Oldest Living Things on Earth Right Now: Some 42,000 Year Old Worms

Longtern cryobiosis is the term of the day as some worms born around 42,000 years ago in Siberia are wiggling around again.

The worms are roundworms called Nematodes.

According to the Russian researchers, who worked in collab with Princeton U’s Department of Geosciences, “We have obtained the first data demonstrating the capability of multicellular organisms for longterm cryobiosis in permafrost deposits of the Arctic.”

Scientific research paper at Springer: “Viable Nematodes from Late Pleistocene Permafrost of the Kolyma River Lowland” >

“After being defrosted, the nematodes showed signs of life. They started moving and eating.”

There are two worms that are back in action. One is 42,000 years old and the other only 32,000.

Where they came from

Mdou Moctar Performing "SONG" Live

Mdou Moctar (b. 1986) is a Tuareg songwriter and musician based in Agadez, Niger, and is one of the first musicians to perform modern electronic adaptations of Tuareg guitar music. He first became famous through a subtle trading network of cellphones and memory cards in West Africa.

Mdou Moctar is a popular wedding performer and sings about Islam, education, love and peace in Tamasheq. He plays a left-handed Fender in a takamba and assouf style. He is originally from Abalak and has also lived in Tchintabaraden and Libya.

Moctar says that in Agadez, guitar is like football in Brazil: Only about 10% don’t play. His first guitar was one he made himself as a kid with a box and the cable from a bicycle brake.

The language he sings in is of a Berber language family called “Tamachiq,” more frequently called “Taureg” in the West.

Songs:
Tada Dounia
Wiwasharnine
Tarhatazed
Kamane Tarhanin

The Limits of Expanded Ability - Fatboy Slim

Fatboy Slim on modern music gear:

“In Ableton you can just have the samples all running, and you can have them all running at the same speed, you can change the pitch of them. But to be honest, to me that’s lost a lot of the appeal and the excitement of the record-making process. Which is one of the reasons why as a producer I’ve become increasingly less prolific because I just don’t get excited about pushing a mouse about and looking at Ableton and thinking, ‘You can do anything, you’ve got everything right there in front of you.’

“When I was limited to the record collection and samples that I had, and the three synthesizers that I had that I knew inside out, that directed a certain course of where I could go with it. And it would be exciting to be bending the rules. But now everything’s laid on a plate for you and there’s too much choice. Before it was like, ‘What can I get out of a 909? What can I get out of a 303?’ Now it’s like you’ve got every single synth under the sun you can call up. I kind of don’t know where to start.”