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One of the biggest engineering challenges of building a towering skyscraper isn’t keeping the structure from falling over, it’s moving all the people around.

12th Planet Be Blatant Defects

Saturday Night Live’s aborted 1. Club. The infamous Jean Doumanian- produced 1.

Saturday Night Live occupies a crucial place in the show’s mythology as the worst of the worst, a 1. The season has such a dreadful reputation that even in a You. Tube age where seemingly everything is available, I never expected to be able to watch the season legally. I imagined that NBC would hide its shame by burying the show so deep that not even the most dogged comedy geeks would be able to find it. So I was surprised and a little delighted to discover that while full- season DVD sets of Saturday Night Live conveniently end with the 1. Netflix Instant and Hulu. These are not the full episodes—the musical performances are entirely absent, as are selected sketches and even some of the monologues—but they do provide a good sense of what the season was like.

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• Sanchez also hits . He’s eighth in MLB in exit velocity (with only two other derby contestants ahead of him) and second in baseball.
• Piscopo has long since devolved into a musclebound walking punchline, but he quickly established himself as a valuable asset to Saturday Night Live.
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I approached this fabled lost season with equal parts anticipation and trepidation. Could it possibly be as terrible as its reputation suggests? Could anything? In that respect, the Doumanian episodes have an unexpected advantage: It would be difficult for them to live down to their reputation as a shameful affront to the gods of comedy, just as it’s difficult for the early, Lorne Michaels- produced seasons of Saturday Night Live to live up to their reputation for satire, subversion, fearlessness, and innovation. The finely wrought mythology of Saturday Night Live needs the Doumanian season to be not just substandard or disappointing, but egregiously awful, a complete abomination. Season six needs to be a betrayal of everything the show stands for, perpetrated by comedy Iagos in blatant defiance of God’s will. In a People magazine article about Charles Rocket’s rocky ride to notoriety, Michaels, the paterfamilias of the SNL universe, captures this desperate need when he saysof the ill- fated 1.

My feeling is that Saturday Night came to mean something and the new version apparently doesn’t mean anything.” Think about that. Saturday Night Live came to mean something. Michaels was acknowledging that the show took on an importance and symbolism far beyond its actual creative or comedic value. It wasn’t just an often funny, sometimes subversive, almost always inconsistent comedy show for college kids to watch while high. It had to mean something more than that. It had to symbolize youth, vitality, satire, and subversion.

It had to represent the television flowering of the sex, drugs, and rock ’n’ roll counterculture of the ’6. It had to mean rebellion and non- conformity and sticking it to the man. It had to mean something, man, or it was just another empty vessel for selling laundry detergent and soft drinks. The original incarnation of Saturday Night Live simply would not have meant as much if critics and audiences alike embraced the new show with the passion and fervor it did the old, if viewers took one look at new hires like Denny Dillon or Gail Matthius and decided they were more- than- acceptable substitutes for Gilda Radner or Jane Curtin. The Doumanian era—which began after NBC slashed the show’s budget by two- thirds following Michaels’ departure at the end of the fifth season, losing pretty much the entire cast and writing staff in the process—had to be absolutely terrible so the series’ first years could shine even brighter by comparison.

The Doumanian season had to mean nothing, absolutely nothing, so the original seasons could mean something profound and important in contrast. Don’t get me wrong.

The Doumanian season is bad, but its badness is of a piece with the rest of the show’s wildly uneven 3. You do not need to seek out the Doumanian season to finally see what unfunny sketches, dead air, mindless monologue patter, or grating recurring characters look like: Those qualities have been abundant on the show for more than three and a half decades. I have a sneaking suspicion they will be abundant on the show for at least three and a half decades to come. That’s because the faults and strengths of Saturday Night Live are essentially written into the system.

No matter how talented the cast and crew might be—and the original cast really was an unusually gifted assemblage of comic geniuses blessed with unique, remarkable chemistry—9. There will invariably be sketches that don’t work, hosts with no comic chops, and gags delivered to deafening silence. No matter the season, Saturday Night Live will always have highs and lows. Bass Pro Xps 5 5 Battery Charger Manual.

The big difference is that in 1. The season’s miscalculation began with Doumanian’s doomed attempt to establish Charles Rocket as the show’s breakout star and new leading man. Doumanian nakedly tried to posit Rocket as the Chevy Chase of the new cast. Both men were tall and handsome, with matinee- idol good looks and a distinctly patrician air.

They were both talented musicians. Rocket played accordion on a B- 5. David Byrne, while Chase, early in his career, played in bands with members of Steely Dan.

They both slid easily into the “Weekend Update” anchor chair and impersonated the sitting president, though Chase played Gerald Ford so indelibly, his version of the president has largely usurped the actual chief executive in the public imagination, while Rocket could never quite get a handle on Ronald Reagan, even though he was one of the easiest and most popular impersonations this side of Jack Nicholson. Saturday Night Live foolishly encouraged unflattering comparisons between Chase and Rocket in the first sketch of its sixth season. The season opens with host Elliott Gould—who hosted during the show’s already legendary golden years—in bed with new cast member Gail Matthius.

Matthius protests that they better get ready for that night’s show. Then the camera pulls back to reveal that Rocket is also in bed with them, a tardy homage to Gould’s hit 1. Bob & Carol & Ted & Alice. Where Gould pegs Matthius as a cross between “Gilda and Jane” (last names were not necessarily), Rocket introduces himself as “kind of a cross between Chevy Chase and Bill Murray.” In a move equal parts bold and misguided, much of the cast is introduced as combinations of previous, better- known cast members. The lovely Ann Risley, for example, introduces herself as a cross between “Gilda” and “Laraine” while Gilbert Gottfried introduces himself as a cross between “Belushi and that guy from last year.

Of course, Gottfried was not, and is not, a cross between John Belushi and Harry Shearer. That description is both reductive and patently untrue, and the notion seems more than a little ridiculous now. Gottfried wasn’t a pale imitation of previous greats; he was Gilbert Gottfried, a loud, grating, nasal, proudly abrasive, and often very funny stand- up comic with a huge personality. But on Saturday Night Live, hewas never really afforded an opportunity to be the Gottfried we’ve all come to know and either love, hate, or grudgingly tolerate.

That first sketch gave critics and audiences all the excuse they needed to write off the new Saturday Night Live—redubbed Saturday Night Live 8. It was a joke, of the winking, self- referential variety the show has always specialized in, but there was a disconcerting element of truth to it as well, a tacit acknowledgment of the cynical calculation behind the show’s new cast. It all but broadcast that Doumanian’s only real vision for the show entailed trying to replicate the previous cast at a fraction of the price. That mission was doomed to fail, and did. Tellingly, the first sketch to feature the new cast was all about the old cast. In the cold open, the new cast members are wide- eyed children looking to Gould as an invaluable connection to the magic and mystery of the original cast.

His voice full of innocent wonder, new cast member Joe Piscopo, one of only two new hires to survive the season of the damned, asks Gould if it’s true that the original cast really used drugs.

Elevators of the Future Will Move Sideways Without a Single Cable. One of the biggest engineering challenges of building a towering skyscraper isn’t keeping the structure from falling over, it’s moving all the people around inside of it. To improve efficiency, and facilitate the construction of even taller buildings, Germany’s Thyssen. Krupp has completely redesigned elevators so that they can move sideways now, too. The traditional design of elevators has cars that only move up and down in a shaft, raised and lowered by a winch- powered cable. It works well enough in smaller buildings, but wait times become problematic as elevator shafts get taller and taller. That’s why the lobbies of larger skyscrapers have elevators that only service the upper floors.

You. Tube’s Tom Scott recently visited Thyssen. Krupp’s 8. 00- foot tall testing tower in Germany, and there he experienced the company’s new MULTI elevator system that allows cars to move both vertically and horizontally using magnetic linear induction motors—the same technology that powers high- speed maglev trains. Eliminating the cable not only reduces the amount of infrastructure needed to run an elevator, it also allows shafts to be built almost infinitely long because the weight of the strong steel cable itself is no longer a limitation. But the biggest advantage is that elevators can now move sideways along horizontal shafts, allowing complete loops to be constructed inside a building, and elevators to hop between shafts in order to find the quickest route to their destination floor.

To ensure the new system is as safe as the elevator design we’ve relied on for the past 1. Thyssen. Krupp is undertaking years of testing and refinement. But one day, it might eliminate the agonizing wait for the next elevator, delivering cars as frequently as every 1.