The Art of Hand-Drawn Japanese Anime: A Deep Study of How Katsuhiro Otomo’s Akira Uses Light

Ani­ma­tion before the days of mod­ern com­put­er graph­ics tech­nol­o­gy may impress today for the very rea­son that it had no mod­ern com­put­er graph­ics tech­nol­o­gy, or CGI, at its dis­pos­al. But if we real­ly think about it — and we real­ly watch the ani­mat­ed mas­ter­pieces of those days — we’ll real­ize that much of it should impress us on many more lev­els than it already does. Take, for instance, Kat­suhi­ro Oto­mo’s 1988 cyber­punk vision Aki­ra, one of the most beloved Japan­ese ani­mat­ed films of all time and the sub­ject of the Nerd­writer video essay above, “How to Ani­mate Light.”

Aki­ra, says Nerd­writer Evan Puschak, “is well known for its painstak­ing ani­ma­tion. Every frame of the film was com­posed with the clos­est atten­tion to detail, and that gives it an unmatched rich­ness and soul.”

But he points up one qual­i­ty of the pro­duc­tion in par­tic­u­lar: “I see the film’s many lights, their dif­fer­ent qual­i­ties and tex­tures, as a pow­er­ful motif and sym­bol, and a vital ele­ment of its genius.” But ani­ma­tors, espe­cial­ly ani­ma­tors using tra­di­tion­al hand-paint­ed cels, can’t just tell their direc­tors of pho­tog­ra­phy to set up a scene’s light­ing in a cer­tain way; they’ve got to ren­der all the dif­fer­ent types of light in the world they cre­ate by hand, man­u­al­ly cre­at­ing its play on every face, every object, every sur­face.

“The lines between shad­ow and light are dis­tinct and evoca­tive in the same way that film noir light­ing is,” Puschak elab­o­rates, “and like in film noir, light in Aki­ra is inti­mate­ly con­nect­ed to the city at night.” In the dystopi­an “Neo-Tokyo” of 2019, elab­o­rate­ly craft­ed by Oto­mo and his col­lab­o­ra­tors, “author­i­ty is as much a blind­ing spot­light as it is a gun or a badge” and neon “is the bit­ter but beau­ti­ful light that sig­ni­fies both the col­or­ful radi­ance and the gaudy con­sumerism of moder­ni­ty.” And then we have Tet­suo, “at once the pro­tag­o­nist and the antag­o­nist of the film, a boy who gains extra­or­di­nary psy­chic pow­er” that “so often pro­duces a dis­rup­tion in the light around him.” When the end comes, it comes in the form of “a giant ball of light, one sin­gle uni­form white light that eras­es the count­less arti­fi­cial lights of the city,” and Aki­ra makes us believe in it. Could even the most cut­ting-edge, spec­tac­u­lar­ly big-bud­get­ed CGI-age pic­ture do the same?

Relat­ed Con­tent:

The Phi­los­o­phy, Sto­ry­telling & Visu­al Cre­ativ­i­ty of Ghost in the Shell, the Acclaimed Ani­me Film, Explained in Video Essays

The Exis­ten­tial Phi­los­o­phy of Cow­boy Bebop, the Cult Japan­ese Ani­me Series, Explored in a Thought­ful Video Essay

How the Films of Hayao Miyaza­ki Work Their Ani­mat­ed Mag­ic, Explained in 4 Video Essays

The Ori­gins of Ani­me: Watch Free Online 64 Ani­ma­tions That Launched the Japan­ese Ani­me Tra­di­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Criterion Collection Films 50% Off for the Next 13 Hours: Get Great Films at Half Price

FYI. For the next 13 hours, the Cri­te­ri­on Col­lec­tion is run­ning a flash sale (click here), giv­ing you a chance to pur­chase “all in-stock Blu-rays & DVDs at 50% off.” Just use the pro­mo code COOP and get clas­sic films by Hitch­cock, Lynch, Welles, Kubrick, the Coen Broth­ers, and many oth­ers.

Stephen King’s 22 Favorite Movies: Full of Horror & Suspense

In 1999, Stephen King found him­self con­fined to a hos­pi­tal room “after a care­less dri­ver in a mini­van smashed the shit out of me on a coun­try road.” There, “roar­ing with pain from top to bot­tom, high on painkillers,” and sure­ly more than a lit­tle bored, he popped a movie into the room’s VCR. But it did­n’t take long before its cin­e­mat­ic pow­er got the bet­ter of him: “I asked my son, who was watch­ing with me, to turn the damn thing off. It may be the only time in my life when I quit a hor­ror movie in the mid­dle because I was too scared to go on.”

The movie on King’s boot­leg tape (“How did I get the boot­leg? Nev­er mind how I got it”) was The Blair Witch Project, Daniel Myrick and Eduar­do Sánchez’s ultra-low-bud­get hor­ror pic­ture that sent shock­waves through the inde­pen­dent film world at the end of the mil­len­ni­um.

Though nobody seems to talk much about it any­more, let alone watch it, King’s appre­ci­a­tion has endured: he wrote the essay about it quot­ed here in 2010, and you can read it in full at Bloody Dis­gust­ing. That same site has also pub­lished a list of fif­teen hor­ror movies King has per­son­al­ly rec­om­mend­edBlair Witch and beyond.

The list below com­bines King’s picks at Bloody Dis­gust­ing, which lean toward recent films, with a dif­fer­ent selec­tion of favorites, with a stronger focus on clas­sics, pub­lished just last month at the British Film Insti­tute. “I am espe­cial­ly par­tial – this will not sur­prise you – to sus­pense films,” the author of Car­rieCujo, and It writes by way of intro­duc­tion,” but “my favorite film of all time – this may sur­prise you — is Sor­cer­er, William Friedkin’s remake of the great Hen­ri-Georges Clouzot’s The Wages of Fear. Some may argue that the Clouzot film is bet­ter; I beg to dis­agree.”

  • The Autop­sy of Jane Doe (André Øvredal, 2016)  “Vis­cer­al hor­ror to rival Alien and ear­ly Cro­nen­berg”
  • The Blair Witch Project (Daniel Myrick and Eduar­do Sánchez, 1999)
  • The Changeling (Peter Medak, 1980)
  • Crim­son Peak (Guiller­mo del Toro, 2015)
  • Dawn of the Dead (Zack Sny­der, 2004) “Snyder’s zom­bies are, it seems to me: fast mov­ing ter­ror­ists who nev­er quit.”
  • Deep Blue Sea (Ren­ny Har­lin, 1999)
  • The Descent (Neil Mar­shall, 2005)
  • Duel (Steven Spiel­berg, 1971) “His most inven­tive film, and stripped to the very core.”
  • Les Dia­boliques (Hen­ri-Georges Clouzot, 1955) “He out-Hitch­cocked Hitch­cock.”
  • Final Des­ti­na­tion (James Wong, 2000)
  • Event Hori­zon (Paul W.S. Ander­son, 1997) “Basi­cal­ly a Love­craft­ian ter­ror tale in out­er space with a The Quater­mass Exper­i­ment vibe, done by the Brits.”
  • The Hitch­er (Robert Har­mon, 1986 and Dave Mey­ers, 2007) “Rut­ger Hauer in the orig­i­nal will nev­er be topped, but this is that rar­i­ty, a reimag­in­ing that actu­al­ly works.”
  • The Last House on the Left (Den­nis Iliadis, 2009)
  • The Mist (Frank Darabont, 2007)
  • Night of the Demon (Jacques Tourneur, 1957) “The hor­ror here is pret­ty under­stat­ed, until the very end.”
  • The Ruins (Carter Smith, 2008)
  • Sor­cer­er (William Fried­kin, 1977)
  • Step­fa­ther (Joseph Ruben, 1986)
  • Stir of Echoes (David Koepp 1999) “An unset­tling explo­ration of what hap­pens when an ordi­nary blue-col­lar guy (Kevin Bacon) starts to see ghosts.”
  • The Strangers (Bryan Berti­no, 2008)
  • Vil­lage of the Damned (Wolf Ril­la, 1960) As far as “British hor­ror (wrapped in an SF bow), you can’t do much bet­ter.”
  • The Witch (Robert Eggers, 2015)

Though clear­ly a movie fan, King also shows a will­ing­ness to advo­cate where many a cineaste fears to tread, for instance in his selec­tion of not just Sor­cer­er but sev­er­al oth­er remakes besides (and in the case of The Hitch­er, both the remake and the orig­i­nal). He even choos­es the 2004 Dawn of the Dead — direct­ed by no less an object of crit­i­cal scorn than Zack Sny­der — over the 1978 George A. Romero orig­i­nal.

But then, King has always seemed to pride him­self in his under­stand­ing of and root­ed­ness in unpre­ten­tious, work­ing class Amer­i­ca, which you can see in his nov­els, the var­i­ous film adap­ta­tions of his nov­els that have come out over the years, and the sole movie he wrote and direct­ed him­self: 1986’s Max­i­mum Over­drive, about machines turn­ing against their human mas­ters at a North Car­oli­na truck stop. King now describes that project as a “moron movie,” but as he clear­ly under­stands, even a moron movie can make a pow­er­ful impact.

Relat­ed Con­tent:

Stephen King’s Top 10 All-Time Favorite Books

Stephen King’s Top 20 Rules for Writ­ers

What Makes a Good Hor­ror Movie? The Answer Revealed with a Jour­ney Through Clas­sic Hor­ror Films Clips

Mar­tin Scors­ese Names the 11 Scari­est Hor­ror Films

Stephen King’s Top 20 Rules for Writ­ers

The Dai­ly Habits of Famous Writ­ers: Franz Kaf­ka, Haru­ki Muraka­mi, Stephen King & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Cult Director John Waters Hosts a Summer Camp for Naughty Adult Campers: Enrollment for the 2018 Edition Opens Today

I hat­ed sports at camp, so at this camp I think we should reward every team that los­es. This would be the camp where the fat peo­ple get picked first in dodge ball. 

- Film­mak­er-cum-Camp Direc­tor John Waters

I can think of many chil­dren who would scram­ble toward the refuge of the com­pas­sion­ate state­ment above, but Camp John Waters is a decid­ed­ly adult activ­i­ty.

The Pope of Trash shares actor Bill Mur­ray’s rel­ish for odd­ball set­tings in which he can meet the pub­lic as some­thing close to a peer. But where­as Mur­ray spe­cial­izes in sur­prise drop-in appear­ances—recit­ing poet­ry to con­struc­tion work­ers, crash­ing parties—Waters favors more immer­sive expe­ri­ences, such as hitch­hik­ing coast to coast.

His lat­est stunt brought him and 300 fel­low trav­el­ers to a rus­tic Con­necti­cut facil­i­ty (from Sept 22–24) that nor­mal­ly hosts cor­po­rate team build­ing events, fam­i­ly camps, and week­end get­aways for play­ful 20-to-30-some­things keen to make new friends while zip lin­ing, play­ing ping­pong, and par­ty­ing in the main lodge.

ART­news pegged the inau­gur­al ses­sion thus­ly:

 The Waters camp com­bines two of the more absurd devel­op­ments in con­tem­po­rary leisure: the celebri­ty-based get­away (see also: the Gronk Cruise) and a cer­tain recre­ation­al aes­thet­ic that seems to advo­cate for a sort of devel­op­men­tal pur­ga­to­ry.

Here,  there were no reluc­tant, home­sick campers, weep­ing into their Slop­py Joes. This was a self-select­ing bunch, eager to break out their wigs and leop­ard print, weave ene­my bracelets at the arts and crafts sta­tion, and bypass any­thing smack­ing of offi­cial out­door recre­ation, save the lake, where inflat­able pink flamin­gos were avail­able for aquat­ic lol­ly­gag­ging.

“Who real­ly wants to go wall climb­ing?” the founder him­self snort­ed in his wel­com­ing speech, adding that he would if Joe Dalle­san­dro, the Warhol super­star who accord­ing to Waters “for­ev­er changed male sex­u­al­i­ty in cin­e­ma,” wait­ed up top.

Naughty ref­er­ences to water sports aside, cer­tain aspects of the camp were down­right whole­some. Pine trees and s’mores. Canoes and cab­ins. Pre­sum­ably there was a camp nurse. (In Waters’ ide­al world, this posi­tion would be filled by Cry Baby’s Traci Lords.)

Waters’ rec­ol­lec­tions of his own stint at Maryland’s Camp Hap­py Hol­low seem pri­mar­i­ly fond. It makes sense. Any­one who tru­ly loathed sum­mer camp would be unlike­ly to recre­ate the expe­ri­ence for them­selves and their fel­low adults.

Camp Waters harkens back to the 1950s trans­gres­sions its direc­tor mer­ri­ly fess­es up to hav­ing par­tic­i­pat­ed in: unfil­tered cig­a­rettes and short sheet­ed beds, cir­cle jerks and panty raids. From here on out the sub­ver­sion will be tak­ing place in the sun­light.

Anoth­er spe­cial camp mem­o­ry for Waters is regal­ing his cab­in mates with an orig­i­nal, seri­al­ized hor­ror sto­ry. He retells it on Celebri­ty Ghost Sto­ries, above:

At the end there was this hideous gory thing and then all the kids had night­mares and their par­ents called the camp and com­plained — and I’m still doing that! It was the begin­ning of my career…. It was a won­der­ful les­son for me as a 10-year-old kid that I think helped me become what­ev­er I am today. It gave me the con­fi­dence to go ahead, to believe in things, to believe in behav­ior I couldn’t under­stand, to be drawn to sub­ject mat­ter I couldn’t under­stand.

Reg­is­tra­tion for Camp John Waters 2018 opens today at noon, so grab the bug spray and get ready to sing along:

There is a camp in a place called Kent

It’s name is Camp John Waters

For here we come to spend the night

For we all love to fuck and fight

Camp John Waters — rah rah rah!

Camp John Waters — sis­boom­bah!

Camp John Waters — rah rah rah!

Three cheers for Camp John Waters!

Could Waters’ own con­tri­bu­tion to such camp clas­sics as Meat­balls, Lit­tle Dar­lings and Wet Hot Amer­i­can Sum­mer be far behind?

Relat­ed Con­tent:

John Waters’ RISD Grad­u­a­tion Speech: Real Wealth is Nev­er Hav­ing to Spend Time with A‑Holes

John Waters Nar­rates Off­beat Doc­u­men­tary on an Envi­ron­men­tal Cat­a­stro­phe, the Salton Sea

The Phi­los­o­phy of Bill Mur­ray: The Intel­lec­tu­al Foun­da­tions of His Comedic Per­sona

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She attend­ed Gnaw­bone Camp in Gnaw­bone, Indi­ana, recap­tur­ing that hap­py expe­ri­ence three decades lat­er as the Mail Lady of Beam Camp.  Fol­low her @AyunHalliday.

20,000 Americans Hold a Pro-Nazi Rally in Madison Square Garden in 1939: Chilling Video Re-Captures a Lost Chapter in US History

Our country’s bipar­ti­san sys­tem ensures that every elec­tion will give rise to a win­ning side and a los­ing side—and depress­ing­ly, a siz­able group who refrained from cast­ing a vote either way.

There are times when the divide between the fac­tions does not seem insur­mount­able, when lead­ers in the high­est posi­tions of author­i­ty seem sin­cere­ly com­mit­ted to reach­ing across the divide….

And then there are oth­er times.

Ear­li­er in the year, the Women’s March on Wash­ing­ton and its hun­dreds of sis­ter march­es gave many of us rea­son to hope. The num­bers alone were inspir­ing.

But his­to­ry shows how great num­bers can go the oth­er way too.

With many Amer­i­can high school his­to­ry cur­ricu­lums whizzing through World War II in a week, if that, it’s dou­bly impor­tant to slow down long enough to watch the 7 minute doc­u­men­tary above.

What you’re look­ing at is the 1939 “Pro-Amer­i­can Ral­ly” (aka Pro-Nazi Ral­ly) spon­sored by the Ger­man Amer­i­can Bund at Madi­son Square Gar­den on George Washington’s 207th Birth­day. Ban­ners embla­zoned with such slo­gans as “Stop Jew­ish Dom­i­na­tion of Chris­t­ian Amer­i­cans,” “Wake Up Amer­i­ca. Smash Jew­ish Com­mu­nism,” and “1,000,000 Bund Mem­bers by 1940” dec­o­rat­ed the great hall.

New York City May­or Fiorel­lo LaGuardia—an Epis­co­palian with a Jew­ish mother—considered can­cel­ing the event, but ulti­mate­ly he, along with the Amer­i­can Jew­ish Com­mit­tee and the Amer­i­can Civ­il Lib­er­ties Com­mit­tee decreed that the Bund was exer­cis­ing its right to free speech and free assem­bly.

A crowd of 20,000 filled the famous sports venue in mid-town Man­hat­tan to capac­i­ty. 1,500 police offi­cers were present to ren­der the Gar­den “a fortress impreg­nable to anti-Nazis.” An esti­mat­ed 100,000 counter-demon­stra­tors were gath­er­ing out­side.

Police Com­mis­sion­er Lewis J. Valen­tine bragged to the press that “we have enough police here to stop a rev­o­lu­tion.”

The most dis­turb­ing moment in the short film comes at the 3:50 mark, when anoth­er secu­ri­ty force—the Bund’s Ord­nungs­di­enst or “Order Ser­vice” pile on Isidore Green­baum, a 26-year-old Jew­ish work­er who rushed the podi­um where bun­des­führer Fritz Julius Kuhn was fan­ning the flames of hatred. Valentine’s men even­tu­al­ly pulled them off, just bare­ly man­ag­ing to save the “anti-Nazi” from the vicious beat­ing he was under­go­ing.

Report­ed­ly he was beat­en again, as the crowd inside the Gar­den howled for his blood.

The uni­formed youth per­form­ing a spon­ta­neous horn­pipe in the row behind the Bund’s drum and bugle corps is a chill­ing sight to see.

Direc­tor Mar­shall Cur­ry was spurred to bring the his­toric footage to Field of Vision, a film­mak­er-dri­ven doc­u­men­tary unit that com­mis­sions short films as a rapid response to devel­op­ing sto­ries around the globe. In this case, the devel­op­ing sto­ry was the “Unite the Right” white nation­al­ist ral­ly in Char­lottesville, which had occurred a mere two days before.

“The footage is so pow­er­ful,” Cur­ry told an inter­view­er, “it seems amaz­ing that it isn’t a stock part of every high school his­to­ry class. But I think the ral­ly has slipped out of our col­lec­tive mem­o­ry in part because it’s scary and embar­rass­ing. It tells a sto­ry about our coun­try that we’d pre­fer to for­get. We’d like to think that when Nazism rose up, all Amer­i­cans were instant­ly appalled. But while the vast major­i­ty of Amer­i­cans were appalled by the Nazis, there was also a sig­nif­i­cant group of Amer­i­cans who were sym­pa­thet­ic to their white suprema­cist, anti-Semit­ic mes­sage. When you see 20,000 Amer­i­cans gath­er­ing in Madi­son Square Gar­den you can be sure that many times that were pas­sive­ly sup­port­ive.”

Field of Vision co-founder Lau­ra Poitras recalled how after meet­ing with Cur­ry, “my first thought was, ‘we need to put this film in cin­e­mas,’ and release it like a news­reel.”’  The Alamo Draft­house cin­e­ma chain screened it before fea­tures on Sep­tem­ber 26 of this year.

The Atlantic has pho­tos of the “Pro-Amer­i­can Ral­ly” and oth­er Ger­man Amer­i­can Bund-spon­sored events in the days lead­ing up to WWII here. Also read an account that appeared in a 1939 edi­tion of The New York Times here.

The Inter­na­tion­al Social­ist Review cov­ers the counter-demon­stra­tions in many eye­wit­ness quotes.

via Pale­o­Fu­ture

Relat­ed Con­tent:

Edu­ca­tion for Death: The Mak­ing of Nazi–Walt Disney’s 1943 Pro­pa­gan­da Film Shows How Fas­cists Are Made

Philoso­phers (Includ­ing Slavoj Žižek) and Ethi­cists Answer the Ques­tion: Is It OK to Punch Nazis?

Helen Keller Writes a Let­ter to Nazi Stu­dents Before They Burn Her Book: “His­to­ry Has Taught You Noth­ing If You Think You Can Kill Ideas” (1933)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

New Documentary on a Weird & Wonderful Dutch Library Now Free to Stream on Amazon Prime

Boing­Bo­ing recent­ly ran a short pro­file on a new doc­u­men­tary that takes you inside the intrigu­ing Rit­man Library. Locat­ed in Ams­ter­dam, the library hous­es 23,000 rare books from hermetic/esoteric/occult traditions–Alchemy, Her­met­i­ca, Cabala, Mag­ic, Rosi­cru­cian­ism, Mys­tic, Theos­o­phy, Freema­son­ry, Pan­s­o­phy and much more.

You can watch the trail­er for the doc­u­men­tary above. But, even bet­ter, you can now stream the com­plete 90-minute film on Ama­zon Prime for free. If you have an Ama­zon Prime account, just click here to start watch­ing. If you don’t, you can sign up for a 30-day free tri­al, watch the doc, and then decide whether to remain a sub­scriber or not. It’s your call. (Note: they also offer a sim­i­lar arrange­ment for audio­books from Audi­ble.)

The same deal applies to oth­er films we’ve fea­tured dur­ing the past year. Jim Jar­musch’s new doc­u­men­tary Gimme Dan­ger–his “love let­ter” to punk icons Iggy Pop and The Stooges. And also Long Strange Trip, the new 4‑hour doc­u­men­tary on the Grate­ful Dead.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

The Art of Mak­ing Old-Fash­ioned, Hand-Print­ed Books

Won­der­ful­ly Weird & Inge­nious Medieval Books

Wear­able Books: In Medieval Times, They Took Old Man­u­scripts & Turned Them into Clothes

Free Online Lit­er­a­ture Cours­es

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The Smithsonian Presents a Gallery of 6,000+ Rare Rock ‘n Roll Photos on a Crowdsourced Web Site, and Now a New Book


Rock pho­tog­ra­phy is an art form in itself, as demon­strat­ed by books and exhi­bi­tions of some of its mas­ters like Mick Rock, Jen­ny Lens, Pen­nie Smith, and so many oth­ers. But two years ago, the Smith­son­ian turned to the crowd, to the fan, to the ama­teur pho­tog­ra­ph­er, with a call to sub­mit pho­tos from over six decades of rock and roll that weren’t hang­ing on gallery walls, but sit­ting in a shoe­box some­where. From fans with insta­mat­ic cam­eras to ama­teurs cov­er­ing con­certs for their school paper, the Smith­son­ian want­ed anoth­er angle on our cul­tur­al obses­sion.

Many of the con­tri­bu­tions now live on a crowd­sourced web­site. And a result­ing book Smith­son­ian Rock and Roll: Live and Unseen col­lects the best of these in a chrono­log­i­cal his­to­ry of the genre, from post-war blues to the late 20th cen­tu­ry. It will be offi­cial­ly released on Octo­ber 24, though you can pre-order now.

Web­sites Mash­able and Dan­ger­ous Minds present a selec­tion of pho­tos from the book, such as a shot of Sly Stone at the height of his pow­ers (and belt buck­le size), a pic of the Talk­ing Heads on stage in Berke­ley, 1977; a dark and mys­te­ri­ous glimpse of Bon­nie Raitt, cir­ca 1974; and a shot of Cream play­ing the Chica­go Col­i­se­um tak­en from the side of the stage, with Gin­ger Baker’s head a com­plete blur. Also find Joni Mitchell at Klein­hans Music Hall. And The Ramones in Tempe, Ari­zona, cir­ca 1978.

Bon­nie Raitt at the Har­vard Square The­atre, by Bar­ry Schneier/Smithsonian Books

It’s a reminder of how unpre­ten­tious these live shows could be, hap­pen­ing in a world with the sim­plest of light­ing rigs and decades from the big screen pro­jec­tions even up-and-com­ing bands now indulge in. For the most part, this was an inti­mate con­tract between the artist and the audi­ence, all crammed into small clubs with smoke, sweat, heat, and, most impor­tant­ly, elec­tric­i­ty in the air.

The new book also fea­tures tales from the peo­ple who took the pho­tos, along with some more pro­fes­sion­al pho­tos to “flesh out this overview of rock and roll,” accord­ing to the intro­duc­tion by orga­niz­er Bill Bent­ley. He adds: “The results, span­ning six decades, aim for nei­ther ency­clo­pe­dic author­i­ty nor com­pre­hen­sive final­i­ty, but rather an index of supreme influ­ence.”

The Ramones in Tempe, Ari­zona, by Dori­an Boese/Smithsonian Books

That supreme influ­ence con­tin­ues to be felt, for sure. Although the sub­mis­sion win­dow is now closed, the Smith­so­ni­an’s web­site allows you to look through the hun­dreds of sub­mis­sions to the project.

Relat­ed Con­tent:

UC San­ta Cruz Opens a Deadhead’s Delight: The Grate­ful Dead Archive is Now Online

Bea­t­les, Friends & Fam­i­ly: Pho­tos by Lin­da McCart­ney

Judy!: 1993 Judith But­ler Fanzine Gives Us An Irrev­er­ent Punk-Rock Take on the Post-Struc­tural­ist Gen­der The­o­rist

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Three Blade Runner Prequels: Watch Them Online

Even if you’ve spent each and every day since you first saw Rid­ley Scot­t’s Blade Run­ner wait­ing for a sequel, you still might not be ful­ly pre­pared for Denis Vil­leneu­ve’s Blade Run­ner 2049 when it opens in the­aters this Fri­day. The 1981 orig­i­nal took place in the Los Ange­les of the then-far-flung future of 2019, mean­ing that 30 years have elapsed in the Blade Run­ner uni­verse between its first fea­ture film and its sec­ond. Much has tak­en place over those three decades, some of it por­trayed by the three offi­cial short pre­quels released to the inter­net over the past month. Today we present them all in chrono­log­i­cal order to catch you up with what hap­pened after Har­ri­son Ford’s Blade Run­ner Rick Deckard picked up that origa­mi uni­corn and left the build­ing.

In 2020, the year after Blade Run­ner, the arti­fi­cial-being-mak­ing Tyrell Cor­po­ra­tion intro­duces a new mod­el of repli­cant, with a longer lifes­pan, called the Nexus 8S. Two years lat­er comes “the Black­out,” an elec­tro­mag­net­ic pulse attack that destroys all tech­nol­o­gy with­in its reach. You can see it hap­pen in Blade Run­ner Black Out 2022, the short at the top of the post direct­ed by respect­ed Japan­ese ani­ma­tor Shinichi­ro Watan­abe (and fea­tur­ing a score by Fly­ing Lotus as well as a reprisal of the role of the qua­si-Esperan­to-speak­ing police offi­cer Gaff by Edward James Olmos).

Repli­cants hav­ing tak­en the blame for the Black­out, their pro­duc­tion gets legal­ly pro­hib­it­ed until the efforts of an orga­ni­za­tion called the Wal­lace Cor­po­ra­tion get the ban over­turned in 2030. The man at the top of the Wal­lace Cor­po­ra­tion, a cer­tain Nian­der Wal­lace, first appears in 2036: Nexus Dawn (mid­dle video), direct­ed by Rid­ley Scot­t’s son Luke.

In that pre­quel we see Wal­lace, who rose to promi­nence on his com­pa­ny’s solu­tion to glob­al food short­ages, sub­mit­ting for approval his lat­est repli­cant, the Nexus 9 (although his nego­ti­a­tion strat­e­gy leaves lit­tle room for com­pro­mise). The younger Scot­t’s 2048: Nowhere to Run (below), which intro­duces a new and impos­ing repli­cant char­ac­ter by the name of Sap­per Mor­ton, takes place just a year before the sequel, by which time, accord­ing to the time­line unveiled at this past sum­mer’s Com­ic-Con, “life on Earth has reached its lim­it and soci­ety divides between repli­cant and human.” Enter Ryan Gosling’s K, one of a new gen­er­a­tion of repli­cant- hunters, who goes out in search of a pre­de­ces­sor who went miss­ing some 30 years ago. All of this, of course, still leaves ques­tions unan­swered. Chiefly: will Blade Run­ner 2049 deliv­er what we’ve been wait­ing even more than three dea­cades for?

Relat­ed Con­tent:

Watch the New Ani­me Pre­quel to Blade Run­ner 2049, by Famed Japan­ese Ani­ma­tor Shinichi­ro Watan­abe

Jared Leto Stars in a New Pre­quel to Blade Run­ner 2049: Watch It Free Online

Blade Run­ner 2049’s New Mak­ing-Of Fea­turette Gives You a Sneak Peek Inside the Long-Await­ed Sequel

The Offi­cial Trail­er for Rid­ley Scott’s Long-Await­ed Blade Run­ner Sequel Is Final­ly Out

Philip K. Dick Pre­views Blade Run­ner: “The Impact of the Film is Going to be Over­whelm­ing” (1981)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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Open Culture was founded by Dan Colman.