Alison Cole does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
In Psycho, the short, sharp screech of the violins played in repeated clusters punctuates the rising tension. This is echoed in Oppenheimer: to underscore the visuals of atoms spinning, Gransson layers string harmonics in an escalating crescendo of quivering energy.
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Harmonics is an overtone you hear when you place your finger softly on the string and play with the violin bow. By not pushing the string down to the fingerboard, the string vibrates on both sides of your finger to create a whistling sound.
The violins shift to tension strings performing various rhythmic patterns and performance techniques. These combine with electronic instruments that musically fluctuate between hope, anxiety and despair.
The layers of strings playing harmonics and rhythmic patterns build in intensity to create an impression of momentum building. These techniques bring a sense of agitation, heightening the drama and building energy.
When Oppenheimer delivers his speech after the bomb was dropped on Nagasaki and Hiroshima, each jingoistic comment is followed by increasing applause and noise. When the sound suddenly drops out, we are left with his empty words.
When we experience dynamic builds in anticipation in a music score, our dopamine levels naturally increase. Sudden silence creates moments of intense focus. The contrast between the fullness of the orchestra and the silence immerses us in the world. We experience an emotional release.
The silence propels us into a feeling of suspended time: an almost deafening reminder of humanity through the use of close and intimate human sounds. It is one of the most potent features used throughout the three-hour film.
French physicist Philippe Hubert uses gamma rays to detect radioactivity in wine. "In the wine is the story of the Atomic Age," he says. C J Walker/Courtesy of William KochĀ hide caption
tag_hash_106In a laboratory, deep under a mile-high stretch of the Alps on the French-Italian border, Philippe Hubert, a physicist at the University of Bordeaux, is testing the authenticity of a bottle of wine.
"Fraudsters put a lot of work into trying to make their corks look distressed," says Jancis Robinson, a longtime wine writer for The Financial Times. "It's important that the label look like it's been around the block a bit, so they might rub it with a bit of earth or coffee grounds."
"There are two ways to counterfeit wine," says Patrick Radden Keefe, a staff writer at The New Yorker. "You're either messing with the bottle or you're messing with the wine itself." He wrote a story a few years ago about one of the most intriguing fakes of all: the Jefferson bottles.
"It was a very old bottle inscribed in a spindly hand with 1787, Lafite, and the letters 'Th.J,' " says Keefe. "Christie's said that evidence suggested that this bottle came from a collection of old French wines which had belonged to Thomas Jefferson."
After that, wine collectors began jockeying to get hold of other Jefferson bottles as they began to emerge on the market. Bill Koch, whose brothers Charles and David of Koch Industries are often referred to as the Koch brothers, is an avid collector of art, Western Americana and wine. He purchased four of the Jefferson bottles in the late 1980s for a half-million dollars.
"All of us at Monticello at that time were very skeptical about any connection between Jefferson and these wine bottles," says Lucia (Cinder) Stanton, a senior historian who has worked at Monticello for over 30 years.
Jefferson was the "leading wine connoisseur of the Republic, the presiding expert in French wine in this country," Stanton says. He ordered wine for George Washington, and he wrote out descriptions of the first growths and best wines in France for a number of American merchants.
He was also a meticulous record keeper who recorded every aspect of his life in detail. When he returned from France he had the wines he'd purchased for himself and President Washington carefully shipped to the U.S. According to his detailed books, they all arrived intact, she says.
"In his vast records of over 60,000 documents," says Stanton, "there was nothing that suggested Jefferson had ever ordered any of these wines. In the so-called Jefferson bottles, there were about a dozen bottles including a 1784 and a 1787 Chateaux d'Yquem, a 1787 Lafite, a Margaux. Most of them were 1787, a vintage Jefferson never ordered in his life."
"Elroy is a kind of a genial, bloodhound of a guy," says Keefe, the reporter. The ringtone on his cellphone is the whistled theme to the Clint Eastwood cowboy film, The Good, The Bad and the Ugly. "So Koch says to Elroy: 'Saddle up.' And Elroy did."
Bottles of vintage wine dating back to the end of the 18th century are carefully labeled and stored in the cellars of Chateau Lafite Rothschild, Bordeaux, France. Adam Woolfitt/CorbisĀ hide caption
Hardy Rodenstock was a former music publisher who managed German pop acts. He had been a fixture on the European wine scene since the 1980s. He was well-known for hosting lavish, flamboyant wine tastings inviting celebrities, dignitaries and wine critics.
"Hardy I met quite a few times," says wine expert Jancis Robinson. "Hardy supposedly found the Jefferson bottles in a bricked-up cellar in Paris, but he couldn't give anymore details. He was never specific about exactly how many bottles there were."
"I started looking in Scientific American magazine," said Elroy, "and I found an article that Philippe Hubert, a French physicist, had written about using low-level gamma ray detection for cesium 137 to date wine. Cesium 137 did not exist on this planet until we exploded the first atomic bomb."
Jim Elroy was confident that this was going to be the smoking gun that would prove Rodenstock guilty of fabricating the Jefferson bottles. He personally flew to the French-Italian border where Hubert was going to do the test, carrying the Jefferson bottles in bulletproof cases.
"By looking at the level of gamma rays emitted from a bottle of wine," Elroy explains, Hubert could determine when the wine was bottle. Obviously, if it was bottled before about 1945, there shouldn't be any Cesium 137 in the wine."
The experiment took place a mile underground to shield the test from the gamma rays in the atmosphere. "In order to shield the detector even further," says Elroy, "we had to use lead that was smelted prior to 1945. In this case, it was Roman lead smelted shortly after the birth of Christ."
Counterfeiting wine is nothing new. People have been doing it for centuries. "Louis XIV had a royal decree that all of the wine barrels coming from the Ctes du Rhne area had to be stamped with a CDR to prove that they were Ctes du Rhne," says wine detective Maureen Downey.
"Kurniawan's kitchen was literally a factory for making counterfeit wine," says Downey, who went through the evidence with the FBI. "He had recipes written on bottles in his kitchen. For example, his recipe for 1945 Mouton Rothschild said: one-half 1988 Pichon Melant; one-quarter oxidized Bordeaux; and one-quarter Napa Cab."
And what about those Jefferson bottles? Bill Koch's investigators tracked down the people in Germany who had engraved the Jefferson bottles with Th.J. They used a modern dentist tool that could not possibly have existed in the time of Thomas Jefferson.
How to Dismantle an Atomic Bomb is the eleventh studio album by Irish rock band U2. It was released on 22 November 2004 in the United Kingdom by Island Records and a day later in the United States by Interscope Records. Much like their previous album All That You Can't Leave Behind (2000), the record exhibits a more mainstream rock sound after the band experimented with alternative rock and dance music in the 1990s. It was produced by Steve Lillywhite, with additional production from Chris Thomas, Jacknife Lee, Nellee Hooper, Flood, Daniel Lanois, Brian Eno, and Carl Glanville.
Looking for a more hard-hitting sound than that of their previous album, U2 began recording How to Dismantle an Atomic Bomb in February 2003 with Thomas. After nine months of work, the band had an album's worth of material ready for release, but they were not satisfied with the results. The group subsequently enlisted Lillywhite to take over as producer in Dublin in January 2004. Lillywhite, along with his assistant Lee, spent six months with the band reworking songs and encouraging better performances. U2 lead singer Bono described the album as "our first rock album. It's taken us twenty years or whatever it is, but this is our first rock album."[1] Thematically, the record touches on life, death, love, war, faith, and family.
How to Dismantle an Atomic Bomb received generally positive reviews from critics and reached number one in 30 countries, including the US, where first-week sales of 840,000 copies nearly doubled the band's previous personal best. The album and its singles won all eight Grammy Awards for which they were nominated. It was also the fourth-highest-selling album of 2004,[2] with almost ten million copies sold,[3] and it yielded several successful singles, such as "Vertigo", "City of Blinding Lights", and "Sometimes You Can't Make It on Your Own". The album was included on Rolling Stone's list of the "100 Best Albums of the Decade" at number 68.
Lead singer Bono explained that he had to ask himself a few hard questions before carrying on recording: "I wanted to check where I was to where I am. So I went back and listened to all the music that made me want to be in a band, right from the Buzzcocks, Siouxsie and the Banshees, Echo & The Bunnymen, all that stuff. And what was interesting is, that was what a lot of people in bands now are listening to anyway. So in a funny way, it made us completely contemporary."[4] 152ee80cbc
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