The First Time News Was Fit To Print, VII

In case you're new here, we've been poking around the archives of The New York Times to find first mentions worth mentioning. These are excerpts from the first articles written on selected topics.

Lance Armstrong

May 13, 1991

Armstrong May Not Win, But Watch This Space
Lance Armstrong is a boy doing a man's job, a 19-year-old American amateur racing against some of the world's best professional bicycle riders. He will not win the 11-day Tour Du Pont, which stopped here today for a circuit race. At the end of the 1,100 miles, however, he may be among the leaders. But he will certainly leave an impression. He has already. He is the star of the United States national amateur team, one of the 15 international teams in this race.

* * *
Many racing people liken Armstrong to Greg LeMond, the American who has won three of the last five Tour de France races. Not Armstrong. "I'm not the next Greg LeMond," he said. "I'm the first me."

Gatorade

August 27, 1967

Chocolate-Flavored Soft Drinks And Slush Are Selling Briskly
gatorade_bottle.jpg Perhaps the most unusual soft drink to be announced in some years is a lemon-lime- flavored product called Gatorade, which will be produced by Stokely-Van Camp, Inc., food packer of Indianapolis. The new product, not yet on the market, is a water solution of glucose, inorganic salts and flavorings and was designed to quench thirst, particularly during periods of physical exertion. It has been tested in Florida by the University of Florida athletes to quench their thirst in training periods and during actual competition. It is said by Stokely-Van Camp to be absorbed by the body 12 times faster than water.

Keep reading for Aerosmith, apartheid and more.

Aerosmith

April 2, 1973

aerosmith.jpgKinks Concert Blends Artistry and Appeal
The Kinks have been a leading rock 'n roll band for nearly 10 years now, and their appearance Friday night at the Fordham University gymnasium in the Bronx made it clear that they are still one of the finest groups around... Aerosmith, the opening act, played loud, derivative rock, distinguished only by Steve Tyler's fawning imitation of Mick Jagger.

Apartheid

March 12, 1949

malan.jpgSouth African Chief Attributes
Election Victory to Policy

Dr. Daniel F. Malan, South Africa's Prime Minister, whose Nationalist party emerged victorious in the provincial elections, today hailed the results as "gratifying" and an indication that South Africa approved of his policy of "apartheid" (racial segregation) in a message replying to the opposition leader, Field Marshal Jan Christiaan Smuts.

President Josiah Bartlet

September 22, 1999

bartlet.jpgAll the President's Quips:
Levity at the White House

The best thing about The West Wing is that it has a political point of view. In the first episode it tackles the religious right with a vehemence rare in politics or entertainment. The show's worst element "“ and in tonight's opening it is overwhelmingly bad "“ is that its ideas and drama are watered down, as if to make them palatable to a quasi-intelligent audience. The West Wing is in the middle of something, all right; what it turns out to be is middlebrow....One of the season's most hyped and anticipated series, The West Wing is by far its biggest disappointment. WITH: Rob Lowe (Sam Seaborn), Allison Janney (C. J. Gregg) and Martin Sheen (President Josiah Bartlet).

Kobe Bryant

February 27, 1996

kobebryant.gifA High School Star Ponders His Future
Much of the anticipation was for a slender, 6-foot-6-inch, 17-year-old senior for Lower Merion, Kobe Bryant. Bryant is the highest scorer in the history of southeastern Pennsylvania preps, recently passing Overbrook's Wilt Chamberlain, among others; a player whose coach said could become the next Michael Jordan, and one who, the school's athletic director said, has attracted as many pro scouts to his games as college scouts.
* * *
Will he become the next Kevin Garnett? Last season Garnett, a 6-11 forward, went directly from Farragut High School in Chicago to the Minnesota Timberwolves of the National Basketball Association, one of only a handful of players to make such a leap over the past 20 years....Garnett failed to make the requisite 700 score on the Scholastic Assessment Test and would have been forced to sit out a year if he had decided to go to college. That, he said, was the reason he turned pro. And now, at age 19, and after some uneasy early going, he is averaging 23 minutes a game and appears to be adjusting nicely in the pros.

Keep your suggestions coming. Read the first six installments here:
The First Time News Was Fit To Print, I
The First Time News Was Fit To Print, II
The First Time News Was Fit To Print, III
The First Time News Was Fit To Print, IV
The First Time News Was Fit To Print, V
The First Time News Was Fit To Print, VI

T.jpgWant complete access to The New York Times archives, which go all the way back to 1851? Become an NYT subscriber.

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iStock
Bad Moods Might Make You More Productive
iStock
iStock

Being in a bad mood at work might not be such a bad thing. New research shows that foul moods can lead to better executive function—the mental processing that handles skills like focus, self-control, creative thinking, mental flexibility, and working memory. But the benefit might hinge on how you go through emotions.

As part of the study, published in Personality and Individual Differences, a pair of psychologists at the University of Waterloo in Canada subjected more than 90 undergraduate students to a battery of tests designed to measure their working memory and inhibition control, two areas of executive function. They also gave the students several questionnaires designed to measure their emotional reactivity and mood over the previous week.

They found that some people who were in slightly bad moods performed significantly better on the working memory and inhibition tasks, but the benefit depended on how the person experienced emotion. Specifically, being in a bit of a bad mood seemed to boost the performance of participants with high emotional reactivity, meaning that they’re sensitive, have intense reactions to situations, and hold on to their feelings for a long time. People with low emotional reactivity performed worse on the tasks when in a bad mood, though.

“Our results show that there are some people for whom a bad mood may actually hone the kind of thinking skills that are important for everyday life,” one of the study’s co-authors, psychology professor Tara McAuley, said in a press statement. Why people with bigger emotional responses experience this boost but people with less-intense emotions don’t is an open question. One hypothesis is that people who have high emotional reactivity are already used to experiencing intense emotions, so they aren’t as fazed by their bad moods. However, more research is necessary to tease out those factors.

[h/t Big Think]

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Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.

2. PLANET OF THE APES (1968)

No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.

4. SLEEPAWAY CAMP (1983)

Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.

5. THE USUAL SUSPECTS (1995)

The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.

8. THE SIXTH SENSE (1999)

Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.

10. MULHOLLAND DRIVE (2001)

David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

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