Lifestyle
Solar eclipse myths and rumors bubble up, from radiation to food poisoning
People visit a NASA information booth to grab solar eclipse glasses in Russellville, Arkansas. The space agency has debunked a number of myths about the total solar eclipse — including ideas about food going bad, or unborn babies being harmed.
Mario Tama/Getty Images
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People visit a NASA information booth to grab solar eclipse glasses in Russellville, Arkansas. The space agency has debunked a number of myths about the total solar eclipse — including ideas about food going bad, or unborn babies being harmed.
Mario Tama/Getty Images
Will a solar eclipse harm a pregnant woman’s baby if she looks at it? Does an eclipse emit special radiation that can instantly blind you?
Those are some of the ideas people have been asking about — and that experts have been pooh-poohing — as people in North America anticipated seeing a total eclipse, from Mazatlán to Montreal.
Monday’s total solar eclipse begins over Mexico’s Pacific Coast at around 11:07 a.m. PT, moving east through Texas and up to Maine, finally leaving the continent on Newfoundland’s Atlantic coast.
Solar eclipses have long triggered fanciful explanations and warnings, from religious mythology to modern-day superstition. In recent days, for instance, a message circulated online warning people to turn off their cellphones and other devices before midnight ahead of the eclipse, warning of powerful radiation and cosmic rays.
In reality, a solar eclipse brings a temporary sharp drop in solar radiation — an event that ham radio operators have been eagerly anticipating for months, with competitions and experiments looking to fill the Earth’s suddenly radiation-free ionosphere with radio signals.
Persistent but unfounded beliefs even prompted NASA to devote a special page to debunking misconceptions about a solar eclipse.
Total eclipses don’t produce rays that cause blindness, NASA says
During totality, electromagnetic radiation from the sun’s corona will not harm you. In fact, the only time it’s safe to look at the sun without eye protection, as the sun’s brightness is fully obscured by the moon and its corona is visible.
But outside of totality, your eyes can be harmed during an eclipse. If the sun is only partially obscured, looking at it will damage your retina. You can look if you have special solar glasses, but don’t count on those to protect you if you want to use a telescope or camera lens that doesn’t have a solar filter.
As NASA says, “the concentrated solar rays will burn through the filter and cause serious eye injury.”
Another thing to remember: Take breaks if you’re using a special filter to look at the sun before or after totality. As the space agency says, the sun’s infrared radiation can make you uncomfortable, “as it literally warms the eye.”
You should look away from the sun periodically, or use an indirect viewer like a pinhole projector to track the eclipse.
More things NASA says are NOT true about a total solar eclipse
MYTH: If you are pregnant you should not watch an eclipse because it can harm your baby.
Another notion that seems to be rooted in concern about radiation. To put people’s mind at ease, NASA employs a sort of “you’re already soaking in it” example, citing the neutrino particles produced by the sun’s nuclear fusion:
“Every second, your body is pelted by trillions of these neutrinos no matter if the sun is above or below the horizon. The only consequence is that every few minutes a few atoms in your body are transmuted into a different isotope by absorbing a neutrino. This is an entirely harmless effect and would not harm you, or if you are pregnant, the developing fetus.”
MYTH: Eclipses will poison any food that is prepared during the event.
NASA gives a hypothetical: What if some bad potato salad makes people sick during an eclipse? Food poisoning is very common — and it shouldn’t be blamed on a rare celestial event, the agency notes.
“The basic idea is that total solar eclipses are terrifying and their ghostly green coronae look frightening, so it is natural to want to make up fearful stories about them and look for coincidences among events around you.”
Other myths have to do with omens and major events
Here are four that NASA singles out for debunking:
MYTH: Eclipses are harbingers of something very bad about to happen.
MYTH: Solar Eclipses foretell major life changes and events about to happen.
MYTH: Solar eclipses are a sign of an exceptional celestial event taking place in time and space.
MYTH: Solar eclipses six months after your birthday, or on your birthday, are a sign of impending bad health.
NASA ascribes many of these ideas to astrological forecasts being propped up by confirmation bias.
As the agency says, “We tend to remember all the occasions when two things happened together, but forget all of the other times when they did not.”
Other myths — such as the idea that the moon turns black during an eclipse, or that the Earth’s two poles don’t see eclipses — are simply false, the agency says.
Eclipses have deep spiritual meanings
Ideas about an eclipse’s potentially powerful effects aren’t new. In fact, solar eclipses do also cause some unusual things to happen.
People in totality can expect to feel a sudden drop in temperature, for instance. Stars and planets become visible in the middle of the day, and humans can experience a range of odd visual effects — from the sharpness of shadows to the movement of “shadow bands” and a change in how we perceive color.
Then there’s the eerie effect of the eclipse moving from west to east, adding to the perception that time isn’t moving in its normal path.
Many cultures and religions link eclipses to energy, seeing them as events of renewal and promise — or in some cases, of vital energy being drained away.
For the Ojibwe and other Indigenous peoples in the Great Lakes region, a story about a solar eclipse centers on a boy and his sister who trap the sun after it burns him.
In many folktales, magical animals try to eat the sun or the moon. In Hindu mythology, a serpent god, Rahu Ketu, wanted to eat the sun — but then his head was cut off. That created two new entities, Rahu and Ketu, according to the Folklife Today blog from the Library of Congress.
“These are the deities of eclipses and comets. Rahu is fixated on eating the sun and the moon, and will try to catch them and gobble them up,” the blog notes. “Fortunately he only succeeds once in a while. Since his head was cut off, the sun or moon just falls out the hole where his neck used to be. This is an eclipse.”
As Folklife Today notes, in many cultures, humans take up the duty of ending an eclipse, often by making noise and beating on drums or gongs to dispel the spirit that’s attempting to take the sun.
Online prediction market platforms allow people to place bets on wide-ranging subjects such as sports, finance, politics and currents events.
Photo Illustration by Scott Olson/Getty Images
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Photo Illustration by Scott Olson/Getty Images
The rise of prediction markets means you can now bet on just about anything, right from your phone. Apps like Kalshi and Polymarket have grown exponentially in President Trump’s second term, as his administration has rolled back regulations designed to keep the industry in check. Billions of dollars have flooded in, and users are placing bets on everything from whether it will rain in Seattle today to whether the US will take over control of Greenland. Who’s winning big on these apps? And who is losing? NPR correspondent Bobby Allyn joins The Sunday Story to explain how these markets came to be and where they are going.
This episode was produced by Andrew Mambo. It was edited by Liana Simstrom and Brett Neely. Fact-checking by Barclay Walsh and Susie Cummings. It was engineered by Robert Rodriguez.
We’d love to hear from you. Send us an email at TheSundayStory@npr.org.
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Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.
Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before, during or after their ticketed event in the same venue.
With a name like Vinyl Room, you can expect to see vinyl records everywhere.
“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.
“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.
Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.
Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.
1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket
Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.
Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.
Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.
2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality
From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.
Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.
Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”
3. All of the decor ties back to music and the Hollywood Palladium’s rich history
With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”
Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”
Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.
Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.
4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered
Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.
Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 10-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.
Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.
5. The craft cocktails aren’t just delicious — they each have a story
Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.
The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.
A screenshot from George Mélière’s Gugusse et l’Automate. The pioneering French filmmaker’s 1897 short, which likely features the first known depiction of a robot on film, was thought lost until it was found among a box of old reels that had belonged to a family in Michigan and restored by the Library of Congress.
The Frisbee Collection/Library of Congress
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The Frisbee Collection/Library of Congress
The Library of Congress has found and restored a long-lost silent film by Georges Méliès.
The famed 19th century French filmmaker is best known for his groundbreaking 1902 science fiction adventure masterpiece Le Voyage dans la Lune (A Trip to the Moon).
The 45-second-long, one-reel short Gugusse et l’Automate – Gugusse and the Automaton – was made nearly 130 years ago. But the subject matter still feels timely. The film, which can be viewed on the Library of Congress’ website, depicts a child-sized robot clown who grows to the size of an adult and then attacks a human clown with a stick. The human then decimates the machine with a hammer.
In an Instagram post, Library of Congress moving image curator Jason Evans Groth said the film represents, “probably the first instance of a robot ever captured in a moving image.” (The word “robot” didn’t appear until 1921, when Czech dramatist Karel Čapek coined it in his science fiction play R.U.R..)
“Today, many of us are worried about AI and robots,” said archivist and filmmaker Rick Prelinger, in an email to NPR. “Well, people were thinking about robots in 1897. Very little is new.”
A long journey
Groth said the film arrived in a box last September from a donor in Michigan, Bill McFarland. “Bill’s great grandfather, William Frisbee, was a person who loved technology,” Groth said. “And in the late 19th century, must have bought a projector and a bunch of films and decided to drive them around in his buggy to share them with folks in Pennsylvania, Ohio, New York.”
McFarland didn’t know what was on the 10 rusty reels he dropped off at the Library of Congress’ National Audio-Visual Conservation Center in Culpeper, Va. A Library article about the discovery describes the battered, pre-World War I artifacts as having been, “shuttled around from basements to barns to garages,” and that they, “could no longer be safely run through a projector,” owing to their delicate condition. “The nitrate film stock had crumbled to bits on some; other strips were stuck together,” the article said. It was a lab technician in Michigan who suggested McFarland contact the Library of Congress.
“The moment we set our eyes on this box of film, we knew it was something special,” said George Willeman, who heads up the Library’s nitrate film vault, in the article.
Willeman’s team carefully inspected the trove of footage, which also contained another well-known Méliès film, Nouvelles Luttes extravagantes (The Fat and Lean Wrestling Match) and parts of The Burning Stable, an early Thomas Edison work. With the help of an external expert, they identified the reel as having been created by Méliès because it features a star painted on a pedestal in the center of the screen – the logo for Méliès Star Film Company.
A pioneering filmmaker
Méliès was one of the great pioneers of cinema. The scene in which a rocket lands playfully in the eye of Méliès’ anthropomorphic moon in Le Voyage dans la Lune is one of the most famous moments in cinematic history. And he helped to popularize such special effects as multiple exposures and time-lapse photography.
This moment from George Méliès’ Le Voyage dans la Lune (A Trip to the Moon) is considered to be one of the most famous in cinematic history.
George Méliès/Public Domain
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George Méliès/Public Domain
Presumed lost until the Library of Congress’s discovery, Gugusse et L’Automate loomed large in the imaginations of science fiction and early cinema buffs for more than a century. In their 1977 book Things to Come: An Illustrated History of the Science Fiction Film, authors Douglas Menville and R. Reginald described Gugusse as possibly being, “the first true SF [science fiction] film.”
“While it may seem that no more discoveries remain to be made, that’s not the case,” said Prelinger of the work’s reappearance. “Here’s a genuine discovery from the early days of film that no one anticipated.”
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