First color 3-D film opens

First color 3-D film opens

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On April 10, 1953, the horror film The House of Wax, starring Vincent Price, opens at New York’s Paramount Theater. Released by Warner Brothers, it was the first movie from a major motion-picture studio to be shot using the three-dimensional, or stereoscopic, film process and one of the first horror films to be shot in color.

Directed by Andre De Toth, The House of Wax was a remake of 1933’s Mystery in the Wax Museum. The film told the story of Henry Jarrod (Price), a sculptor who goes insane after his partner burns their wax museum to the ground in order to collect the insurance payout. Jarrod survives the fire and later opens his own wax museum, featuring an exhibit immortalizing crimes past and present, including the murder of his ex-partner by a mysterious disfigured killer. The film’s heroine, played by Phyllis Kirk, eventually discovers that Jarrod himself is the killer, and that the museum’s “sculptures” are all the wax-covered bodies of his victims.

The 3-D filming process involved using two cameras, or a single twin-lensed camera, to represent both the right and the left eye of the human viewer. Images from the two cameras were then projected simultaneously onto the screen. Moviegoers had to view The House of Wax through special stereoscopic glasses to see its full 3-D effect. The lenses were specially tinted so that the viewer would see the right- and left-eye images only with the eyes for which they were intended. The 3-D process proved especially effective during the film’s climactic chase scene, in which the cloaked killer pursues Kirk’s character through a series of gas-lit streets and alleyways, with the viewer following along behind them.

The House of Wax launched Price on his long and successful career as a star of horror movies. It also jump-started the career of Charles Buchinsky, who played the supporting role of Jarrod’s mute servant; he would go on to achieve international fame as Charles Bronson, star of innumerable action movies. Earning an impressive (by 1953 standards) $4.3 million at the box office, the movie sparked an explosion of similar 3-D thrillers, including The Mad Magician (1954), also starring Price.

Photography Timeline

Image credits, left to right: “View from the Window at Le Gras” (1826-27), Public Domain. Daguerrotype of Louis Daguerre (1844), Public Domain. Portrait of Frederick Scott Archer, Science Photo Library. Kodak photograph (1890), National Media Museum, Kodak Gallery Collection, Public Domain. Polaroid lab (1948), Polaroid Corporation Collection, Harvard University.

Several important achievements and milestones dating back to the ancient Greeks have contributed to the development of cameras and photography. Here is a brief timeline of the various breakthroughs with a description of its importance.

Putting the "K" in Kodak: A Legendary Camera is Born

The Kodak Company was born in 1888 with the debut of the first Kodak camera. It came pre-loaded with enough film for 100 exposures and could easily be carried and handheld during its operation. "You press the button, we do the rest," Eastman promised in the advertising slogan for his revolutionary invention.

After the film was exposed—meaning all 100 shots were taken—the whole camera was returned to the Kodak company in Rochester, New York, where the film was developed, prints were made, and a new roll of photographic film was inserted into the camera. The camera and prints were then returned to the customer, for the whole cycle to be repeated again.


But before RCA's success, CBS researchers led by Peter Goldmark had invented a mechanical color television system based on 1928 designs of John Logie Baird. The FCC authorized CBS's color television technology as the national standard in October of 1950. However, the system at the time was bulky, the picture quality was terrible, and the technology was not compatible with earlier black-and-white sets.

CBS began color broadcasting on five east coast stations in June of 1951. However, RCA responded by suing to stop the public broadcasting of CBS-based systems. Making matters worse for CBS was the fact that there were already 10.5 million black-and-white televisions (half RCA sets) that had been sold to the public and very few color sets. Color television production was also halted during the Korean War. With the many challenges, the CBS system failed.

Those factors provided RCA with the time to design a better color television, which they based on Alfred Schroeder's 1947 patent application for a technology called shadow mask CRT. Their system passed FCC approval in late 1953, and sales of RCA color televisions began in 1954.

True Movie Magic: How THE WIZARD OF OZ Went From Black & White To Color

This week The Wizard of Ozreturns to theaters in a 3D IMAX presentation as part of the film's 75th anniversary. It's one of my favorite movies and one I've seen hundreds of times (twice this year in theaters, the optimal way to experience it), and every time I see it I find the film's transition from black and white* to Technicolor to be one of the most breathtaking moments in cinematic history. As a sepia-toned Dorothy opens the door of the sepia-toned Gale farnhouse the bursting, vibrant world of Oz explodes in lush and gorgeous color through the doorway. The camera tracks into Oz and Dorothy, now revealed to be wearing a bright blue gingham dress, steps over the threshold. It's a moment of true awe, and one of the most brilliant visual moments in the movies.

Today this scene would be easy to do digitally colors are changed all over the frame in modern films. But there's no magic there. And in 1939 a bit of stage magic was needed.

The initial idea wasn't actually that far off from how it's done today, except it would have been accomplished by hand. Each frame would be sepia-toned by hand, until the door opened and the film transitioned into Technicolor. What can be done by a computer crunching numbers now would have taken hundreds of hours and tons of money back in 1939, so MGM abandoned the 'sepia stenciling' concept. Producer Mervyn LeRoy needed a new way to achieve the transition and he ended up using some good old fashioned sleight of hand.

He oversaw the film's extensive reshoots throughout the early months of 1939 (at one point the iconic song Somewhere Over The Rainbow was removed from the film because MGMs execs thought it was too slow, and so Dorothy's Kansas scenes needed to be reshot), and for the transition he used a simple trick. A set was painted sepia tone and Bobie Koshay, Judy Garland's double was outfitted in a sepia dress and given a sepia make-up job. Koshay walks to the door and opens it, revealing the bursting color of Munchkinland beyond the doorframe. She steps out of the way of the shot and the camera glides through the door, followed by Judy Garland, revealed in her bright blue dress.

It's a simple, elegant solution that makes the transition feel seamless. There's no sense of post-production trickery on the shot, just the wonderful expansion of the film's color palette. It's true movie magic.

* technically sepia. The Kansas sequences were shot in black & white and then dyed to a sepia tone to give an old-fashioned feeling to them.

15 Black Actresses Who Made History

Black History Month is a time to reflect on all of the world leaders, activists and icons whose varying works left historic marks on society. With Oscar season upon us, it only makes sense to celebrate Tinseltown’s most famed black actresses who’ve contributed to the month-long observance. Flip through the next pages to see some of our favorite black actresses who made history.

Hattie McDaniel

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June 10, 1895 – October 26, 1952
Hattie McDaniel was the first African American woman to receive an Oscar for Best Supporting Actress in her 1940 role as Mammy in Gone with the Wind.

Ethel Waters

October 31, 1896 – September 1, 1977
In 1962, Ethel Waters became the first black actress to be nominated for an Emmy. She was recognized for her guest appearance on the “Goodnight Sweet Blues” episode of Route 66.

Josephine Baker

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June 3, 1906 – April 12, 1975
Josephine Baker was the first black woman to star in a major motion picture, Zouzou, in 1934. She refused to perform for segregated audiences in America and is equally known for her work in the Civil Rights Movement.

Dorothy Dandridge

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November 9, 1922-September 8, 1965
Dorothy Dandridge was the first black actress nominated for an Academy Award for Best Actress for her starring role in the 1954 film Carmen Jones. Dandridge was also the first black woman on the cover of Life magazine and is still one of the world’s most celebrated beauties.

Cicely Tyson

/>Hill Harper and Cicely Tyson at the 2nd Annual The Humanity of Connection (Image: Instagram)

December 19, 1933 –
Cicely Tyson is the first African American actress to receive an Emmy Award for Outstanding Lead Actress in a Television Movie for her performance in The Autobiography of Miss Jane Pittman (1974). Tyson is also the oldest actress to win a Tony Award for Best Performance by an Actress (2013) for her role in the play The Trip to Bountiful.

Diahann Carroll

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July 17, 1935 –
Diahann Carroll is the first black actress to star in her own TV series, Julia, in 1968. This was one of the first non-domestic roles for black actresses, leading to her 1968 Golden Globe win and a 1969 Emmy nomination.

Trina Parks

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December 26, 1947 –
Trina Parks is a singer, dancer and actress. She starred in 1971’s Diamonds are Forever as Thumper, the first ever black James Bond girl. Parks also helped to choreograph the Tony Award-winning Broadway musical, The Wiz.

Phylicia Rashad

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June 19, 1948 –
Phylicia Rashad, popular from her role as Clair Huxtable on The Cosby Show, was the first black actress to win the Tony Award for Best Performance by a Leading Actress in a Play. The award was for the 2004 remake of A Raisin in the Sun.

Gloria Hendry

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March 3, 1949 –
Following Trina Parks, Gloria Hendry played the Bond girl Rosie Carver in Live and Let Die. She was the first black actress to portray Bond’s love interest.

Halle Berry

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August 14, 1966 –
Halle Berry gave an emotional acceptance speech after becoming the first African American actress to win the Oscar for Best Actress, 2002, for her performance in Monster’s Ball. She thanked Dorothy Dandridge, Lena Horne, Jada Pinkett Smith and a slew of other black actresses. The Oscar winner said the award was “for every nameless, faceless woman of color that now has a chance because this door tonight has been opened.”

Anika Noni Rose

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September 6, 1972 –
Anika Noni Rose is a film and Broadway actress who lent her voice as Princess Tiana, Disney’s first African American animated princess, in The Princess and the Frog (2009).

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February 11, 1979 –
Brandy is an R&B icon who rose to stardom in the 90s. Her mentor, Whitney Houston, selected her to play Cinderella in the Rodgers and Hammerstein’s television version of the classic (1997), and she has since been credited as the first black actress to play Cinderella.

Lupita Nyong’o

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March 1, 1983 –
Lupita Nyong’o rose to international stardom as a fashion and beauty icon and actress after her first feature film role as Patsey in 12 Years a Slave. She won the Academy Award for Best Supporting Actress, becoming the first Kenyan to do so.

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August 26, 1993 –
Keke Palmer got her start as a child actress, and made history as the youngest TV talk show host ever on BET’s Just Keke. The young star also made history as the first black Cinderella on Broadway. “I feel like the reason I’m able to do this is definitely because Brandy did it on TV,” Palmer said to the Associated Press.

Quvenzhane Wallis

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August 28, 2003 –
Quevenzhe Wallis got her big break at five years old when she landed the role as Hushpuppy in Beasts of the Southern Wild. The child star made history as the youngest actress ever to receive a nomination for the Academy Award for Best Actress. She also made history as the first black actress to take the lead in Annie in the 2014 remake.

Editor’s Note: This story was originally published on June 7, 2019

Mickey Mouse

Mickey Mouse in Steamboat Wille , 1928.

Mickey Mouse turns 80 years old today, and there's not a gray hair on him. Sure, he's a little rounder, a little squatter, and he's been wearing the same clothes for decades, but all in all he looks pretty good. Sure, Mickey hasn't had a movie in two years (his last one went direct-to-video), but his cheerful face remains one of the most recognizable images in the world, even beating out Santa Claus. Disney threw a big party for the mouse's 75th birthday, so this year's festivities will be comparatively subdued. But TIME has been following the adorable mouse since the beginning, and 80 years is still a big number to us. (Read TIME's 1937 cover story on Walt Disney)

Mickey's story, however, starts with a rabbit. Disney Brothers Studio was just another cog in Universal Pictures' animation machine when, in 1927, Walt Disney created a character called Oswald the Lucky Rabbit. With his round, white face, big button nose and floppy black ears, the smiling Oswald was an instant hit and Universal ordered a series of shorts. When Disney met with executives to negotiate another contract in 1928, the rabbit was still riding high and the animator thought he had the upper hand. Instead, the studio told him that it had hired away all of his employeees and retained the rights to Oswald. Univesral offered to keep Disney if he took a lower salary, but he refused. He and Ub Iwerks — the one loyal animator who stayed with Disney Bros. — returned to work and held a series of hair-pulling, late-night brainstorming sessions for Oswald's replacement. They shortened the ears, added some extra padding around the middle, and turned the rabbit into a mouse. Named Mortimer. The moniker didn't last there are a number of tales attempting to explain how and why — the most popular being that Disney's wife hated the name and suggested its replacement — but soon he was ready for his debut as Mickey.

The first two Mickey shorts drew no attention, but then came Steamboat Willie, the first animation to feature synchronized music and sound effects, hit the screen. The film premiered in New York on Nov. 18, 1928 and was an instant hit. A series of Mickey Mouse shorts appeared within a matter of months — including Plane Crazy, a short that predated Steamboat Willie in which Mickey plays a rodent Charles Lindbergh. The mouse was a national fad by the end of the year, and it wasn't long before the real genius of Walt Disney kicked in: marketing. Walt quickly started up a line of Mickey merchandise, and within two years the Mickey Mouse Club, a fan club for children, was up and running.

In 1935, a young animator named Fred Moore gave Mickey his first makeover. Earlier animators had drawn the mouse as a series of circles, which limited his movement. Moore — who later animated Fantasia 's Sorcerer's Apprentice segment — gave him a pear-shaped body, pupils, white gloves and a shortened nose, to make him cuter. Mickey also appeared in color for the first time that year The Band Concert's use of Technicolor was so innovative that critics still consider it to be a masterpiece. (Click here for a list of the All-TIME 100 Movies)

By 1937, Disney Studios was producing about 12 Mickey shorts a year, with Disney himself providing the mouse's high-pitched voice. Mickey became a football hero, a hunter, a tailor, and a symphony conductor. He accidentally sprayed himself with insecticide, rescued Pluto from the dogcatcher, crashed a car into a barn, fell behind on his rent, enlisted in the army, had his house repossessed, and lost Minnie to an innumerable string of muscular bad boys (although he always won her back in the end). The cartoons' vaudevillian overtones made liberal use of slapstick and puns, and Mickey's close association with children required that he always remain upstanding and moral (leaving the cantankerous Donald Duck to get into all the trouble).

By the 1950s, Mickey had theme park, a newspaper comic strip, and The Mickey Mouse Club, the hit television variety show that has launched the careers of teen stars from Annette Funicello to Justin Timberlake. But soon Disney feature films like Bambi and Sleeping Beauty began to rake in the accolades — and box office receipts — the mouse faded into the background. Between his last 1953 cartoon short, The Simple Things, and the 1983 Christmas special Mickey's Christmas Carol, the mouse that built the house of Disney would remain out of work for 30 years.

History of the American Chestnut

The history of The American Chestnut Foundation (TACF) chronicles the ongoing pursuit of a fundamental goal: to develop a blight-resistant American chestnut tree through scientific research and breeding, and to restore the tree to its native forests along the eastern United States.

More than a century ago, nearly four billion American chestnut trees were growing in the eastern U.S. They were among the largest, tallest, and fastest-growing trees. The wood was rot-resistant, straight-grained, and suitable for furniture, fencing, and building. The nuts fed billions of wildlife, people and their livestock. It was almost a perfect tree, that is, until a blight fungus killed it more than a century ago. The chestnut blight has been called the greatest ecological disaster to strike the world’s forests in all of history.

The American chestnut tree survived all adversaries for 40 million years, then disappeared within 40.

The American chestnut tree (Castanea dentata) once dominated the eastern half of the U.S. Because it could grow rapidly and attain huge sizes, the tree was often the outstanding visual feature in both urban and rural landscapes. The wood was used wherever strength and rot-resistance was needed.

In colonial America, chestnut was a preferred species for log cabins, especially the bottom rot-prone foundation logs. Later posts, poles, flooring, and railroad ties were all made from chestnut lumber.

The edible nut was also a significant contributor to the rural economy. Hogs and cattle were often fattened for market by allowing them to forage in chestnut-dominated forests. Chestnut ripening coincided with the holiday season, and turn-of-the-century newspaper articles often showed train cars overflowing with chestnuts rolling into major cities to be sold fresh or roasted. The American chestnut was truly a heritage tree.

All of this began to change at or slightly before the turn of the century with the introduction of Cryphonectria parasitica, the causal agent of chestnut blight. This disease reduced the American chestnut from its position as the dominant tree species in the eastern forest ecosystem to little more than an early-succession-stage shrub. There has been essentially no chestnut lumber sold in the U.S. for decades, and the bulk of the annual 20-million-pound nut crop now comes from introduced chestnut species or imported nuts.

Despite its decimation as a lumber and nut-crop species, the American chestnut has not gone extinct. It is considered functionally extinct because the blight fungus does not kill the tree’s root system underground. The American chestnut has survived by sending up stump sprouts that grow vigorously in logged or otherwise disturbed sites, but inevitably succumb to the blight and die back to the ground.

Learn how to identify American chestnuts and send us a sample to support our research.

Knowing the Past Opens the Door to the Future: The Continuing Importance of Black History Month

Scurlock Studio Records, ca. 1905-1994, Archives Center, National Museum of American History, Smithsonian Institution.

No one has played a greater role in helping all Americans know the black past than Carter G. Woodson, the individual who created Negro History Week in Washington, D.C., in February 1926. Woodson was the second black American to receive a PhD in history from Harvard—following W.E.B. Du Bois by a few years. To Woodson, the black experience was too important simply to be left to a small group of academics. Woodson believed that his role was to use black history and culture as a weapon in the struggle for racial uplift. By 1916, Woodson had moved to DC and established the “Association for the Study of Negro Life and Culture,” an organization whose goal was to make black history accessible to a wider audience. Woodson was a strange and driven man whose only passion was history, and he expected everyone to share his passion.

Dr. Carter G. Woodson, late 1940s

This impatience led Woodson to create Negro History Week in 1926, to ensure that school children be exposed to black history. Woodson chose the second week of February in order to celebrate the birthday of Lincoln and Frederick Douglass. It is important to realize that Negro History Week was not born in a vacuum. The 1920s saw the rise in interest in African American culture that was represented by the Harlem Renaissance where writers like Langston Hughes, Georgia Douglass Johnson, Claude McKay—wrote about the joys and sorrows of blackness, and musicians like Louie Armstrong, Duke Ellington, and Jimmy Lunceford captured the new rhythms of the cities created in part by the thousands of southern blacks who migrated to urban centers like Chicago. And artists like Aaron Douglass, Richard Barthe, and Lois Jones created images that celebrated blackness and provided more positive images of the African American experience.

Woodson hoped to build upon this creativity and further stimulate interest through Negro History Week. Woodson had two goals. One was to use history to prove to white America that blacks had played important roles in the creation of America and thereby deserve to be treated equally as citizens. In essence, Woodson—by celebrating heroic black figures—be they inventors, entertainers, or soldiers—hoped to prove our worth, and by proving our worth—he believed that equality would soon follow. His other goal was to increase the visibility of black life and history, at a time when few newspapers, books, and universities took notice of the black community, except to dwell upon the negative. Ultimately Woodson believed Negro History Week—which became Black History Month in 1976—would be a vehicle for racial transformation forever.

The question that faces us today is whether or not Black History Month is still relevant? Is it still a vehicle for change? Or has it simply become one more school assignment that has limited meaning for children. Has Black History Month become a time when television and the media stack their black material? Or is it a useful concept whose goals have been achieved? After all, few—except the most ardent rednecks - could deny the presence and importance of African Americans to American society or as my then-14 year old daughter Sarah put it, “I see Colin Powell everyday on TV, all my friends—black and white—are immersed in black culture through music and television. And America has changed dramatically since 1926—Is not it time to retire Black History Month as we have eliminated white and colored signs on drinking fountains?” I will spare you the three hour lesson I gave her.

I would like to suggest that despite the profound change in race relations that has occurred in our lives, Carter G. Woodson’s vision for black history as a means of transformation and change is still quite relevant and quite useful. African American history month, with a bit of tweaking, is still a beacon of change and hope that is still surely needed in this world. The chains of slavery are gone—but we are all not yet free. The great diversity within the black community needs the glue of the African American past to remind us of not just how far we have traveled but lo, how far there is to go.

While there are many reasons and examples that I could point towards, let me raise five concerns or challenges that African Americans — in fact — all Americans — face that black history can help address:

The Challenge of Forgetting

You can tell a great deal about a country and a people by what they deem important enough to remember, to create moments for — what they put in their museum and what they celebrate. In Scandinavia — there are monuments to the Vikings as a symbol of freedom and the spirit of exploration. In Germany during the 1930s and 1940s, the Nazis celebrated their supposed Aryan supremacy through monument and song. While America traditionally revels in either Civil War battles or founding fathers. Yet I would suggest that we learn even more about a country by what it chooses to forget — its mistakes, its disappointments, and its embarrassments. In some ways, African American History month is a clarion call to remember. Yet it is a call that is often unheeded.

Let’s take the example of one of the great unmentionable in American history — slavery. For nearly 250 years slavery not only existed but it was one of the dominant forces in American life. Political clout and economic fortune depended on the labor of slaves. And the presence of this peculiar institution generated an array of books, publications, and stories that demonstrate how deeply it touched America. And while we can discuss basic information such as the fact that in 1860 — 4 million blacks were enslaved, and that a prime field hand cost $1,000, while a female, with her childbearing capability, brought $1,500, we find few moments to discuss the impact, legacy, and contemporary meaning of slavery.

In 1988, the Smithsonian Institution, about to open an exhibition that included slavery, decided to survey 10,000 Americans. The results were fascinating — 92% of white respondents felt slavery had little meaning to them — these respondents often said “my family did not arrive until after the end of slavery.” Even more disturbing was the fact that 79% of African Americans expressed no interest or some embarrassment about slavery. It is my hope that with greater focus and collaboration Black History Month can stimulate discussion about a subject that both divides and embarrasses.

As a historian, I have always felt that slavery is an African American success story because we found ways to survive, to preserve our culture and our families. Slavery is also ripe with heroes, such as slaves who ran away or rebelled, like Harriet Tubman or Denmark Vessey, but equally important are the forgotten slave fathers and mothers who raised families and kept a people alive. I am not embarrassed by my slave ancestors I am in awe of their strength and their humanity. I would love to see the African American community rethink its connection to our slave past. I also think of something told to me by a Mr. Johnson, who was a former sharecropper I interviewed in Georgetown, SC:

The Challenge of Preserving a People’s Culture

While the African American community is no longer invisible, I am unsure that as a community we are taking the appropriate steps to ensure the preservation of African American cultural patrimony in appropriate institutions. Whether we like it or not, museums, archives, and libraries not only preserves culture they legitimize it. Therefore, it is incumbent of African Americans to work with cultural institutions to preserve their family photography, documents, and objects. While African Americans have few traditions of giving material to museums, it is crucial that more of the black past make it into American cultural repositories.

A good example is the Smithsonian, when the National Museum of American History wanted to mount an exhibition on slavery, it found it did not have any objects that described slavery. That is partially a response to a lack of giving by the African American Community. This lack of involvement also affects the preservation of black historic sites. Though there has been more attention paid to these sites, too much of our history has been paved over, gone through urban renewal, gentrified, or unidentified, or un-acknowledged. Hopefully a renewed Black History Month can focus attention on the importance of preserving African American culture.

There is no more powerful force than a people steeped in their history. And there is no higher cause than honoring our struggle and ancestors by remembering.

The Challenge of Maintaining a Community

As the African American Community diversifies and splinters, it is crucial to find mechanisms and opportunities to maintain our sense of community. As some families lose the connection with their southern roots, it is imperative that we understand our common heritage and history. The communal nature of black life has provided substance, guidance, and comfort for generations. And though our communities are quite diverse, it is our common heritage that continues to hold us together.

The Power of Inspiration

One thing has not changed. That is the need to draw inspiration and guidance from the past. And through that inspiration, people will find tools and paths that will help them live their lives. Who could not help but be inspired by Martin Luther King’s oratory, commitment to racial justice, and his ultimate sacrifice. Or by the arguments of William and Ellen Craft or Henry “Box” Brown who used great guile to escape from slavery. Who could not draw substance from the creativity of Madame CJ Walker or the audacity and courage of prize fighter Jack Johnson. Or who could not continue to struggle after listening to the mother of Emmitt Till share her story of sadness and perseverance. I know that when life is tough, I take solace in the poetry of Paul Lawrence Dunbar, Langston Hughes, Nikki Giovanni, or Gwendolyn Brooks. And I find comfort in the rhythms of Louie Armstrong, Sam Cooke or Dinah Washington. And I draw inspiration from the anonymous slave who persevered so that the culture could continue.

Let me conclude by re-emphasizing that Black History Month continues to serve us well. In part because Woodson’s creation is as much about today as it is about the past. Experiencing Black History Month every year reminds us that history is not dead or distant from our lives.

Rather, I see the African American past in the way my daughter’s laugh reminds me of my grandmother. I experience the African American past when I think of my grandfather choosing to leave the South rather than continue to experience share cropping and segregation. Or when I remember sitting in the back yard listening to old men tell stories. Ultimately, African American History — and its celebration throughout February — is just as vibrant today as it was when Woodson created it 85 years ago. Because it helps us to remember there is no more powerful force than a people steeped in their history. And there is no higher cause than honoring our struggle and ancestors by remembering.

The Road Ahead

Today, 3D printing is becoming more popular among the general public. Most people at least know what it is now, and some of the things it’s capable of. But unlike inkjet printing, few of us create 3D models and print them out on these amazing machines at home. At least not yet! The cost has come down by the thousands of dollars in recent years, and the technology has gotten better and continues to improve. But right now, the average person can’t justify owning their own machines, but this is set to change in the years ahead. It’s going to change because of the types of things we will be able to print in 3D in all kinds of different materials.

Anyone who wants to explore 3D printing and experience the technology can do. You don’t need to own a 3D printer to be able to print in 3D. It’s now possible to design your own 3D models using one of the free online 3D design programs like Tinkercad. Once you model is ready, you can find a local or online service to print your 3D model for you. It’s that easy.

There’s still plenty of future history around 3D printing so watch this space.

Watch the video: 1st Major Color 3-D Movie Debuts


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