Hardy Hars's Comments
Pre-Industrial Revolution Saltine Press.
Schroedinger's Cat: Wanted Dead And/Or Alive XXL
Schroedinger's Cat: Wanted Dead And/Or Alive XXL
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This is a rudimentary Pitchometer that was intended to be used by security authorities as major concerts and sporting events worldwide. In the 1950s, there was a huge uptick in the number of riots at major events, and authorities across the world were looking for a good way to determine the tipping point in audience frenzy when they went from simply being enthusiastic to being dangerous. Stefan Jaro, a French national by way of Spain, was a professional sociologist, amateur mathematician and avid soccer fan. His curiosity was piqued by this problem, so he decided to help out.
Working with authorities, he spent nearly 3 years at professional sporting events assessing crown dynamics, behaviors, volume, and emotional level. He determined that there is a critical level of “fever pitch” that can be measured in terms of audience enthusiasm and agitation; the further past this point an audience was carried, the more likely they were to start a riot. The more the authorities could actively but non-violently calm them down, the more likely it was the everything would go on peacefully. Point 0 was determined to be “Fever Pitch”. The more agitated an audience got, they were deemed in a state of “Forward Pitch”, with a forward pitch value of 1 representing almost full likelihood of a riot. If the audience grew calmer, the were considered in “Reverse Pitch” with a reverse pitch value of 1 representing absolute likelihood that the audience would not riot. In theory, this would help the authorities be more strategic and proactive in how they managed audiences at major events.
For better or worse, Jaro’s Pitchometer never took off. Despite the years of research, quality of the theory and the solidness of math behind it, the tool still required manual operation by a single person wiggling the meter back and forth according to their own subjective view of how enthusiastic or agitated the audience was being. These people, titled Pichometrists, were hard to come buy. They had to have excellent hearing, be great at math, and be willing to spend entire events watching the audience instead of the game or concert. Plus they were paid peanuts. Literally peanuts. Like two bags of peanuts per game. So rather than buying the gadget and employing a (hopefully) skilled Pitchometerist, most authorities elected to have their own people employ their arms as an “applause-o-meter”, a method still in use at events today.
Schroedinger’s Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
Working with authorities, he spent nearly 3 years at professional sporting events assessing crown dynamics, behaviors, volume, and emotional level. He determined that there is a critical level of “fever pitch” that can be measured in terms of audience enthusiasm and agitation; the further past this point an audience was carried, the more likely they were to start a riot. The more the authorities could actively but non-violently calm them down, the more likely it was the everything would go on peacefully. Point 0 was determined to be “Fever Pitch”. The more agitated an audience got, they were deemed in a state of “Forward Pitch”, with a forward pitch value of 1 representing almost full likelihood of a riot. If the audience grew calmer, the were considered in “Reverse Pitch” with a reverse pitch value of 1 representing absolute likelihood that the audience would not riot. In theory, this would help the authorities be more strategic and proactive in how they managed audiences at major events.
For better or worse, Jaro’s Pitchometer never took off. Despite the years of research, quality of the theory and the solidness of math behind it, the tool still required manual operation by a single person wiggling the meter back and forth according to their own subjective view of how enthusiastic or agitated the audience was being. These people, titled Pichometrists, were hard to come buy. They had to have excellent hearing, be great at math, and be willing to spend entire events watching the audience instead of the game or concert. Plus they were paid peanuts. Literally peanuts. Like two bags of peanuts per game. So rather than buying the gadget and employing a (hopefully) skilled Pitchometerist, most authorities elected to have their own people employ their arms as an “applause-o-meter”, a method still in use at events today.
Schroedinger’s Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
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This is a rudimentary Pitchometer that was intended to be used by security authorities as major concerts and sporting events worldwide. In the 1950s, there was a huge uptick in the number of riots at major events, and authorities across the world were looking for a good way to determine the tipping point in audience frenzy when they went from simply being enthusiastic to being dangerous. Stefan Jaro, a French national by way of Spain, was a professional sociologist, amateur mathematician and avid soccer fan. His curiosity was piqued by this problem, so he decided to help out.
Working with authorities, he spent nearly 3 years at professional sporting events assessing crown dynamics, behaviors, volume, and emotional level. He determined that there is a critical level of “fever pitch” that can be measured in terms of audience enthusiasm and agitation; the further past this point an audience was carried, the more likely they were to start a riot. The more the authorities could actively but non-violently calm them down, the more likely it was the everything would go on peacefully. Point 0 was determined to be “Fever Pitch”. The more agitated an audience got, they were deemed in a state of “Forward Pitch”, with a forward pitch value of 1 representing almost full likelihood of a riot. If the audience grew calmer, the were considered in “Reverse Pitch” with a reverse pitch value of 1 representing absolute likelihood that the audience would not riot. In theory, this would help the authorities be more strategic and proactive in how they managed audiences at major events.
For better or worse, Jaro’s Pitchometer never took off. Despite the years of research, quality of the theory and the solidness of math behind it, the tool still required manual operation by a single person wiggling the meter back and forth according to their own subjective view of how enthusiastic or agitated the audience was being. These people, titled Pichometrists, were hard to come buy. They had to have excellent hearing, be great at math, and be willing to spend entire events watching the audience instead of the game or concert. Plus they were paid peanuts. Literally peanuts. Like two bags of peanuts per game. So rather than buying the gadget and employing a (hopefully) skilled Pitchometerist, most authorities elected to have their own people employ their arms as an “applause-o-meter”, a method still in use at events today.
Working with authorities, he spent nearly 3 years at professional sporting events assessing crown dynamics, behaviors, volume, and emotional level. He determined that there is a critical level of “fever pitch” that can be measured in terms of audience enthusiasm and agitation; the further past this point an audience was carried, the more likely they were to start a riot. The more the authorities could actively but non-violently calm them down, the more likely it was the everything would go on peacefully. Point 0 was determined to be “Fever Pitch”. The more agitated an audience got, they were deemed in a state of “Forward Pitch”, with a forward pitch value of 1 representing almost full likelihood of a riot. If the audience grew calmer, the were considered in “Reverse Pitch” with a reverse pitch value of 1 representing absolute likelihood that the audience would not riot. In theory, this would help the authorities be more strategic and proactive in how they managed audiences at major events.
For better or worse, Jaro’s Pitchometer never took off. Despite the years of research, quality of the theory and the solidness of math behind it, the tool still required manual operation by a single person wiggling the meter back and forth according to their own subjective view of how enthusiastic or agitated the audience was being. These people, titled Pichometrists, were hard to come buy. They had to have excellent hearing, be great at math, and be willing to spend entire events watching the audience instead of the game or concert. Plus they were paid peanuts. Literally peanuts. Like two bags of peanuts per game. So rather than buying the gadget and employing a (hopefully) skilled Pitchometerist, most authorities elected to have their own people employ their arms as an “applause-o-meter”, a method still in use at events today.
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D'oh...if it's not clear, the wrap-up to my last post is that this tool was used to help young gentlemen learn, measure and master the angles of their hands whilst slapping.
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A term we often hear tossed around casually and humorously today is “b*tch slap”. As Urban Dictionary defines it, to “b*tch slap” is “To open handedly slap someone. Denote disrespect for the person being bitch slapped as they are not worthy of a man sized punch.”
A little known fact is that this term actually has roots in 17th century England, where dueling was a popular activity for upper class gentlemen. Young gentlemen from the upper classes of society needed to be knowledgeable about all forms of debate, altercation and verbal and physical engagement. This included how to properly instigate a physical insult that may eventually lead to a duel.
Most commonly displayed today in television and books as the instigator removing a glove and striking an opponent’s face with it. In fact, gentlemen were trained to use their hands, not their gloves. A blow using the palm of one's hand was known as a "forward pitch slap". A strike using the back of one’s hand was known as a "reverse pitch slap". A “reverse pitch slap” (using the back of the hand) was intended for use against an opponent one considered of equal worth, masculinity, etc, but to demonstrate to them that you took issue with something they had said or done. A “forward pitch slap” (using the palm) was intended to denote that the slapper considered the slapee to be beneath them, and was considered a far more insulting strike. Akin to saying “I’m gonna whoop you, even though you’re a sissy”.
But it went far beyond that; the angle of the hand would also denote several variations of an intended message, hence the term “pitch slap”. The greater the angle of the forward pitch slap, i.e. the pitch of the hand, the softer the blow but the louder the slapping sound; this was intended as a greater insult that a forward bitch slap with a very slight angle, softer sound and harder impact. However, it was the opposite with the reverse pitch slap – the greater the pitch/angle (maximum 1”) of the hand, the harder the blow and impact from one’s knuckles, and therefore the more “manly” the insult. This slap was reserved only for opponents considered to be of absolute equal stature in every regard.
Like with many terms, the common pronunciation today evolved from a very different pronunciation then. “B*tch” in this case actually stems from the word “Pitch”, but has over time and with cultural influence and misunderstanding been shifted to a new pronunciation, spelling and improper affiliation with another word with its own history.
And know you know.
Schroedinger’s Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
A little known fact is that this term actually has roots in 17th century England, where dueling was a popular activity for upper class gentlemen. Young gentlemen from the upper classes of society needed to be knowledgeable about all forms of debate, altercation and verbal and physical engagement. This included how to properly instigate a physical insult that may eventually lead to a duel.
Most commonly displayed today in television and books as the instigator removing a glove and striking an opponent’s face with it. In fact, gentlemen were trained to use their hands, not their gloves. A blow using the palm of one's hand was known as a "forward pitch slap". A strike using the back of one’s hand was known as a "reverse pitch slap". A “reverse pitch slap” (using the back of the hand) was intended for use against an opponent one considered of equal worth, masculinity, etc, but to demonstrate to them that you took issue with something they had said or done. A “forward pitch slap” (using the palm) was intended to denote that the slapper considered the slapee to be beneath them, and was considered a far more insulting strike. Akin to saying “I’m gonna whoop you, even though you’re a sissy”.
But it went far beyond that; the angle of the hand would also denote several variations of an intended message, hence the term “pitch slap”. The greater the angle of the forward pitch slap, i.e. the pitch of the hand, the softer the blow but the louder the slapping sound; this was intended as a greater insult that a forward bitch slap with a very slight angle, softer sound and harder impact. However, it was the opposite with the reverse pitch slap – the greater the pitch/angle (maximum 1”) of the hand, the harder the blow and impact from one’s knuckles, and therefore the more “manly” the insult. This slap was reserved only for opponents considered to be of absolute equal stature in every regard.
Like with many terms, the common pronunciation today evolved from a very different pronunciation then. “B*tch” in this case actually stems from the word “Pitch”, but has over time and with cultural influence and misunderstanding been shifted to a new pronunciation, spelling and improper affiliation with another word with its own history.
And know you know.
Schroedinger’s Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
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Used for measuring roof pitch
Schroedinger’s Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
Schroedinger’s Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
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A tool of measurement originally slated for use in Professor Thomas Parnell's famous "pitch drop experiment" demonstrating the extremely high viscosity of pitch. Drops of pitch would take years to form, and decades to form a "stream". The blunt end of this device was gently nudged into the first drop being formed to measure whether the "stream" moved continuously down, or instead would occasionally move upward.
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Pitch gauge for helicopters, airboats, and other propeller-driven light vehicles.
Schroedinger's Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
Schroedinger's Cat: Wanted Dead And/Or Alive
XXL
Kelly Green
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Schrodinger's Cat: Wanted Dead And/Or Alive Military Green 2XL