AV Geeks 16mm Lunch 4-14-2025

Hello everybody. This is Skip Alzheimer. Welcome to the AV Geeks Lunchtime streaming show where we watch old 16 millimeter films. And that was a easily it was taken stolen from uh a biblical epic of some sort back in the maybe 20s30s. And that's the the the whitest Jesus I've ever seen. Holy cow. That guy was white. Um I don't think he he knew how to be a carpenter. man. Anyways, uh yeah, I guess it's we're approaching Holy Week, so I thought, well, I'll bust this out. We haven't watched it, so he was a carpenter. Maybe not a very good carpenter, but there you go. Um, Italy. Let's learn a little bit about the life and art in Italy. Enjoy. All about us, we find examples of art in our homes, in our schools. tools in our art galleries. Much of the art that is familiar to us is art that has come from Italy. In order to better understand and appreciate this art, we should know something about the people and the country from which it comes. This is Italy. It is a country of beauty. Beauty that is expressed in Italian art. Types of art expression is painting. What does a painter express? He usually expresses the things he sees and feels, the things he experiences in life. This scene, for instance, represents part of the life of ancient Italy. And in this painting, it becomes an expression of art and of life in Italy today. The Italian people have practiced many types of art expression. They have filled their beautiful cities with architecture that is among the world's best. They have used sculpture to decorate their streets and squares. And they have made these streets gay with their melodic [Music] music. Emotional, expressive, artistic. These are some of the ways the Italian people have been described. They are known too as religious people, people who are devoted to their church. And the Italian people are known for their pride in their history which goes back to classical Roman times. These ruins are part of the classical influence in Italy. And this church is part of the religious influence. Both these influences have affected Italian life and Italian art. A center of both influences is Rome, the religious center of Italy today and the classical capital of Italy in ancient times. Today in Rome, we can find many examples of the classical art that has been part of Italian life for 2,000 years. Through the style of architecture which they borrowed from classical Greece, the Romans added size and grandeur, features which expressed the power of the Roman Empire. Much of Roman architecture is tremendous in size. Almost 2,000 years ago, the Colosseum and the Pantheon were impressing people with the grandeur of Imperial Rome. And 1500 years later, when the tremendous Cathedral of St. Peters was built, its design showed the influence of classical Roman architecture. In modern times, we find the Italian people still expressing ideas of classic beauty. This imposing monument built in the 20th century reflects the Roman tradition of power and grandeur. With the rise of Christianity in Italy, the classical tradition was modified by a religious influence. The tremendous size of this early Christian church reminds us of Roman architecture. But inside the early Christian churches, we find art that expresses the life and times of the early Christians. This art helped explain Christianity to those who could not read. One of the favorite pictures was Christ the good shepherd. And one of the favorite methods of making these pictures was in mosaic. Tiny pieces of colored stone and glass were cemented together. When seen as a whole, the mosaic forms a colorful composition. Today the mosaic technique is still practiced in Italy but the technique is painstaking. Covering a large wall with mosaic is slow and costly. Here is a faster method. A wall is covered with fresh plaster. On this colors can be painted directly. This technique is called fresco. The Italian word for fresh. Colors laid on the fresh plaster soak in and become a permanent part of the wall. So permanent that some fresco have lasted for hundreds of years. The fresco in this chapel were painted by Jotto, one of Italy's great masters. In these scenes of the story of Christ, Jotto was expressing not only familiar Bible themes, but he expressed the ideals of the period during which he lived. the period around 1300 when religion was a leading force in Italian life. One of the important centers of life and art in Italy is the city of Florence. Here during the height of the Renaissance period in the 16th century, some of the finest art of Italy was produced. A kind of symbol of the Renaissance period is the great dome on the Cathedral of Florence. It was designed by Brunoleski and it was the first dome built in Italy since Roman times. Its design has influenced domes built in many other lands. Today on the streets of Florence, we can still see many other examples of Renaissance art. Near the cathedral stands the baptistry with its famous bronze doors. The east doors are decorated with reliefs by the sculptor Giberti. These panels illustrate themes from the Old Testament. It is reported that when the sculptor Michelangelo saw these, he said, "They are beautiful enough to be the gates of paradise." But the artists of the Renaissance expressed much more than the religious side of life. Something of everyday life was expressed in the great palaces built by wealthy merchants. Looking at the famous Meduche Palace in Florence, built in 1444, we can see once more the influence of classical Rome in its grandeur and tremendous size. The rooms in Renaissance palaces were decorated by artists employed by the wealthy patrons. These merchant noblemen provided much of the money that made Renaissance art possible. In the portraits of the patrons, we find a new idea of Renaissance art. The idea of individualism, the importance of each man. Here are paintings of actual persons. Italians who lived during the Renaissance period. Here is art that expresses another phase of Italian life. Of course, religious objects were still painted, but in the hands of such an artist as Raphael, a Madonna and Christ child are an Italian mother and baby. Even the familiar Bible stories take on the Renaissance flavor of real life. This is the adoration of the magi. The artist Buchelli filled it with people of his own times. The principal figures are portraits of men of the Meduche family who paid for the work. And in one corner of the painting, gazing out as though proud of his masterpiece is the artist himself, Butterelli. We see the same kind of realism in the singing angels by Delarobia. They seem as alive as these choir boys in an Italian church today. This too is a part of Italian life expressed in Italian art. Life was powerfully expressed in the human forms carved by Michelangelo. In Michelangelo's figure of Moses, we can find some of the important ideas of Italian art. First, this is a religious figure, part of the religious tradition. And second, it has the grandeur and strength that are part of the classical tradition. Today, artists of Italy continue the artistic traditions of their country. As in the past, they are still noted for their skill in carving works of art out of marble. Marble that is plentiful in Italy. This famous quarry at Kara has furnished fine marble to builders and sculptors from Roman times to the present. Throughout Italy, we find that marble is a favorite building material. The church of St. Marks in Venice contains many different kinds of marble. In Venice 2 is the church of Santa Maria de la salute, one of the most famous examples of architecture in Italy. This church appears as a familiar landmark in paintings of the 18th century. And here's another phase of Italian art, art which expresses simply familiar scenes which the artist saw. Here is a scene in Venice which today is still a part of Italian life. That life has been expressed in Italian art in many ways. The beautiful fountains and gardens of Italian villas are another expression of the Italian search for beauty. And of course, the artists of modern Italy continue to produce the many kinds of art for which their country has long been famous. The people of Italy have given us some of the finest art of the western world in architecture, in sculpture, in painting. These are some of the kinds of art produced by the expressive, creative people who live in beautiful Italy. [Music] Thank you, Cornet, for that. Um, yeah, the been going through some old hard drives and I found some stuff that, uh, we haven't seen yet. We kind of snuck through. So, um, we're going to watch a bunch of stuff today. No Hocha today, but we will. We got so much Hocha to do to watch. Um, I'm going to try to ration it out a little bit so we don't get overwhelmed with Hocha. Anyways, uh, I still have a keyboard on my on my uh, laptop and so this film, even though this was made probably in the late 40s, uh, is still incredibly relevant. Enjoy. [Music] Building typing skill is the process of pushing out into new speed areas, even if you temporarily lose control, and then using the foundation skill techniques until you have regained control in this new speed area. George wants to increase his typing speed, so he takes advantage of opportunities for independent practice. He knows the rate at which he can type and maintain control. And now he is deliberately working at a faster rate. But he's beginning to lose control. His typing is no longer smooth and even. He's getting tense. It shows up in the lines in his forehead in the rigid position of his shoulders. Well, that's to be expected when you first try for extra speed. What's the answer? George has learned the answer in typing class. The thing to do is to analyze the way you were typing and rebuild your skill in the foundation techniques. Now, what's wrong, George? Well, you know, you grew nervous and tense. To maintain control, you must relax. Type with ease. What else was wrong with your typing? You had some technique difficulties. That capital T is way out of line. That means faulty operation of the shift key. Precise operative control is another fundamental skill technique. What else? That Q is fainter than the other letters. A sure sign of unequal stroking power. Correct stroking is of course basic to typing skill. In fact, what we have here are three of the seven foundation skill techniques. Relax. Type with ease. Develop precise operative control. Build correct stroking. Hold arms and hands quiet. Read copy at proper response level. Keep eyes on copy. Type with confidence. To rebuild his typing skill, George will concentrate on those techniques in which he is weak. First, to overcome that nervous tension, tenseness often comes from poor posture. Make sure you're sitting properly. Hands and forearms should be in a line parallel with the slope of the keyboard. Shrugging the shoulders this way helps you to shake off that tenseness. Now that you're relaxed, what next? Develop precise operative control. Remember that tee that was out of line? Better rebuild your skill in the use of the shift keys. First, practice the reach to the key. Reach out with your little finger, swinging your hand a little from the wrist. Don't roll your wrist as this will throw your fingers out of line. Use this hinge action so your hand will swing back automatically to its natural position. And here's another don't. Don't move your arm out of position like this, or you'll have to hunt for the natural position of your fingers on the keys. The right way is the easy way. In typing capitals, hold the shift key down until the letter has been struck and no longer. Incidentally, notice that the space bar is struck with the right thumb and released immediately. Uh-uh. That was a sloppy carriage throw. Better practice. There, that's better. And you're off to a quick start. In slow motion, watch for the simple wrist and forearm motion which throws the carriage and the quick start on the next line in a continuous flow of typing. Don't let the elbow get out of line. Similarly, the other operative controls are used without interfering with the continuity of your typing. Now, George, what else? Oh, yes, that faint queue. That's a result of unequal stroking power. Remember, the stroke is made with a sharp blow to the center of the key with an immediate release. The same power is behind every stroke. Some people have trouble with the weaker third and fourth fingers. These must be trained to deliver the same stroke as the stronger first and second fingers so that you achieve uniformity in the appearance of your work. Watch out for unequal stroking power. See that you don't pull back on the stroke. Strike the center of each key and release it immediately. Let your fingers do the work. Here's a little trick for testing whether your hands and arms are quiet, almost motionless. If the coin stays put, you know you're typing with your fingers only, as you should. We can't overemphasize the importance of proper stroking. Watch it in slow motion. Watch to see whether your stroking can be improved. Now George is ready to start again building control and reaching out to the higher speed level. In doing so, he will naturally use all seven skill building techniques. Always read the copy at the proper response level. It never hurts to start at the stroke level and build control from there. But no matter how slowly you're working, work for continuity, a smooth, steady flow of typing unbroken by any jarring action of the operative controls. Generally, you will read copy at the word recognition level, reading words, thinking words, typing a pattern of strokes and not separate individual letters. Of course, unfamiliar words for which you have developed no pattern may need to be typed at the combination or even the stroke level. Work up smoothly to the fastest speed at which you are sure of control. And remember the other foundation skills. Keep your eyes on the copy. If you look away, you may lose your place and interrupt the flow of your typing. Tune your ears to listen for the bell so that you don't have to watch for the end of the line. There's the throw and the quick start on the next line. George is now ready to push out again into a new speed area. This time his control is better because he knows it's better. Of course, he's not perfect. There's an error, a transposition. Errors are largely mental. They usually mean that you've lost control. What do you do? You stop and then start again at a slower speed where you're sure of your control. Then you rebuild your skill up to the higher speed. Speed isn't difficult to achieve. George is typing at about 40 words a minute. Now he pushes up to 50 words a minute. It's really only a little faster than 40. And today he's pushing himself up to 60 words a minute. And 60 is only a little faster than 50. Now George feels pretty sure of his control at the new speed. He feels sure because he knows how to relax, type with ease, develop precise operative control, build correct stroking, hold arms and hands quiet, read copy at proper response level, keep eyes on copy, and type with confidence. This is the sum of all the others. The typewriter is a machine. The performance you get from it depends upon your skill. And your skill depends upon your mental attitude. You can type as well and as fast as you know you can type. The way to build confidence in your typing is to practice the basic skill techniques until you are sure of your control. Control means confidence and confidence is your best insurance against making errors. Your best insurance of smooth, skillful, speedy typing. [Music] I mean, every time he said the word stroke, it just the little uh immature boy in me was like, so I can imagine showing this in a class uh filled with a bunch of idiots and just the giggling and the teacher lose control. Um, that poor teacher or that poor all those teachers that were affected by that. So, sorry. Uh, here is another cornet film, English influences in the United States. Enjoy. [Music] Middleboro is a small town in Massachusetts, but it could be almost any town in the United States. What makes Middbor a typical American town? What can we find here that represents the American way of life? We find that people can go to the church of their choice and worship as they please. The children go to schools where they learn to read and write the English language. The citizens have the right to hold meetings, to take part in managing their local affairs, and to elect representatives in government. In this average American community, we'll find that the names of some of the citizens are of English origin. Names such as Alden, Brown, Lee, and others. English names and language are among the many things we have inherited from the land we see here, England. From England came some of the first people to settle in America. English colonists who crossed the Atlantic and established the first permanent English settlement at Jamestown in 167. A few years later in 1621, the Plymouth Colony was founded by the pilgrims. More and more colonists, mostly Englishmen, settled along the Atlantic coast until there were 13 colonies. The northern colonies were called New England after the mother country from which these people had come, England. Hundreds of place names were brought from England. Georgia was named after an English king, as were Jamestown and Charleston. Plymouth was named after the English port from which the pilgrims sailed. Boston was settled by Puritans from Boston, England. New Hampshire was named after the English county of Hampshire and the name New Jersey came from the English isle of Jersey and many other names of places were brought from England. New England was in many ways similar to the old England in climate and appearance. But here in America, the English settlers found more land, more opportunity for the common man. Some of the characteristics of these English colonists, their perseverance, their courage, their pioneering spirit, were important influences in the building of our nation. In the crude cabins of such settlements as Salem and Plymouth, family life in America began. As the colonists prospered, they built better homes. homes that reflected English customs and English family life. These early American houses were often similar to the English farm houses that the colonists had known. This is a farmhouse in England. Notice how it resembles this early American house. And today, 250 years after this house was built, we still build houses with the overhanging second story and other features of this style. The simple furnishings show us that these early English settlers were plain, sturdy folk. To their new homes in America, the English settlers brought the closely knit family life they had known in England. The family Bible was part of every home, part of the religious faith that the English brought with them. Many groups of Englishmen such as the Puritans came to America to avoid religious persecution. Here they built their own meeting houses and churches where they could worship as they pleased. This idea of freedom to worship was very important to the English colonists. Gradually from this search for religious freedom they developed the idea of religious tolerance. the religious tolerance that is part of our American life today. In the same way that we inherited certain religious beliefs from England, we also inherited certain political beliefs. The colonial lawmakers who met in such places as the old state house in Boston understood the meaning of freedom, justice, and human rights. Because these ideas had been developed in England during the struggles with English kings. Today, the royal symbols on the state house of Boston remind us that the early colonists lived under an English government. In colonial towns such as Williamsburg, Virginia, we can trace some of these ideas of English government. Ideas that left a lasting influence on life in America. Among these ideas were the rights of men to vote and to take part in managing their local affairs. In the colonial legislatures, men exercised and strengthened these rights, making them a vital part of American life. The idea of self-government which came from England and was strengthened in the colonies had tremendous influence in the development of our form of democracy. Today our right to vote is a part of our English heritage. Closely associated with the right to vote is the right of free speech. The right to discuss our problems. This idea too goes back to English influences that molded American life. The colonists practiced freedom of the press and freedom of speech. Rights they had inherited from England. There were many other ideas which came from England were modified here in the colonies and then passed on to the growing nation. A good example of centuries of English influence is this particular style of architecture called Georgian. This is a Georgian manor house in England. This is a Georgian house in America built in colonial times. And this is a Georgian house that you might see being built in any American community today. Let's go back to the Georgian House of Colonial times and go inside to look for more examples of English influences. The house is filled with furnishings of English designs. Styles which still influence the furnishings in our homes today. The furniture style called Chippendale is of English origin. He white is another English furniture style which we find in this colonial home and in our homes today. In the library of this early American home, we find books of English literature, English law, and English history. Subjects that we study today as part of our American culture. What else can we find in this colonial home? The portrait of this American colonist looks very much like a man of the English aristocracy. And indeed we must remember that many of our early American leaders were Englishmen by birth, education and training. George Washington who came of an old English family showed the dignity and the manners of an English country gentleman. John Adams was the son of English parents. Men like these were proud of their rights as Englishmen largely because they believed in these rights. They wrote the Declaration of Independence which stated that certain human rights could not be denied to them and their posterity. After the Declaration was signed in Independence Hall, the ideas of federal government influenced by English ideas gradually took shape. Finally, there evolved a new American government. A government founded on certain human rights. The right to govern ourselves. The right to worship as we please, the right of free speech and assembly, the right of trial by jury. We the people enjoy these rights as part of our American heritage, a heritage which owes much to English influences. Today, when we vote in an election or meet to discuss community problems, we are following some of the ideas that English settlers brought to our country. In this average American community meeting, for instance, we can find many English influences. Some of the people here are descendants of English colonists. The language being used is English. In this kind of democratic discussion, we have freedom of speech and freedom of assembly. Each person has the right to express his views to take part in local affairs and the meeting is conducted according to the rules of parliamentary procedure. Rules which come from the English parliament. Yes, there are many influences which have come from England and gone into the making of our American way of life. our language and customs, our democratic ideas of government, our religious freedom, our architecture. In these ideas and many more, we can trace our English heritage, the English influences that we can find in every community in our land. [Music] Duh. Like, of course, of course there's English influence. Come on. What are you talking about? All right. So, this next film uh is not a cornet film. And I I feel like I've shown it before, but I could not find any reference to it in uh my spreadsheet. I have a spreadsheet of all the films we've watched and it's I don't know 90% accurate. I don't know. But uh yeah, here's uh on impact uh brought to us I believe by the Ford Motor Company. And um to all you nervous nervous transfusion fans, we start off with a bang. Enjoy. Uh-huh. [Applause] [Music] What you just heard were two accidents. The first was the car crashing into an object. The second was the car's occupants being thrown against parts of the car's interior or being thrown through open doors onto the highway. It's this second accident, this accident inside an accident that causes human injuries. When a car hits a tree and stops suddenly, the passengers continue moving forward. Forward that is, until they strike something inside the car, like the steering wheel. Doctors, automobile designers, policemen, researchers are vitally concerned with their problem of crash injuries. Actually, automobiles have never been safer. Based on miles traveled, accidents have declined 57% in the last 20 years. Yet, accidents continue to happen because human error can't be completely eliminated. The problem is this. 38,000 persons are killed each year and 1 and a4 million injured. The question is, what can and is being done about it? Here is Dr. Russell Harris, who was called out last night to treat the injury case you witnessed. This morning, he and his wife are on their way to the annual convention of the American Medical Association. Dr. Harris is particularly interested in the part of the convention that concerns crash injuries. He knows that researchers working with doctors and policemen have studied thousands of actual accidents and compiled revealing statistics about what happens to people inside a car that crashes. But he wants to see and understand it in more detail from the scientific exhibits he will see and the medical papers he will hear. To find out specifically about the extent of the problem, he and John Omore, director of crash injury research at Cornell University Medical College, go onto the actual convention floor to see Lieutenant Frederick Maguire. Dr. Harris asks how critical crash injuries are to the armed forces. Well, about onethird of all our hospital admissions are due to motor vehicle accidents and about 85% of all our offduty hospital admissions are due to the same cause. And these men when they do get on the sick list spend an average of 42 days there. In the Korean War, for example, we took up on the sichlas twice as many Marine Corps and naval personnel due to motor vehicle accidents than were placed there because of enemy action. From reports like this, Dr. Dr. Harris obtained a clearer understanding of the problem involved, its immensity, its total effect. Then he asked about the allimportant Cornell statistics on crash injuries and how the statistics are collected. Mr. Moore explained that to collect the facts, doctors and police in states all over the nation carefully study thousands of individual accidents and make detailed reports to train Cornell researchers. Then Mr. Moore took Dr. Harris to Sergeant Elmer Paul of the Indiana State Police, one of the groups that makes crash injury facts available. Sergeant Paul explained how the reports were filled out at the local level. This is the vehicle report the trooper completes about crash damage, collapse of structure. He also lists the causes of the injuries. Then we have the medical report which the physician completes the actual injury itself. As the talk continued, Dr. Harris satisfied himself that the crash injury statistics were as valid as they were vital. Then at the Cornell booth on the convention floor, he asked, "Well, Mr. Moore, how would you sum up the practical results of your work in facts and figures?" "Well, Dr. Harris, I would attempt to do it this way. When the passengers are thrown out of the vehicle, 54% of them suffer a moderate through fatal grade injury. But when the passengers remain inside the protective body of the car, the percentage of people suffering moderate through fatal grade injuries drops to 24%. Less than half. In other words, you're twice as safe if you stay inside the car during an accident. Then Dr. Harris asked if staying inside the car was enough. How do people who remain inside get hurt? Well, Dr. Harris, we've found that 40% of all drivers who are hurt are hurt by being thrown against the steering wheel, suffering primary injuries of the chest. About 38% of the passengers in the right front seat are injured by contact against the instrument panel. Mr. Moore explained that using these recent findings, automobile safety engineers work to develop devices to protect the passenger in the event of an accident. Specifically, the engineers work to reduce injuries from the parts of the cars singled out by the Cornell statistics, the steering wheel, the instrument panel, or by ejection from the car. Here, for example, is a new steering wheel being tested in the laboratory. and crash padding for the instrument panel. After years of laboratory tests, the devices were tested in actual and violent crashes at the test track. Engineers here are putting electronically wired dummies into cars that will be crashed together. This will be a typical intersectional crash. This car will be hit on the front quarter by the car coming down the track. [Music] In slow motion now, notice how the safety belt protects the right front seat dummy from the windshield, while the unbted dummy in the driver's seat crashes into the sun visor and windshield area. And here is the same crash as you would see it from the rear seat. 20 ft to go. Each dummy and each car is literally covered with devices to let the engineer know what forces are unleashed in the crash. Here is a crash into a barrier. Dr. Harris now knew how the crash injury statistics told automobile engineers which parts of the car caused the most injuries. and he could see how the engineers used the statistics to develop the new safety devices. For a closer look at them, he returned to Sergeant Paul's exhibit and asked for a description of the devices available. Here we have the new door lock, which is an improved version over last year's. We have a crash pad on the instrument panel, which will absorb force. Mhm. We have the safety belt to the forced ejection of occupants. We have here the padded sun visor which will protect the head and the forward impact. And we have the new steering wheel with the recessed hub which is much better than the previous type steering wheel. So Dr. Harris saw that something really significant already had been done to reduce the problem. But as a doctor, he wanted to know what he could do in his day-to-day work to help. To get the answer, he sought out Dr. Fletcher Woodward, chairman of the American Medical Association's official committee on medical aspects of automobile injuries and deaths. Dr. Harris asked about the role of a busy physician. A physician should be interested both in the prevention of these accidents as well as in the definitive care of the injured. And in consideration of prevention, he should consider these conditions of the nervous system. For instance, does the patient have epilepsy? Is this patient scenile? He should also consider the question of his cardiovascular system. These things are all important at times in the causation of automobile crashes. He should also be very careful as to the types of drugs that he may prescribe especially the drugs so commonly used today the tranquilizing drugs and the antihistaminic drugs. These drugs at times may interfere with driver and skill. You should also consider the question of the special senses for instance vision peripheral vision central vision and the other special senses particular hearing and the question of vertigo. Another thing that he should pay particular attention to is if a patient asking, "Doctor, am I fit to drive a car?" Well, doctor, this is the type of information I've been hoping to find at these exhibits and here at the convention. At the special medical symposium on automobile crash injuries, Dr. Harris heard 11 papers that dramatized the firm resolve of American doctors to play an increasing role in the progress being made and he heard the automobile industry commended for its major contribution to that progress. Finally, he heard Dr. Woodward proposed the formation of a national foundation like the Polio Foundation to coordinate the work of all groups interested in reducing highway accidents so that still more knowledge can be gained and more progress made. Then Dr. Harris went to the Ford Scientific Exhibit where he saw solid examples of the progress being made by the industry to reduce highway injuries and death. and he heard a report on a speech given by Henry Ford II at the National Safety Forum in Dearbornne, Michigan when the five safety devices were first introduced. Furthermore, we wish to announce that all of the pioneer safety features and the specifications and design of those features developed by Ford Motor Company are to be made available to any automobile company that wants them. Well, to me, this is pretty solid evidence that these people mean exactly what they say. Yes. And those devices are based on design criteria that was gathered by police, physicians, and researchers cooperating in local communities just like yours, Dr. Harris. Now, tell me, Mr. Moore, do you have any statistics from the field on the effect of these devices? I mean, do they actually reduce injuries in case of accidents? Yes, for the first time since these protective devices were introduced last fall, we can state clinically that the severe crushing injury to the chest of the driver has been reduced by 1/2 by the safety steering wheel. The new safety door locks have significantly reduced the frequency of door openings during impact. In fact, in non-overturn accidents, some designs have reduced this occurrence by 60%. We have the same trend from seat belts. The energy absorbing instrument panel and visor padding are having a marked effect in reducing the frequency of the lacerative type injury of the face and head. In our opinion, if we could suddenly equip all 50 million of the vehicles on our highways with these properly engineered devices, the safety steering wheel, the safety door lock, the seat belt, and the instrument panel and visor padding, we could expect to reduce by 1/3 the crash injuries we see. This would mean that 1 half million persons annually would escape injury and the great proportion of all of our deaths would be reduced to recoverable injury. Well, that's very encouraging. But what about the future? Where do we go from here? The future. The future will be written tomorrow, next month, next year, and on and on. It will be written by the many hands of progress, inspired by dedicated and inquisitive minds, by the researcher, the physician, the policeman, the automobile engineer, and most importantly by you, the driver, the one with the most to gain. In presenting this film, the American Medical Association acknowledges the cooperation of Ford Motor Company and its contribution to passenger safety. I can't remember if we've seen this or not. I mean, I have seen it, but I can't remember if I showed it on this show or not. But there you go. Uh that sound effect of the brake squeal and then the um that shows up a lot. Um television of course uh nervous and transfusion. Um and then in these films. All right, what do I got for you? One last film. Uh this is a Centron film. Our good friends at Centron based in Lawrence, Kansas. This is a bike safety film which I don't think we've seen. Enjoy. [Music] There seems to be buried within us a yearning, a wish to soar, to climb, to glide under our own power, with the wind or in the face of it, at one with the elements. For many that wish finds a degree of realization a stride quiet wheels. Here is a truly capable of whisking its rider around the block or around the [Music] world. Subject of course to the energies, skills or shortcomings of the one person who is in command. That's what this film is about. Being in command during the and safe handling of the responsive but vulnerable vehicle popularly known as the bike. [Music] The reasons for the growing popularity of the bicycle are as varied as the people who ride one different uses. Some ride a bike for the exercise as a helpful pleasant way to burn energy. [Music] Others take to two wheels, peoplep powered, as a means to conserve energy. For them and others, the bicycle is the one form of transportation that is free from pollution. Some see the bicycle as an economy measure, a lowcost way of getting from here to there, on campus or off, while for others, economy is no object. They prize hand craftsmanship, precision engineering, and the fractions of ounces weight reductions which contribute to the price of luxury bicycles. Some are attracted to cycling as an acceptable means to give vent to highly competitive, even aggressive personality traits. and others seek the bicycle as a weekend unwinder, a means to get away from the competitiveness of an urban world. Many choose bicycling because it is a sport everyone in the family can share. They're in no hurry. They can wait for the little ones. And while they're taking it easy, they can see, really see the area they are passing through. It's built up on a mixed frame. Anyone who wants to take part in this satisfying activity is faced with the immediate need for acquiring the vehicle that makes it possible. First, you must get a bicycle. It's built up on uh touring designs. The number of choices makes the selection of a pair of wheels a bewildering experience for novice or experienced cyclist alike. The options extend all the way from the single speed models for the youthful beginner through the three-speed types which offer greater flexibility allowing the right traveling where it's flat and extending into the 10 speeds. Some of which are regarded as being more or less in the basic transportation category. Others of which have features making them especially attractive to extended tour fancers, while others are frankly geared and outfitted for the racing enthusiast. Since a bike is such a personal machine, you have to get personal with yourself in selecting one. Analyze your own reasons for wanting one before you head for a retailers. Know what you want to do with the bike, what you have to spend, and what you may have to spend, whether you want to race or tour or simply get around town. Know whether you're interested in making most repairs and adjustments yourself or whether you're likely to hire someone to do them for you. Then put yourself into the hands of a reputable retailer and let him help you fit your bicycle to your prescription. No reputable retailer will allow you to choose a bike that can't be adjusted to your size. Since there is room for adjustment, the rider who is still growing needs the largest bike that can be fitted to her now so that later size adjustments can keep pace with her growth. But it is a hazardous mistake to buy a completely oversized model to grow into. Okay. Now, the important thing with a frame is that you be able to put your heels down as you can there. And to be able to raise up the front wheel about 2 in ideally. How far can you raise it up? That's pretty much right. About an inch and a half. That's pretty close. That's well within the limits of where it should be. In any case, the seat post and the handlebar stem should extend at least 2 and 1/2 in down into the frame after adjustment. If they do not, choose a larger bicycle. The size adjustments to be made for both comfort and safety are individual fittings on the distance between saddle and pedal and between saddle and handlebars. The correctly fitted bicycle will have the seat adjusted up or down so that the knee is only slightly bent on the down position of the pedal. To determine this, place the heel on the pedal. If the leg is perfectly straight, it will then have the proper bend when the ball of the foot is positioned on the pedal, as it should be when you ride. Upright handlebars are repositioned if necessary to permit the body to lean slightly forward in a comfortable riding position. With drop handlebars, place the elbow on the front of the saddle and reach forward. Fingertips should just touch the handlebars with the handlebar stem slightly lower than the top of the saddle. Other things you can do which fall more into the area of maintenance than of fitting the bicycle for size are equally important to your pleasure and your safety. At least twice a month, you should go over your bike to tighten up nuts, particularly those that keep the saddle and handlebars in place. How do you adjust this? When gears on multi-speed bikes need adjustment because the cables have stretched or parts have worn, consult your bike serviceman. He can show you how to make minor adjustments and supply you with the special tools needed. That's called the high gear adjustment. Now, if your chain is going too far over this way and it's coming off the sprocket, then you have what's called a low gear uh adjustment, which is this screw here, and you screw that in to keep the chain from going off. After your bike man has checked you out, you'll probably feel confident to handle minor gear adjustments on your [Music] own. Pry out any embedded metal, glass, or cinders from the tire treads. And keep the tire valves for leaks. Keep an eye open for worn parts requiring replacement. Pedal treads, handle grips, or damaged reflectors. Night bicycle riding can be extremely dangerous. If you must ride at night, help make yourself and your bicycle as visible as possible to motorists. This rider has used retrflective material and extra lighting to call attention to himself, while the other rider is using only a single reflector on his rear fender. Extra lighting and reflective material provide a margin of safety. If you have to ride at night, make the safety margin as wide as possible. The front light must be visible for 500 ft. You have a choice between batterypowered lights, which provide but fade when the bike isn't rolling. This item of equipment makes your bike safe from those two-legged predators, provided you take time to thread the chain or cable through both wheels and the frame. The basic rule for safe operation of a bicycle is to remember that your vehicle is a vehicle subject to all vehicular laws. Keep to the right and ride single file, observing all traffic regulations, including those set forth in signs or in traffic signals. Where there are parked cars, keep in mind that one of three things can happen. [Music] That's [Music] one. That's two. And the third thing is that you can get safely by if you give yourself sufficient leeway to avoid items one and two. Take special care at intersections. Look both ways. Keep both hands on handlebars except when making signals. And if you're making a left turn where traffic is heavy, square the corner. Thus, especially if you are [Music] inexperienced. A left turn from the left turn lane may be safe, but be sure you have signaled your intention to turn and be sure others on the road have observed your signal. If you want to carry passengers, fine. Just as long as you stay off your bike while you're doing it. In fact, never carry anything that obstructs your vision or interferes with the proper control of your bike. This type of accident can be both painful and expensive. [Music] Pedestrians have the right of way, so keep alert for them. Above all, keep your bike in perfect operating condition. The cyclist who sets out with tires that may go flat at any moment, brakes that may fail in an emergency, a chain that may separate from the drive mechanism, or any other potential problem is far from being bikewise. The accident that shouldn't have happened usually does because the rider failed to observe the rules of the road or because he ventured forth on an unsafe bicycle. Better to play up all the positive values to be gained from taking the responsible approach. The cyclist has a good thing going if he puts forth just a little extra effort to keep it that way. Seeing to it that he is mounted on a roadworthy vehicle and that he himself is bike wise. To be [Music] sure, so I feel like I saw Jim Stringer in there and I heard his voice. Jim Stringer, kind of redheaded, brown hair, uh the guy who wrote uh the uh Shake Hands with Danger, the music, and did a lot of music for Centron. I feel like I saw him. He's also featured in Caught in a Ripoff, where he steals a can of paint, uh spray paint, and uh runs to his Volkswagen, but then realizes he dropped his keys. Um so it's possible that was him. Anyways, thanks for watching today. I appreciate your eyeballs and your comments. Uh other things that we appreciate is you hitting the thumbs up and the like button. Uh also, uh if you are up for it, donating via the superth thanks button or going to kofi.com/avgeeks or patreon.com/avgeeks. Uh subscribing, all that stuff. Also watching scores of uh films that we put online. We have put more than 10,000 films online and so watch them. Um, yeah, that helps us and it's what we like to do. Hey, if you're in the Raleigh area where we are based, Raleigh, North Carolina, uh, tonight at 6:30, I'm going to show some films about eggs and have an expert from the A department talk about eggs. Uh then tomorrow at the Alamo Draft House at 6:30. Wow. Huh. Both at 6:30. Uh I'm going to show a series of films called How to Survive. Um some of which we've watched on here, some of which I probably should not have shown on here. Um and then some other stuff. So, uh if you want to see me in person, uh I'm not bringing the film projector this time. I'm bringing the film strip projector, but not the 16 projector because uh one of the films just doesn't run through the projector very well and I don't want to repeat what happened last time where I tried to run show a film and it just did not work. That's nightmare fodder for me. So, um and I think there's tickets maybe tickets left. Uh if you sit in the front row, I give you a special gift. That's kind of how it works. Anyways, uh we'll see you tomorrow. Otherwise, um, enjoy the rest of your Monday. Take care. Bye.