Make Your Own Kaleidoscope (Oct, 1944)

I love how they emphasize the fact that they used a COLOR camera.

Our Color Camera Takes a Look Through a Kaleidoscope



VISITORS to London about 1816 were amazed to see people in the streets gazing skyward through pasteboard tubes. But these watchers were peering at no eclipse or comet. They were fascinated by a scientific novelty that had taken London by storm—the kaleidoscope, invented by Sir David Brewster. First regarded only as a toy, it was soon adopted by artists as an aid in originating new designs. Sir David named his invention by combining three Greek words: kalos, meaning beautiful; eidos, form; and skopeo, I see. Almost anyone who has looked through a kaleidoscope will agree that the name is appropriate.


Gee, what a great toy, no way it could be dangerous, right?



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Mouth Harpist Goes to Extremes (Jun, 1932)

Mouth Harpist Goes to Extremes

JUST because he “slides over” a lot of notes going from low “G” to high “C” gives Fred Leslie, London musician, the right to claim the title of world’s champion mouth harpist. His mammoth instrument measures 36 inches from tip to tip. He also plays the one-inch organ shown perched on “Big Bertha” in the photo below.


Why use those annoying glasses when you could stare through slits cut in a pipe?


By Paul A. O’Neal

YOUR FIRST LOOK at 3-D TV will be just as startling and realistic as when you first viewed the new 3-D movies at your local motion-picture theater.

Three-dimensional vision is actually easy to accomplish on television. Whereas in cinematography there are many problems in producing 3-D in large auditoriums, TV can be utilized in a small room and need provide for only a few viewers at any one time. There is no need for using two films and keeping them matched, and no wide-angle screen or throw-away Polaroid glasses are required.

Ad: Micro TV Breakthrough (Sep, 1979)

In a comment on Flat Screen TV in 1958 MilanMerhar says:
“Sinclair Radionics introduced its “Microvision TV1A pocket TV” in 1977 using the same side-scanning technology as described for the Aiken tube.

The major technical problem such designs have is severe geometric distortion, the compensation for which greatly complicated the analog scanning circuitry of the day. In fact, Sinclair claimed it had taken them over ten years to perfect that aspect of their design. “

I don’t know if this model uses that tube design, but it’s pretty interesting none the less. Sure does look a lot smaller from the front, doesn’t it?

Micro TV Breakthrough

Remember the $400 Sinclair Micro TV? Here’s the story on the greatest TV value ever.

That Sinclair TV shown above is small-the smallest TV in the world.

And when it was first introduced last year, it made history. So did its high price-$395.

Our company never sold the unit for two reasons: 1) It was being promoted as a pocket TV and we felt it would not fit in most pockets and 2) We felt $395 was too high a price for the unit regardless of its quality, size and features.

First American CRT “Televisor” (Jun, 1932)


Reception On Moving Train
IN A recent experiment carried out, in England, by the Baird Co., television images were successfully picked up on the portable receiver and scanner shown at the upper right. The image was observed in the window at the right of the scanner, appearing on the side of the disc. A suitable aerial was supported on the roof of the car and the ground connection was made through its axles and wheels.

Hand-Drawn Soundtrack (Feb, 1936)

Sketches” Sound; Files It For “Talkies”

SYNTHETIC musical notes that can be filed away in a card index have been developed by a group of Soviet musicians and scientists. The hand-sketched notes, resembling combs, are used to produce musical accompaniment for motion picture films.

Radios in Your Hair (Jul, 1948)

Radios in Your Hair

RADIO receivers, tinier than a penny matchbox have been developed by Paramount sound men in Hollywood. These replace the megaphones that directors used in the days of silent pictures to shout instructions to their stars. The resulting confusion on crowded sets was nerve racking to both the director and members of the cast. When sound was added, the megaphone had to go. It was then replaced by intricate signaling systems and many necessary interruptions and expensive retakes. Now this tiny inductive-type receiver, that uses no batteries or tubes, is concealed on the actor’s person. It is claimed that it can pick up signals as far as 300 feet away from the transmitter which is placed near the movie studio stage.

Electronic-Music Maestro (May, 1954)

Electronic-Music Maestro

YOU’RE a radio repair man, why don’t you build me an electric organ?” If Burton Minshall heard that suggestion once, he must have heard it a thousand times from his wife, Madalene. As a matter of fact, Madalene nagged her husband so often about an electric organ that Burton decided to do something about it and end her nagging.

He began by saving odd parts like vacuum tubes, sockets, chokes and assorted pieces of wire and cable. He found an old reed organ in a junk shop which he bought for a song. Then he chopped it up and salvaged its physical movement. When he found another old, worn-out reed organ, he saved the five octave keyboard.


Very interesting article by one of the original Hollywood stunt men. It certainly seems like this was an even more extreme profession in the early days:

“I had to wear the blood-spattered clothes in which Jack Silver—”Old Silvertip”—died the day before I did his stunt. It was a leap from a train crossing a trestle to the water beneath. Hesitating a fraction of a second, Silvertip had struck pilings on the far side of the stream and been killed. We must not hesitate.”



I BELONG to a strange fraternity. After nineteen years, only six of the original 150 remain. We are the motion-picture stunt men.

I have seen most of the others die, one after another, in performing dangerous feats. Yet, during my own career I was never seriously injured in doing 560 parachute leaps, eighty plane changes in the air, 150 dives from heights above ninety feet, 180 automobile wrecks, riding horses over cliffs sixty-five times and staging fights atop ninety-foot ship masts and making the proper fall into the water so many times I have lost count. The pioneer stunt men who remain besides myself are Cliff Lyons, Yakima Canutt, Duke Green, Gordon Carveth and Frank Clark.