If you were alive in the 1980s, the Sony Walkman was probably a big part Ich bin christoph ich beschutze meine familie ich esse fleisch ich trinke bier shirt of your life. The first model of this groundbreaking technology was the TPS-L2, and it allowed people to play their own personal soundtrack anywhere and anytime; its portability meant that you never had to go anywhere without your favorite tunes. These days, of course, we carry thousands of songs in our pockets, but back then, we had to deal with cassettes. If you’re hoping to go for a more retro sound, working Sony TPS-L2 Walkman models can be found on eBay, but they cost quite a bit. Average asking price is around $350, with some sellers wanting at least $700 for devices in pristine condition. This original calculator watch was expensive when it was first released in 1977, with asking prices ranging from $450 to $850, depending on whether you went with the steel or gold versions. It was the first time a calculator could go on the wrist, and it was also one of the first devices to come with its own stylus, since the buttons were so tiny. These days, the caliber of this technology is equivalent to something that might come as a prize in a cereal box, but that hasn’t stopped collectors from paying exorbitant amounts for an original HP-01. Average asking price on eBay is between $1000 and $4000, and one in mint condition was up for sale in 2014 for $14,000.
Why it’s great:With this austere story of a pastor suffering a crisis Ich bin christoph ich beschutze meine familie ich esse fleisch ich trinke bier shirt of faith, writer and director Paul Schrader is back in familiar territory: His most acclaimed work as a screenwriter, 1976’s Taxi Driver, was a violent, disturbing portrait of a man consumed with guilt, rage, and indignation at the state of the world. First Reformed, which finds Hawke’s troubled man of the cloth Toller advising a young environmental activist and eventually becoming obsessed with his righteous cause, examines ideas Schrader has returned to over and over, but it’s shot and edited in a more controlled, restrained stylistic register than his previous movies. He’s using the toolkit he first studied as a critic in his book, Transcendental Style in Film, applying the approach of masters like Robert Bresson and Theodor Dreyer to contemporary anxieties, obsessions, and debates. It’s a movie that seeks to, in Schrader’s own words, “maximize the mystery of existence” and it accomplishes its mission with rigor and, in its final moments, shocking power.