Formed in 2009, the Archive Team (not to be confused with the archive.org Archive-It Team) is a rogue archivist collective dedicated to saving copies of rapidly dying or deleted websites for the sake of history and digital heritage. The group is 100% composed of volunteers and interested parties, and has expanded into a large amount of related projects for saving online and digital history.
History is littered with hundreds of conflicts over the future of a community, group, location or business that were "resolved" when one of the parties stepped ahead and destroyed what was there. With the original point of contention destroyed, the debates would fall to the wayside. Archive Team believes that by duplicated condemned data, the conversation and debate can continue, as well as the richness and insight gained by keeping the materials. Our projects have ranged in size from a single volunteer downloading the data to a small-but-critical site, to over 100 volunteers stepping forward to acquire terabytes of user-created data to save for future generations.
The main site for Archive Team is at archiveteam.org and contains up to the date information on various projects, manifestos, plans and walkthroughs.
This collection contains the output of many Archive Team projects, both ongoing and completed. Thanks to the generous providing of disk space by the Internet Archive, multi-terabyte datasets can be made available, as well as in use by the Wayback Machine, providing a path back to lost websites and work.
Our collection has grown to the point of having sub-collections for the type of data we acquire. If you are seeking to browse the contents of these collections, the Wayback Machine is the best first stop. Otherwise, you are free to dig into the stacks to see what you may find.
The Archive Team Panic Downloads are full pulldowns of currently extant websites, meant to serve as emergency backups for needed sites that are in danger of closing, or which will be missed dearly if suddenly lost due to hard drive crashes or server failures.
When, in the early 1960s, I brazenly used such words as "childhood", "adolescence", "motivation", "excitement", and "mood" I was much criticized. Even worse was my crime of suggesting that chimpanzees had "personalities". I was ascribing human characteristics to nonhuman animals and was thus guilty of that worst of ethological sins—anthropomorphism.
Norman Rockwell. It's not his birthday or anything. He just happens to be on my mind. I think as time goes by, Rockwell's work is seen as increasingly sentimental, increasingly old-fashioned. Here's one such example:
Freedom of Speech, 1943
Given the current political climate, I'm afraid this particular sentiment may be getting more old-fashioned by the minute.
This 1976 paean to freedom of the press must be old-fashioned, too. After all, I watched it on TCM!
Thespian Mae Questel was born on this day in 1908 (she died in 1998.) If you don't recognize the name, you at least may recognize the iconic cartoon character to whom she lent her voice:
When Betty Boop made her animation debut in 1930, she was a dog. I don't mean that unkindly, that she was a homely human woman. No, I mean that literally. She was neither homely nor human but a member of the species Canis familiaris. Allow me to explain. At the time another anthropomorphic pooch named Bimbo was animation studio head Max Fleischer's most popular character. Fleischer came up with a story for a cartoon short that had Bimbo as a dishwasher in a nightclub in love with a sexy canine singer, and asked his leading animator Grim Natwick, to come up with a design. Natwick's Betty was similar to the later human version, except that she had droopy ears and a little black nose. The subsequent short, "Dizzy Dishes", did well, and Betty remained both a supporting player and a sexy dog (she's seen in a lacy bra in one pre-Code cartoon) for the next ten or so shorts (sources vary.) Theater operators made it clear to Fleischer that they wanted to see more Betty and less Bimbo. And that it wouldn't hurt to remove any urge towards bestiality on moviegoers' parts if they were given an actual member of the species Homosapiens to drool over. And so Betty was humanized, her droopy ears replaced by earrings, and the dark nose transformed into a pert dash. As for Bimbo, he stuck around for a while as a supporting player, remaining a canine. Needless to say, the relationship between him and Betty from that point on was strictly platonic. Around this time (sources again vary), Mae Questel took over vocal duties from Betty's original portrayer Margie Hines and enacted the squeaky-voice flapper for eight years, longer than any other actor. However, that wasn't Questel's only acting achievement, as you'll find out in this interview from the 1980s:
Still sounds like Betty, doesn't she? Probably the reason Questel was asked to do the character one more time in 1988's Who Framed Roger Rabbit?:
Recently, a musical based on Betty Boop opened and very shortly thereafter closed on Broadway. Perhaps if the show's producers had found some psychic who could have channeled Mae Questel's vocal talents, it would still be running today.
Overture, curtain, lights This is it, the night of nights No more rehearsing and nursing a part We know every part by heart Overture, curtain, lights This is it, we'll hit the heights And oh what heights we'll hit On with the show this is it.
I just didn’t believe I was up there in fishnets and high heels actually doing it...It’s one of my strengths as a performer. I’ve got a kind of more developed feminine side so it was a chance to knowingly explore that.
--British actor Terence Stamp, on playing transgender woman/drag queen performer Bernadette Bassenger in the 1994 Australian comedy The Adventures of Priscilla, Queen of the Desert.
Star Trek creator Gene Roddenberry shakes hands with Star Wars creator George Lucas at some science fiction convention in 1987. No hint of a rivalry between them that I can tell. I guess they figured the cosmos (as well as Hollywood) was big enough for the both of them.