klein, as he won the silver and Johansson the gold.

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Who Made The Marree Man?

60 km out of the town of Marree in South Australia, there is the figure of a man etched into the ground that is more than 4 km long. This geoglyph, popularly known as the Marree Man, is not only Australia’s but also the world’s biggest geoglyph, and had been created by scouring out the vegetation from the land and exposing the bar earth underneath. The main reason for this being hyped so much is that no one knows who, or why made this astounding drawing on the earth. Although there are only a few clues, a local version says that the eccentric Bardius Goldberg made this using a GPS and a bulldozer.

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INTRODUCTION
In 1929, a group of historians found an amazing map drawn on a gazelle skin.

Research showed that it was a genuine document drawn in 1513 by Piri Reis, a famous admiral of the Turkish fleet in the sixteenth century.

His passion was cartography. His high rank within the Turkish navy allowed him to have a privileged access to the Imperial Library of Constantinople.

The Turkish admiral admits in a series of notes on the map that he compiled and copied the data from a large number of source maps, some of which dated back to
the fourth century BC or earlier.

The Controversy
The Piri Reis map shows the western coast of Africa, the eastern coast of South America, and the northern coast of Antarctica. The northern coastline of Antarctica is perfectly detailed. The most puzzling however is not so much how Piri Reis managed to draw such an accurate map of the Antarctic region 300 years before it was discovered, but that the map shows the coastline under the ice. Geological evidence confirms that the latest date Queen Maud Land could have been charted in an ice-free state is 4000 BC.

The official science has been saying all along that the ice-cap which covers the Antarctic is million years old.
The Piri Reis map shows that the northern part of that continent has been mapped before the ice did cover it. That should make think it has been mapped million years ago, but that’s impossible since mankind did not exist at that time.

Further and more accurate studies have proven that the last period of ice-free condition in the Antarctic ended about 6000 years ago. There are still doubts about the beginning of this ice-free period, which has been put by different researchers everything between year 13000 and 9000 BC.
The question is: Who mapped the Queen Maud Land of Antarctic 6000 years ago? Which unknown civilization had the technology or the need to do that?

It is well-known that the first civilization, according to the traditional history, developed in the mid-east around year 3000 BC, soon to be followed within a millennium by the Indus valley and the Chinese ones. So, accordingly, none of the known civilizations could have done such a job. Who was here 4000 years BC, being able to do things that NOW are possible with the modern technologies?

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Trash.

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Superb stuff Julio regarding the antartic mapping and the Flano party. :clap:

The abandoned city of Chernobyl. Fairground is really freaky

http://englishrussia.com/index.php/2006/09/13/lost-city-of-chernobyl/

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In 1983, 50 corporations controlled the vast majority of all news media in the U.S. At the time, Ben Bagdikian was called “alarmist” for pointing this out in his book, The Media Monopoly. In his 4th edition, published in 1992, he wrote “in the U.S., fewer than two dozen of these extraordinary creatures own and operate 90% of the mass media” – controlling almost all of America’s newspapers, magazines, TV and radio stations, books, records, movies, videos, wire services and photo agencies. He predicted then that eventually this number would fall to about half a dozen companies. This was greeted with skepticism at the time. When the 6th edition of The Media Monopoly was published in 2000, the number had fallen to six. Since then, there have been more mergers and the scope has expanded to include new media like the Internet market. In 2004, Bagdikian’s revised and expanded book, The New Media Monopoly, shows that only 5 huge corporations – Time Warner, Disney, Murdoch’s News Corporation, Bertelsmann of Germany, and Viacom (formerly CBS) – now control most of the media industry in the U.S.

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Four Mistakes That Killed the Record Indstry Before File Sharing

Most everyone who follows the record industry knows that it is slowly imploding and most don’t care seeing as how its leaders have basically ignored technology and tried to sue people to push their profit margins back in line. But, the demise of the record industry actually began long before technology gave it the final push over the edge. It started in the 80’s with the birth of the CD and the swallowing of independent record labels by major corporations to the point that now there are only four majors left.

In each critical moment, record labels had the opportunity to think ahead and look beyond their immediate revenue streams. Like many large corporations, they were unable to do so. As a result, they forgot that music is about people and they continue to ignore that fact at their own peril.

For myself, I believe the record industry - and this includes radio - made four mistakes that preceded their ignorance of technology and lawsuit happy antics of present day.

1. CD sales are not the same as record sales.

At first, this may seem like semantics, but my distinction is between the actual compact disc - the physical item - and the concept of a record - the music an artist records to put on a CD. When the CD was invented, profit margins for what were once moderate sized labels shot through the roof. If you had a back catalog of good music, you were about to become a millionaire if you weren’t already because everyone was replacing their vinyl with CD’s.

Record profits resulted and multi-national corporations took notice. In much the same way “dot com” start ups managed to convince venture capitalists to back questionable opportunities, independent labels began to entertain offers to sell themselves to the highest bidder. Corporations saw this as a long-term money making venture that would be great for their portfolio and their shareholders.

What they failed to realize is that the CD gravy train would soon come to an end as people finally replenished their collections and went back to their normal buying routines. The years of off the chart sales came to an abrupt end and corporations were stuck with bloated record divisions and they had no clue what to do - the end result when you replace creative minds seeking talent with bean counters seeking profit.


2. Longevity trumps the flavor of the week.

Because labels were feeling the pinch and because they were now subject to corporate budget constraints, annual reports and shareholders, they began to look for ways to cut costs. One of the first places they looked was artist development and promotion. I remember reading about how A&R departments were slashed to the bone and promotions departments saw their budgets cut dramatically.

Labels, in a desperate need to justify their existences, cut off their noses to spite their faces. Instead of trimming corporate expense accounts and the bloated salaries of their higher ups, they decided to rely on things like cross promotion, radio, television and other forms of media to do the legwork their promoters had done previously.

Worse yet, they focused on one-hit wonders and bubblegum pop to push profits ignoring their own rich history and tradition.

It’s expensive to develop an artist. It is common knowledge that for every 12 artists signed to a label, 10 lose money, 1 breaks even and 1 makes enough to pay for the development of all the others put together. It’s a really risky business. But, the small independent labels didn’t care because they wanted to discover the next Bob Dylan or Bruce Springsteen. They knew that one major success could make up for a string of costly failures.

Unfortunately, that equation doesn’t work in the corporate environment. You have to justify your budget every year, every quarter. If the only way to do that was to release lowest common denominator music that would sell fast but fade just as quickly, you did it.

They even managed to forget how they got to this point in the first place somehow missing that what are now termed “heritage” artists like Springsteen, Tom Petty and others were what sustained them over the long haul, not The Backstreet Boys and Britney Spears. Those were bands and musicians developed over years and they didn’t come cheap, but they made up for it in the long run.


3. Destroying the chain of distribution is death.

For years, the way music got from artist to fan was the same. One department (A&R) would discover and develop artists helping them with everything from day-to-day expenses to making records. Another department (Promotions) would take the finished product and promote it using teams of college interns, radio promotions staff and others. They would pass the actual product on to distributors who would send their representatives to record stores to convince stores to buy records. The promotions interns would put up displays in the store and hold promotional events designed to help artist, distributor and record store. The employees at the store would talk to their customers and play the music in the store.

That system worked really well for a very long time. But, once again, the big corporations saw an opportunity to cut costs by making independent deals with big box retailers like Wal-Mart, Target and Best Buy. The result was the death of distribution companies and independent music stores (as seen today with the legendary Morninglory Music going under after 38 years in business) and even chain music stores. This may have seemed like a smart financial decision, but they got it wrong again.

What the suits failed to realize was that the chain of people working on selling music for them was key to making sales. Even now in the age of blogs, people still listen to what others suggest when it comes to buying music. Prior to the internet, those people included DJ’s (we’ll get to them in a second) and record store employees. After your friends, these were the people you trusted to know music.

Even worse, retailers like Target only put about 300 titles per year on shelves out of 3000 or more possible releases, honing it down to ONLY the most salable (according to them) artists and records. A good record store could not only steer you towards a great alt rock record, but also to a blues record that influenced that alt rock band you like so much.

I’m not naive. I realize that with iTunes and other forms of downloading, the days of the music store were rapidly coming to a close, but the labels, instead of acting as partners with stores as they always had, turned their backs on them prematurely before anyone had ever heard of an MP3 or Napster. It not only cost thousands of people their jobs, it placed limited stock on the shelves narrowing the choices for people even further. Like cutting development, they were forgetting that it takes more than just a pretty face and a catchy hook to sell records and the more options you put out there for people, the better your chances of developing artists who will sell for you for more than just a few years.

4. Killing the DJ

I think there is real truth to the idea that video killed the radio star, but the radio industry helped it along by killing off the primary link between listeners and stations: the dj.

Much like the chain of distribution, there was a long history of record label staffs sending music to radio stations where program directors and DJ’s would play what they thought their audience wanted to hear. DJ’s took chances and, as a result, broke artists for labels and made them an awful lot of money. There was always corruption and undue influence exerted on DJ’s, but a large percentage were in it for the music.

When the Telecommunications Act of 1996 was signed into law, large corporate radio empires like Clear Channel destroyed the listener-DJ relationship by flooding markets with stations owned by a signle entity with programming decisions made at a regional level, far removed from the DJ and his/her show. DJ’s were replaced with “on-air personalities” more about selling ad revenue than “spinning hot wax” as they used to say.

While the record industry may not have been directly involved, they sat by and did nothing and even encouraged the centralization of power because it made it cheaper for them to peddle music. They didn’t have to call or visit hundreds of DJ’s anymore. Now, they just went to a central nexus.

Just like destroying distribution removed variety from the shelves of retailers, centralizing programming ended variety as we once knew it on terrestrial radio. In the Steely Dan song “FM” they talk about how FM stations in the 70’s would play pretty much anything from reggae to blues to rock and everything in between. It was all about the relationship between DJ and listener, between people. Once that relationship was destroyed and stations began playing the same narrow play list, people began to abandon radio in droves.

Long before the record industry was, in their estimation, attacked by downloaders and people believing music should be free, the record industry itself compromised its own business through questionable decisions, corruption and the corporatization of music. Art and commerce always have and always will have a tenuous relationship. But, when the pendulum swings so far to one side, it is no shock when it eventually comes flying back the other direction. So, record execs, the next time you look into a camera or into a room full of onlookers and try to tell us that file sharing and video games killed your business, don’t waste your breath. Instead, take a look in the mirror and you’ll probably find the culprit.

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Lions that can eat you even if you climb a tree. Interesting.

Tom.

Good day, my friend

My purpose here is not flirt. Here I am looking for friendship and
true love. I am aiming to have a peaceful life and have a beautiful relationship in the future. I hope I will find someone who could ring my bell here http://passiondesire.net/
My dear, I longed to see you, to have you…
to have you kiss the tip of my ear and then, I’d offer you my neck, my shoulders and my arms for you to kiss ten, twenty, a thousand times until you got tired!We both know what happens when we start doing this, don’t we? Well, of thought of it all – the beginning, middle…and end!
I miss your breath, the smell of your mouth and of your skin. I miss
you, my dear.

Lena D

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That Chernobyl thing is mental.

The Babushka Lady.

During the analysis of the film footage of the assasination of John F. Kennedy in 1963, a mysterious woman was spotted. She was wearing a brown overcoat and a scarf on her head (the scarf is the reason for her name as she wore it in a similar style to Russian grandmothers – also called babushkas). The woman appeared to be holding something in front of her face which is believed to be a camera. She appears in many photos of the scene. Even after the shooting when most people had fled the area, she remained in place and continued to film. Shortly after she is seen moving away to the East up Elm Street. The FBI publically requested that the woman come forward and give them the footage she shot but she never did.

In 1970 a woman called Beverly Oliver came forward and claimed to be the Babushka Woman, though her story contains many inconsistencies. She is generally regarded as a fraud. To this day, no one knows who the Babushka Woman is or what she was doing there. More unusual is her refusal to come forward to offer her evidence.

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Fulcanelli

Fulcanelli (1839 – ?1953) is a pseudonym of a late 19th century French Alchemist and author whose identity is still unknown. Much mystery surrounds his life and works – leading to him being branded a cultural phenomenon. One of the more extravagant tales retells how his devoted pupil (Eugene Canseliet – pictured above) successfully transformed 100 grams of lead in to gold with the use of a small quantity of “Projection Powder” given to him by his teacher.

It is believed that on the verge of World War II, the Abwehr (German intelligence service) was in active (but fruitless) pursuit of Fulcanelli because of his knowledge of the technology of nuclear weapons. Fulcanelli had met with a French atomic physicist and given him accurate details regarding nuclear weapons technology and he claimed that atomic weaponry had been used against humanity in time long past.

“According to Canseliet (Fulcanelli’s student), his last encounter with Fulcanelli happened in 1953 (years after his disappearance), when he went to Spain and was taken to a castle high in the mountains for a rendezvous with his former master. Canseliet had known Fulcanelli as an old man in his 80s but now the Master had grown younger: he was a man in his 50s. The reunion was brief and Fulcanelli once again disappeared leaving no trace of his whereabouts. At this time, Fulcanelli would have been 114 years old.”

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Not as far fetched as it sounds. There a number of tales in history of Advanced civilisations wiped out by nuclear type incidents.