• Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters

    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game.
    In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC.
    Tony Hawk’s Pro Skater 3 + 4 launches on July 11.
    THPS 3 + 4: Returning Skaters

    From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them.
    “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.”
    “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth!blew my mind, the impact it had.”
    “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”
     When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series.
    Tony Hawk

    San Diego, California
    Style: Vert / Stance: Goofy
    Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure.
    Bob Burnquist

    Rio de Janeiro, Brazil
    Style: Vert / Stance: Regular
    Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp.
    Bucky Lasek

    Baltimore, Maryland
    Style: Vert / Stance: Regular
    Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively.
    Steve Caballero

    San Jose, California
    Style: Vert / Stance: Goofy
    An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe.
    Kareem Campbell

    Harlem, New York
    Style: Street / Stance: Regular
    Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards.
    Geoff Rowley

    Liverpool, England
    Style: Street / Stance: Regular
    Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine.
    Andrew Reynolds

    North Hollywood, California
    Style: Street / Stance: Regular
    Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later.
    Elissa Steamer

    San Francisco, California
    Style: Street / Stance: Regular
    Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame.
    Chad Muska

    Los Angeles, California
    Style: Street / Stance: Regular
    Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.”
    Eric Koston

    Los Angeles, California
    Style: Street / Stance: Goofy
    Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist.
    Rodney Mullen

    Gainesville, Florida
    Style: Freestyle / Stance: Regular
    One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks.
    Jamie Thomas

    Dothan, Alabama
    Style: Street / Stance: Regular
    Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made.
    Rune Glifberg

    Copenhagen, Denmark
    Style: Vert / Stance: Regular
    Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition.
    Aori Nishimura

    Tokyo, Japan
    Style: Street / Stance: Regular
    Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games.
    Leo Baker

    Brooklyn, New York
    Style: Street / Stance: Goofy
    Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions. 
    Leticia Bufoni

    São Paulo, Brazil
    Style: Street / Stance: Goofy
    Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row.
    Lizzie Armanto

    Santa Monica, California
    Style: Park / Stance: Regular
    A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp.
    Nyjah Huston

    Laguna Beach, California
    Style: Street / Stance: Goofy
    One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics.
    Riley Hawk

    San Diego, California
    Style: Street / Stance: Goofy
    Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day.
    Shane O’Neill

    Melbourne, Australia
    Style: Street / Stance: Goofy
    Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS.
    Tyshawn Jones

    Bronx, New York
    Style: Street / Stance: Regular
    A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade.

    The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun. 

    Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate.
    Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more.

    Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here.

    Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date.
    Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear:

    Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard.
    Revenant: Get evil with the Revenant, including two unique special tricks.
    Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack.
    Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs.
    Create-A-Skater Items: Kit out your skater with additional apparel items.

    Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com.
    * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features.
    **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch datesubject to change. Internet connection required.
    *** Actual play time subject to possible outages and applicable time zone differences.
    #tony #hawks #pro #skater #returning
    Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters
    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC. Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth!blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features. **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch datesubject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences. #tony #hawks #pro #skater #returning
    WWW.TONYHAWKTHEGAME.COM
    Tony Hawk’s Pro Skater 3 + 4 — Returning Skaters
    The roster of skaters originally featured in Tony Hawk’s™ Pro Skater™ 3 and Tony Hawk’s™ Pro Skater™ 4 helped to further catapult skateboarding culture into the mainstream as big names like Bob Burnquist, Steve Caballero, Elissa Steamer, and Chad Muska joined Tony Hawk in a stacked roster of award-winning pro skaters capable of shredding in and out of the game. In this feature, following the Demo announcement and the full soundtrack reveal, we’re proud to share the full roster of returning skaters in the upcoming Tony Hawk’s™ Pro Skater™ 3 + 4arriving on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, Nintendo Switch 2, and PC (Battle.net, Steam, Microsoft PC Store). Tony Hawk’s Pro Skater 3 + 4 launches on July 11. THPS 3 + 4: Returning Skaters From gold medalists to progenitors of some of today’s most iconic skateboarding tricks, these classic skaters were instrumental in bringing skateboarding culture to a wider audience. Mixing courage, creativity, and an iron will, they’re more than ready to tackle any obstacle put before them. “Being in the original games was epic!” shares Elissa Steamer, who was the first playable female skater in the original Tony Hawk’s Pro Skater game. “It was semi-life changing. I can’t say enough about how stoked I was – and am now! – to be in the games.” “From the moment Tony asked, it was an honor, yet I had no idea of what it would come to mean,” says Rodney Mullen, originator of the kickflip and largely considered one of the most influential skaters in the sport. “The first time I showed up on tour after the release of the game, I recall ‘em shop owners having to put me on top of the tour van roof to manage so that I could sign things in all the madness. The crowd was rocking the van back and forth! [It] blew my mind, the impact it had.” “The game attracted such a broader group of skaters, which has elevated our community in layered ways: from tricks to societal acceptance to the respect we get from people who often thought otherwise, like parents discouraging their kids who were simply outsiders looking for a place to belong,” Mullen continues. “Skating is integrated with a culture, a way of being, more than pretty much any other sport I can think of. The way Tony’s game shows that via the music, art, and vibe batted this home. It’s cool to be understood.”  When Tony Hawk’s Pro Skater 3 + 4 launches this July, here are the returning skaters ready to hit the pavement once again, including skaters featured in the original Tony Hawk’s Pro Skater 3 and Tony Hawk’s Pro Skater 4 games plus other titles in the series. Tony Hawk San Diego, California Style: Vert / Stance: Goofy Tony Hawk made history by landing the first ever 900 at the 1999 X Games, skyrocketing the sport into the mainstream. Today he remains the sport’s most iconic figure. Bob Burnquist Rio de Janeiro, Brazil Style: Vert / Stance: Regular Bob Burnquist shocked the skateboarding world when he landed the first Fakie 900. His iconic “Dreamland” skatepark is home to a permanent Mega Ramp. Bucky Lasek Baltimore, Maryland Style: Vert / Stance: Regular Known for his vert skills, Bucky has won 10 gold medals at the X Games and is one of only two vert skateboarders to have won three gold medals consecutively. Steve Caballero San Jose, California Style: Vert / Stance: Goofy An iconic skateboarder responsible for inventing various vert tricks. He holds the record for the highest air ever achieved on a halfpipe. Kareem Campbell Harlem, New York Style: Street / Stance: Regular Called the godfather of smooth street style, Kareem left his mark by popularizing the skateboard trick, “The Ghetto Bird,” and founded City Stars Skateboards. Geoff Rowley Liverpool, England Style: Street / Stance: Regular Geoff Joseph Rowley Jr. is an English skateboarder and owner of Civilware Service Corporation. In 2000 he was crowned “Skater of the Year” by Thrasher Magazine. Andrew Reynolds North Hollywood, California Style: Street / Stance: Regular Co-founder and owner of Baker Skateboards, Andrew Reynolds turned pro in 1995 and won Thrasher Magazine’s “Skater of the Year” award just three years later. Elissa Steamer San Francisco, California Style: Street / Stance: Regular Elissa is a four-time X Games gold medalist, the first female skateboarder to go pro, and the first woman ever inducted into the Skateboarding Hall of Fame. Chad Muska Los Angeles, California Style: Street / Stance: Regular Artist, musician, and entrepreneur. Described by the Transworld Skateboarding editor-in-chief as “one of the most marketable pros skateboarding has ever seen.” Eric Koston Los Angeles, California Style: Street / Stance: Goofy Co-founder of Fourstar Clothing and the skate brand The Berrics, Eric is a master of street skateboarding and a two-time X Games gold medalist. Rodney Mullen Gainesville, Florida Style: Freestyle / Stance: Regular One of the most influential skateboarders of all time, Rodney Mullen is the progenitor of the Flatground Ollie, Kickflip, Heelflip, and dozens of other iconic tricks. Jamie Thomas Dothan, Alabama Style: Street / Stance: Regular Nicknamed “The Chief,” Jamie is the owner and founder of Zero Skateboards. He helped film 1996’s “Welcome to Hell,” one of the most iconic skate videos ever made. Rune Glifberg Copenhagen, Denmark Style: Vert / Stance: Regular Nicknamed “The Danish Destroyer,” Rune Glifberg is one of three skaters to have competed at every X Games, amassing over 12 medals at the competition. Aori Nishimura Tokyo, Japan Style: Street / Stance: Regular Born in Edogawa, Tokyo in Japan, Aori Nishimura started skateboarding at the age of 7 and went on to become the first athlete from Japan to win gold at the X Games. Leo Baker Brooklyn, New York Style: Street / Stance: Goofy Leo is the first non-binary and transgender professional skateboarder in the Pro Skater™ series and has won three gold medals, placing in over 32 competitions.  Leticia Bufoni São Paulo, Brazil Style: Street / Stance: Goofy Multiple world record holder and six-time gold medalist. Named the #1 women’s street skateboarder by World Cup of Skateboarding four years in a row. Lizzie Armanto Santa Monica, California Style: Park / Stance: Regular A member of the Birdhouse skate team, Lizzie has amassed over 30 skateboarding awards and was the first female skater to complete “The Loop,” a 360-degree ramp. Nyjah Huston Laguna Beach, California Style: Street / Stance: Goofy One of skateboarding’s biggest stars, Nyjah has earned over 12 X Games gold medals, 6 Championship titles, and a bronze medal at the 2024 Summer of Olympics. Riley Hawk San Diego, California Style: Street / Stance: Goofy Riley Hawk decided to turn pro on his 21st birthday and became Skateboarder Magazine’s 2013 Amateur of the Year later that same day. Shane O’Neill Melbourne, Australia Style: Street / Stance: Goofy Australian skateboarder who is one of only a few skateboarders to win gold in all four major skateboarding contests, including the X Games and SLS. Tyshawn Jones Bronx, New York Style: Street / Stance: Regular A New York City native and two-time Thrasher Magazine “Skate of the Year” winner, Tyshawn Jones is the youngest skateboarder to ever achieve that accolade. The above skaters are far from the only icons you’ll encounter in the game’s large roster. Keep your eyes on the Tony Hawk’s Pro Skater blog found here for more info on Tony Hawk’s Pro Skater 3 + 4 as we approach its July 11 release date, including the full reveal of new skaters joining in on the fun.  Tony Hawk’s Pro Skater 3 + 4 rebuilds the original games from the ground up with classic and new skaters, parks, tricks, tracks, and more. Skate through a robust Career mode taking on challenges across two tours, chase high scores in Single Sessions and Speedruns, or go at your own pace in Free Skate. Get original with enhanced creation tools, go big in New Game+, and skate with your friends in cross-platform online multiplayer* supporting up to eight skaters at a time. New to the series? Hit up the in-game tutorial led by Tony Hawk himself to kick off your skating journey with tips on Ollies, kick flips, vert tricks, reverts, manuals, special tricks, and more. Don’t miss the Foundry Demo, available now, featuring playable skaters, two parks, and a selection of songs from the soundtrack. Pre-order Tony Hawk’s Pro Skater 3 + 4 on select platforms* for access to the demo and find more info here. Purchase the Digital Deluxe Edition and gain Early Access*** to play Tony Hawk’s™ Pro Skater™ 3 + 4 three days before the official July 11 launch date. Shred the parks and spread fear as the Doom Slayer and Revenant skaters plus get extra music, skate decks, and Create-A-Skater gear: Doom Slayer: Play as Doom Slayer, featuring a Standard and Retro outfit plus two unique special tricks and the Unmaykr Hoverboard. Revenant: Get evil with the Revenant, including two unique special tricks. Additional Music: Headbang to a selection of classic and modern music tracks added to the in-game soundtrack. Skate Decks: Access additional skate decks including Doom Slayer and Revenant themed designs. Create-A-Skater Items: Kit out your skater with additional apparel items. Pre-orders are now available for Tony Hawk’s Pro Skater 3 + 4 on PlayStation 4 and 5, Xbox Series X|S, Xbox One, Nintendo Switch, and PC. For more information, visit tonyhawkthegame.com. * Activision account and internet required for online multiplayer and other features. Platform gaming subscription may be required for multiplayer and other features (sold separately). **Foundry demo available on PlayStation 4 and 5, Xbox Series X|S, Xbox One, and PC. Not available on Nintendo Switch. Foundry Demo availability and launch date(s) subject to change. Internet connection required. *** Actual play time subject to possible outages and applicable time zone differences.
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  • YARA + DAVINA on hacking motherhood, job-sharing art, and making space for mothers in public culture

    When YARA + DAVINA became mothers within a month of each other, they didn't step back from their practice – they stepped forward together. The socially engaged artist duo began collaborating as a job share, determined to remain visible in an industry that too often sidelines mothers.
    Their work – which spans everything from poetry to bronze public sculptures – is rooted in play, accessibility and political intent, often exploring themes of care, identity, and who art is really for. In this candid Q&A, they reflect on making timewith imperfection, the pressures of doing it all, and why motherhood has only deepened their creative drive.

    How has motherhood influenced your creative process or career choices?
    Brian Sewel, the art critic, said in 2008 that "Female artists fade away in their late 20s or 30s. Maybe it's something to do with bearing children".
    Yes, motherhood has had a profound influence on our career choices. We became a duo after becoming mothers, and we had a deep wellspring of desire to nurture our babies and also nurture our art practice, not letting it fade away.
    Being a mum gave us a wider range of being and a deeper depth of what it means to be human. It filled us with more ideas, not less… we had more determination and more creative ideas than ever.
    In 2016, our hack on motherhood was to start collaborating as a duo as a 'job share'. We had been friends and admirers of each other's work for 11 years prior, and both of us became parents within a month of each other. We realised we both wanted to be present mothers but also visible artists. We literally started working together so we could work part-time but have a full-time practice between us.
    We are driven to make powerful, playful and fun contemporary art, alongside being mothers, to challenge ideas like Tracy Emin, who said, "There are good artists that have children. They are called men." We are good artists, and we are not only women; we are mothers!

    Photo credit: Alice Horsley

    What's been the biggest challenge in balancing creativity and caregiving?
    Time and some guilt! Quite literally, there is little time to parent and make art. But we were both determined to be part-time mums, part-time artists and full-time friends. This duo works because we both understand the limitations of our free time: we are always there to step up when the other needs a break, has sick children, or craves space for ourselves. It was almost like an intuitive dance, where we had become in tune with each other's outside demands and rhythm.
    As artists, we often have to travel extensively for work, which can put considerable pressure on our partners and be unsettling for our children. So guilt slips in every now and then. Luckily, we both support each other in those times and remind each other that to parent and care for others effectively, it is essential that we make time for our art practice and thus ourselves. With time, we hope our children will respect and understand the role art played in our lives and why we had to find a balance that worked for us as creative beings.
    We work together every weekday, and we always find ourselves talking and supporting each other with our parenting alongside making work. We both deeply feel that we were put on this planet to create great art, to push the boundaries of what art is and can be, and with whom it can be made and for whom it can be made. And we can do this while raising children.

    Photo credit: Alice Horsley

    Have you felt pressure to 'do it all,' and how do you navigate that?
    Yes, we feel it all the time, from ourselves as much as from society! One of our mottos that we tell ourselves is 'Good Enough'. We have talked about getting these as matching tattoos.
    Essentially, it is impossible to do everything really well. We need to prioritise what things need to be brilliant and what things can just be good enough. These priorities shift daily, creating an interplay between our personal and professional lives. Being a duo allows us to pick up each other's slack when needed.

    Photo credit: Nick Turpin

    What changes would you like to see in the creative industry to better support mothers?
    In 2016, we participated in a British Council residency at Portland State University titled 'Motherhood: A Social Practice'. We explored motherhood in the creative world, and our passion was to create more family-focused residencies and secure funding to support childcare. We wanted programmers to consider simple things, such as family-accessible residences, and work around term times. Things have dramatically changed since then, but we need to see more changes. People like Lizzie Humber and her daylight collective are doing amazing things, thinking about programming parent-accessible daytime culture.
    When we live in a time where Evening Standard art critic Brian Sewell says things like, "Only men are capable of aesthetic greatness.", women, in general, have a tough time, never mind mums! We are passionate not only about supporting artist mothers but also about working with and for mothers.
    Our public artwork, WOMAN - WHOLE, was created alongside, with, and for mothers on the Regents Park Estate, commissioned by ODAC, Camden. We subverted the idea of manholes, creating a series of bronze-cast covers embedded in the pavements of Camden. These permanent public artworks playfully remind us that, as women, we are whole.

    Photo credit: Hugo Glendinning
    #yara #davina #hacking #motherhood #jobsharing
    YARA + DAVINA on hacking motherhood, job-sharing art, and making space for mothers in public culture
    When YARA + DAVINA became mothers within a month of each other, they didn't step back from their practice – they stepped forward together. The socially engaged artist duo began collaborating as a job share, determined to remain visible in an industry that too often sidelines mothers. Their work – which spans everything from poetry to bronze public sculptures – is rooted in play, accessibility and political intent, often exploring themes of care, identity, and who art is really for. In this candid Q&A, they reflect on making timewith imperfection, the pressures of doing it all, and why motherhood has only deepened their creative drive. How has motherhood influenced your creative process or career choices? Brian Sewel, the art critic, said in 2008 that "Female artists fade away in their late 20s or 30s. Maybe it's something to do with bearing children". Yes, motherhood has had a profound influence on our career choices. We became a duo after becoming mothers, and we had a deep wellspring of desire to nurture our babies and also nurture our art practice, not letting it fade away. Being a mum gave us a wider range of being and a deeper depth of what it means to be human. It filled us with more ideas, not less… we had more determination and more creative ideas than ever. In 2016, our hack on motherhood was to start collaborating as a duo as a 'job share'. We had been friends and admirers of each other's work for 11 years prior, and both of us became parents within a month of each other. We realised we both wanted to be present mothers but also visible artists. We literally started working together so we could work part-time but have a full-time practice between us. We are driven to make powerful, playful and fun contemporary art, alongside being mothers, to challenge ideas like Tracy Emin, who said, "There are good artists that have children. They are called men." We are good artists, and we are not only women; we are mothers! Photo credit: Alice Horsley What's been the biggest challenge in balancing creativity and caregiving? Time and some guilt! Quite literally, there is little time to parent and make art. But we were both determined to be part-time mums, part-time artists and full-time friends. This duo works because we both understand the limitations of our free time: we are always there to step up when the other needs a break, has sick children, or craves space for ourselves. It was almost like an intuitive dance, where we had become in tune with each other's outside demands and rhythm. As artists, we often have to travel extensively for work, which can put considerable pressure on our partners and be unsettling for our children. So guilt slips in every now and then. Luckily, we both support each other in those times and remind each other that to parent and care for others effectively, it is essential that we make time for our art practice and thus ourselves. With time, we hope our children will respect and understand the role art played in our lives and why we had to find a balance that worked for us as creative beings. We work together every weekday, and we always find ourselves talking and supporting each other with our parenting alongside making work. We both deeply feel that we were put on this planet to create great art, to push the boundaries of what art is and can be, and with whom it can be made and for whom it can be made. And we can do this while raising children. Photo credit: Alice Horsley Have you felt pressure to 'do it all,' and how do you navigate that? Yes, we feel it all the time, from ourselves as much as from society! One of our mottos that we tell ourselves is 'Good Enough'. We have talked about getting these as matching tattoos. Essentially, it is impossible to do everything really well. We need to prioritise what things need to be brilliant and what things can just be good enough. These priorities shift daily, creating an interplay between our personal and professional lives. Being a duo allows us to pick up each other's slack when needed. Photo credit: Nick Turpin What changes would you like to see in the creative industry to better support mothers? In 2016, we participated in a British Council residency at Portland State University titled 'Motherhood: A Social Practice'. We explored motherhood in the creative world, and our passion was to create more family-focused residencies and secure funding to support childcare. We wanted programmers to consider simple things, such as family-accessible residences, and work around term times. Things have dramatically changed since then, but we need to see more changes. People like Lizzie Humber and her daylight collective are doing amazing things, thinking about programming parent-accessible daytime culture. When we live in a time where Evening Standard art critic Brian Sewell says things like, "Only men are capable of aesthetic greatness.", women, in general, have a tough time, never mind mums! We are passionate not only about supporting artist mothers but also about working with and for mothers. Our public artwork, WOMAN - WHOLE, was created alongside, with, and for mothers on the Regents Park Estate, commissioned by ODAC, Camden. We subverted the idea of manholes, creating a series of bronze-cast covers embedded in the pavements of Camden. These permanent public artworks playfully remind us that, as women, we are whole. Photo credit: Hugo Glendinning #yara #davina #hacking #motherhood #jobsharing
    WWW.CREATIVEBOOM.COM
    YARA + DAVINA on hacking motherhood, job-sharing art, and making space for mothers in public culture
    When YARA + DAVINA became mothers within a month of each other, they didn't step back from their practice – they stepped forward together. The socially engaged artist duo began collaborating as a job share, determined to remain visible in an industry that too often sidelines mothers. Their work – which spans everything from poetry to bronze public sculptures – is rooted in play, accessibility and political intent, often exploring themes of care, identity, and who art is really for. In this candid Q&A, they reflect on making time (and peace) with imperfection, the pressures of doing it all, and why motherhood has only deepened their creative drive. How has motherhood influenced your creative process or career choices? Brian Sewel, the art critic, said in 2008 that "Female artists fade away in their late 20s or 30s. Maybe it's something to do with bearing children". Yes, motherhood has had a profound influence on our career choices. We became a duo after becoming mothers, and we had a deep wellspring of desire to nurture our babies and also nurture our art practice, not letting it fade away. Being a mum gave us a wider range of being and a deeper depth of what it means to be human. It filled us with more ideas, not less… we had more determination and more creative ideas than ever. In 2016, our hack on motherhood was to start collaborating as a duo as a 'job share'. We had been friends and admirers of each other's work for 11 years prior, and both of us became parents within a month of each other. We realised we both wanted to be present mothers but also visible artists. We literally started working together so we could work part-time but have a full-time practice between us. We are driven to make powerful, playful and fun contemporary art, alongside being mothers, to challenge ideas like Tracy Emin, who said, "There are good artists that have children. They are called men." We are good artists, and we are not only women; we are mothers! Photo credit: Alice Horsley What's been the biggest challenge in balancing creativity and caregiving? Time and some guilt! Quite literally, there is little time to parent and make art. But we were both determined to be part-time mums, part-time artists and full-time friends. This duo works because we both understand the limitations of our free time: we are always there to step up when the other needs a break, has sick children, or craves space for ourselves. It was almost like an intuitive dance, where we had become in tune with each other's outside demands and rhythm. As artists, we often have to travel extensively for work, which can put considerable pressure on our partners and be unsettling for our children. So guilt slips in every now and then. Luckily, we both support each other in those times and remind each other that to parent and care for others effectively, it is essential that we make time for our art practice and thus ourselves. With time, we hope our children will respect and understand the role art played in our lives and why we had to find a balance that worked for us as creative beings. We work together every weekday, and we always find ourselves talking and supporting each other with our parenting alongside making work. We both deeply feel that we were put on this planet to create great art, to push the boundaries of what art is and can be, and with whom it can be made and for whom it can be made. And we can do this while raising children. Photo credit: Alice Horsley Have you felt pressure to 'do it all,' and how do you navigate that? Yes, we feel it all the time, from ourselves as much as from society! One of our mottos that we tell ourselves is 'Good Enough'. We have talked about getting these as matching tattoos ( we love to wear matching outfits). Essentially, it is impossible to do everything really well. We need to prioritise what things need to be brilliant and what things can just be good enough. These priorities shift daily, creating an interplay between our personal and professional lives. Being a duo allows us to pick up each other's slack when needed. Photo credit: Nick Turpin What changes would you like to see in the creative industry to better support mothers? In 2016, we participated in a British Council residency at Portland State University titled 'Motherhood: A Social Practice'. We explored motherhood in the creative world, and our passion was to create more family-focused residencies and secure funding to support childcare. We wanted programmers to consider simple things, such as family-accessible residences, and work around term times. Things have dramatically changed since then, but we need to see more changes. People like Lizzie Humber and her daylight collective are doing amazing things, thinking about programming parent-accessible daytime culture. When we live in a time where Evening Standard art critic Brian Sewell says things like, "Only men are capable of aesthetic greatness.", women, in general, have a tough time, never mind mums! We are passionate not only about supporting artist mothers but also about working with and for mothers. Our public artwork, WOMAN - WHOLE, was created alongside, with, and for mothers on the Regents Park Estate, commissioned by ODAC, Camden. We subverted the idea of manholes, creating a series of bronze-cast covers embedded in the pavements of Camden. These permanent public artworks playfully remind us that, as women, we are whole. Photo credit: Hugo Glendinning
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  • ‘Gen V’ Enrolls for Season 2 in September

    There’s a 104 days of summer vacation, but for some folks, school never really ends. At CCXP Mexico on Saturday, Prime Video unveiled its first look for season two of Gen V, the college-focused spinoff for The Boys, and the kids at Godolkin University have their work cut out for them. Set after The Boys’ fourth season amid Homelander effectively ruling the United States, complete with Godolkin students leaving campus through specific checkpoints and forced to wear ID badges, Marieand her friends are released from a rehabilitation center and allowed back at school. There, the new dean Cipheris looking to get students battle ready for a potential Supes/Human war. While the regular Supe kids are content to prepare and party, there’s division among Marie and her friends: some want to run and never look back, others want to stay and tear things apart from the inside. Too bad for them, those plans are interrupted by the discovery of a secret program from the school’s early days which may somehow link to Marie. Shortly before production on the new season began in spring 2024, Chance Perdromodied in a motorcycle crash. The Gen V team later stated they wouldn’t recast Andre and instead tweaked the season around his passing, and his father Polaritywill be mourningAndre’s passing.

    Also starring Derek Luh, Lizzie Broadway, London Thor, and Asa Germann, season two of Gen V kicks off September 17 with a three-episode premiere, followed by a single episode every week through October 22. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
    #gen #enrolls #season #september
    ‘Gen V’ Enrolls for Season 2 in September
    There’s a 104 days of summer vacation, but for some folks, school never really ends. At CCXP Mexico on Saturday, Prime Video unveiled its first look for season two of Gen V, the college-focused spinoff for The Boys, and the kids at Godolkin University have their work cut out for them. Set after The Boys’ fourth season amid Homelander effectively ruling the United States, complete with Godolkin students leaving campus through specific checkpoints and forced to wear ID badges, Marieand her friends are released from a rehabilitation center and allowed back at school. There, the new dean Cipheris looking to get students battle ready for a potential Supes/Human war. While the regular Supe kids are content to prepare and party, there’s division among Marie and her friends: some want to run and never look back, others want to stay and tear things apart from the inside. Too bad for them, those plans are interrupted by the discovery of a secret program from the school’s early days which may somehow link to Marie. Shortly before production on the new season began in spring 2024, Chance Perdromodied in a motorcycle crash. The Gen V team later stated they wouldn’t recast Andre and instead tweaked the season around his passing, and his father Polaritywill be mourningAndre’s passing. Also starring Derek Luh, Lizzie Broadway, London Thor, and Asa Germann, season two of Gen V kicks off September 17 with a three-episode premiere, followed by a single episode every week through October 22. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who. #gen #enrolls #season #september
    GIZMODO.COM
    ‘Gen V’ Enrolls for Season 2 in September
    There’s a 104 days of summer vacation, but for some folks, school never really ends. At CCXP Mexico on Saturday, Prime Video unveiled its first look for season two of Gen V, the college-focused spinoff for The Boys, and the kids at Godolkin University have their work cut out for them. Set after The Boys’ fourth season amid Homelander effectively ruling the United States, complete with Godolkin students leaving campus through specific checkpoints and forced to wear ID badges, Marie (Jaz Sinclair) and her friends are released from a rehabilitation center and allowed back at school. There, the new dean Cipher (Hamish Linklater) is looking to get students battle ready for a potential Supes/Human war. While the regular Supe kids are content to prepare and party, there’s division among Marie and her friends: some want to run and never look back, others want to stay and tear things apart from the inside. Too bad for them, those plans are interrupted by the discovery of a secret program from the school’s early days which may somehow link to Marie. Shortly before production on the new season began in spring 2024, Chance Perdromo (who played Andre, one of the kids imprisoned with Marie) died in a motorcycle crash. The Gen V team later stated they wouldn’t recast Andre and instead tweaked the season around his passing, and his father Polarity (Sean Patrick Thomas) will be mourning (and later investigating) Andre’s passing. Also starring Derek Luh, Lizzie Broadway, London Thor, and Asa Germann, season two of Gen V kicks off September 17 with a three-episode premiere, followed by a single episode every week through October 22. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.
    0 Commentarii 0 Distribuiri 0 previzualizare
  • Fear Street: Prom Queen director on slashers & executing the perfect kill

    Matt Palmer is unapologetic about how to kill someone in his new movie, Fear Street: Prom Queen. “We spent a lot of time working out how to kill people,” Palmer tells Digital Trends in an exclusive interview. Palmer is the co-writer and director of Prom Queen, the fourth film in Netflix’s Fear Street franchise. While the first three Fear Street movies are considered a trilogy, Prom Queen is a standalone movie with new characters and stories. However, the common denominator is the setting, the town of Shadyside.
    Based on R.L. Stine’s novel, Fear Street: Prom Queen transports audiences to 1988. Senior prom is two days away, and six girls are running for prom queen. Two of them — the kind outcast, Lori Granger, and the popular bully, Tiffany Falconer— are bitter rivals. Executing political maneuvers to win votes for a popularity contest is difficult enough. Yet the toughest challenge on prom night will be avoiding a masked murderer stalking the candidates.

    Recommended Videos

    Ahead, Palmer talks about the importance of needle drops, the key changes from book to screen, and how to execute the perfect kill.
    Alan Markfield / Netflix
    This interview has been edited for length and clarity.
    Digital Trends: I wanted to start with the needle drops. They stood out right away. What was the one ’80s song you knew had to be in Prom Queen?
    Matt Palmer: I’m Not Scared by Eighth Wonder.
    Why is that?
    I think there are bigger needle drops in terms of known songs, but that song, there’s something special about it. It was actually written by the Pet Shop Boys, which is why it’s such a good tune. But it’s a slightly lesser-known tune. It has this throbbing and pulsing. Very early on, I was like, this is what the prom looks like from the sounds. That pulsing and blaring thing. I feel like the whole tone of prom came from that song. Also, the lyrics as well. It’s a kind of Lori Granger story. That was the one.
    We switched things up during the edit. There were different tracks pulled out and changed to get the right energy. That was the one right from the beginning. That’s going right there after that kill, and it’s not going anywhere.
    With your musical process, are you a director and writer who builds a scene and knows exactly what song to put in? Is it more about getting a playlist from your music supervisor, running through things, and seeing what works? Take me through that musical element.
    It’s funny because, in the first movie I made, there is a lot of music in it, but it’s composed music. It goes under the radar. A lot of people with Calibre are like, “Oh, that’s great. There’s no music in it.” I’m like, “Eh, it’s kind of there. You’re just not noticing it.”
    But this onewas a completely different assignment. You hearTarantino talk quite a lot about how he’ll pull out a record and that’ll start the movie in his head. It was a lot more like that with this one, which was really fun. Like the Billy Idol one, you start to assemble montages around the music. It’s a very different way of working, but a really fun one. It’s quite addictive. I’d like to do it again.
    It’s like building a long playlist.
    Yeah, I spent two months at the very beginning, when we were just starting to write the movie, agonizing over this playlist. There were tunes that were key like You’re the Inspiration by Chicago. I had a whole scene where the Devil character dances with Lori. Then, we were like, we don’t need this scene. The scene isn’t helping the character or the film. And I was like, “But the music!”It was so hard to cut because I was so in love with the idea of setting a scene to that music, but it had to go. Sometimes, the images come from the music. Sometimes, it completely switches, like Sweet Dreams.
    The dance-off was going to be Prince, but Prince tunes are incredibly hard to license. Once Gloria was in, this wasn’t going anywhere. Even if we get Prince at the last minute, thisis the tune. It’s funny how it happens. The morning I found Gloria, I was walking through the pre-production office, and a couple of hours later, it was playing in every room. I heard people singing Gloria, and I was like, OK. This is the tune.
    The spirit of the book is alive in the movie. I know some changes were made. Obviously, the name of the character Lizzie* is Lori. Why did you change her backstory?
    In the book, the girls are mean to each other in Prom Queen. … There’s a lot in the book, and it’s obviously from a different time. There are a lot of girls talking about boys. It was interesting as a man writing a female character. Not just one, but five girls lead the movie. It was really important to have great female producers. They were guiding me on that. If all the girls in the movie were just talking about guys, it would just feel like it was from a different time. You have to make it connect with a modern audience. I don’t think those kinds of interactions would really play today.
    Alan Markfield / Netflix
    The other thing is it’s a whodunit. If you’re working from source material where a whole lot of people in the world know who did it, you have to change the story so that people don’t know who did it because that’s the lifeblood of mystery. R.L. Stine is great. If you like stuff, take it. If you want to go in a different direction, take it. He’s very flexible. It gave us the freedom to launch off from a great premise and take it into some new characters and interesting directions.
    *In R.L. Stine’s book, the main character is named Lizzie McVay. In the movie, it’s Lori Granger.
    A lot of these kills are showcases for practical effects. Take me through building a kill. Do you want it to happen one way and then see if you can do it practically?
    Well, we would write what we wanted and then try and work out how we could do it. We’ll try and do this until someone says it’s kind of impossible. One of the things I’m pleased with the movie is it does feel like all of the kills are quite different. Quite early on, someone was like, “What’s the killer’s signature weapon?” I remember going to see the remake of My Bloody Valentine. He has his ax. It’s like every single kill is an ax. After four of them, I’m craving a chainsaw.
    This killer in Prom Queen will just grab things and have a few things handy. It opens the possibility of different kills. Even tonally, there’s one kill that I feel is much darker and scarier. There’s one that’s comedic and drawn out. There’s one that’s very abrupt and sudden and probably the goriest thing in it. It’s quite satisfying.
    I’ve watched a lot of slasher movies, and I’m unapologetically rabid about it. I likeArgento. What I like about Argento is you can feel when a kill is coming. There’s almost a ritual to it with Arengto and a contract with the audience. It’s like, “OK, it’s coming. It’s going to look cool, and I’m going to focus on my directorial skills. It’s going to be gory as f***.”
    Just bring it. I guess I come from that school of when a kill is coming, it’s like a sacred and special moment. You need to do something that’s going to satisfy the audience and maybe surprise them as well. Put elements in it and mix it all up. We spent a lot of time working out how to kill people.
    Alan Markfield / Netflix
    I would hope a director of a slasher thinks about it a lot, so that’s good.Probably too much.
    I was reading an interview about how you programmed a film festival and picked out movies to run all night. I’ll give you the choice here. You have Prom Queen as your first one. What are the next four movies to pair it with?
    So I wouldn’t play Prom Queen first.I’d play Prom Queen either third or fourth. I spent 15 years doing this, and honestly, it’s insane. OK, the things I learned. If you’re going to play a slow movie, play it second. The third spot should always be the most insane, crazy, mind-bending, psychotronic, f***** up thing. That creates an energy in the middle of the night. People feel like, “I’ve seen the craziest thing ever, so anything after this is a bonus.
    In the fourth slot, play something with a plot. People need something to grab onto at five in the morning. At one event, I played Child’s Play fourth. Child’s Play has a really good narrative and plot. The manager of the cinema was like, “My god. They’ve all woken up. They all look way more awake than they did after the third movie, and they’re all ready for the fifth one.” It took me a while to realize, but don’t play something long or too abstract at number four. Otherwise, people will fall asleep.
    It’s crazy. You don’t always get it right. I played Black Christmas second at the first one. It’s a great movie, but I got away with it. That’s the other thing. Anything that goes over an hour and a half, and you’re really dicing with death. That’s why Prom Queen is 87 minutes. I found with 87-minute movies, people tend to feel they were short and sharp. I liked it, and I didn’t get sleepy. I was like, can I make a movie that, if it was playing at four in the morning, wouldn’t get people bored? I’d probably play Prom Queen third or fourth.
    Fear Street: Prom Queen is now streaming on Netflix.
    #fear #street #prom #queen #director
    Fear Street: Prom Queen director on slashers & executing the perfect kill
    Matt Palmer is unapologetic about how to kill someone in his new movie, Fear Street: Prom Queen. “We spent a lot of time working out how to kill people,” Palmer tells Digital Trends in an exclusive interview. Palmer is the co-writer and director of Prom Queen, the fourth film in Netflix’s Fear Street franchise. While the first three Fear Street movies are considered a trilogy, Prom Queen is a standalone movie with new characters and stories. However, the common denominator is the setting, the town of Shadyside. Based on R.L. Stine’s novel, Fear Street: Prom Queen transports audiences to 1988. Senior prom is two days away, and six girls are running for prom queen. Two of them — the kind outcast, Lori Granger, and the popular bully, Tiffany Falconer— are bitter rivals. Executing political maneuvers to win votes for a popularity contest is difficult enough. Yet the toughest challenge on prom night will be avoiding a masked murderer stalking the candidates. Recommended Videos Ahead, Palmer talks about the importance of needle drops, the key changes from book to screen, and how to execute the perfect kill. Alan Markfield / Netflix This interview has been edited for length and clarity. Digital Trends: I wanted to start with the needle drops. They stood out right away. What was the one ’80s song you knew had to be in Prom Queen? Matt Palmer: I’m Not Scared by Eighth Wonder. Why is that? I think there are bigger needle drops in terms of known songs, but that song, there’s something special about it. It was actually written by the Pet Shop Boys, which is why it’s such a good tune. But it’s a slightly lesser-known tune. It has this throbbing and pulsing. Very early on, I was like, this is what the prom looks like from the sounds. That pulsing and blaring thing. I feel like the whole tone of prom came from that song. Also, the lyrics as well. It’s a kind of Lori Granger story. That was the one. We switched things up during the edit. There were different tracks pulled out and changed to get the right energy. That was the one right from the beginning. That’s going right there after that kill, and it’s not going anywhere. With your musical process, are you a director and writer who builds a scene and knows exactly what song to put in? Is it more about getting a playlist from your music supervisor, running through things, and seeing what works? Take me through that musical element. It’s funny because, in the first movie I made, there is a lot of music in it, but it’s composed music. It goes under the radar. A lot of people with Calibre are like, “Oh, that’s great. There’s no music in it.” I’m like, “Eh, it’s kind of there. You’re just not noticing it.” But this onewas a completely different assignment. You hearTarantino talk quite a lot about how he’ll pull out a record and that’ll start the movie in his head. It was a lot more like that with this one, which was really fun. Like the Billy Idol one, you start to assemble montages around the music. It’s a very different way of working, but a really fun one. It’s quite addictive. I’d like to do it again. It’s like building a long playlist. Yeah, I spent two months at the very beginning, when we were just starting to write the movie, agonizing over this playlist. There were tunes that were key like You’re the Inspiration by Chicago. I had a whole scene where the Devil character dances with Lori. Then, we were like, we don’t need this scene. The scene isn’t helping the character or the film. And I was like, “But the music!”It was so hard to cut because I was so in love with the idea of setting a scene to that music, but it had to go. Sometimes, the images come from the music. Sometimes, it completely switches, like Sweet Dreams. The dance-off was going to be Prince, but Prince tunes are incredibly hard to license. Once Gloria was in, this wasn’t going anywhere. Even if we get Prince at the last minute, thisis the tune. It’s funny how it happens. The morning I found Gloria, I was walking through the pre-production office, and a couple of hours later, it was playing in every room. I heard people singing Gloria, and I was like, OK. This is the tune. The spirit of the book is alive in the movie. I know some changes were made. Obviously, the name of the character Lizzie* is Lori. Why did you change her backstory? In the book, the girls are mean to each other in Prom Queen. … There’s a lot in the book, and it’s obviously from a different time. There are a lot of girls talking about boys. It was interesting as a man writing a female character. Not just one, but five girls lead the movie. It was really important to have great female producers. They were guiding me on that. If all the girls in the movie were just talking about guys, it would just feel like it was from a different time. You have to make it connect with a modern audience. I don’t think those kinds of interactions would really play today. Alan Markfield / Netflix The other thing is it’s a whodunit. If you’re working from source material where a whole lot of people in the world know who did it, you have to change the story so that people don’t know who did it because that’s the lifeblood of mystery. R.L. Stine is great. If you like stuff, take it. If you want to go in a different direction, take it. He’s very flexible. It gave us the freedom to launch off from a great premise and take it into some new characters and interesting directions. *In R.L. Stine’s book, the main character is named Lizzie McVay. In the movie, it’s Lori Granger. A lot of these kills are showcases for practical effects. Take me through building a kill. Do you want it to happen one way and then see if you can do it practically? Well, we would write what we wanted and then try and work out how we could do it. We’ll try and do this until someone says it’s kind of impossible. One of the things I’m pleased with the movie is it does feel like all of the kills are quite different. Quite early on, someone was like, “What’s the killer’s signature weapon?” I remember going to see the remake of My Bloody Valentine. He has his ax. It’s like every single kill is an ax. After four of them, I’m craving a chainsaw. This killer in Prom Queen will just grab things and have a few things handy. It opens the possibility of different kills. Even tonally, there’s one kill that I feel is much darker and scarier. There’s one that’s comedic and drawn out. There’s one that’s very abrupt and sudden and probably the goriest thing in it. It’s quite satisfying. I’ve watched a lot of slasher movies, and I’m unapologetically rabid about it. I likeArgento. What I like about Argento is you can feel when a kill is coming. There’s almost a ritual to it with Arengto and a contract with the audience. It’s like, “OK, it’s coming. It’s going to look cool, and I’m going to focus on my directorial skills. It’s going to be gory as f***.” Just bring it. I guess I come from that school of when a kill is coming, it’s like a sacred and special moment. You need to do something that’s going to satisfy the audience and maybe surprise them as well. Put elements in it and mix it all up. We spent a lot of time working out how to kill people. Alan Markfield / Netflix I would hope a director of a slasher thinks about it a lot, so that’s good.Probably too much. I was reading an interview about how you programmed a film festival and picked out movies to run all night. I’ll give you the choice here. You have Prom Queen as your first one. What are the next four movies to pair it with? So I wouldn’t play Prom Queen first.I’d play Prom Queen either third or fourth. I spent 15 years doing this, and honestly, it’s insane. OK, the things I learned. If you’re going to play a slow movie, play it second. The third spot should always be the most insane, crazy, mind-bending, psychotronic, f***** up thing. That creates an energy in the middle of the night. People feel like, “I’ve seen the craziest thing ever, so anything after this is a bonus. In the fourth slot, play something with a plot. People need something to grab onto at five in the morning. At one event, I played Child’s Play fourth. Child’s Play has a really good narrative and plot. The manager of the cinema was like, “My god. They’ve all woken up. They all look way more awake than they did after the third movie, and they’re all ready for the fifth one.” It took me a while to realize, but don’t play something long or too abstract at number four. Otherwise, people will fall asleep. It’s crazy. You don’t always get it right. I played Black Christmas second at the first one. It’s a great movie, but I got away with it. That’s the other thing. Anything that goes over an hour and a half, and you’re really dicing with death. That’s why Prom Queen is 87 minutes. I found with 87-minute movies, people tend to feel they were short and sharp. I liked it, and I didn’t get sleepy. I was like, can I make a movie that, if it was playing at four in the morning, wouldn’t get people bored? I’d probably play Prom Queen third or fourth. Fear Street: Prom Queen is now streaming on Netflix. #fear #street #prom #queen #director
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    Fear Street: Prom Queen director on slashers & executing the perfect kill
    Matt Palmer is unapologetic about how to kill someone in his new movie, Fear Street: Prom Queen. “We spent a lot of time working out how to kill people,” Palmer tells Digital Trends in an exclusive interview. Palmer is the co-writer and director of Prom Queen, the fourth film in Netflix’s Fear Street franchise. While the first three Fear Street movies are considered a trilogy, Prom Queen is a standalone movie with new characters and stories. However, the common denominator is the setting, the town of Shadyside. Based on R.L. Stine’s novel, Fear Street: Prom Queen transports audiences to 1988. Senior prom is two days away, and six girls are running for prom queen. Two of them — the kind outcast, Lori Granger (India Fowler), and the popular bully, Tiffany Falconer (Fina Strazza) — are bitter rivals. Executing political maneuvers to win votes for a popularity contest is difficult enough. Yet the toughest challenge on prom night will be avoiding a masked murderer stalking the candidates. Recommended Videos Ahead, Palmer talks about the importance of needle drops, the key changes from book to screen, and how to execute the perfect kill. Alan Markfield / Netflix This interview has been edited for length and clarity. Digital Trends: I wanted to start with the needle drops. They stood out right away. What was the one ’80s song you knew had to be in Prom Queen? Matt Palmer: I’m Not Scared by Eighth Wonder. Why is that? I think there are bigger needle drops in terms of known songs, but that song, there’s something special about it. It was actually written by the Pet Shop Boys, which is why it’s such a good tune. But it’s a slightly lesser-known tune. It has this throbbing and pulsing. Very early on, I was like, this is what the prom looks like from the sounds. That pulsing and blaring thing. I feel like the whole tone of prom came from that song. Also, the lyrics as well. It’s a kind of Lori Granger story. That was the one. We switched things up during the edit. There were different tracks pulled out and changed to get the right energy. That was the one right from the beginning. That’s going right there after that kill, and it’s not going anywhere. With your musical process, are you a director and writer who builds a scene and knows exactly what song to put in? Is it more about getting a playlist from your music supervisor, running through things, and seeing what works? Take me through that musical element. It’s funny because, in the first movie I made, there is a lot of music in it, but it’s composed music. It goes under the radar. A lot of people with Calibre are like, “Oh, that’s great. There’s no music in it.” I’m like, “Eh, it’s kind of there. You’re just not noticing it.” But this one [Prom Queen] was a completely different assignment. You hear [Quentin] Tarantino talk quite a lot about how he’ll pull out a record and that’ll start the movie in his head. It was a lot more like that with this one, which was really fun. Like the Billy Idol one, you start to assemble montages around the music. It’s a very different way of working, but a really fun one. It’s quite addictive. I’d like to do it again. It’s like building a long playlist. Yeah, I spent two months at the very beginning, when we were just starting to write the movie, agonizing over this playlist. There were tunes that were key like You’re the Inspiration by Chicago. I had a whole scene where the Devil character dances with Lori. Then, we were like, we don’t need this scene. The scene isn’t helping the character or the film. And I was like, “But the music!” [Laughs] It was so hard to cut because I was so in love with the idea of setting a scene to that music, but it had to go. Sometimes, the images come from the music. Sometimes, it completely switches, like Sweet Dreams. The dance-off was going to be Prince, but Prince tunes are incredibly hard to license. Once Gloria was in, this wasn’t going anywhere. Even if we get Prince at the last minute, this [Gloria] is the tune. It’s funny how it happens. The morning I found Gloria, I was walking through the pre-production office, and a couple of hours later, it was playing in every room. I heard people singing Gloria, and I was like, OK. This is the tune. The spirit of the book is alive in the movie. I know some changes were made. Obviously, the name of the character Lizzie* is Lori. Why did you change her backstory? In the book, the girls are mean to each other in Prom Queen. … There’s a lot in the book, and it’s obviously from a different time. There are a lot of girls talking about boys. It was interesting as a man writing a female character. Not just one, but five girls lead the movie. It was really important to have great female producers. They were guiding me on that. If all the girls in the movie were just talking about guys, it would just feel like it was from a different time. You have to make it connect with a modern audience. I don’t think those kinds of interactions would really play today. Alan Markfield / Netflix The other thing is it’s a whodunit. If you’re working from source material where a whole lot of people in the world know who did it, you have to change the story so that people don’t know who did it because that’s the lifeblood of mystery. R.L. Stine is great. If you like stuff, take it. If you want to go in a different direction, take it. He’s very flexible. It gave us the freedom to launch off from a great premise and take it into some new characters and interesting directions. *In R.L. Stine’s book, the main character is named Lizzie McVay. In the movie, it’s Lori Granger. A lot of these kills are showcases for practical effects. Take me through building a kill. Do you want it to happen one way and then see if you can do it practically? Well, we would write what we wanted and then try and work out how we could do it. We’ll try and do this until someone says it’s kind of impossible. One of the things I’m pleased with the movie is it does feel like all of the kills are quite different. Quite early on, someone was like, “What’s the killer’s signature weapon?” I remember going to see the remake of My Bloody Valentine. He has his ax. It’s like every single kill is an ax. After four of them, I’m craving a chainsaw. This killer in Prom Queen will just grab things and have a few things handy. It opens the possibility of different kills. Even tonally, there’s one kill that I feel is much darker and scarier. There’s one that’s comedic and drawn out. There’s one that’s very abrupt and sudden and probably the goriest thing in it. It’s quite satisfying. I’ve watched a lot of slasher movies, and I’m unapologetically rabid about it. I like [Dario] Argento. What I like about Argento is you can feel when a kill is coming. There’s almost a ritual to it with Arengto and a contract with the audience. It’s like, “OK, it’s coming. It’s going to look cool, and I’m going to focus on my directorial skills. It’s going to be gory as f***.” Just bring it. I guess I come from that school of when a kill is coming, it’s like a sacred and special moment. You need to do something that’s going to satisfy the audience and maybe surprise them as well. Put elements in it and mix it all up. We spent a lot of time working out how to kill people. Alan Markfield / Netflix I would hope a director of a slasher thinks about it a lot, so that’s good. [Laughs] Probably too much. I was reading an interview about how you programmed a film festival and picked out movies to run all night. I’ll give you the choice here. You have Prom Queen as your first one. What are the next four movies to pair it with? So I wouldn’t play Prom Queen first. [Laughs] I’d play Prom Queen either third or fourth. I spent 15 years doing this, and honestly, it’s insane. OK, the things I learned. If you’re going to play a slow movie, play it second. The third spot should always be the most insane, crazy, mind-bending, psychotronic, f***** up thing. That creates an energy in the middle of the night. People feel like, “I’ve seen the craziest thing ever, so anything after this is a bonus. In the fourth slot, play something with a plot. People need something to grab onto at five in the morning. At one event, I played Child’s Play fourth. Child’s Play has a really good narrative and plot. The manager of the cinema was like, “My god. They’ve all woken up. They all look way more awake than they did after the third movie, and they’re all ready for the fifth one.” It took me a while to realize, but don’t play something long or too abstract at number four. Otherwise, people will fall asleep. It’s crazy. You don’t always get it right. I played Black Christmas second at the first one. It’s a great movie, but I got away with it. That’s the other thing. Anything that goes over an hour and a half, and you’re really dicing with death. That’s why Prom Queen is 87 minutes. I found with 87-minute movies, people tend to feel they were short and sharp. I liked it, and I didn’t get sleepy. I was like, can I make a movie that, if it was playing at four in the morning, wouldn’t get people bored? I’d probably play Prom Queen third or fourth. Fear Street: Prom Queen is now streaming on Netflix.
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  • A Public Health Researcher and Her Engineer Husband Found How Diseases Can Spread through Air Decades before the COVID Pandemic

    May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton; Lily WhearAir-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.LISTEN TO THE PODCASTOn supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in theback are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare.
    #public #health #researcher #her #engineer
    A Public Health Researcher and Her Engineer Husband Found How Diseases Can Spread through Air Decades before the COVID Pandemic
    May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton; Lily WhearAir-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.LISTEN TO THE PODCASTOn supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in theback are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare. #public #health #researcher #her #engineer
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    A Public Health Researcher and Her Engineer Husband Found How Diseases Can Spread through Air Decades before the COVID Pandemic
    May 21, 202522 min readMildred Weeks Wells’s Work on Airborne Transmission Could Have Saved Many Lives—If the Scientific Establishment ListenedMildred Weeks Wells and her husband figured out that disease-causing pathogens can spread through the air like smoke Dutton (image); Lily Whear (composite)Air-Borne: The Hidden History of the Life We Breathe, by Carl Zimmer, charts the history of the field of aerobiology: the science of airborne microorganisms. In this episode, we discover the story of two lost pioneers of the 1930s: physician and self-taught epidemiologist Mildred Weeks Wells and her husband, sanitary engineer William Firth Wells. Together, they proved that infectious pathogens could spread through the air over long distances. But the two had a reputation as outsiders, and they failed to convince the scientific establishment, who ignored their findings for decades. What the pair figured out could have saved many lives from tuberculosis, SARS, COVID and other airborne diseases. The contributions of Mildred Weeks Wells and her husband were all but erased from history—until now.LISTEN TO THE PODCASTOn supporting science journalismIf you're enjoying this article, consider supporting our award-winning journalism by subscribing. By purchasing a subscription you are helping to ensure the future of impactful stories about the discoveries and ideas shaping our world today.TRANSCRIPTCarl Zimmer: Mildred is hired in the late 1920s to put together everything that was known about polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads.At the time, the idea that it could spread through the air was really looked at as being just an obsolete superstition. Public health experts would say, look, a patient's breath is basically harmless. But the epidemiology looks to her like these germs are airborne, and this goes totally against the consensus at the time.Carol Sutton Lewis: Hello, I'm Carol Sutton Lewis. Welcome to the latest episode of Lost Women of Science Conversations, where we talk with authors and artists who've discovered and celebrated female scientists in books, poetry, film, and the visual arts.Today I'm joined by Carl Zimmer, an award-winning New York Times columnist and the author of 15 books about science. His latest book, Airborne: The Hidden History of the Life We Breathe, focuses on the last great biological frontier: the air. It presents the history of aerobiology, which is the science dealing with the occurrence, transportation, and effects of airborne microorganisms.The book chronicles the exploits of committed aerobiologists from the early pioneers through to the present day. Among these pioneers were Mildred Weeks Wells and her husband, William Firth Wells.Airborne tells the story of how Mildred and William tried to sound the alarm about airborne infections, but for many reasons, their warnings went unheard.Welcome, Carl Zimmer. It's such a pleasure to have you with us to tell us all about this fascinating woman and her contributions to science.Can you please tell us about Mildred Weeks Wells—where and how she grew up and what led her to the field of aerobiology?Carl Zimmer: She was born in 1891, and she came from a very prominent Texas family—the Denton family. Her great-grandfather is actually whom the city of Denton, Texas is named after. Her grandfather was a surgeon for the Confederate Army in the Civil War, and he becomes the director of what was called then the State Lunatic Asylum.And he and the bookkeeper there, William Weeks, are both charged with embezzlement. It's a big scandal. The bookkeeper then marries Mildred's mother. Then, shortly after Mildred's born, her father disappears. Her mother basically abandons her with her grandmother. And she grows up with her sister and grandmother in Austin, Texas. A comfortable life, but obviously there's a lot of scandal hanging over them.She is clearly incredibly strong-willed. She goes to medical school at the University of Texas and graduates in 1915, one of three women in a class of 34. That is really something for a woman at that point—there were hardly any women with medical degrees in the United States, let alone someone in Texas.But she books out of there. She does not stick around. She heads in 1915 to Washington, D.C., and works at the Public Health Service in a lab called the Hygienic Laboratory. Basically, what they're doing is studying bacteria. You have to remember, this is the golden age of the germ theory of disease. People have been figuring out that particular bacteria or viruses cause particular diseases, and that knowledge is helping them fight those diseases.It's there in Washington at this time that she meets a man who will become her husband, William Firth Wells.Carol Sutton Lewis: Just a quick aside—because we at Lost Women of Science are always interested in how you discover the material in addition to what you've discovered. How were you able to piece together her story? What sources were you able to find? It seems like there wasn't a lot of information available.Carl Zimmer: Yeah, it was a tough process. There is little information that's really easy to get your hands on. I mean, there is no biography of Mildred Wells or her husband, William Firth Wells.At the Rockefeller archives, they had maybe 30 document boxes full of stuff that was just miraculously conserved there. There are also letters that she wrote to people that have been saved in various collections.But especially with her early years, it's really tough. You know, in all my work trying to dig down for every single scrap of information I could find of her, I have only found one photograph of her—and it's the photograph in her yearbook. That’s it.Carol Sutton Lewis: You talked about that photograph in the book, and I was struck by your description of it. You say that she's smiling, but the longer you look at her smile, the sadder it becomes. What do you think at that young age was the source of the sadness?Carl Zimmer: I think that Mildred grew up with a lot of trauma. She was not the sort of person to keep long journals or write long letters about these sorts of things. But when you've come across those clues in these brief little newspaper accounts, you can kind of read between the lines.There are reports in newspapers saying that Mildred's mother had come to Austin to pay a visit to Mildred because she had scarlet fever when she was 10, and then she goes away again. And when I look at her face in her yearbook, it doesn't surprise me that there is this cast of melancholy to it because you just think about what she had gone through just as a kid.Carol Sutton Lewis: Oh. Absolutely. And fast forward, she meets William and they marry. They have a son, and they start collaborating. How did that begin?Carl Zimmer: The collaboration takes a while. So William Wells is also working at the Public Health Service at the time. He is a few years older than Mildred and he has been trained at MIT as what was called then a sanitarian. In other words, he was going to take the germ theory of disease and was going to save people's lives.He was very clever. He could invent tests that a sanitarian could use, dip a little tube into a river and see whether the water was safe or not, things like that. He was particularly focused on keeping water clean of bacteria that could cause diseases like typhoid or cholera and he also, gets assigned by the government to study oysters because oysters, they sit in this water and they're filtering all day long. And you know, if there's bacteria in there, they're going to filter it and trap it in their tissues. And oysters are incredibly popular in the early nineteen hundreds and a shocking number of people are keeling over dying of typhoid because they're eating them raw. So William is very busy, figuring out ways to save the oyster industry. How do we purify oysters and things like that? They meet, they get married in 1917.In 1918 they have a child, William Jr. nicknamed Bud. But William is not around for the birth, because he is drafted into the army, and he goes off to serve. in World War I.Carol Sutton Lewis: So Mildred is at home with Bud and William's off at the war. But ultimately, Mildred returns to science. A few years later, where she is hired as a polio detective. Can you tell me a little bit about what the state of polio knowledge was at the time and what precisely a polio detective did?Carl Zimmer: It doesn't seem like polio really was a thing in the United States until the late 1800s. And then suddenly there's this mysterious disease that can strike children with no warning. These kids can't. walk, or suddenly these kids are dying. Not only are the symptoms completely terrifying to parents, but how it spreads is a complete mystery. And so Mildred, seems to have been hired at some point in the late 1920s To basically put together everything that was known about polio to help doctors to deal with their patients and to, you know, encourage future science to try to figure out what is this disease.You know, Mildred wasn't trained in epidemiology. So it's kind of remarkable that she taught herself. And she would turn out to be a really great epidemiologist. But, in any case, She gets hired by the International Committee for the Study of Infantile Paralysis, that was the name then for polio. And she does this incredible study, where she basically looks for everything that she can find about how polio spreads. Case studies where, in a town, like this child got polio, then this child did, and did they have contact and what sort of contact, what season was it? What was the weather like? All these different factors.And one thing that's really important to bear in mind is that, at this time, the prevailing view was that diseases spread by water, by food, by sex, by close contact. Maybe like someone just coughs and sprays droplets on you, but otherwise it's these other routes.The idea that it could spread through the air was really looked at as being just obsolete superstition. for thousands of years, people talked about miasmas, somehow the air mysteriously became corrupted and that made people sick with different diseases. That was all thrown out in the late 1800s, early 1900s when germ theory really takes hold. And so public health experts would say, look, a patient's breath is basically harmless.Carol Sutton Lewis: But Mildred doesn't agree, does she?Carl Zimmer: Well, Mildred Wells is looking at all of this, data and she is starting to get an idea that maybe these public health experts have been too quick to dismiss the air. So when people are talking about droplet infections in the 1920s, they're basically just talking about, big droplets that someone might just sneeze in your face. But the epidemiology looks to her like these germs are airborne, are spreading long distances through the air.So Mildred is starting to make a distinction in her mind about what she calls airborne and droplet infections. So, and this is really the time that the Wellses collectively are thinking about airborne infection and it's Mildred is doing it. And William actually gives her credit for this later on.Carol Sutton Lewis: Right. and her results are published in a book about polio written entirely by female authors, which is quite unusual for the time.Carl Zimmer: Mm hmm. Right. The book is published in 1932, and the reception just tells you so much about what it was like to be a woman in science. The New England Journal of Medicine reviews the book, which is great. But, here's a line that they give, they say, it is interesting to note that this book is entirely the product of women in medicine and is the first book.So far as a reviewer knows. by a number of authors, all of whom are of the female sex. So it's this: Oh, look at this oddity. And basically, the virtue of that is that women are really thorough, I, guess. so it's a very detailed book. And the reviewer writes, no one is better fitted than a woman to collect data such as this book contains. So there's no okay, this is very useful.Carol Sutton Lewis: PatronizeCarl Zimmer: Yeah. Thank you very much. Reviewers were just skating over the conclusions that they were drawing, I guess because they were women. Yeah, pretty incredible.Carol Sutton Lewis: So she is the first to submit scientific proof about this potential for airborne transmission. And that was pretty much dismissed. It wasn't even actively dismissed.It was just, nah, these women, nothing's coming outta that, except William did pay attention. I believe he too had been thinking about airborne transmission for some time and then started seriously looking at Mildred's conclusion when he started teaching at Harvard.Carl Zimmer: Yeah. So, William gets a job as a low level instructor at Harvard. He's getting paid very little. Mildred has no income. He's teaching about hygiene and sanitation, but apparently he's a terrible teacher. But he is a clever, brilliant engineer and scientist; he very quickly develops an idea that probably originated in the work that Mildred had been doing on polio. that maybe diseases actually can spread long distances through the air. So there are large droplets that we might sneeze out and cough out and, and they go a short distance before gravity pulls them down. But physics dictates that below a certain size, droplets can resist gravity.This is something that's going totally against what all the, the really prominent public health figures are saying. William Wells doesn't care. He goes ahead and he starts to, invent a way to sample air for germs. Basically it's a centrifuge. You plug it in, the fan spins, it sucks in air, the air comes up inside a glass cylinder and then as it's spinning, if there are any droplets of particles or anything floating in the air, they get flung out to the sideS.And so afterwards you just pull out the glass which is coated with, food for microbes to grow on and you put it in a nice warm place. And If there's anything in the air, you'll be able to grow a colony and see it.Carol Sutton Lewis: Amazing.Carl Zimmer: It is amazing. This, this was a crucial inventionCarol Sutton Lewis: So we have William, who is with Mildred's help moving more towards the possibility of airborne infection, understanding that this is very much not where science is at the moment, and he conducts a really interesting experiment in one of his classrooms to try to move the theory forward. We'll talk more about that experiment when we come back after the break.MidrollCarol Sutton Lewis: Welcome back to Lost Women of Science Conversations. We left off as the Wellses were about to conduct an experiment to test their theories about airborne infections. Carl, can you tell us about that experiment?Carl Zimmer: Okay. it's 1934, It's a cold day. Students come in for a lecture from this terrible teacher, William Wells. The windows are closed. The doors are closed. It's a poorly ventilated room. About 20 minutes before the end of the class, he takes this weird device that's next to him, he plugs it into the wall, and then he just goes back and keeps lecturing.It's not clear whether he even told them what he was doing. But, he then takes this little pinch of sneezing powder. out of a jar and holds it in the sort of outflow from the fan inside the air centrifuge. So all of a sudden, poof, the sneezing powder just goes off into the air. You know, there are probably about a couple dozen students scattered around this lecture hall and after a while they start to sneeze. And in fact, people All the way in the [00:16:00] back are sneezing too.So now Wells turns off his machine, puts in a new cylinder, turns it on, keeps talking. The thing is that they are actually sneezing out droplets into the air.And some of those droplets contain harmless bacteria from their mouths. And he harvests them from the air. He actually collects them in his centrifuge. And after a few days, he's got colonies of these bacteria, but only after he had released the sneezing powder, the one before that didn't have any.So, you have this demonstration that William Wells could catch germs in the air that had been released from his students at quite a distance away, And other people can inhale them, and not even realize what's happening. In other words, germs were spreading like smoke. And so this becomes an explanation for what Mildred had been seeing in her epidemiology..Carol Sutton Lewis: Wow. That was pretty revolutionary. But how was it received?Carl Zimmer: Well, you know, At first it was received, With great fanfare, and he starts publishing papers in nineteen thirty he and Mildred are coauthors on these. And, Mildred is actually appointed as a research associate at Harvard, in nineteen thirty it's a nice title, but she doesn't get paid anything. And then William makes another discovery, which is also very important.He's thinking okay, if these things are floating in the air, is there a way that I can disinfect the air? And he tries all sorts of things and he discovers ultraviolet light works really well. In fact, you can just put an ultraviolet light in a room and the droplets will circulate around and as they pass through the ultraviolet rays, it kills the bacteria or viruses inside of them. So in 1936, when he's publishing these results, there are so many headlines in newspapers and magazines and stuff about this discovery.There's one headline that says, scientists fight flu germs with violet ray. And, there are these predictions that, we are going to be safe from these terrible diseases. Like for example, influenza, which had just, devastated the world not long beforehand, because you're going to put ultraviolet lights in trains and schools and trolleys and movie theaters.Carol Sutton Lewis: Did Mildred get any public recognition for her contributions to all of this?Carl Zimmer: Well not surprisingly, William gets the lion's share of the attention. I mean, there's a passing reference to Mildred in one article. The Associated Press says chief among his aides, Wells said, was his wife, Dr. Mildred Wells. So, William was perfectly comfortable, acknowledging her, but the reporters. Didn't care,Carol Sutton Lewis: And there were no pictures of herCarl Zimmer: Right. Mildred wasn't the engineer in that couple, but she was doing all the research on epidemiology. And you can tell from comments that people made about, and Mildred Wells is that. William would be nowhere as a scientist without Mildred. She was the one who kept him from jumping ahead to wild conclusions from the data he had so far. So they were, they're very much a team. She was doing the writing and they were collaborating, they were arguing with each other all the time about it And she was a much better writer than he was., but that wasn't suitable for a picture, so she was invisible.Carol Sutton Lewis: In the book, you write a lot about their difficult personalities and how that impacted their reputations within the wider scientific community. Can you say more about that?Carl Zimmer: Right. They really had a reputation as being really hard to deal with. People would politely call them peculiar. And when they weren't being quite so polite, they would talk about all these arguments that they would get in, shouting matches and so on. They really felt that they had discovered something incredibly important, but they were outsiders, you know, they didn't have PhDs, they didn't have really much formal training. And here they were saying that, you know, the consensus about infectious disease is profoundly wrong.Now, ironically, what happened is that once William Wells showed that ultraviolet light could kill germs, his superior at Harvard abruptly took an intense interest in all of this and said, Okay, you're going to share a patent on this with me. My name's going to be on the patent and all the research from now on is going to happen in my lab. I'm going to have complete control over what happens next. And Mildred took the lead saying no way we want total autonomy, get out of our face. She was much more aggressive in university politics, and sort of protecting their turf. And unfortunately they didn't have many allies at Harvard and pretty soon they were out, they were fired. And William Wells and his boss, Gordon Fair, were both named on a patent that was filed for using ultraviolet lamps to disinfect the air.Carol Sutton Lewis: So what happened when they left Harvard?Carl Zimmer: Well, it's really interesting watching them scrambling to find work, because their reputation had preceded them. They were hoping they could go back to Washington DC to the public health service. But, the story about the Wells was that Mildred, was carrying out a lot of the research, and so they thought, we can't hire William if it's his wife, who's quietly doing a lot of the work, like they, for some reason they didn't think, oh, we could hire them both.Carol Sutton Lewis: Or just her.Carl Zimmer: None of that, they were like, do we hire William Wells? His wife apparently hauls a lot of the weight. So no, we won't hire them. It's literally like written down. It’s, I'm not making it up. And fortunately they had a few defenders, a few champions down in Philadelphia.There was a doctor in Philadelphia who was using ultraviolet light to protect children in hospitals. And he was, really, inspired by the Wellses and he knew they were trouble. He wrote yes, I get it. They're difficult, but let's try to get them here.And so they brought them down to Philadelphia and Mildred. And William, opened up the laboratories for airborne infection at the University of Pennsylvania. And now actually Mildred got paid, for the first time, for this work. So they're both getting paid, things are starting to look betterCarol Sutton Lewis: So they start to do amazing work at the University of Pennsylvania.Carl Zimmer: That's right. That's right. William, takes the next step in proving their theory. He figures out how to actually give animals diseases through the air. He builds a machine that gets to be known as the infection machine. a big bell jar, and you can put mice in there, or a rabbit in there, and there's a tube connected to it.And through that tube, William can create a very fine mist that might have influenza viruses in it, or the bacteria that cause tuberculosis. And the animals just sit there and breathe, and lo and behold, They get tuberculosis, they get influenza, they get all these diseases,Now, meanwhile, Mildred is actually spending a lot of her time at a school nearby the Germantown Friends School, where they have installed ultraviolet lamps in some of the classrooms. And they're convinced that they can protect kids from airborne diseases. The biggest demonstration of what these lamps can do comes in 1940, because there's a huge epidemic of measles. In 1940, there's, no vaccine for measles. Every kid basically gets it.And lo and behold, the kids in the classrooms with the ultraviolet lamps are 10 times less likely to get measles than the kids just down the hall in the regular classrooms. And so this is one of the best experiments ever done on the nature of airborne infection and how you can protect people by disinfecting the air.Carol Sutton Lewis: Were they then finally accepted into the scientific community?Carl Zimmer: I know you keep waiting for that, that victory lap, but no. It's just like time and again, that glory gets snatched away from them. Again, this was not anything that was done in secret. Newspapers around Philadelphia were. Celebrating this wow, look at this, look at how we can protect our children from disease. This is fantastic. But other experts, public health authorities just were not budging. they had all taken in this dogma that the air can't be dangerous.And so again and again, they were hitting a brick wall. This is right on the eve of World War II.And so all sorts of scientists in World War II are asking themselves, what can we do? Mildred and William put themselves forward and say we don't want soldiers to get sick with the flu the way they did in World War I. They're both haunted by this and they're thinking, so we could put our ultraviolet lamps in the barracks, we could protect them. Soldiers from the flu, if the flu is airborne, like we think, not only that, but this could help to really convince all those skepticsCarol Sutton Lewis: mm.Carl Zimmer: But they failed. The army put all their money into other experiments, they were blackballed, they were shut out, and again, I think it was just because they were continuing to be just incredibly difficult. Even patrons and their friends would just sigh to each other, like, Oh my God, I've just had to deal with these, with them arguing with us and yelling at us. And by the end of World War II, things are bad, they have some sort of split up, they never get divorced, but it's just too much. Mildred, like she is not only trying to do this pioneering work in these schools, trying to keep William's labs organized, there's the matter of their son. Now looking at some documents, I would hazard a guess that he had schizophrenia because he was examined by a doctor who came to that conclusion.And so, she's under incredible pressure and eventually she cracks and in 1944 she resigns from the lab. She stops working in the schools, she stops collaborating with her husband, but she keeps doing her own science. And that's really amazing to me. What kinds of things did she do after this breakup? What kind of work did she conduct? And how was that received?Mildred goes on on her own to carry out a gigantic experiment, in hindsight, a really visionary piece of work. It's based on her experience in Philadelphia. Because she could see that the ultraviolet lamps worked very well at protecting children during a really intense measles epidemic. And so she thought to herself, if you want to really make ultraviolet light, and the theory of airborne infection live up to its true potential to protect people. You need to protect the air in a lot more places.So she gets introduced to the health commissioner in Westchester County, this is a county just north of New York City. And she pitches him this idea. She says, I want to go into one of your towns and I want to put ultraviolet lights everywhere. And this guy, William Holla, he is a very bold, flamboyant guy. He's the right guy to ask. He's like, yeah, let's do this. And he leaves it up to her to design the experiment.And so this town Pleasantville in New York gets fitted out with ultraviolet lamps in the train station, in the fountain shops, in the movie theater, in churches, all over the place. And she publishes a paper with Holla in 1950 on the results.The results are mixed though. You look carefully at them, you can see that actually, yeah, the lamps worked in certain respects. So certain diseases, the rates were lower in certain places, but sadly, this incredibly ambitious study really didn't move the needle. And yeah, it was a big disappointment and that was the last science that Mildred did.Carol Sutton Lewis: Even when they were working together, Mildred and William never really succeeded in convincing the scientific community to take airborne infection seriously, although their work obviously did move the science forward. So what did sway scientific opinion and when?Carl Zimmer: Yeah, Mildred dies in 1957. William dies in 1963. After the Wellses are dead, their work is dismissed and they themselves are quite forgotten. It really isn't until the early 2000s that a few people rediscover them.The SARS epidemic kicks up in 2003, for example, and I talked to a scientist in Hong Kong named Yuguo Li, and he was trying to understand how was this new disease spreading around? He's looking around and he finds references to papers by William Wells and Mildred Wells. He has no idea who they are and he sees that William Wells had published a book in 1955 and he's like, well, okay, maybe I need to go read the book.Nobody has the book. And the only place that he could find it was in one university in the United States. They photocopied it and shipped it to him in Hong Kong and he finally starts reading it. And it's really hard to read because again William was a terrible writer, unlike Mildred. But after a while it clicks and he's like, oh. That's it. I got it. But again, all the guidelines for controlling pandemics and diseases do not really give much serious attention to airborne infection except for just a couple diseases. And it's not until the COVID pandemic that things finally change.Carol Sutton Lewis: Wow. If we had listened to Mildred and William earlier, what might have been different?Carl Zimmer: Yeah, I do try to imagine a world in which Mildred and William had been taken seriously by more people. If airborne infection was just a seriously recognized thing at the start of the COVID pandemic, we would have been controlling the disease differently from the start. We wouldn't have been wiping down our shopping bags obsessively. People would have been encouraged to open the windows, people would have been encouraged to get air purifiers, ultraviolet lamps might have been installed in places with poor ventilation, masks might not have been so controversial.And instead these intellectual grandchildren of William and Mildred Wells had to reinvent the wheel. They had to do new studies to persuade people finally that a disease could be airborne. And it took a long time. It took months to finally move the needle.Carol Sutton Lewis: Carl, what do you hope people will take away from Mildred's story, which you have so wonderfully detailed in your book, rendering her no longer a lost woman of science? And what do you hope people will take away from the book more broadly?Carl Zimmer: I think sometimes that we imagine that science just marches on smoothly and effortlessly. But science is a human endeavor in all the good ways and in all the not-so-good ways. Science does have a fair amount of tragedy throughout it, as any human endeavor does. I'm sad about what happened to the Wells by the end of their lives, both of them. But in some ways, things are better now.When I'm writing about aerobiology in the early, mid, even late—except for Mildred, it's pretty much all men. But who were the people during the COVID pandemic who led the fight to get recognized as airborne? People like Linsey Marr at Virginia Tech, Kim Prather at University of California, San Diego, Lidia Morawska, an Australian researcher. Now, all women in science still have to contend with all sorts of sexism and sort of baked-in inequalities. But it is striking to me that when you get to the end of the book, the women show up.Carol Sutton Lewis: Well,Carl Zimmer: And they show up in force.Carol Sutton Lewis: And on that very positive note to end on, Carl, thank you so much, first and foremost, for writing this really fascinating book and within it, highlighting a now no longer lost woman of science, Mildred Weeks Wells. Your book is Airborne: The Hidden History of the Life We Breathe, and it's been a pleasure to speak with—Carl Zimmer: Thanks a lot. I really enjoyed talking about Mildred.Carol Sutton Lewis: This has been Lost Women of Science Conversations. Carl Zimmer's book Airborne: The Hidden History of the Life We Breathe is out now. This episode was hosted by me, Carol Sutton Lewis. Our producer was Luca Evans, and Hansdale Hsu was our sound engineer. Special thanks to our senior managing producer, Deborah Unger, our program manager, Eowyn Burtner, and our co-executive producers, Katie Hafner and Amy Scharf.Thanks also to Jeff DelViscio and our publishing partner, Scientific American. The episode art was created by Lily Whear and Lizzie Younan composes our music. Lost Women of Science is funded in part by the Alfred P. Sloan Foundation and the Anne Wojcicki Foundation. We're distributed by PRX.If you've enjoyed this conversation, go to our website lostwomenofscience.org and subscribe so you'll never miss an episode—that's lostwomenofscience.org. And please share it and give us a rating wherever you listen to podcasts. Oh, and please don't forget to click on the donate button—that helps us bring you even more stories of important female scientists.I'm Carol Sutton Lewis. See you next time.HostCarol Sutton LewisProducerLuca EvansGuest Carl ZimmerCarl Zimmer writes the Origins column for the New York Times and has frequently contributed to The Atlantic, National Geographic, Time, and Scientific American. His journalism has earned numerous awards, including ones from the American Association for the Advancement of Science and the National Academies of Sciences, Medicine, and Engineering. He is the author of fourteen books about science, including Life's Edge.Further Reading:Air-Borne: The Hidden History of the Life We Breathe. Carl Zimmer. Dutton, 2025Poliomyelitis. International Committee for the Study of Infantile Paralysis. Williams & Wilkins Company, 1932 “Air-borne Infection,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 21; November 21, 1936“Air-borne Infection: Sanitary Control,” by William Firth Wells and Mildred Weeks Wells, in JAMA, Vol. 107, No. 22; November 28, 1936“Ventilation in the Spread of Chickenpox and Measles within School Rooms,” by Mildred Weeks Wells, in JAMA, Vol. 129, No. 3; September 15, 1945“The 60-Year-Old Scientific Screwup That Helped Covid Kill,” by Megan Molteni, in Wired. Published online May 13, 2021WATCH THIS NEXTScience journalist Carl Zimmer joins host Rachel Feltman to look back at the history of the field, from ancient Greek “miasmas” to Louis Pasteur’s unorthodox experiments to biological warfare.
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  • What to read this weekend: A brief history of humankind's many apocalypses

    These are some recently released titles we think are worth adding to your reading list. This week, we read Apocalypse: How Catastrophe Transformed Our World and Can Forge New Futures, a compelling new history book by science journalist Lizzie Wade, and Behemoth, a riveting mini-series for Dark Horse that explores the classic idea of a kaiju attack from a horrifying... inside perspective.

    This article originally appeared on Engadget at
    #what #read #this #weekend #brief
    What to read this weekend: A brief history of humankind's many apocalypses
    These are some recently released titles we think are worth adding to your reading list. This week, we read Apocalypse: How Catastrophe Transformed Our World and Can Forge New Futures, a compelling new history book by science journalist Lizzie Wade, and Behemoth, a riveting mini-series for Dark Horse that explores the classic idea of a kaiju attack from a horrifying... inside perspective. This article originally appeared on Engadget at #what #read #this #weekend #brief
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    What to read this weekend: A brief history of humankind's many apocalypses
    These are some recently released titles we think are worth adding to your reading list. This week, we read Apocalypse: How Catastrophe Transformed Our World and Can Forge New Futures, a compelling new history book by science journalist Lizzie Wade, and Behemoth, a riveting mini-series for Dark Horse that explores the classic idea of a kaiju attack from a horrifying... inside perspective. This article originally appeared on Engadget at https://www.engadget.com/entertainment/what-to-read-this-weekend-a-brief-history-of-humankinds-many-apocalypses-203451036.html?src=rss
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  • “The Lizzie” By Sasaki Carries Frederick Gunn's Vision To The Future

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    A new, integrated building by Sasaki now replaces the old science building at the Frederick Gunn School and brings a range of learning environments together. Titled the Center for Innovation and Active Citizenship, the building honors the school’s founder’s vision as an educator, abolitionist, advocate for the outdoors, and innovator in curriculum and student development. The new building, which integrates seamlessly into the campus established in 1850, introduces a contemporary expression while maintaining the scale and integrity of its surrounding context.The architects reinterpreted the local typology of a contemporary farmhouse for the new building and organized the program into three pavilions. This approach allowed different functions to be distinguished while also reducing the building’s perceived scale in relation to neighboring historic structures. The wooded and rocky nature of the site, along with the vernacular architecture of the campus and surrounding region, inspired the project’s materiality. The architects focused on a simple palette, uniform colors, and treated materials. The landscape around the building was also redesigned, introducing new circulation paths connecting the campus’s two primary open spaces. Outcroppings of rock and mature trees defined the building footprint and were left untouched during construction. Trees that had to be felled were reclaimed and used to create interior seating and custom tables for the project.The program of the building allows cross-pollination of different activities, as spaces transition from purpose-built areas like physics, biology, and chemistry labs to flexible spaces like shared flex classrooms, the Entrepreneurship Center, and the Center for Just Democracy. The sensible approach to massing, program relationships, and landscape was also carried through to the building technologies, as it minimizes environmental impact through the use of solar photovoltaic panels and a geothermal well field, which provides the majority of heating and cooling. Furthermore, by utilizing a highly efficient envelope, the building sits very near Net Zero status. Nicknamed “The Lizzie,” the Center for Innovation and Active Citizenship is now utilized as a hub for the campus community, as its open and flexible learning environments allow students and faculty to turn ideas into action.The new center, and the surrounding landscape not only provides a dynamic addition to the campus, but also provides spaces for students to receive a cutting-edge experience and become future leaders and model citizens. Opening its doors to the students in January 2024, The Center for Innovation and Active Citizenship is now a bustling hub that fulfils, and carries Frederick Gunn's vision to the future.Project factsClient: Frederick Gunn SchoolArchitect: SasakiArea: 24000 ft²Location: Washington, CTMEP: BR+A Consulting Engineers Inc.Structural Engineer: RSELandscape Engineer: Future Green StudioEngineering & Consulting: Haley & Aldrich, Studio NYLCivil Engineer: Tighe & Bond Inc.Acoustic Consultant: AcentechLighting Consultant: LAM PARTNERSCompletion year: 2024Top image © Jeremy Bittermann, Courtesy -  Sasaki
    All images © Jeremy Bittermann.
    #lizzie #sasaki #carries #frederick #gunn039s
    “The Lizzie” By Sasaki Carries Frederick Gunn's Vision To The Future
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; A new, integrated building by Sasaki now replaces the old science building at the Frederick Gunn School and brings a range of learning environments together. Titled the Center for Innovation and Active Citizenship, the building honors the school’s founder’s vision as an educator, abolitionist, advocate for the outdoors, and innovator in curriculum and student development. The new building, which integrates seamlessly into the campus established in 1850, introduces a contemporary expression while maintaining the scale and integrity of its surrounding context.The architects reinterpreted the local typology of a contemporary farmhouse for the new building and organized the program into three pavilions. This approach allowed different functions to be distinguished while also reducing the building’s perceived scale in relation to neighboring historic structures. The wooded and rocky nature of the site, along with the vernacular architecture of the campus and surrounding region, inspired the project’s materiality. The architects focused on a simple palette, uniform colors, and treated materials. The landscape around the building was also redesigned, introducing new circulation paths connecting the campus’s two primary open spaces. Outcroppings of rock and mature trees defined the building footprint and were left untouched during construction. Trees that had to be felled were reclaimed and used to create interior seating and custom tables for the project.The program of the building allows cross-pollination of different activities, as spaces transition from purpose-built areas like physics, biology, and chemistry labs to flexible spaces like shared flex classrooms, the Entrepreneurship Center, and the Center for Just Democracy. The sensible approach to massing, program relationships, and landscape was also carried through to the building technologies, as it minimizes environmental impact through the use of solar photovoltaic panels and a geothermal well field, which provides the majority of heating and cooling. Furthermore, by utilizing a highly efficient envelope, the building sits very near Net Zero status. Nicknamed “The Lizzie,” the Center for Innovation and Active Citizenship is now utilized as a hub for the campus community, as its open and flexible learning environments allow students and faculty to turn ideas into action.The new center, and the surrounding landscape not only provides a dynamic addition to the campus, but also provides spaces for students to receive a cutting-edge experience and become future leaders and model citizens. Opening its doors to the students in January 2024, The Center for Innovation and Active Citizenship is now a bustling hub that fulfils, and carries Frederick Gunn's vision to the future.Project factsClient: Frederick Gunn SchoolArchitect: SasakiArea: 24000 ft²Location: Washington, CTMEP: BR+A Consulting Engineers Inc.Structural Engineer: RSELandscape Engineer: Future Green StudioEngineering & Consulting: Haley & Aldrich, Studio NYLCivil Engineer: Tighe & Bond Inc.Acoustic Consultant: AcentechLighting Consultant: LAM PARTNERSCompletion year: 2024Top image © Jeremy Bittermann, Courtesy -  Sasaki All images © Jeremy Bittermann. #lizzie #sasaki #carries #frederick #gunn039s
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    “The Lizzie” By Sasaki Carries Frederick Gunn's Vision To The Future
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" A new, integrated building by Sasaki now replaces the old science building at the Frederick Gunn School and brings a range of learning environments together. Titled the Center for Innovation and Active Citizenship, the building honors the school’s founder’s vision as an educator, abolitionist, advocate for the outdoors, and innovator in curriculum and student development. The new building, which integrates seamlessly into the campus established in 1850, introduces a contemporary expression while maintaining the scale and integrity of its surrounding context.The architects reinterpreted the local typology of a contemporary farmhouse for the new building and organized the program into three pavilions. This approach allowed different functions to be distinguished while also reducing the building’s perceived scale in relation to neighboring historic structures. The wooded and rocky nature of the site, along with the vernacular architecture of the campus and surrounding region, inspired the project’s materiality. The architects focused on a simple palette, uniform colors, and treated materials. The landscape around the building was also redesigned, introducing new circulation paths connecting the campus’s two primary open spaces. Outcroppings of rock and mature trees defined the building footprint and were left untouched during construction. Trees that had to be felled were reclaimed and used to create interior seating and custom tables for the project.The program of the building allows cross-pollination of different activities, as spaces transition from purpose-built areas like physics, biology, and chemistry labs to flexible spaces like shared flex classrooms, the Entrepreneurship Center, and the Center for Just Democracy. The sensible approach to massing, program relationships, and landscape was also carried through to the building technologies, as it minimizes environmental impact through the use of solar photovoltaic panels and a geothermal well field, which provides the majority of heating and cooling. Furthermore, by utilizing a highly efficient envelope, the building sits very near Net Zero status. Nicknamed “The Lizzie,” the Center for Innovation and Active Citizenship is now utilized as a hub for the campus community, as its open and flexible learning environments allow students and faculty to turn ideas into action.The new center, and the surrounding landscape not only provides a dynamic addition to the campus, but also provides spaces for students to receive a cutting-edge experience and become future leaders and model citizens. Opening its doors to the students in January 2024, The Center for Innovation and Active Citizenship is now a bustling hub that fulfils, and carries Frederick Gunn's vision to the future.Project factsClient: Frederick Gunn SchoolArchitect: SasakiArea: 24000 ft² (2230 m2)Location: Washington, CTMEP: BR+A Consulting Engineers Inc.Structural Engineer: RSELandscape Engineer: Future Green StudioEngineering & Consulting: Haley & Aldrich, Studio NYLCivil Engineer: Tighe & Bond Inc.Acoustic Consultant: AcentechLighting Consultant: LAM PARTNERSCompletion year: 2024Top image © Jeremy Bittermann, Courtesy -  Sasaki All images © Jeremy Bittermann.
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  • 14 Best Colorful Bedding Sets for a Bedroom Statement (2025)

    Until recently, the all-white bedding aesthetic has dominated the bedroom-scape. We’ve forgotten that the best colorful bedding sets bring a sense of personality to our sanctuary. A terra-cotta set can make a room feel distinctly Mediterranean, you can see the Scandinavian influence in a bold stripe, and a pastel bedding set creates a sense of calm and comfort for cuddling up. There’s a lot of interior design potential to unlock in a set of colored sheets, and we consider them one of the small mood-boosting luxuries for a bedroom.From a bold-and-bright plaid duvet to sunny yellow sheets, we’ve selected our favorite picks to brighten up your space and help you part ways with a less than dreamy color palette. Below, find splashy sets from tried-and-true bedding brands and our tips on how to style them.Our Top Picks for the Best Colorful Bedding:Best Mediterranean Style: Quince Bamboo Sheet Set, For a Coastal Bedroom: Frette Color Block Duvet Cover, A Bold and Breathable Sheet Set: Bamboo Bay Sheet Set, Best Y2K Style: GreenRow Sloan Patchwork Quilt, For an Antique-Inspired Space: Piglet Mix & Match Linen Bundle, Nashia BakerNashia BakerQuince Bamboo Sheet SetWe rated these bamboo sheets “best overall” for their breathability and durability. ”This set feels smooth and cool to the touch but still cozy enough to bundle up with during the winter months,” senior commerce editor Nashia Baker adds. She has these sheets in a terra-cotta orange, which brings “desert tones and earthiness” to her room, creating a sense of serenity and openness in her space.Frette Colour Block Sheet SetThese luxurious sheets are made from 100% solid cotton sateen in Italy, and they boast a color palette that feels distinctly Mediterranean. The color-blocking offers a reprieve from any color story that’s too overbearing, and the dusky blue and deep coral make it perfect for a luxurious beach bedroom.Bamboo Bay Sheet SetOur eyes are really on the sage variety here, whose soft, friendly colorway feels bright and comforting. A couple rattan nightstands and you have a coastal bedroom, or a few white end tables and it works within the framework of farmhouse design. What’s more, contributor Jordan Goldberg has these high-quality Amazon sheets in her bedroom and says they boast “the perfect thickness while still being airy and breathable to keep you cool while sleeping.”GreenRow Sloan Patchwork QuiltThis quilt is a bit of a Y2K throwback with bold pinks, oranges, and gold thread woven very subtly into the texture. This feels—if not suitable for a kid’s room—like a great way to liven up your bedroom, especially if you lean toward fun, flashy pieces, or there’s simply not enough of Lizzie McGuire’s vibe going on.Bed Threads 100% French Flax Linen Bedding SetThis 100% French Flax Linen set in a pinky shade of lavender looks old-world and French country, making it a perfect pick for a more antique-style bedroom. Senior digital design editor Zoë Sessums says, “A friend of mine has a range of sunset hues on his bed and frankly, I’m jealous. I found these to be sturdy, beautiful, and perfect for temperature control.”Photo: Yelena Moroz AlpertPiglet Mix & Match Linen BundlePiglet has more options for interchangeable, mix-and-match bed covers than anyone else on this list. Made from 100% linen, these sheets are as soft after a wash as they are aesthetic. If you’re a fan of cottagecore or vintage vibes, the endless gingham and maxi stripe prints will work wonderfully with your already-established bedroom decor.Brooklinen x Caroline Z. Hurley Classic Percale Core Sheet SetThis brand-new release from Brooklinen makes an impact without sucking the air out of the room. Commerce writer Julia Harrison pairs this set with a white duvet cover for a more muted approach to colorful bedding. She also opted for the taupe shade, but it also comes in coral and sky, should you be interested in a bright, bold bedding moment. As for the quality, Harrison attests, “the cool, clean feel of the percale puts me to sleep right away.”Linoto Linen Sheet SetThis deep burgundy linen set is such a rich color, it’s transfixing. We’d pair this with a small Renaissance-like painting overhead, a white iron bed, and a few dark wood end tables, piled high with books for a studious European look.Ellison Studios Lull BedFor the more modern sleeper, try this upholstered and ’70s-inspired bed from Australian-based design company Ellison Studios. The velvety apricot material is made from 100% GRS-certified recycled plastic bottles, and it brings an unmistakable sunniness to your space. Pair this with bright sheets for full maximalism, or keep things simple with white bedding and a few throw pillows with some personality.Schoolhouse Woven Plaid Duvet CoverSchoolhouse calls this print “reminiscent of a summer camp in the Catskills,” which we’ll lift because we like to imagine we lived that too. It does seem like a print and weight completely suitable for a summer night’s camping trip, with or without a tent, under the stars, in a truck bed, or as a picnic blanket for watching fireworks: the quintessential summer linen.Photo: Lauren ArzbaecherBuffy Cloud ComforterWe’ve raved many a time about Buffy’s Cloud Comforter, but a lesser known feature is the 11 colorways it comes in. If you’re firmly in the duvet-covers-be-damned camp, this duvet insert delivers on color and comfort without any of that corner tie nonsense. The porcelain blue is especially tempting.Parchute Matelasse CoverletFor ultraminimalists, this simple coverlet from Parachute imitates the look of a quilt without the fill, delivers on the work of a good throw blanket, and makes for a perfect year-round bed linen on account of its weight. Use this on top of a flat sheet for your spring and summer setup, and throw it on top of your duvet for fall and winter. The moss brings a splash of color that maintains a sophisticated and minimalist quality, while keeping a space from becoming whitewashed.Ettitude CleanBamboo Pillowcase SetButter yellow is here to stay, and we don’t mind that. This yellow pastel makes for an understated decor moment that still shows design muscle, and it works surprisingly well as a neutral—pair it white, blue, brown, green, even the right shade of purple, and you have something that speaks volumes about your ability to throw aroom together. What’s even more delicious? This particular set is made from 100% bamboo lyocell, and it’s Oeko-Tex-certified.Brooklinen Washed European Duvet SetA total coastal classic, this linen duvet set in striped blue is the ultimate East Coast beach house bedding. Made from 100% Certified European Flax, this set is durable, breathable, and super soft. Contributor Madeleine Luckel can verify: “When I got these I thought white linen sheets year-round might be a slightly bold move, since I don’t live my life on a Greek island, but the nature of the fiber is versatile and temperature-regulating.”
    #best #colorful #bedding #sets #bedroom
    14 Best Colorful Bedding Sets for a Bedroom Statement (2025)
    Until recently, the all-white bedding aesthetic has dominated the bedroom-scape. We’ve forgotten that the best colorful bedding sets bring a sense of personality to our sanctuary. A terra-cotta set can make a room feel distinctly Mediterranean, you can see the Scandinavian influence in a bold stripe, and a pastel bedding set creates a sense of calm and comfort for cuddling up. There’s a lot of interior design potential to unlock in a set of colored sheets, and we consider them one of the small mood-boosting luxuries for a bedroom.From a bold-and-bright plaid duvet to sunny yellow sheets, we’ve selected our favorite picks to brighten up your space and help you part ways with a less than dreamy color palette. Below, find splashy sets from tried-and-true bedding brands and our tips on how to style them.Our Top Picks for the Best Colorful Bedding:Best Mediterranean Style: Quince Bamboo Sheet Set, For a Coastal Bedroom: Frette Color Block Duvet Cover, A Bold and Breathable Sheet Set: Bamboo Bay Sheet Set, Best Y2K Style: GreenRow Sloan Patchwork Quilt, For an Antique-Inspired Space: Piglet Mix & Match Linen Bundle, Nashia BakerNashia BakerQuince Bamboo Sheet SetWe rated these bamboo sheets “best overall” for their breathability and durability. ”This set feels smooth and cool to the touch but still cozy enough to bundle up with during the winter months,” senior commerce editor Nashia Baker adds. She has these sheets in a terra-cotta orange, which brings “desert tones and earthiness” to her room, creating a sense of serenity and openness in her space.Frette Colour Block Sheet SetThese luxurious sheets are made from 100% solid cotton sateen in Italy, and they boast a color palette that feels distinctly Mediterranean. The color-blocking offers a reprieve from any color story that’s too overbearing, and the dusky blue and deep coral make it perfect for a luxurious beach bedroom.Bamboo Bay Sheet SetOur eyes are really on the sage variety here, whose soft, friendly colorway feels bright and comforting. A couple rattan nightstands and you have a coastal bedroom, or a few white end tables and it works within the framework of farmhouse design. What’s more, contributor Jordan Goldberg has these high-quality Amazon sheets in her bedroom and says they boast “the perfect thickness while still being airy and breathable to keep you cool while sleeping.”GreenRow Sloan Patchwork QuiltThis quilt is a bit of a Y2K throwback with bold pinks, oranges, and gold thread woven very subtly into the texture. This feels—if not suitable for a kid’s room—like a great way to liven up your bedroom, especially if you lean toward fun, flashy pieces, or there’s simply not enough of Lizzie McGuire’s vibe going on.Bed Threads 100% French Flax Linen Bedding SetThis 100% French Flax Linen set in a pinky shade of lavender looks old-world and French country, making it a perfect pick for a more antique-style bedroom. Senior digital design editor Zoë Sessums says, “A friend of mine has a range of sunset hues on his bed and frankly, I’m jealous. I found these to be sturdy, beautiful, and perfect for temperature control.”Photo: Yelena Moroz AlpertPiglet Mix & Match Linen BundlePiglet has more options for interchangeable, mix-and-match bed covers than anyone else on this list. Made from 100% linen, these sheets are as soft after a wash as they are aesthetic. If you’re a fan of cottagecore or vintage vibes, the endless gingham and maxi stripe prints will work wonderfully with your already-established bedroom decor.Brooklinen x Caroline Z. Hurley Classic Percale Core Sheet SetThis brand-new release from Brooklinen makes an impact without sucking the air out of the room. Commerce writer Julia Harrison pairs this set with a white duvet cover for a more muted approach to colorful bedding. She also opted for the taupe shade, but it also comes in coral and sky, should you be interested in a bright, bold bedding moment. As for the quality, Harrison attests, “the cool, clean feel of the percale puts me to sleep right away.”Linoto Linen Sheet SetThis deep burgundy linen set is such a rich color, it’s transfixing. We’d pair this with a small Renaissance-like painting overhead, a white iron bed, and a few dark wood end tables, piled high with books for a studious European look.Ellison Studios Lull BedFor the more modern sleeper, try this upholstered and ’70s-inspired bed from Australian-based design company Ellison Studios. The velvety apricot material is made from 100% GRS-certified recycled plastic bottles, and it brings an unmistakable sunniness to your space. Pair this with bright sheets for full maximalism, or keep things simple with white bedding and a few throw pillows with some personality.Schoolhouse Woven Plaid Duvet CoverSchoolhouse calls this print “reminiscent of a summer camp in the Catskills,” which we’ll lift because we like to imagine we lived that too. It does seem like a print and weight completely suitable for a summer night’s camping trip, with or without a tent, under the stars, in a truck bed, or as a picnic blanket for watching fireworks: the quintessential summer linen.Photo: Lauren ArzbaecherBuffy Cloud ComforterWe’ve raved many a time about Buffy’s Cloud Comforter, but a lesser known feature is the 11 colorways it comes in. If you’re firmly in the duvet-covers-be-damned camp, this duvet insert delivers on color and comfort without any of that corner tie nonsense. The porcelain blue is especially tempting.Parchute Matelasse CoverletFor ultraminimalists, this simple coverlet from Parachute imitates the look of a quilt without the fill, delivers on the work of a good throw blanket, and makes for a perfect year-round bed linen on account of its weight. Use this on top of a flat sheet for your spring and summer setup, and throw it on top of your duvet for fall and winter. The moss brings a splash of color that maintains a sophisticated and minimalist quality, while keeping a space from becoming whitewashed.Ettitude CleanBamboo Pillowcase SetButter yellow is here to stay, and we don’t mind that. This yellow pastel makes for an understated decor moment that still shows design muscle, and it works surprisingly well as a neutral—pair it white, blue, brown, green, even the right shade of purple, and you have something that speaks volumes about your ability to throw aroom together. What’s even more delicious? This particular set is made from 100% bamboo lyocell, and it’s Oeko-Tex-certified.Brooklinen Washed European Duvet SetA total coastal classic, this linen duvet set in striped blue is the ultimate East Coast beach house bedding. Made from 100% Certified European Flax, this set is durable, breathable, and super soft. Contributor Madeleine Luckel can verify: “When I got these I thought white linen sheets year-round might be a slightly bold move, since I don’t live my life on a Greek island, but the nature of the fiber is versatile and temperature-regulating.” #best #colorful #bedding #sets #bedroom
    WWW.ARCHITECTURALDIGEST.COM
    14 Best Colorful Bedding Sets for a Bedroom Statement (2025)
    Until recently, the all-white bedding aesthetic has dominated the bedroom-scape. We’ve forgotten that the best colorful bedding sets bring a sense of personality to our sanctuary. A terra-cotta set can make a room feel distinctly Mediterranean, you can see the Scandinavian influence in a bold stripe, and a pastel bedding set creates a sense of calm and comfort for cuddling up. There’s a lot of interior design potential to unlock in a set of colored sheets, and we consider them one of the small mood-boosting luxuries for a bedroom.From a bold-and-bright plaid duvet to sunny yellow sheets, we’ve selected our favorite picks to brighten up your space and help you part ways with a less than dreamy color palette. Below, find splashy sets from tried-and-true bedding brands and our tips on how to style them.Our Top Picks for the Best Colorful Bedding:Best Mediterranean Style: Quince Bamboo Sheet Set, $130For a Coastal Bedroom: Frette Color Block Duvet Cover, $1,000A Bold and Breathable Sheet Set: Bamboo Bay Sheet Set, $110Best Y2K Style: GreenRow Sloan Patchwork Quilt, $459For an Antique-Inspired Space: Piglet Mix & Match Linen Bundle, $523Nashia BakerNashia BakerQuince Bamboo Sheet SetWe rated these bamboo sheets “best overall” for their breathability and durability. ”This set feels smooth and cool to the touch but still cozy enough to bundle up with during the winter months,” senior commerce editor Nashia Baker adds. She has these sheets in a terra-cotta orange, which brings “desert tones and earthiness” to her room, creating a sense of serenity and openness in her space.Frette Colour Block Sheet SetThese luxurious sheets are made from 100% solid cotton sateen in Italy, and they boast a color palette that feels distinctly Mediterranean. The color-blocking offers a reprieve from any color story that’s too overbearing, and the dusky blue and deep coral make it perfect for a luxurious beach bedroom.Bamboo Bay Sheet SetOur eyes are really on the sage variety here, whose soft, friendly colorway feels bright and comforting. A couple rattan nightstands and you have a coastal bedroom, or a few white end tables and it works within the framework of farmhouse design. What’s more, contributor Jordan Goldberg has these high-quality Amazon sheets in her bedroom and says they boast “the perfect thickness while still being airy and breathable to keep you cool while sleeping.”GreenRow Sloan Patchwork QuiltThis quilt is a bit of a Y2K throwback with bold pinks, oranges, and gold thread woven very subtly into the texture. This feels—if not suitable for a kid’s room—like a great way to liven up your bedroom, especially if you lean toward fun, flashy pieces, or there’s simply not enough of Lizzie McGuire’s vibe going on.Bed Threads 100% French Flax Linen Bedding SetThis 100% French Flax Linen set in a pinky shade of lavender looks old-world and French country, making it a perfect pick for a more antique-style bedroom. Senior digital design editor Zoë Sessums says, “A friend of mine has a range of sunset hues on his bed and frankly, I’m jealous (though it’s hard to go wrong with white linen sheets). I found these to be sturdy, beautiful, and perfect for temperature control.”Photo: Yelena Moroz AlpertPiglet Mix & Match Linen BundlePiglet has more options for interchangeable, mix-and-match bed covers than anyone else on this list. Made from 100% linen, these sheets are as soft after a wash as they are aesthetic. If you’re a fan of cottagecore or vintage vibes, the endless gingham and maxi stripe prints will work wonderfully with your already-established bedroom decor.Brooklinen x Caroline Z. Hurley Classic Percale Core Sheet SetThis brand-new release from Brooklinen makes an impact without sucking the air out of the room. Commerce writer Julia Harrison pairs this set with a white duvet cover for a more muted approach to colorful bedding. She also opted for the taupe shade, but it also comes in coral and sky, should you be interested in a bright, bold bedding moment. As for the quality, Harrison attests, “the cool, clean feel of the percale puts me to sleep right away.”Linoto Linen Sheet SetThis deep burgundy linen set is such a rich color, it’s transfixing. We’d pair this with a small Renaissance-like painting overhead, a white iron bed, and a few dark wood end tables, piled high with books for a studious European look.Ellison Studios Lull BedFor the more modern sleeper, try this upholstered and ’70s-inspired bed from Australian-based design company Ellison Studios. The velvety apricot material is made from 100% GRS-certified recycled plastic bottles, and it brings an unmistakable sunniness to your space. Pair this with bright sheets for full maximalism, or keep things simple with white bedding and a few throw pillows with some personality.Schoolhouse Woven Plaid Duvet CoverSchoolhouse calls this print “reminiscent of a summer camp in the Catskills,” which we’ll lift because we like to imagine we lived that too. It does seem like a print and weight completely suitable for a summer night’s camping trip, with or without a tent, under the stars, in a truck bed, or as a picnic blanket for watching fireworks: the quintessential summer linen.Photo: Lauren ArzbaecherBuffy Cloud ComforterWe’ve raved many a time about Buffy’s Cloud Comforter, but a lesser known feature is the 11 colorways it comes in. If you’re firmly in the duvet-covers-be-damned camp, this duvet insert delivers on color and comfort without any of that corner tie nonsense. The porcelain blue is especially tempting.Parchute Matelasse CoverletFor ultraminimalists, this simple coverlet from Parachute imitates the look of a quilt without the fill, delivers on the work of a good throw blanket, and makes for a perfect year-round bed linen on account of its weight. Use this on top of a flat sheet for your spring and summer setup, and throw it on top of your duvet for fall and winter. The moss brings a splash of color that maintains a sophisticated and minimalist quality, while keeping a space from becoming whitewashed.Ettitude CleanBamboo Pillowcase SetButter yellow is here to stay, and we don’t mind that. This yellow pastel makes for an understated decor moment that still shows design muscle, and it works surprisingly well as a neutral—pair it white, blue, brown, green, even the right shade of purple, and you have something that speaks volumes about your ability to throw a (bed)room together. What’s even more delicious? This particular set is made from 100% bamboo lyocell, and it’s Oeko-Tex-certified.Brooklinen Washed European Duvet SetA total coastal classic, this linen duvet set in striped blue is the ultimate East Coast beach house bedding. Made from 100% Certified European Flax, this set is durable, breathable, and super soft. Contributor Madeleine Luckel can verify: “When I got these I thought white linen sheets year-round might be a slightly bold move, since I don’t live my life on a Greek island, but the nature of the fiber is versatile and temperature-regulating.”
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  • Archaeologists Say They’ve Discovered a Hidden Chamber Where Elites Used Hallucinogens 2,500 Years Ago

    Cool Finds

    Archaeologists Say They’ve Discovered a Hidden Chamber Where Elites Used Hallucinogens 2,500 Years Ago
    Unearthed in Peru, the small underground room may have been used for rituals involving psychoactive drugs. New research suggests these “exclusive” events were reserved for the elite

    An artistic rendering of the stone chamber where the tubes were discovered
    Daniel Contrera

    Long before the rise of the Inca empire, a group called the Chavín people thrived in ancient Peru. They’re known for their elaborate stone structures, which were located at an archaeological site now known as Chavín de Huántar in the Andean highlands.
    During recent excavations at the site, researchers found dozens of hollow bones packed with sediment. They think the artifacts could be ancient drug paraphernalia.
    “The tubes are analogous to the rolled-up bills that high-rollers snort cocaine through in the movies,” Daniel Contreras, an archaeologist at the University of Florida and a co-author of the study, tells Live Science’s Kristina Killgrove.

    The site of Chavín de Huántar, located in Peru at an elevation of 10,000 feet, holds the ruins of several monumental buildings.

    Daniel Contreras

    The tubes were found in small underground chambers, where experts think they may have been used by Chavín elites, according to a recent study published in the journal PNAS. Chemical and microscopic analyses of the tubes revealed traces of nicotine and vilca bean, a hallucinogen related to the drug DMT.
    Vilca was commonly used among pre-Columbian populations of the Andes. When smoked or consumed, vilca would bring about an altered mental state. Many ancient cultures used hallucinogens communally, but the Chavín rituals appear to have been “exclusive,” according to a statement from the university. These rituals may have taken place in rooms that held “only a handful of participants at a time, creating an air of mystique and control.”
    “This is compelling evidence that psychoactive plants were part of formalized and tightly-controlled rituals rather than individual vision-quests or shamanic healing practices,” Contreras tells CBS News’ Emily Mae Czachor. “As such, they seem to have been an important element in the long-term transition from small egalitarian societies to large stratified ones, where social, political and economic inequality were thought of as normal and to be expected rather than unusual.”

    Snuff tubes made from hollowed bones may have been used to inhale hallucinogenic drugs.

    Daniel Contreras

    The Chavín society flourished between roughly 900 and 200 B.C.E. Chavín de Huántar is known for its intricate stone carvings, which often depicted “animal-human hybrids or transformations of human into beast,” and its large network of tunnels, writes Science’s Lizzie Wade. The area is full of imported seashells and obsidian, and Chavín art has been discovered throughout the Andes and on the Peruvian coast, suggesting a “broad cultural reach.”
    “Chavín was part of the first big moment in Andean prehistory when people, ideas and goods were circulating quite extensively,” Contreras tells Science.

    Depictions of psychoactive effects in Chavín iconography

    PNAS

    For many years, historians assumed the Chavín people conducted rituals using drugs. “What’s exciting about this paper is that, for the first time, we have actual evidence,” José Capriles, an archaeologist at Pennsylvania State University who studies ancient psychoactive drug use but wasn’t involved in the study, tells Science.
    The researchers think the drugs may have influenced the Chavín society’s class system. By restricting access to these “profound, even terrifying” experiences, Chavín rulers could have convinced their people that “leadership was intertwined with mystical power and part of the natural order,” per the statement.
    “Taking psychoactives was not just about seeing visions,” says Contreras in the statement. “It was part of a tightly controlled ritual, likely reserved for a select few, reinforcing the social hierarchy.”

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    #archaeologists #say #theyve #discovered #hidden
    Archaeologists Say They’ve Discovered a Hidden Chamber Where Elites Used Hallucinogens 2,500 Years Ago
    Cool Finds Archaeologists Say They’ve Discovered a Hidden Chamber Where Elites Used Hallucinogens 2,500 Years Ago Unearthed in Peru, the small underground room may have been used for rituals involving psychoactive drugs. New research suggests these “exclusive” events were reserved for the elite An artistic rendering of the stone chamber where the tubes were discovered Daniel Contrera Long before the rise of the Inca empire, a group called the Chavín people thrived in ancient Peru. They’re known for their elaborate stone structures, which were located at an archaeological site now known as Chavín de Huántar in the Andean highlands. During recent excavations at the site, researchers found dozens of hollow bones packed with sediment. They think the artifacts could be ancient drug paraphernalia. “The tubes are analogous to the rolled-up bills that high-rollers snort cocaine through in the movies,” Daniel Contreras, an archaeologist at the University of Florida and a co-author of the study, tells Live Science’s Kristina Killgrove. The site of Chavín de Huántar, located in Peru at an elevation of 10,000 feet, holds the ruins of several monumental buildings. Daniel Contreras The tubes were found in small underground chambers, where experts think they may have been used by Chavín elites, according to a recent study published in the journal PNAS. Chemical and microscopic analyses of the tubes revealed traces of nicotine and vilca bean, a hallucinogen related to the drug DMT. Vilca was commonly used among pre-Columbian populations of the Andes. When smoked or consumed, vilca would bring about an altered mental state. Many ancient cultures used hallucinogens communally, but the Chavín rituals appear to have been “exclusive,” according to a statement from the university. These rituals may have taken place in rooms that held “only a handful of participants at a time, creating an air of mystique and control.” “This is compelling evidence that psychoactive plants were part of formalized and tightly-controlled rituals rather than individual vision-quests or shamanic healing practices,” Contreras tells CBS News’ Emily Mae Czachor. “As such, they seem to have been an important element in the long-term transition from small egalitarian societies to large stratified ones, where social, political and economic inequality were thought of as normal and to be expected rather than unusual.” Snuff tubes made from hollowed bones may have been used to inhale hallucinogenic drugs. Daniel Contreras The Chavín society flourished between roughly 900 and 200 B.C.E. Chavín de Huántar is known for its intricate stone carvings, which often depicted “animal-human hybrids or transformations of human into beast,” and its large network of tunnels, writes Science’s Lizzie Wade. The area is full of imported seashells and obsidian, and Chavín art has been discovered throughout the Andes and on the Peruvian coast, suggesting a “broad cultural reach.” “Chavín was part of the first big moment in Andean prehistory when people, ideas and goods were circulating quite extensively,” Contreras tells Science. Depictions of psychoactive effects in Chavín iconography PNAS For many years, historians assumed the Chavín people conducted rituals using drugs. “What’s exciting about this paper is that, for the first time, we have actual evidence,” José Capriles, an archaeologist at Pennsylvania State University who studies ancient psychoactive drug use but wasn’t involved in the study, tells Science. The researchers think the drugs may have influenced the Chavín society’s class system. By restricting access to these “profound, even terrifying” experiences, Chavín rulers could have convinced their people that “leadership was intertwined with mystical power and part of the natural order,” per the statement. “Taking psychoactives was not just about seeing visions,” says Contreras in the statement. “It was part of a tightly controlled ritual, likely reserved for a select few, reinforcing the social hierarchy.” Get the latest stories in your inbox every weekday. #archaeologists #say #theyve #discovered #hidden
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    Archaeologists Say They’ve Discovered a Hidden Chamber Where Elites Used Hallucinogens 2,500 Years Ago
    Cool Finds Archaeologists Say They’ve Discovered a Hidden Chamber Where Elites Used Hallucinogens 2,500 Years Ago Unearthed in Peru, the small underground room may have been used for rituals involving psychoactive drugs. New research suggests these “exclusive” events were reserved for the elite An artistic rendering of the stone chamber where the tubes were discovered Daniel Contrera Long before the rise of the Inca empire, a group called the Chavín people thrived in ancient Peru. They’re known for their elaborate stone structures, which were located at an archaeological site now known as Chavín de Huántar in the Andean highlands. During recent excavations at the site, researchers found dozens of hollow bones packed with sediment. They think the artifacts could be ancient drug paraphernalia. “The tubes are analogous to the rolled-up bills that high-rollers snort cocaine through in the movies,” Daniel Contreras, an archaeologist at the University of Florida and a co-author of the study, tells Live Science’s Kristina Killgrove. The site of Chavín de Huántar, located in Peru at an elevation of 10,000 feet, holds the ruins of several monumental buildings. Daniel Contreras The tubes were found in small underground chambers, where experts think they may have been used by Chavín elites, according to a recent study published in the journal PNAS. Chemical and microscopic analyses of the tubes revealed traces of nicotine and vilca bean, a hallucinogen related to the drug DMT. Vilca was commonly used among pre-Columbian populations of the Andes. When smoked or consumed, vilca would bring about an altered mental state. Many ancient cultures used hallucinogens communally, but the Chavín rituals appear to have been “exclusive,” according to a statement from the university. These rituals may have taken place in rooms that held “only a handful of participants at a time, creating an air of mystique and control.” “This is compelling evidence that psychoactive plants were part of formalized and tightly-controlled rituals rather than individual vision-quests or shamanic healing practices,” Contreras tells CBS News’ Emily Mae Czachor. “As such, they seem to have been an important element in the long-term transition from small egalitarian societies to large stratified ones, where social, political and economic inequality were thought of as normal and to be expected rather than unusual.” Snuff tubes made from hollowed bones may have been used to inhale hallucinogenic drugs. Daniel Contreras The Chavín society flourished between roughly 900 and 200 B.C.E. Chavín de Huántar is known for its intricate stone carvings, which often depicted “animal-human hybrids or transformations of human into beast,” and its large network of tunnels, writes Science’s Lizzie Wade. The area is full of imported seashells and obsidian, and Chavín art has been discovered throughout the Andes and on the Peruvian coast, suggesting a “broad cultural reach.” “Chavín was part of the first big moment in Andean prehistory when people, ideas and goods were circulating quite extensively,” Contreras tells Science. Depictions of psychoactive effects in Chavín iconography PNAS For many years, historians assumed the Chavín people conducted rituals using drugs. “What’s exciting about this paper is that, for the first time, we have actual evidence,” José Capriles, an archaeologist at Pennsylvania State University who studies ancient psychoactive drug use but wasn’t involved in the study, tells Science. The researchers think the drugs may have influenced the Chavín society’s class system. By restricting access to these “profound, even terrifying” experiences, Chavín rulers could have convinced their people that “leadership was intertwined with mystical power and part of the natural order,” per the statement. “Taking psychoactives was not just about seeing visions,” says Contreras in the statement. “It was part of a tightly controlled ritual, likely reserved for a select few, reinforcing the social hierarchy.” Get the latest stories in your inbox every weekday.
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