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11 Secrets of Sound Effects Editors

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Sound effects editors assemble the noises that bring viewers into the physical world of a movie or TV show, whether it's the meaty sound of a fistfight or the ear-shattering roar of a T. rex. They're more important than many people realize—after all, sound is half of the viewer experience. Mental Floss spoke with three of these sound magicians to learn about creating the illusion of reality, going undercover to capture sound, and when a trip to the grocery story is sometimes necessary.

1. THEY DON’T JUST MAKE THINGS GO BOOM.

The phrase “sound effects” may conjure up thoughts of explosion-packed action movies or the buzzing and clashing of light sabers. But sound effects editors don't always work on noises that dramatic. “It can be as subtle as crickets,” says Ric Schnupp, a New York-based sound editor and mixer. “[Sound effects] can be super detailed or super huge.” Heather Gross, a sound effects editor on films such as Into the Woods (2014) and TV's Quantico, adds that this fact can sometimes be lost on the average person. “If something isn’t exploding they don’t think of it as an effect,” she says. “Those birds, the car that drove by in the background, all these mundane things that always surround us—people don’t think about them in life and they certainly don’t think about it when they’re watching something.” But these small sounds are still a crucial part of a sound effects editor’s job, helping to create the reality onscreen.

2. THEY’RE OPPORTUNISTS.

Young woman working in a recording studio
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Sound effects editors are highly attuned to their environments and ready to capture unique sounds at a moment’s notice. Fortunately, sound recording equipment has become so small and portable that an editor can carry a high-quality recorder with them at all times. That's handy, since some sounds you hear all the time in life are actually pretty difficult to find in a sound library. Gross, for example, says she's always ready with her recorder whenever an opportunity presents itself. “There are life things that you are always thinking about recording. Any time someone has a baby, I record the baby,” she explains. And while attending a recent U. S. Open tennis match, she didn’t lose a chance to capture crowd sounds: “That sort of crowd, you can’t fake that,” she says. “You’re never in a situation where you can get 10,000 extras to do crowd reaction.”

The small size of some modern sound recording equipment also makes it possible to collect sounds without attracting a lot of attention. Schnupp calls his portable setup “incredibly covert.” “It’s a little thing that looks like an iPhone," he says "so it’s very easy for me to look like I’m checking my email, when in fact I’m getting sound.”

3. THEY’RE LIBRARY PATRONS …

But not the regular kind of library. Capturing live sound adds authenticity to sound design, but sometimes it's much more time and cost-effective to use sound effects from an established commercial library instead. Case in point: Schnupp relates a story about working on a forthcoming documentary that needed the sound of women screaming at a rock concert, and making the decision to purchase a sound library specifically for that purpose. “I’m not going to go spend $100 for a concert ticket and try to sneak in mics that I’m not allowed to have,” he explains.

While a sound studio will typically purchase the rights to several sound effects libraries, individual sound effects editors often also amass their own personal libraries based on recordings they’ve done, giving them the ability to draw on multiple resources.

4. THEY HEAR THE WORLD DIFFERENTLY THAN MOST PEOPLE.

Smiling man holding his ears and looking up
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Whether due to natural inclination or years of practice, sound effects editors have a sharper sense of hearing than most of us, and a more imaginative way of listening to common sounds. Schnupp recounts sitting on an airplane while the stewardesses ran through safety protocols, and noticing that “that little seat buckle thing” evoked the metallic click of a gun. He somehow convinced the stewardess to give him the buckle. “I brought it into the studio and we used it for a ton of different shows and films ... When someone holds the gun up like they’re going to shoot someone and you hear a little ‘click click’ sound ... We use that for everything and everyone loves it.”

5. ONE PERSON’S JUNK IS ANOTHER PERSON’S SOUND EFFECTS GOLDMINE.

Schnupp says the studio where he works contains a number of physical objects used to create sound effects. This includes slabs of marble and tile surfaces for recording footsteps as well as wooden boxes and palettes that imitate the hollow sound of porches, docks, or boardwalks. Schnupp says that the studio also contains “a large pile of props that we use to make sounds. It’s sitting in the corner and we kind of look like hoarders.” In the pile: bins of different shoes, paper articles, ceramics, metal objects, and broken toys.

Using objects of this sort to create footsteps and other sounds falls more properly under the role of a Foley artist, whose responsibility is to create sounds intimately associated with onscreen characters—like the rustling of clothing or sound of setting down a coffee cup. There is a fine line between Foley and sound effects work, however, and depending on a project’s budget a single person might assume both roles.

6. THEY MIGHT HAVE TO MUTILATE A (DEAD) CHICKEN.

A raw, whole chicken on butcher paper
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Speaking of unique ways sound effects editors work their magic—horror movies sometimes require resorting to techniques almost as gross as the content of the film. Schnupp says that one of the best ways to mimic the sound of ripping flesh is to buy a raw chicken at the supermarket and tear it apart. “If you really want it to sound real, sometimes it’s got to be actual flesh,” he explains.

Of course, there are ways of imitating the sound of breaking bones that might not make a vegetarian wince. “Celery is really good for bone breaks,” Schnupp says.

7. THEY SWAP SOUNDS.

Sound effects editors not only pull from commercial and personal libraries, but sometimes borrow from the personal libraries of other sound effects editors. As with many creative disciplines, the people in the sound effects field are both familiar with one another’s work and willing to help one another out. If a particular sound effect is missing, it can be helpful to think about sounds heard in the work of colleagues and to ask around. Roland Vajs, a sound editor and mixer known for his work on Green Room (2015), says he’s typically happy to share and that there’s no point in being stingy with sound effects since editors will alter them to fit their project anyway. “It’s what you do with the sound,” he says, “not what sounds you have.”

8. THEY HATE LOUD NOISES.

A "quiet please" sign lit up
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Along with heightened sound sensitivity, some sound effects editors have an aversion to loud or jarring noises. “Most sound editors hate noise and hate loud music,” says Vajs. “I am always covering my ears.” One of Vajs’s peeves is cavernous restaurants with concrete walls that amplify sound—an effect that a good sound mixer on a film would seek to avoid.

9. THEY LEND PERSONALITY TO INANIMATE OBJECTS.

Sound effects editors are not just concerned with sound effect accuracy—they also aim to strike the right tone and mood. According to Gross, automobile sounds in particular are more than just noise. “If you have a specific car or a car that is a character, then you always want to get your own library,” she says. For the Sophia Coppola film Somewhere (2010), which prominently features a Ferrari, she and her colleagues created a library of sounds recorded while performing various maneuvers in a Ferrari (tough job, but someone's got to do it).

10. THEY PLAY ON YOUR PSYCHE.

While audience members may be conscious of everything they see unfolding on screen, sound can work on a more subconscious level. Vajs argues that because sound is more abstract than visual information, it has the power to heighten emotion by working on a more intuitive, less literal level—it can “subtly influence how the viewer perceives the film,” he explains. “Psychology is always involved.”

Schnupp agrees, particularly when it comes to horror movies. “The sound is what makes you scared ... and that’s why it’s so crucial,” he says. “It can make a huge impact in horror, perhaps more so than in any other genre.”

11. EVERY SOUND IS THERE FOR A REASON.

Two professionals working in a sound studio
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From stray background noises to gunfights to subtle sounds, everything that the audience hears in a film or TV show has been put in place with intent. “Every single sound is there for a reason,” Schnupp says. “Nothing is by accident ... And even if something was there by accident it would never make it through the final mix.”

Many people, however, may not realize the extent to which soundscapes in film and TV are constructed. “Maybe 90 percent of what they’re watching has been replaced,” Gross says. “But if we’ve done our jobs well you can’t detect it.”

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17 Behind-the-Scenes Secrets of Funeral Directors
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Despite the fact that almost everyone will need the services of the "dismal trade" at some point in their lives, the specific job duties of funeral directors often remain shrouded in mystery. Mental Floss talked to several to learn some little-known facts about the profession, from what happens behind the doors of the embalming room to the real reason you might want to think twice about that “protective” casket.

1. THEY DRIVE MINIVANS.

“The reason you don't see the dead being picked up in your daily life is because we're stealth like that,” Jeff Jorgenson of Elemental Cremation & Burial in Seattle tells Mental Floss. “We are soccer moms and we are legion! Actually, we just use soccer-mom vehicles: Minivans are the transportation of the dead. We rarely drive hearses—those are ceremonial vehicles only.”

2. THAT SWEET LOOK ON THE DECEASED’S FACE TOOK SOME WORK.

Funeral directors say that the most important part of preparing a body for a viewing is the “setting of the features”—creating a peaceful facial expression with a pleasant smile. But while it might look nice at the end, the work creating that appearance can be grisly. Morticians stuff the throat and nose with cotton and then suture the mouth shut, either using a curved needle and thread to stitch between the jawbone and nasal cavity or using a needle injector machine to accomplish a similar job more quickly. Small spiked cups are also inserted under the eyelids to keep the lids closed and the eyes from caving in.

Of course, some bodies take more restoration than others. One mortician says that to prepare a decapitated corpse for an open-casket viewing, he uses a wooden dowel to rejoin the head and body, then sutures the neck back together.

3. THEY MIGHT MAKE A TRIP TO THE DRUGSTORE. 

In her best-selling book Smoke Gets In Your Eyes, mortician Caitlin Doughty says: “If the usual methods of setting the features aren’t sufficient to keep the eyes closed or the mouth shut, superglue is a secret weapon.” In Grave Matters, author Mark Harris points out that superglue can also be used to close up any puncture marks from needles on a corpse. Brooklyn funeral director Amy Cunningham of Fitting Tribute Funeral Services tells Mental Floss: “If you need to keep a deceased person’s hands folded neatly at their abdomen, but their arms keep falling down into the sides of the casket, you can gently bind their thumbs with a ponytail tie.”

4. COMPARISON SHOPPING IS KEY.

Sixth-generation funeral director Caleb Wilde, known for his popular blog Confessions of a Funeral Director, shares this story with us: “About a year ago, a husband and wife died about four months apart. The wife knew us, so we buried her, and the husband knew the funeral home in a neighboring town, so they buried him. They both had the same funeral, same casket, vault, etc. The family called us to let us know that the other funeral home charged $3000 more. Same value, different cost. Call around to different funeral homes. Shop. Ask for the GPL [General Price List]. Remember, cost doesn’t always equal value.”

5. YOU MIGHT WANT TO THINK TWICE ABOUT “PROTECTIVE” CASKETS.

Some caskets that have vacuum-seal rubber gaskets are marketed as “protective” or resistant to the “entry of outside elements.” As Harris details in Grave Matters, this creates conditions that encourage the growth of anaerobic bacteria, which break the body down by putrefying it, “turning soft body parts to mush and bloating the corpse with foul-smelling gas … Inside the sealed casket, the result is a funereal version of the decay that’s found in swamp bottoms and the bowels of unturned compost piles.”

6. SOMETIMES CASKETS EXPLODE.

In fact, the aforementioned buildup of methane gas can cause what people in the industry call “exploding casket syndrome,” where the gas will literally blow the lids off of caskets and doors off of crypts. Some casket makers have added Tupperware-style “burping” features to their sealer models to release the accumulated gases. Harris spoke with a former cemetery owner who told him that those “protective” sealer caskets are “routinely unsealed after the family leaves … to relieve the inevitable buildup of gases within the casket.” Staff may also just leave the caskets unlocked, not engaging the seal to begin with, in an attempt to avoid those “fetid conditions inside the casket.”

7. SOMETIMES PACEMAKERS EXPLODE, TOO.

If a pacemaker is left in a body when cremated, “it can explode and can cause upward of $10,000 of damage to the retort [cremation machine],” Wilde says. “So, pacemakers need to be removed before cremation. And don’t worry, the funeral directors/cremationists will do the removal for you.”

8. SOME FUNERAL DIRECTORS RARELY SEE THE DEAD.

Jorgenson says, “The bulk of what funeral directors do is paper-pushing—filing death certificates, getting permits, editing obituaries, and sending them to the paper. [Some] will only see a dead person when they are delivered for a service. In the case of some funeral homes, a [corporate] funeral director could literally go years without seeing a dead person.”

9. THEY SEE THINGS THROUGH ROSE-COLORED LIGHT BULBS.

While the formaldehyde embalmers use does contain a rosy dye to restore color to graying, lifeless flesh, it’s not always sufficient. According to Cunningham, “mortuary schools teach color theory and stage lighting—how to use colored gels over the ceiling lights.” Doughty also mentions that bodies are often set out for visitation displayed under rose-colored light bulbs.

10. IT ALL GOES RIGHT DOWN THE DRAIN.

You’d think all the chemicals and body fluids involved in embalming would be disposed of like biohazard, but it’s industry practice to just wash it all off the table, right into the drain. Harris points out that just one embalming can generate 120 gallons of “funeral waste”—blood, fecal matter, and the former contents of internal organs, in addition to any chemicals in the preservation fluid itself—and it all ends up in the public sewer system, to be eventually released into waterways. Although, as Wilde points out, “Blood isn’t any worse than the other things that go down the loo.”

11. FORMALDEHYDE MIGHT BE DYING A SLOW DEATH.

In addition to causing relatively minor problems, such as sinus issues and rashes (including one called “embalmer’s eczema”), formaldehyde is a carcinogen. The U.S. National Toxicology Program, among other groups, has said that people with high levels of exposure—such as embalmers—are at a higher risk for nasopharyngeal cancer, myeloid leukemia, and other forms of cancer.

Usually, criticism comes from outside the death-care industry, but that’s starting to change. In the May 2016 issue of The Director, the official publication of the National Funeral Directors Association, Carol Lynn Green, the NFDA’s environmental-compliance counsel, writes, “there is no dispute that formaldehyde poses a health risk.” She says that the Occupational Safety and Health Administration is gearing up to make their workplace regulations stricter, and recommends that funeral homes start to transition to preservation products that don’t use the dangerous gas.

12. YOU CAN’T REALLY BE BURIED UNDER A TREE.

Some consumers who dislike the idea of embalming, or have environmental concerns, choose a “green” burial. Alongside that often comes a romantic idea about being buried beneath a favorite tree—perhaps a stately oak, for example. Sarah Wambold, an Austin funeral director and green burial expert, tells Mental Floss: “A body must be buried at least four feet from a tree to protect its root system. It’s a bit of an adjustment for people who are committed to the image of being buried under a tree, but that’s not always the most green option for the tree. Wouldn't they rather allow the tree to continue to live?” You can, however, plant new trees or shrubs atop a grave after a burial, and the roots will grow down over the body.

13. AT LEAST ONE FUNERAL DIRECTOR WANTS TO TEACH YOU TO PREPARE DEAD BODIES YOURSELF.

Caitlin Doughty

Doughty, who runs a funeral home called Undertaking LA, told WIRED“I’m a licensed mortician, but I want to teach people that they don’t need me.” She advocates people learning to take care of their own dead at home, and says she wants the public to become comfortable with the way death looks naturally: “A chemically preserved body looks like a wax replica of a person. Bodies are supposed to be drooping and turning very pale and sinking in while decomposing. Within a day or so after they’ve died, you should be able to see that this person has very much left the building. That’s the point. I think dead bodies should look dead. It helps with the grieving process.”

Doughty encourages the idea of home funerals, which are legal in all 50 states (although 10 states require the involvement of a funeral director). For more information, check out the Home Funeral Alliance.

14. IT’S HARD TO BE THEIR FRIEND.

Any friend might disappoint you once in a while, but funeral directors will probably do it more often, according to Wilde. “We might miss your birthday party; we might have to leave in the middle of dinner. Death has this way of keeping an untimely schedule, and as death’s minions, we’re tied to that schedule. Whether it be in the middle of the night, or in the middle of your wedding, when death calls, we have to respond.”

15. NO ONE WANTS TO PROFIT FROM THE DEATHS OF CHILDREN.

“It is a tradition in the funeral industry to provide funerals to the families of stillborn babies and very young infants at cost,” Cunningham says. “Funeral directors do not care to make a profit on the deaths of children, and in fact, the death of a young child saddens the whole firm more than almost anything else.”

The funeral industry also includes a number of charitable projects devoted to helping parents after a child’s death. A volunteer group called Little Angel Gowns makes burial garments for babies out of donated wedding dresses, and provides them at no cost to hospitals and funeral homes. The Tears Foundation assists grieving parents in paying for burial or cremation expenses after losing a baby. Eloise Woods, a natural burial ground in Texas, will bury infants at no charge.

16. YOUR GRANDFATHER’S HIP JOINT MIGHT BECOME A NEW ROAD SIGN.

According to Doughty, families can ask for replacement medical parts back after a cremation, but most do not. Hip and knee implants are often melted down and recycled for road signs and car parts, among other things. Unfortunately, she says, breast implants usually melt all over the cremation machine.

17. SOME FUNERAL HOMES EMPLOY THERAPY DOGS.

A large part of a funeral director’s job is comforting the bereaved. Some use grief-therapy dogs to give the families a furry shoulder to cry on. For one example, check out Lulu the golden doodle.

All photos courtesy iStock unless otherwise noted.

This story originally ran in 2016.

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9 Secrets of Antarctic Scientists
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A scientist monitors one of the world's largest Adélie penguin colonies near Cape Crozier, Antarctica.
Peter Rejcek, National Science Foundation

Antarctica is the coldest, windiest, and sometimes the darkest place on Earth. And yet hundreds of people go there each year to conduct scientific research and work as support staff at dozens of stations scattered across the continent. In summer, the high season for polar activity, the sun never sets, offering scientists and support teams an opportunity to play soccer on the ice or sunbathe in blinding, cloud-free rays. Winter envelops the land in frigid darkness—and inspires the few "winter-overs" to indulge in naked footraces around the station. Mental Floss spoke to a few Antarctic scientists about what it's really like to carry out research there, including the hacks that help them survive the elements.

1. THEY LEARN ON THE FLY.

Scientists participating in the United States Antarctic Program (USAP), which runs all of the American research and operations on the continent, go through an introductory briefing about living and working at the three American stations: McMurdo, the largest, which is located on Ross Island; Palmer, on Anvers Island off the Antarctica Peninsula; and the Amundsen-Scott South Pole Station.

But with so many complex protocols needed for daily life, new arrivals often find themselves on a steep learning curve. "There's no manual for a lot of things," Michelle LaRue, an ecologist who studies Adélie and emperor penguins and seals in the Southern Ocean and is often based at McMurdo, tells Mental Floss. "There are appointments for everything—food, field supplies, et cetera—and you need a certain amount of lead time before you get into the field. I quickly learned that even though you think you're ready, there's something else you're missing. Thankfully the support crew there is amazing. I don't know what we would have done without them."

2. THEY HAVE TO PACK CAREFULLY.

Gathering everything for an extended mission can be tricky if you can't depend on regular resupply shipments. "Packing for 18 months away is a total nightmare. Ever tried to work out how many tampons you might need for that long? Or conditioner?" ecologist Jess Walkup tells Mental Floss. Walkup began her career with the British Antarctic Survey (BAS) studying albatrosses on South Georgia and is now the base commander at the BAS's Rothera station leading the 2018 wintering team.

"I ran out of anti-perspirant on one trip, and that was awful," she says. "Thankfully I was on an island with just three men and thousands of stinky seals, so no one seemed to notice."

3. THEY HACK THEIR CIRCADIAN RHYTHMS.

Scientists and support staff who serve in the Antarctic summer, from October through March, often contend with round-the-clock daylight. Many bring eye masks and blackout curtains so they can retain their regular sleep-wake schedule—but it's tempting to want to stay up. "After working all day, all I want to do is catch up with friends or go hiking. Time gets away from you pretty quickly, and before you know it, you're going to bed way later than you should," LaRue says.

The Antarctic winter, however, is another matter. The sun doesn't rise for several months, leaving the entire continent in extreme darkness (except for the twinkling of stars and the aurora australis). "I found that I was shattered all day and then slept badly at night," Walkup says. "In the early afternoon I would have a massive slump and feel like it was 3 a.m. and I had been awake for a week." She adjusted by using a SAD lamp on her desk and getting into a routine of winding down and going to bed at the same time each night. On the base, she says, "Your bed is one of the only places you can get some time alone."

4. THEY HAVE STRANGE TASTES IN MOVIES.

The Milky Way and aurora australis over the South Pole
The Milky Way and aurora australis illuminate the Amundsen-Scott South Pole Station in winter.
Patrick Cullis, National Science Foundation

It's not all work and no play for Antarctic scientists and staff. The isolation and rough conditions create a sense of camaraderie that is celebrated at certain times of the year. To mark Midwinter's Day in the middle of June (the point when the sun begins its return back south), the BAS bases, the Amundsen-Scott South Pole Station, and many others watch The Thing ("the original, obviously!" Walkup says). In John Carpenter's 1982 horror film, a parasitic alien invades an Antarctic base and steadily takes over the minds of the researchers stationed there, with much gore, violence, and paranoia. Winter-overs also watch the 1980 classic The Shining, a similarly chilly flick featuring an unhealthy dose of insanity.

In August, many of the Antarctic stations compete in the 48-Hour Winter Film Festival, in which teams submit short films that contain five key elements and are made in less than 48 hours. "We then watch all the submissions and vote on the winners under various categories, like at the Oscars. It’s a great way to learn about the international Antarctic community and see the inside of other stations," Walkup says. (Watch a selection from the 2016 festival on Vimeo).

5. THEY MAKE TIME TO PARTY.

Sure, scientists spend many hours tracking neutrinos, conducting wildlife surveys, collecting ice cores, and fulfilling other objectives. But when they're off the clock, they like to kick back. "Depending on the time of year, there's all kinds of iconic parties and events to attend: Halloween, Thanksgiving dinner, the marathon, talent shows, the film festival, IceStock—that's an outdoor concert on New Year's Eve. If you're in McMurdo over New Year's Eve, you have to go to IceStock," LaRue says.

However, some of the games and competitions might seem fatalistic to those with a greater array of entertainment options. For example, when the temperature drops to -50°C (-58°F), scientists and staff strip naked and run around their stations' perimeters, Walkup reports.

Even that's not as crazy as vying for membership in the 300 Club. When the temperature drops to -100°F at the South Pole station, daredevils first warm up in a 200°F sauna, then dash outside (naked, of course) to the spot marking the Geographic South Pole several yards away, then run shrieking back into the sauna—having experienced a 300-degree range in temperature in just a few minutes.

The activities don't just keep boredom at bay; they actually ward off the lethargic, depressive state one gets from living in extreme isolation, which the winter-overs call "toast." As Sven Lidström, a Swedish engineer who helped build the IceCube South Pole Neutrino Observatory, wrote in a 2012 blog post, "the cure for winter-over toastiness is fun and entertainment."

6. THEY START CRAVING SALAD …

McMurdo Station in Antarctica
McMurdo Station, Antarctica
Elaine Hood, National Science Foundation

According to Jason C. Anthony, author of Hoosh: Roast Penguin, Scurvy Day, and Other Stories of Antarctic Cuisine, much of the culinary history of the southern continent consists of "isolated, insulated people eating either prepackaged expedition food or butchered sea life." Now, 21st-century scientists chow down on three freshly prepared meals a day at McMurdo and other stations. "Of the five seasons I spent in, or worked out of, McMurdo, I only really remember one where freshies"—local slang for any kind of fresh produce—"were in noticeably short supply," LaRue says.

But scientists and staff still have to cope with the lack of some favorite foods—and those whose fitness for eating is debatable.

"We only really get two deliveries of fresh food a year, one around December and then again around March. All our milk is powdered, and I got used to that very quickly. Some people hate it, but in a cup of tea or a bowl of cereal, I don’t really notice. I wouldn’t drink a glass of it, though," Walkup says.

Walkup devised ways to test if months-old foods were still edible. "We were eating eggs nine months after they had been laid," she says. "Some eggs that look moldy on the outside, and even on the inside, are fine to eat. The trick is to break each egg into a cup to check that it is OK—i.e., doesn’t smell—before adding it to whatever you're making. If the eggs are starting to go, then this is vital—you don’t want to ruin your mixture with a bad egg."

They also get some surprising cravings. "The thing I missed was salad, as that doesn’t travel well," Walkup adds. "I was never a huge fan of salad before I went south, but now I love it."

7. … AND BOOZE.

No planes can fly supplies into the Amundsen-Scott South Pole Station for up to nine months of the year, because at temperatures below -50°C, the jet fuel freezes. That leaves the small group of winter-overs to their own devices. The company operating the station supplies the scientists and support teams with huge pallets of wine, beer, and spirits that give rise to a makeshift bar at the Amundsen-Scott South Pole Station dubbed Club 90 South. Phil Broughton, a health physicist who spent one long, dark winter there in the mid-aughts, was its de facto bartender.

He developed a protocol for distributing alcohol: serve enough to help the patrons get through the darkest weeks of winter, and then make sure that those who were completely plastered didn't go home. "The most dire danger in Antarctica is always failure to respect the absolutely lethal environment of Antarctica itself. I was far happier to serve until I could guide [the drinker] over to a couch to pass out than to see him stagger out into the -85°F night," Broughton wrote in a blog post.

Plenty of scientists carry in their favorite spirits, just in case their base runs out halfway through the season. Says LaRue, "Bringing scotch with you is a must."

8. SOMETIMES THEY ACTUALLY FEEL TOO WARM.

Scientists in the field have to wear layers upon layers of insulating clothing, bring more hand and foot warmers than they think they'll need, and stay active to avoid hypothermia. "I distinctly remember one snow machine trip back to town, where the wind was just whipping across our faces, my fingers were numb. It was really cold," LaRue says. "As soon as I parked the snow machine I got off and just ran as fast and as far as I could to warm up."

In the summer season, though, being bundled in Gore-Tex can make them too hot. The extremely dry climate prevents the chilly damp feeling of more temperate regions—and if the sun is shining, its rays bounce off the reflective ice and fry the researchers. "Sometimes you can get really warm and even work in shorts and a t-shirt," Walkup says. "At 79 degrees south it can be -10°C [14°F] in the height of summer, and the sun is really strong, so on a day with no wind it is warm enough to sunbathe—just don’t lay down in the snow."

9. THEY DON'T SEE POLAR BEARS.

Antarctica teems with wildlife: six species of penguins, six species of seal, countless seabirds, and majestic whales are the southern ocean's most charismatic fauna. Scientists won't see any mammals from that other pole, however. Says Walkup, "people always ask me if I have seen polar bears. I haven’t—they only live in the Arctic."

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