Posted by Adam Wills
Less than a year after the original discovery, the Montauk Monster is back!
Montauk-Monster.com has published a photo it claims is a new carcass that washed up on a Long Island shore more than a week ago. After shooting photos and video, site’s owner Nicky Papers says the current whereabouts of the new Montauk beastie is being kept a secret.
Nicky talked with GeekHeeb about what he saw and where things currently stand with the carcass.
On May 5, Nicky said he was contacted by a couple via e-mail who claimed to have found what they thought was a Montauk Monster. Nicky drove an hour to the site in Southhold, Long Island, where he took more than 70 photos of the carcass and shot video:
Reiterating what he wrote in his blog post, Nicky said, “It smelled like low tide and rotten garbage. It smelled like s—-. It was awful. It really was nauseating getting close.”
He said the body—about 3 feet long and 1 to 1 1/2 feet wide—was bloated and looked like it had been floating for a long time. “It really, really reminded me of what washed ashore last year,” he said.
Nicky describes viewing the carcass in terms someone might use for Halley’s Comet or floor seats at a Lakers game. “It was one of those rare and special opportunities that you only get in life one or two times,” he said.
Much like Courtney Fruin and Rachel Goldberg, who were with Jenna Hewitt when she took the original Montauk Monster photos last year, Nicky believes the creature could be from the Plum Island Animal Disease Center. Distrust of the facility runs deep in the surrounding communities, and some believe the Montauk Monster is an escaped genetic experiment.
“The reason being is just because of its proximity to where these three now-documented beasts have been washed up,” he said.
Since that first discovery at the end of July 2008, two more so-called Montauk Monsters were spotted on beaches – one was a carcass found by Christina Pantalone and another was found in New London, Conn., last October that’s being called the Clapsadle Carcass.
Representatives from Plum Island could not be reached for comment. But last year, Plum Island Director Larry Barrett denied any link between the first Montauk Monster and the Homeland Security-run facility: “I can state categorically that it is not associated with the work performed at Plum Island Animal Disease Center (PIADC). PIADC serves as the Nation’s first line of defense against foreign animal diseases of livestock by identifying such diseases through diagnostic testing and by developing vaccines to protect livestock from those diseases.”
Following the first photos, consensus among experts was that the beaked creature was most likely a dead raccoon. (Despite common misconceptions, raccoons are medium-sized creatures that can grow to 3 feet long and weigh up to 30 pounds.)
After taking photos and shooting the video, Nicky said the couple bagged up Montauk Monster 4.0 and took it to their Southhold home.
“From our last conversation, they said they contacted Plum Island, they’ve contacted local papers, and it was in a cooler full of ice,” he said.
But after going public with the photo and his story last Sunday, Nicky said the couple has stopped returning his phone calls and have cut him out of the Montauk Monster loop.
“I think they got really weird once this hit the media,” he said. “They’re not responding to my calls. Honestly, I think they’re a little nervous at this point because all eyes are on them.”
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May 7, 2009 | 4:00 pm
Posted by Adam Wills
“Star Trek,” the new film directed by J.J. Abrams, has been with us in one form or another since the original TV series hit the air in 1966. After the show was cancelled in 1969, there was “Star Trek: The Animated Series,” the film franchise as well as the spin-offs: “Star Trek: The Next Generation,” Star Trek: Deep Space Nine,” “Star Trek: Voyager” and “Star Trek: Enterprise.” This is to say nothing of the hundreds of novels that have been written, or the fan-generated episodes and stories.
Jewish themes abound in such “Trek” novels as “Well of Souls,” “The Wounded Sky” and “Spock’s World.” Biblical figures like Moses and David are mentioned explicitly while Jewish themes are intimated in the movie franchise and the various television series. But despite Jewish writers (David Gerrold, Harlan Ellison to name a few) and numerous Jewish stars (William Shatner, Leonard Nimoy, Walter Koenig, Brent Spiner, Armin Shimerman) Jewish imagery and mentions of Jews as a people tend to be fleeting or covered up in “Trek” films and shows.
Finding individual Jewish moments in a 43-year-old goyishe sci-fi series is no easy task. But we aim to please, so without further ado here are The Top 5 Jewish Moments in “Trek”:
5. Chasids in Space
A pair of Orthodox Jews pass by a newspaper stand just before the opening credits of the “Star Trek: Deep Space Nine” episode “Far Beyond the Stars,” which features the Prophets showing Capt. Benjamin Sisko a vision of 1950s New York. In the same episode, the show’s Armin Shimerman (Quark) gets to ditch his Ferengi makeup to play a left-wing Jewish writer who works at a sci-fi magazine.
4. An Unearthly Shoah
In the “Star Trek” episode “Patterns of Force,” Leonard Nimoy and William Shatner (two of the original series’ three Jewish actors) dress up like Nazis to infiltrate the planet Ekos, which has adopted National Socialism as a way of bringing order to their society. The crew finds that the Ekosians have implement a Final Solution to rid their world of the neighboring Zeons. Oy!
3. Worf’s Jewish Parents
In the “Star Trek: The Next Generation” episode “Family,” Jewish actors Theodore Bikel and Georgia Brown play the kvelling adoptive parents of Klingon security officer Worf. Watch about three-quarters into this YouTube clip and you tell me Sergey and Helena Rozhenko aren’t Jews…
2. Einstein—Card Shark
In “Star Trek: The Next Generation,” the android Data plays poker with several famous physicists, including Einstein (who’s won quite a tidy sum) and the real Stephen Hawking.
1. The Vulcan Salute
Leonard Nimoy had to come up with a greeting for Mr. Spock’s fellow Vulcans, so he recalled a time when he peeked during the blessing by the Kohanim. According to Rabbi Yonassan Gershom, of TrekJews.com,“The actual blessing is done with both arms held horizontally in front, at shoulder level, with hands touching, to form the Hebrew letter ‘shin.’ This stands for the Hebrew word for ‘Shaddai,’ meaning ‘Almighty [God].’ Nimoy modified this gesture into one hand held upright, making it more like a salute. So, technically, the Vulcan greeting is not the same thing as the ceremonial Jewish blessing. Still, the resemblance is close enough to evoke instant recognition among knowledgeable Jews.”
And as a bonus ... one of my favorite Jewish Trek moments on “Frasier.” Frasier reads what he thinks is a transliterated Hebrew prayer at his son’s bar mitzvah. Instead, his Jewish Trekker co-worker has accidentally written it in phonetic Klingon:
May 7, 2009 | 12:08 pm
Posted by Adam Wills
J.J. Abrams goes where no “Star Trek” director has gone before by giving fans what they’ve wanted (for nearly a decade): Kirk and Spock in Starfleet Academy. This might just make up for that whole “Enterprise” TV series debacle.
At its core “Trek” is a reboot of the 1960s television franchise. Screenwriters Alex Kurtzman and Roberto Orci pay homage to all that has come before—like a sequence plucked straight from a “Wrath of Khan” discussion, in which Kirk finds a unique solution to Spock’s unbeatable Kobayashi Maru test. But the writers also wipe the 43-year-old slate clean to begin the adventures anew by providing us with a much-needed gritty edge that “Trek” films have lacked since 1982.
This new approach is tempered with more relationship drama (something for the 20-somethings and teens raised on “The O.C.” or “The Hills,” but not “Trek”) and the kind of action-adventure sequences that make “Star Wars” films fun to watch even when they’re bad. It also sprinkles in a little Beastie Boys for good measure. As the creator of “Lost,” Abrams knows how to take science fiction and shape it into a hip, compelling work that’s accessible for mainstream audience.
What we get with “Trek” is a film that is sexy and contemporary, featuring actors who easily wrest the roles of the Enterprise crew away from the original cast without resorting to mimicry. Chris Pine’s Kirk is equally smart and arrogant, but doesn’t always get the girl or win the fight. Zachary Quinto (Sylar from “Heroes”) plays up Spock’s half-human/half-Vulcan identity confusion by running emotionally hot and cold throughout the film, including romance without the pretext of pon farr. And in this “Trek,” Kirk and Spock are rivals on a variety of levels – from the captain’s chair to the affections of a female crew member.
But for all the film’s glint and style, it leaves you wanting something more in the way of substance. The plot, as IGN’s Orlando Parfitt rightly describes it, is “a mess.” We get a two-dimensional enemy with the Romulan commander Nero (Eric Bana), whose presence is merely a device to rewrite franchise history. We also never get the sense that the Enterprise crew is ever in any real danger – well, except maybe from each other, or if they’re wearing a red shirt (or a red high-altitude jump suit).
***SPOILER ALERT BEGIN***
The plot is fairly simple, despite time-travel twists: alter-kacker Spock (Leonard Nimoy), in his continuing efforts to help his ungrateful Vulcan cousins, the Romulans, is unable to save the Romulan homeworld from being destroyed by its sun, which has gone supernova (think “Superman”). Spock inadvertently creates a singularity (read: black hole), which sucks a menacing-looking Romulan mining ship into the past – to the exact day and point in space where James T. Kirk was born – and an ensuing battle creates a parallel timeline that is similar to, but different enough from the “Star Trek” we know and love. The Romulan commander, Nero, armed with knowledge of the past and a mining ship that mysteriously has advanced weaponry but no drainage for standing water on its bridge, begins a decades-long campaign to rewrite history by destroying the Federation, planet by planet, in order to make the universe safe for Romulans. (But won’t their sun still go supernova? – No, don’t think about the plot … bad… eat your popcorn, enjoy the special effects! Oooh, look, a bar fight!) Young Kirk and Spock, meanwhile, struggle to fit in and find their niche in a timeline where they can’t stand one another. So, it’s up to alter-kacker Spock, who has also accidentally traveled back in time, to encourage Kirk to work together with his younger self to repel Nero’s illegal space-drilling-and-planetary-destruction operation.
***SPOILER ALERT ENDS***
The film’s starship and battle sequences, by Industrial Light & Magic, are nothing short of spectacular. I had reservations after seeing stills of the re-imagined Enterprise several months ago. But the ship, when in motion, comes across as a passable hybrid of the 1960s Enterprise and the film franchise version. The ship’s disparate interiors are, however, distracting—the engine room looks like an oil refinery welded to a brewery, while the bridge is so polished and shinny that it could double as a futuristic BMW showroom.
It’s easy to knock “Star Trek’s” flash over substance, but the film can be forgiven for its deficits. After all, this is the first “Trek” film that anybody could ever describe in terms of being “cool” since “Star Trek IV” (which non-fans always seem to refer to as: “You know, the one with the whales….”). Abrams has successfully moved this franchise away from the geek-oriented audience, which was already dwindling with each successive “Trek” movie, along with Paramount’s box-office receipts, and opened it up to, well, EVERYONE!
Now that the stage has been set for the next adventure and we’ve got some of the character development out of the way, let’s hope we get a worthy villain. Klingons, perhaps? And dare I dream: a “Trek” script co-written by Kurtzman, Orci and Harlan Ellison?
On a scale of “Wrath of Khan” (best) to “Final Frontier” (worst), this lands somewhere between “Search for Spock” and “Undiscovered Country.” Sit long and prosper.
Also, given that this is J.J. Abrams – be on the lookout for Easter eggs:
• Longtime Abrams friend Greg Grunberg (“Heroes”) has a voiceover cameo, yelling over a speakerphone at young Kirk who steals a joyride in an old Corvette to the strains of The Beastie Boys’ “Sabotage.”
• When Uhura orders a drink in the beginning, there’s mention of Abrams’ Slusho brand slurpee-like drink from “Alias” and “Cloverfield.”
• A tribble can be seen on the desk when we first meet Scotty.
• Kirk’s evac kit features the letters and numbers “NCC-1701-D,” the registry number of the “Next Generation” Enterprise.
May 7, 2009 | 1:59 am
Posted by Adam Wills
The Macintosh was no exception. MUGs, or Macintosh user groups, provided new users with an opportunity to speak with folk who could expand their digital horizons by suggesting fixes, tricks or software. And while these groups still exist, the Internet has taken a major bite out of their support base. Many of those participating in MUGs today are the old guard – the die-hard Mac user 1.0, who remember a day when 64K RAM was a big deal. In an era where answers and support are a few mouse clicks away, it’s proving difficult for MUGs and other user groups to attract new blood.
This turning point is the focus of “MacHEADS,” a DIYer documentary about Mac fanboys by Tel Aviv filmmakers Kobi and Ron Shely, which is currently the No. 7 documentary VOD rental on iTunes and the No. 18 VOD doc download on Amazon—not bad for a film that’s been on the charts since its release in January, but has yet to be screened at a festival or shown in a theater. The feature-length film takes us from the earliest days of the Apple Macintosh to the moment when Steve Jobs announced Apple was dropping the word “computers” from its name at MacWorld 2007. (Today, Apple has totally withdrawn from MacWorld, reaching out to the public directly through its brick-and-mortar Apple Stores, the iTunes Store and its current Get a Mac television campaign – otherwise known as PC vs. Mac.)
The Macintosh was first announced to the world on Jan 22, 1984, during the third quarter of Super Bowl XVIII. The commercial, directed by Ridley Scott, cost $1.5 million, aired once and didn’t even feature the product (save for an illustration on the heroine’s tank top). The Mac went on sale two days later, generating an enthusiastic following across the United States.
“MacHEADS” director Kobi Shely, who grew up without a computer, didn’t encounter his first Apple product until 1997, when he saw a large post-production Mac system at an Israeli studio. Three years later, while attending Hunter College’s film school, he bought his first Mac based on a friend’s recommendation (a shiny Power Mac G4 Tower, 450mhz, with an Iomega Zip drive). He enjoyed its ease of use, but would never have described himself as a Mac fanatic.
The inspiration for “MacHEADS” came in 2006, when Kobi was shooting his short film “Intervention.” During a break, a Windows vs. Apple argument broke out among the crew, and Kobi was struck by the Mac users’ passion. He checked and found that no one had made a film about Mac fanboys/fangirls—those people who look to Steve Jobs as a kind of father figure.
Sony, Harley Davidson have their devoted followers, but Apple affects people’s lives in new, personal ways, Kobi says
Kobi and his brother, Ron, who served as the film’s co-producer and co-writer, set out to document what makes these Macheads so devoted.
“The interesting story that appealed to us is that it’s a love story between users and Apple,” Kobi said.
“There’s a feeling of belonging,” Ron Kobi said.
The brothers traveled the United States – mostly along the West Coast—shooting footage of Mac fanatics talking about their love for Apple, from the DigiBarn Computer Museum to a mammoth lineup for the first iPhone in New York. Early in the film, the brothers visit sex blogger/tech journalist Violet Blue, who confesses, “I have never knowingly slept with a Windows user.”
In the end, the Shelys sunk $150,000 of their own money into the 45-minute documentary, which blends original interviews with archival footage of Steve Jobs, The Woz and Guy Kawasaki as well as news reports and past MacWorld keynotes.
The story the brothers found is one of a changing, evolving relationship between the company and its devotees, many of whom have been boosters of the product for nearly 25 years, even during its decline in the mid-1990s.
“It was important [early on] for Apple to get feedback from the user groups, and try to have a dialogue with them to have better products and better solutions. Today Apple is more about one-way interaction,” said Ron Shely, referring to online forms and e-mail.
Both brothers insist Apple isn’t turning its back on fans by abandoning MacWorld. Instead, they say the company is focusing on a 2.0 outreach to Mac fans, especially the larger mainstream audience weaned on iPods and iMacs.
“When Apple pulled out of MacWorld, we got an e-mail from CNET asking what we thought about the move,” Kobi said. “When we looked at the film again, we kind of got our prediction right. We talked a lot about that there is Apple and there is the user group, but that they’re very separate.”
For more information about MacHEADS, which is available on DVD, visit macheadsthemovie.com.
May 6, 2009 | 7:05 pm
Posted by Adam Wills
Cable-access-a-rific: Zach Galifianakis asks the tough questions every geek would like to pose to Natalie Port-man (Funny or Die)
May 1, 2009 | 6:55 pm
Posted by Adam Wills
Last night’s Hollywood premier of this summer’s eagerly anticipated “Star Trek” drew a diverse crowd, from classic “Trek” stars to Heidi Klum and one of the “Girls Next Door.” Among the J-listers at Grauman’s Chinese Theater walking the black carpet (red carries a negative connotation in “Trek”): Hank Azaria, Amanda Bynes, Walter Koenig (the original Chekov), Christopher Mintz-Plasse (McLovin from “Superbad”) and Seth Green, who joined the film’s MOT talent Anton Yelchin (Chekov), Winona Ryder (Amanda, Spock’s mom) and Leonard Nimoy (as an alter-kacker Spock), screenwriter Alex Kurtzman, producer Damon Lindelof, and, naturally, director J.J. Abrams.
“Trek” veteran George Takei (Sulu) joined Koenig and Nimoy. But Nichelle Nichols (Uhura) apparently had a conflict and William Shatner was a no-show. (Shatner called from Kentucky today to promote his new comic on KROQ’s morning show) Anthony Pascale of TrekMovie.com said that all the living actors from the original series had been invited. He added that Jonathan Frakes and Marina Sirtis from “The Next Generation” were there, and Brent Spiner’s tweets seem to indicate he walked in late.
Stars from “Heroes” (Hayden Panettiere, Masi Oka), “Lost” (Matthew Fox, Jorge Garcia) and “Fringe” (Anna Torv, John Noble) turned up, along with Klum, Kristin Cavallari and Kendra Wilkinson, whose audience Abrams is courting with this sexed-up “Trek.”
Nary a Trekker was wearing a costume in the stands, but plenty were sporting studio-supplied Vulcan salute foam hands (I didn’t have the heart to tell them it’s actually a Jewish priestly blessing). The fannish among the crowd put their sci-fi pride on display when they stood and honored “Galactica” guru Ron Moore by repeatedly shouting “So say we all!”
Director J.J. Abrams popped into the overflow screening (alas, I arrived 10 minutes too late to get into the main screening), grabbed the mic and joked, “OK, everyone, let’s sing along!” (Something Dr. Horrible himself, Neil Patrick Harris, who was at the event, would appreciate.) Trying to get all his thoughts out, the fast-talking, New York-born director stumbled over his own words as he excitedly explained to the crowd that his take on the classic “Trek” was one he hoped die-hard fans and noobs (my word, not his) would appreciate and embrace.
I’ll be back with my take on the film...
March 20, 2009 | 7:25 pm
Posted by Adam Wills
I’m in Israel this week for a tour of Ben-Gurion University (more good stuff to come, so stay tuned to this blog). Unfortunately, that means I’ll be missing tonight’s two-hour “Battlestar Galactica” finale. Frak! (No spoilers in the comments section, please.)
Astronaut Garrett Reisman, the first Jew to live aboard the International Space Station, was a fan of the original 1970s “BSG” and selected the reimagined series as one of the four television programs he could watch during his three-month mission in 2008. And if the editors smile kindly on Reisman tonight, he might just end up in the “Galactica” finale, playing a Colonial Marine (who gets killed within 10 seconds of being shown on camera). If he doesn’t make the cut, maybe he’ll end up in the deleted scenes on the DVD.
Reisman wrote about his “Galactica” experiences for Variety.com in January:
The coolest opportunity ever to watch “Battlestar Galactica” has to be watching the show while orbiting the planet called Earth.
There was some downside to watching the show in space, however. First, after seeing battlestars equipped with faster-than-light drives and bristling with laser cannon you can’t help but feel your space station is kind of lame. Second, after a few episodes you start getting the sneaking feeling that at least one of your crewmates is really a Cylon.
Still, there was nothing like watching “BSG” while floating along in zero gravity. First I’d go through the modules turning off all the lights that I could. There would still be a few blinking lights and LEDs on the comm panels and the other equipment, and when the window shutter was open occasionally the earthshine would light up the room with a faint blue glow.
Then I’d float up to the laptop, which we used to watch the show. Holding on gently with my thumb and index finger I’d lose myself in the drama of the struggles of the humans and the Cylons. Surrounded by the sounds of the space station, the humming of the pumps, the whirring of the fans and the clicking of the valves it was easy to blur the line between science fiction and science fact.
I am a fan of science fiction in general and have fond memories of the original “Battlestar Galactica,” having watched it as a kid. But the main thing that appeals to me about the new “BSG” is the way contemporary issues are portrayed as an allegory, with ambiguity and complexity. Issues are not presented in black and white with clear answers; rather, the intention of “BSG” is often to intentionally make the viewer uncomfortable and challenge their assumptions. As an engineer and scientist who strives for objectivity I find that refreshing.
So I kept watching the show throughout my training and my time in space. Watching from Star City, Russia, during training for my mission had also been otherworldly. Star City is a Russian air force base outside Moscow where every cosmonaut, starting with Yuri Gagarin, has trained to fly in space. During the Cold War, the very existence of Star City was a closely guarded secret.
Things have improved recently, but when my commander, Peggy Whitson, and I were there the years of neglect after the collapse of the Soviet Union were evident. The buildings were showing their age. After a long day of training, it was easy to get immersed in “BSG” since the grit and stark functionality of the halls of Star City were so similar to the halls of Galactica. The phones there still had cords, too, like the phones on Galactica.
Later, when Peggy and I were in space together, we had a video conference with Ron Moore and David Eick, the producers of the show. They talked to us about coming full circle since Ron and David were drawn to science fiction by the drama of human spaceflight.
I also told them of one thing that I found very strange about the show for the first time after viewing it from space: It struck me as just wrong that all the characters were walking around the ship like there was still gravity up there. Floating is one of the most pleasurable and fantastic experiences of spaceflight and I cannot believe that any spacefaring people would deny themselves that joy. They explained that it would cost almost as much to simulate zero-gravity on a TV show as it would to go into space for real.
When I got back to Earth, Ron was kind enough to invite me up to Vancouver to visit the set. As my visit approached I was cautioned that there would be some limited nudity on the set that day. I replied that I was perfectly fine with that as long as Dean Stockwell was not involved.
Meeting members of the cast and crew was fantastic and it became immediately clear that the “BSG” team was as closely knit as the team of astronauts and cosmonauts that I had the pleasure of working with in space.
But the coolest part was getting to be a Colonial Marine.
I can’t tell you about the story arc of my character or the complex development of his psyche because—spoiler alert—I get blown to bits about 10 seconds after first appearing onscreen, (but not before one of the other Marines vomits all over me). It was some of the most fun I had ever had!
I was having so much fun I stayed on the set until 1 a.m. This was a bit of a problem since I had a 6 a.m. flight out of Seattle. I drove through the night and went straight to the airport. About 24 hours later, after two flight connections, I found myself in a bar in New York City.
February 23, 2009 | 5:12 pm
Posted by Adam Wills
Weizmann Advances Wetware With Nerve Networks (JPost)
A researcher with the Weizmann Institute’s Physics of Complex Systems department, along with some of his former students, have created circuits and logic gates made of live nerves grown in the lab, which in the future could be used to link the human brain to computers.
Global Crisis Has Cost Israeli Universities $225M (Forbes/AP)
The public body overseeing funding of Israeli universities and colleges says the global financial crisis has so far cost them about $225 million in lost revenues.
Microsoft Plans to Lay Off 50 in Israel (TradingMarkets.com)
Microsoft, which last Thursday announced that it would fire 5,000 employees worldwide, will lay off about 50 employees at its Israel R&D center in Herzliya.
Chip Maker Freescale to Lay Off 100 in Israel (Globes)
Freescale Semiconductor Inc will lay off 18 percent of its workforce at its Israeli subsidiary after consolidating its R&D activity last week.
Sex-Changing Sea Coral Found in Japan (ScienceDaily)
Trees do it. Bees do it. Even environmentally stressed fish do it. But professor Yossi Loya from Tel Aviv University’s Department of Zoology is the first in the world to discover that Japanese sea corals engage in “sex switching” too.
Earth’s Cracks May Contribute to Global Warming (Discovery Channel)
A Ben Gurion University of the Negev study hasfound that cracks in the earth exhale large quantities of gas, perhaps enough to affect global warming.
Can the Cedars of Lebanon Survive Climate Change? (Green Prophet)
A recent article in the Lebanese Daily Star emphasized the dangers of climate change and global warming to Lebanon’s remaining cedar groves, which have been a historic national symbol in the country since its founding.
Turning Stem Cells Into Blood Vessels (JHU Gazette)
Technion grad at Johns Hopkins is trying to coax human stem cells to turn into networks of new blood vessels that could someday be used to replace damaged tissue in people with heart disease, diabetes and other illnesses.
Caltech Professor Honored With Dan David Prize (Contra Costa Times)
Andrew Lange of the California Institute of Technology and Paul Richards of the University of California, Berkeley, were honored with the Dan David Prize for their discoveries providing the first undisputed evidence that the universe has a flat geometry.
Nanotech in Israel Jumps 150 Percent in 3 Years (Globes)
Israel National Nanotech Initiative (INNI) director Dan Vilenski reports that the number of research teams in nanotech has increased from 210 to 325 over the past three years.
Abu Dhabi to Subscribe to Israeli Satellite Service (YNet)
United Arab Emirates state said to sign contract with Israel’s ImageSat International giving it access to images taken by Eros-B satellite. Deal estimated at $20 million per year.