Blistering suns, endless dunes and almost no water. This is the imagined world on the planet Tatooine in Star Wars. Here, survival depends upon towering vaporators that loom over the sand, drawing in air and condensing its moisture into life-giving water. But this technology isn’t just limited to the world of science fiction. “That reality is here. We’re already making that happen,” says Brian Sheng, co-founder of Aquaria Technologies, whose mission is to transform atmospheric vapor into safe, drinkable water. There is no doubt that the world needs more water. On a planet that’s covered in approximately 70 percent water, only a sliver, around 2.5 percent, is fresh and safe for humans to drink, crops to grow and industrial use. And that tiny proportion is shrinking as the world becomes warmer and heat waves exacerbate drought conditions. This isn’t just a problem of the future. A World Health Organization study estimates that 1.4 million deaths could be prevented each year with improved access to safe drinking water, sanitation and hygiene services. Aquaria’s Hydropack1 AWG. Credit: Aquaria. Sheng’s solution, to generate potable water from air, is based upon a natural phenomenon as old as the Earth itself. As water evaporates off oceans, lakes and other bodies of water, it turns into an invisible vapor that drifts through the atmosphere until cooler temperatures condense it into water droplets. To tap into that, Aquaria has invented a twenty-first century version of the vaporator — an atmospheric water generator (AWG). Aquaria’s AWG units are designed for home use. They suck in air and cool it so that it condenses into water droplets, then purify it to meet health standards. Small enough to be placed in a backyard and connected to a home’s existing plumbing system, large units can produce up to 200 gallons of water daily. To put this into context, while estimates vary significantly, the EPA suggests each American uses an average of 82 gallons of water a day for activities including bathing, drinking, and cooking.  Condensing water at scale, however, comes at a cost. Aquaria’s Hydropixel, for example, which produces up to 10 gallons of water a day, costs approximately $3,800. To make clean water more accessible, Aquaria offers flexible payment plans to help ease the initial cost of its systems. And to reduce the expense of running the units on conventional grid electricity, the units can be connected to existing home solar systems.  In Australia. Aqua Ubique, realizing that cost can be prohibitive — especially for First Nations communities — has structured its company as a social enterprise. Through its Drop 4 Drop program, for every five Aqua Ubique AWG water cooler units leased to offices or business, one can be installed in a community that lacks clean drinking water. The units look like and function the same as a regular water cooler, except they are pulling in water from the surrounding air and converting it to drinking water.  Weighed down by negative news? Our smart, bright, weekly newsletter is the uplift you’ve been looking for. [contact-form-7] It all started when Shannon Lemanski was serving with the Australian army in Papua New Guinea (PNG). There he witnessed first hand how supposedly single-use plastic bottles were being used to capture rainwater so that locals wouldn’t have to drink from a contaminated creek. “Returning to Australia, I discovered that the issue wasn’t restricted to PNG,” he says. “Over two million people in Australia don’t have access to safe drinking water.” In 2023, he co-founded Aqua Ubique. While some experts argue that the focus should be on preserving the freshwater resources already available to us, communities such as Cherbourg in Queensland, Australia, highlight the need for a more immediate solution. Here, water issues have been systemic, including a nine month boil water alert in 2024 due to E. coli contamination.  “Because of deep distrust in the town’s tap water, it’s not uncommon to see babies drinking Coke from bottles rather than formula, as soft drink is cheaper than bottled water at the only store,” Lemanski says. In May 2025, Aqua Ubique installed two MG10 AWG water cooler units in Cherbourg, one at a daycare and the other at an elders village. As a result, dozens of children and seniors who didn’t before have access to safe drinking water now do.   AWGs can connect to solar systems to generate water even in locations with no connection to the main grid. Credit: Moses West Foundation. Getting clean, healthy water to where it is needed most is also the mission of the Moses West Foundation, based in Illinois. “At our core,” says Colin Hultz, chief business officer and head of partnerships, “we are just trying to get as much water to as many people as possible.” The organization’s founder, Moses West, a former U.S. army ranger captain, had — similarly to Lemanski — been deployed to areas where clean water was scarce and had seen the impacts. This inspired him to use his background in engineering to design and build patented AWG units able to produce water for thousands.  When Hurricane Maria then struck in 2017, its 170 mph winds ripped apart infrastructure and homes in Puerto Rico. “Moses was out there with our largest AWG 5000 unit for about six months and he gave 15,000 families access to unlimited free drinking water,” Hultz says. And it’s not just the free water, it’s the cost savings that come with it. “When we were in Puerto Rico, we saved the Island about $300 million in the cost of having to ship in plastic water bottles,” he says.  Similar to Aquaria’s home-scale AWGs, Moses West’s AWG800 system, which is capable of producing more than 200 gallons of water per day, can be directly connected to solar panel systems. Roughly the size of a small Fiat, the unit can be deployed quickly and begin generating water even in locations with no connection to the main grid. As great as it all sounds, Lemanski says context is key to take into consideration when considering the deployment of AWGs. In warmer, more humid climates they will deliver higher yields, while in dry and cold environments production is lower, meaning that expectations must be managed. He sees their current best-case use as one that integrates an AWG system with other water collection and purification systems such as rainwater tanks, greywater recycling, and desalination plants. When used together, he says, AWGs can become part of a complete off-grid water system. “This hybrid approach is where AWGs really shine: Safe drinking water, complemented by other sources for washing, irrigation and bulk use,” he says. Wait, you're not a member yet? Join the Reasons to be Cheerful community by supporting our nonprofit publication and giving what you can. Join Cancel anytime Perhaps the biggest drawback to AWGs, argue Lemanski and Hultz, is the lack of public awareness. “It’s frustrating sitting there with a real solution people still haven’t picked up on,” Hultz says. “Water scarcity is increasing. There are areas in Texas running out of groundwater in stage four drought conditions. The best time to have started to use AWGs was yesterday — the second-best time today.” The post The Startups Producing Drinkable Water from Air appeared first on Reasons to be Cheerful.

There’s little argument that The Beatles Anthology documentary released in 1995 is the definitive story of The Beatles, the greatest rock and roll band of all time. It also raised the rock doc bar incredibly high for all that followed. Along with the multi-part television series and companion book came three double CDs filled with highly sought-out (and bootlegged) early takes, alternate takes, conversation and various other unreleased Beatle tidbits officially and properly issued on Apple Records. The three surviving Beatles — Paul McCartney, George Harrison, and Ringo Starr — were all in on sharing their memories, old footage, music, and two “new” songs conjured up from John Lennon demos. As with many things Beatles in this day and age, celebrating the 30th anniversary of The Beatles Anthology means more untapped treasures from the vault and a couple AI-driven enhancements for a new generation. And undoubtedly, the droves of the faithful from previous generations as well. The expanded 12 LP and eight CD Anthology Collection sets include the original three volumes, plus a new fourth volume. The first three (Anthology 1, 2, 3) from 1995-96, which include the same track lists and liner notes, have been remastered by Giles Martin. With many of the Anthology recordings in development and often not up to scratch in the first place (which is why they didn’t make it to the original albums), it’s difficult to say if remastering them is any improvement. Consult tour local audiophile for guidance there. That, of course, doesn’t delineate from the purity and value of what’s here. Where else are you going to get unreleased gems like George Harrison’s “Not Guilty,” John Lennon’s “What’s The New Mary Jane,” Paul McCartney’s “Junk,” and the “Los Paranoias” impromptu jam (among many others). Anthology 1, which begins with the then “new” track “Free As A Bird,” mostly comprises those key early songs that helped transform Lennon, McCartney, Harrison, and later Ringo Starr into the tight little band they became. Mixing originals like “In Spite Of All The Danger,” “You’ll Be Mine” and “Hello Little Girl” with covers of Buddy Holly’s “That’ll Be The Day” and the traditional “My Bonnie” allowed the band to metamorphose into capable songwriters and musicians. At the same time, their unique sense of humor started to crystallize around the fore. Pete Best receives credit for those early cuts (for which he was reportedly well compensated), but once Starr climbed aboard, the Beatles were suddenly on a fast track to worldwide domination. Early takes of “Can’t Buy Me Love,” “Hard Day’s Night” and “I’ll Be Back” are prime examples of how the band and producer George Martin would take the basic framework of a song or idea, then sculpt and build it, introducing different parts, instruments, voices, orchestrations, textures, beats, effects, and their own imaginations into the mix. That approach was at the heart of their process. Anthology 2 begins with the second then “new” song “Real Love” and picks up from where Anthology 1 leaves off. At this stage, with Abbey Road becoming their “creative workshop,” the Beatles began making some of their greatest strides as music and taste makers. Take 5 of “You’ve Got To Hide Your Love Away” is Lennon as candid and raw as can be. Two originals —“If You’ve Got Trouble” (with Starr on lead vocals) and “That Means A Lot” — that appear here were meant for the Help soundtrack, but didn’t make the grade (they were starting to get choosey). The latter was recorded by American singer to P.J. Proby, managed by Brian Epstein, who we all know represented the Beatles. Of course, the early mix of “Tomorrow Never Knows,” as much of a lovely treat that it is, may well be outdone by the multiple takes of “Strawberry Fields Forever,” a discourse in musical composition and arrangement if there ever was one. The new stereo mix of “You Know My Name (Look Up The Number)” somehow makes it even stranger, while take 16 of “I Am The Walrus” is stark, yet powerful without the embellishments that turned it into such a lurid and wild piece. If the early take of “Across The Universe” that closes out Anthology 2 doesn’t lull you into a trance, nothing ever will. Much of what appears on Anthology 3 has found its way to expanded versions of The White Album, Abbey Road, and Let It Be. “A Beginning,” an unissued George Martin orchestral piece intended to precede Starr’s “Don’t Pass Me By” on The White Album, sweetens the set from the get-go. Six demos from the fabled Esher sessions would find homes in their final states on The White Album and Abbey Road, with the exception of “Junk,” which McCartney unintentionally saved for a future Wings release. The aforementioned “Not Guilty,” “What’s The New Mary Jane,” and the “Los Paranoias” jam are slotted in with more demos from The White Album to finish the first half of Anthology 3. The second half zeroes in on the Get Back sessions, as well as Abbey Road. If you watched the three-part Get Back documentary series, you may well have seen, as well as heard, many of these takes. Nevertheless, the loose and funky run-through of “I’ve Got A Feeling” included here could have made the cut if Lennon hadn’t flubbed up the end. If anything, the Anthology Collection shows the world the members of the Beatles were every bit as susceptible to human foil and folly as anyone else. While it’s nice to hear the demo of “All Things Must Pass” intended for Beatles transformation, you can’t deny George Harrison’s solo rendition reigns supreme. At least the boogie undercurrent going on with the “Old Brown Shoe” demo the guitarist presented wasn’t lost in the stampede. “Because” in a cappella will undoubtedly give you goosebumps, while the remix of “the End,” which brings in more guitar from Lennon, McCartney, and Harrison, undoubtedly brought forth a well of tears in 1996 from many believing that was all they’d ever get from the vaults. We now know that assumption was far from the truth. Which brings us to the previously unreleased Anthology 4, the one completists, elitists, and assorted aficionados are most curious about. You could say they swept up the floor of what was left over from the original three-volume Anthology, and this is what they came up with. That, of course, would be a gross miscalculation. It does run the gamut, beginning with the second take of “I Saw Her Standing There” right up to “Now And Then,” the third and final “new” Beatles song that appeared on 2023’s The Beatles 1967 – 1970 reissue. Multiple takes of “This Boy,” “Tell Me Why” and “Every Little Thing” reveal how quickly the Beatles were able to rebound, keeping things convivial and fun as the clock ran on what were then very formal, restrictive recording sessions. The first take of Harrison’s “I Need You” is a true sign of an emerging songwriter within the ranks of two others who’d already found international acclaim. You’ll struggle to catch your breath after hearing the first take of “In My Life” in all its plaintive innocence. After a few false starts and Lennon’s request for some cokes and cannabis, the group finally snaps together takes 10 and 11 of “Baby, You’re A Rich Man,” which was intended for the Yellow Submarine film but ended up as a B-side. One more take landed it in the can. The BBC rehearsal of “All You Need Is Love” follows and seems to be pretty much where it needed to be for its primetime worldwide television debut. The rolling guitars should have been left in. The first take of “Good Night” that appears on Anthology 3 is more or less a rehearsal as the arrangement was far from what it became. On Anthology 4, the fifth take is combined with take 10 to create a fuller guitar mix and Lennon, McCartney and Harrison’s backing vocals to Starr’s lead. Obviously, once the orchestra was brought in, Starr was the only Beatle left standing in the final mix. Hearing Eric Clapton find his mojo on “While My Guitar Gently Weeps” offers that rare peak at another player figuring his way into Beatle universe. Going back to the Get Back documentary series, you may recognize the rehearsal (more of a working out) of “Octopus’s Garden” where Starr plays through the verses and Harrison refines the edges. As with the isolated strings of “Eleanor Rigby” that appear on Anthology 2, there are orchestral sections featured on Anthology 4. This flavor of ornamentation often taken for granted on the final product is especially poignant on “She’s Leaving Home,” with an arrangement written by Mike Leander at McCartney’s behest instead of George Martin, who was committed elsewhere. Martin did produce the session and conducted the orchestra, with the first take here a keeper used in the final mix. The strings on take 29 of “Something” cannot overstate the breadth they add to what is arguably one of George Harrison’s greatest songs. What many might find most appealing about Anthology 4 are the new mixes of “Free As A Bird” and “Real Love.” Using a new de-mixed technology derived from AI, Lennon’s vocals are lifted out of the static mire they couldn’t remove in 1995 and sound much more prominent. The guitars on “Free As A Bird” also ring brighter around the verses. After “Now And Then,” the last Beatles song, finishes off the set, you may ponder (aloud or silently): Is there more? Indeed, for all the revelations the Anthology Collection recordings provide, there’s still a few missing nuggets fans would love to wrap their ears around. The “real” version of the never-released “Carnival Of Light,” which supposedly inspired “Revolution #9,” is on everybody’s wish list. The 27-minute “Helter Skelter” jam from July 18, 1968, is another one the faithful, including renowned Beatles authority Mark Lewisohn, would like to see come out. A 12-minute version (take 2) on Anthology 3, cut down to 4:37, is a mere tease, and a three-minute, second version of take 17 from September 9 that appears on Anthology 4 does little more than elicit a woozy “Mark that Fab” comment from McCartney. You can also add the 15-minute “Dig It” jam edited down to its 51 seconds on the Let It Be album to the short list of Beatles songs held back from official release anytime soon. For now, contend yourself with 191 tracks, plus three booklets full of photos, the 1996 interviews conducted by Beatles press agent and adviser Derek Taylor, and track notes written by Kevin Howlett. With The Beatles Anthology documentary freshened up and ready to make the 2025 holiday season even more fab, it’s only a matter of time before more artifacts are uncovered and sent to the lab for rebirth. ~ Shawn Perry Purchase Anthology Collection

A roundup of mysterious, paranormal and strange news stories from the past week.

Five theatrical mask reliefs, including a rare depiction of a philosopher, have been discovered in the Roman theater of Kastabala Ancient City, southern Turkey. Masks have been discovered in previous seasons of excavations at the theater site. With this year’s five, the total has now risen to 36. Associate Professor Faris Demir, the excavation director, said the newly uncovered masks offer significant clues about the artistic practices of the period. Among the latest finds is a striking relief of an elderly philosopher, a discovery he says enhances Kastabala’s importance as a cultural crossroads of Eastern and Western traditions. Demir noted that philosopher depictions are rarely seen among theatrical mask reliefs. “This figure is strong evidence that the Kastabala Theater functioned not only as a venue for tragedy and comedy but also as a space where philosophical and literary discussions took place,” he said. Founded in the Late Hittite period about 2,700 years ago. It was a sacred city from its earliest origins. A 2023 excavation uncovered the remains of a 6th century B.C. temple dedicated to the Luwian goddess Kubaba, the first temple to Kubaba ever discovered, although they are known from ancient texts. In the Hellenistic period (ca. 2nd century B.C.), the city had a sanctuary of Artemis Perasia which was unique for its ritual of priestesses walking barefoot on burning coals. Kastabala became part of the Roman Empire’s province of Cappadocia in the 1st century. The Roman theater dates to around this time. It had a capacity of around 5,000 people. Excavations of the theater area have unearthed a significant quantity of architectural features from the stage structure. There are large, well-preserved sections surviving, allowing archaeologists to understand the original design of the stage, and perhaps even reconstruct part of it.

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