How to Draw the Human Face & Head: A Free 3-Hour Tutorial

Aspiring artists, take note. New Masters Academy has put online a video demonstrating how to draw the human face and head. And it’s no short demo. It runs a full three hours. 

Describing the scope and content of the video, the Academy writes:

In this in-depth drawing series, instructor Steve Huston shows you a step-by-step construction of the human head. He covers the basic forms and more detailed intermediate constructs of the head as well as the eyes, nose, mouth and ears.

In this lesson, you will learn how to use basic shapes (boxes, cylinders, spheres) to form the basic structure of the head. This lesson is a fundamental step in learning how to create a solid foundation to place the features of the face on. He will also show you how to construct the basic head in different perspectives…

This video will give you a big taste of what’s inside New Masters Academy’s library of subscription videos. You can learn more about their service here.

On their YouTube channel, you’ll also find videos of (nude) figure models you can use in drawings and paintings. And a series of non-nude models you can use for the same purpose.

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The New York Public Library Unveils a Cutting-Edge Train That Delivers Books

In early October, The New York Public Library will unveil a new book delivery system that features 24 cars, running on 950-feet of vertical and horizontal track, moving millions of books through 11 different levels of the library, at a rate of 75 feet per minute. This new $2.6 million book transport system replaces a clunkier old one where “boxes of research materials were placed on a series of conveyor belts.”

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Image by Jonathan Blanc/NYPL

Says Matt Knutzen, director of the Humanities and Social Sciences Research Divisions within the Stephen A. Schwarzman Building, “This new dependable and efficient system will ensure a seamless delivery of research items from our storage facility to the researchers who need them.”  “Our priorities include preserving our materials and making them increasingly accessible to the public in an inspiring space for research – our recent storage expansion, our restoration of the Reading Room, and the installation of this system are all elements of that work.”

Above, you can watch the new system at work, chugging away, climbing to new heights, and delivering books to happy readers.

via BoingBoing/NYPL

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An Animated David Lynch Explains Where He Gets His Ideas

“Where do you get your ideas?” Every artist dreads having to answer that most common of all questions. Well, every artist with the exception of David Lynch. The director of such modern cinematic quasi-nightmares as EraserheadBlue Velvet, and Mulholland Drive will gladly explain exactly where he gets his ideas: from his own consciousness, “the TV in your mind.”

He’ll also gladly explain how he gets them by, not to mix the metaphor too much, using the folksy terms of fishing: “Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper.” And to bait the hook with? Why, bits of other ideas. Those words come from his 2006 book Catching the Big Fish: Meditation, Consciousness, and Creativity, a slim volume on this and that which gets into some detail about his use of Transcendental Meditation as a kind of fishing pole to reel those especially compelling ideas in from one’s consciousness. 




A couple of years after that, Lynch sat down with The Atlantic to talk about his special brand of creativity (as distinct from his special brand of coffee, no doubt also a fuel for thought). They’ve just recently animated his remarks to make the short video above, a visualization of his idea-getting processes, including daydreaming, traveling, and looking into a puddle in the gutter.

“I always say it’s like there’s a man in another room with the whole film together, but they’re in puzzle parts,” says Lynch as hands chop a fish into frames of celluloid. “He’s flipping one piece at a time into me. At first it’s very abstract; I don’t have a clue. More pieces come, more ideas are caught. It starts forming a thing. And then one day, there it is. In a way, there’s no original ideas. It’s just the ideas that you caught.”

The ideas Lynch has caught have become, among other things, some of the most memorable films of the late 20th century — and, according to last month’s BBC poll, the best film of the 21st century so far. What’s more, he claims not to have suffered for them, illustrating his argument of suffering as antithetical to creativity with an imaginary scenario of a diarrhea-afflicted Van Gogh. As for what part of his consciousness he fished that image out of, perhaps we’d rather not know.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Facebook.

Build Your Own Miniature Sets from Hayao Miyazaki’s Beloved Films: My Neighbor Totoro, Kiki’s Delivery Service & More

In the Shintoism from which Hayao Miyazaki’s films liberally draw, the worlds of nature and spirit are not mutually exclusive. “Shrine Shinto,” write James Boyd and Tetsuya Nishimura at The Journal of Religion and Film, “understands the whole of life, including both humans and nature, as creative and life giving. A generative, immanent force harmoniously pervades the whole phenomenal world.” But to experience this power “requires an aesthetically pure and cheerful heart/mind, an emotional, mental and volitional condition that is not easily attained.” In My Neighbor Totoro, for example, Miyazaki helps to induce this state in us with long slice-of-life passages that move like gentle breezes through tall grasses and trees. In the apocalyptic sci-fi Nausicaä of the Valley of the Wind, the title character herself takes on the task of harmoniously reconciling man, nature, and mutant insect.

I would argue that Miyazaki’s films are not solely entertainments, but means by which we can experience “an aesthetically pure and cheerful” heart and mind. And although he has retired, we can relive those films “over and over again,” as The Creator’s Project writes, not only by watching them, but by building miniature sets from them, as you see represented here. See My Neighbor Totoro’s old, rustic house in the forest—where Satsuki and Mei come to terms with their mother’s illness while befriending the local nature spirits—get assembled at the top of the post. And just above, see the town of Koriko from Kiki’s Delivery Service take shape, a place that becomes transformed by magic, just as Kiki does by her sorties into the forest.

These kits, made by the Japanese paper craft company Sankei, are “ready to be assembled and glued together, creating your own mini movie set,” The Creator’s Project notes. Previous models include Totoro and his two small companions, above, and the bakery from Kiki; another kit recreates the deserted magical town Chihiro and her parents stumble upon in Spirited Away. The kits don’t come cheap—each one costs around $100—and they take time and skill to assemble, as you see in these videos. But like so many of the important acts in Miyazaki’s films—and like the act of watching those films themselves—we might think of assembling these models as rituals of patience and devotion to aesthetic habits of mind that slow us down and gently nudge us to seek harmony and connection.

via The Creator’s Project

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

“Evil Mickey Mouse” Invades Japan in a 1934 Japanese Anime Propaganda Film

Before the Japanese fell completely, one-hundred percent in love with anything and everything Disney (I mean, seriously, they love it), Mickey Mouse represented something completely different: Pure American imperialist evil.

At least he does in this 1934 animated propaganda cartoon Omochabako series dai san wa: Ehon senkya-hyakusanja-rokunen (Toybox Series 3: Picture Book 1936) by Komatsuzawa Hajime. It’s a convoluted title, but pretty simple in plot. An island of cute critters (including one Felix the Cat clone) is attacked from the air by an army of Mickey Mouses (Mickey Mice?) riding bats and assisted by crocodiles and snakes that act like machine guns. The frightened creatures call on the heroes of Japanese storybooks and folk legends to help them, from Momotaro (“Peach Boy”) and Kintaro (“Golden Boy”) to Issun-boshi (“One Inch Boy”) and Benkei, a warrior monk, to send Mickey packing. The not-so-subtle message: Mickey Mouse may be your hero, America, but our characters are older, more numerous, and way more beloved. Our pop culture is older than yours!




Ironically, the film is animated in the style of American masters Walt Disney, Ub Iwerks, and Max Fleischer, with its bouncy character loops and elastic metamorphoses.

Though made in 1934, it is set in 1936, which might tie (according to this site) into the expiration of a naval treaty between the United States and Japan on that date. The Japanese attack on Pearl Harbor was a full seven years off, but clearly tensions were running high even then, as both the West and Japan had their eyes on Asia and the South Pacific.

Also of note is the trope of characters coming alive from a storybook, as this was a favorite subject in several Warner Bros. cartoons that would come out a few years later (and which we’ve covered.)

And finally to clarify Mickey’s fate at the end of the film: the old man with the box is a Rip Van Winkle character, and in Japanese folklore he is made old by the contents of a box he’s been told not to open. Violence is not vanquished with violence at the end of this cartoon, but with magic and derisive laughter followed by a song. In the real world, things would not end so easily.

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Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based 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.

Watch the Surrealist Glass Harmonica, the Only Animated Film Ever Banned by Soviet Censors, (1968)

The Soviet Union’s repressive state censorship went to absurd lengths to control what its citizens read, viewed, and listened to, such as the almost comical removal of purged former comrades from photographs during Stalin’s reign. When it came to aesthetics, Stalinism mostly purged more avant-garde tendencies from the arts and literature in favor of didactic Socialist Realism. Even during the relatively loose period of the Khrushchev/Brezhnev Thaw in the 60s, several artists were subject to “severe censorship” by the Party, writes Keti Chukhrov at Red Thread, for their “’abuse’ of modernist, abstract and formalist methods.”

But one oft-experimental art form thrived throughout the existence of the Soviet Union and its varying degrees of state control: animation. “Despite censorship and pressure from the Communist government to adhere to certain Socialist ideals,” writes Polly Dela Rosa in a short history, “Russian animation is incredibly diverse and eloquent.”




Many animated Soviet films were expressly made for propaganda purposes—such as the very first Soviet animation, Dziga Vertov’s Soviet Toys, below, from 1924. But even these display a range of technical virtuosity combined with daring stylistic experiments, as you can see in this io9 compilation. Animated films also served “as a powerful tool for entertainment,” notes film scholar Birgit Beumers, with animators, “largely trained as designers and illustrators… drawn upon to compete with the Disney output.” 

Throughout the 20th century, a wide range of films made it past the censors and reached large audiences on cinema and television screens, including many based on Western literature. All of them did so, in fact, but one, the only animated film in Soviet history to face a ban: Andrei Khrzhanovsky’s The Glass Harmonica, at the top, a 1968 “satire on bureaucracy.” At the time of its release, the Thaw had encouraged “a creative renaissance” in Russian animation, writes Dangerous Minds, and the film’s surrealist aesthetic—drawn from the paintings of De Chirico, Magritte, Grosz, Bruegel, and Bosch (and reaching “proto-Python-esque heights towards the end”)—testifies to that.

At first glance, one would think The Glass Harmonica would fit right into the long tradition of Soviet propaganda films begun by Vertov. As the opening titles state, it aims to show the “boundless greed, police terror, [and] the isolation and brutalization of humans in modern bourgeois society.” And yet, the film offended censors due to what the European Film Philharmonic Institute calls “its controversial portrayal of the relationship between governmental authority and the artist.” There’s more than a little irony in the fact that the only fully censored Soviet animation is a film itself about censorship.

The central character is a musician who incurs the displeasure of an expressionless man in black, ruler of the cold, gray world of the film. In addition to its “collage of various styles and a tribute to European painting”—which itself may have irked censors—the score by Alfred Schnittke “pushes sound to disturbing limits, demanding extreme range and technique from the instruments.” (Fans of surrealist animation may be reminded of 1973’s French sci-fi film, Fantastic Planet.) Although Khrzhanovsky’s film represents the effective beginning and end of surrealist animation in the Soviet Union, only released after perestroika, it stands, as you’ll see above, as a brilliantly realized example of the form.

The Glass Harmonica will be added to our list of Animations, a subset of our collection, 1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc..

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Ukulele Orchestra Performs Ennio Morricone’s Iconic Western Theme Song, “The Good, The Bad and The Ugly.” And It’s Pretty Brilliant.

Last week, Josh Jones highlighted for you a free five-hour playlist featuring Ennio Morricone’s Scores for Classic Western Films. Even if you’re not deeply familiar with Morricone’s body of work, you’ve almost certainly heard the theme to The Good, the Bad & the Ugly–the iconic 1966 Spaghetti western directed by Sergio Leone. Opening with the immediately recognizable two-note melody that sounds like “the howl of a coyote,” the theme was originally recorded with the help of the Unione Musicisti di Roma orchestra.

Above, you can watch another orchestra, The Ukulele Orchestra of Great Britain, pay homage to Morricone’s classic theme. Described by The Guardian as “a cultish British institution” known for its expertly played covers of Kate Bush’s “Wuthering Heights” and Nirvana’s “Smells Like Teen Spirit,” the Ukulele Orchestra group scored its biggest hit with this performance. It’s an outtake from the DVD Anarchy in the Ukulele, which you can purchase through The Ukulele Orchestra of Great Britain’s website. Enjoy.

Follow Open Culture on Facebook and Twitter and share intelligent media with your friends. Or better yet, sign up for our daily email and get a daily dose of Open Culture in your inbox. And if you want to make sure that our posts definitely appear in your Facebook newsfeed, just follow these simple steps.

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W.E.B. Du Bois Creates Revolutionary, Artistic Data Visualizations Showing the Economic Plight of African-Americans (1900)

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Few people have done more to accurately foresee and help shape the century ahead of them as W.E.B. Du Bois. And perhaps few intellectuals from the early twentieth century still have as much critical relevance to our contemporary global crises. Du Bois’ incisive sociology of racism in The Souls of Black Folk, Black Reconstruction in America, and his articles for the NAACP’s journal, The Crisis, remained rooted in a transcontinental awareness that anticipated globalism as it critiqued tribalism. Du Bois, who studied in Berlin and traveled widely in Europe, Africa, and Latin America, also became one of the most influential of Pan-Africanist thinkers, uniting the anti-colonial concerns of African and Caribbean nations with the post-Reconstruction issues of Black Americans.

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In 1900, Du Bois attended the First Pan-African Conference, held in London at Westminster Hall just prior to the Paris Exhibition. Attendees presented papers on “the African origins of human civilization,” writes Ramla Bandele at Northwestern’s Global Mappings, on African self-government, and on the imperial aggression of European countries (including the host country). Du Bois arrived armed with what might have seemed like a dull offering to some: a collection of statistics. But not just any collection of statistics. Though they’re now an often banal staple of our everyday working lives, his presentation used then-innovative charts and graphs to condense his data into a powerful set of images. 

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Once again anticipating global trends of over a century hence, the activist and sociology professor at Atlanta University created around 60 eye-catching data visualizations, “charts and maps,” writes the blog All My Eyes, “hand drawn and colored at the turn of the 19th century” by Du Bois and his students. For audiences at the time, these must have packed the evidentiary punch that Michelle Alexander’s The New Jim Crow or Ta-Nehisi Coates’ “The Case for Reparations” have recently. Du Bois and his students’ charts show us—as the first “slide” at the top of the post notes—“the condition of the descendants of former African slaves now resident in the United States of America.” 

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The collection of infographics, Danny Lewis argues at The Smithsonian, “is just as revolutionary now as it was when it was first created,” for an exhibit Du Bois organized with a lawyer named Thomas J. Calloway and his occasional rival Booker T. Washington. “This was less than half a century after the end of American slavery,” writes Allison Meier at Hyperallergic, “and at a time when human zoos displaying people from colonized countries in replicas of their homes were still common.” In the U.S., the grotesque stereotypes of blackface minstrels provided the primary depiction of African-American life.

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“Du Bois’ students,” writes data blog Seeing Complexity, “made a radical decision when they visualized the economic plight of a group explicitly excluded from statistical analysis and thus hidden from international attention.” The level of detail—for Du Bois’ time and ours—is overwhelming, reminding us that “the simple act of disseminating information can, in itself, be a radically and potentially transformative act.” In one of Du Bois’ graphic studies, “The Georgia Negro,” he quotes his key line from The Souls of Black Folk, “The problem of the 20th century is the problem of the color-line.” Far too much current data demonstrates that the statement still holds true in the 21st century, as gross disparities in wealth and in the criminal justice system grimly persist, or worsen, along racial lines.

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Data may not be as transformative as Du Bois had hoped, but it forces us to confront the reality of the situation—and either rationalize the status quo or seek to change it. One of three parts of the exhibit, The Georgia Negro study was Du Bois’ “most important contribution to the project,” writes Professor Eugene Provenzo in his book on the subject. The charts are truly impressive for their distillation of “an enormous amount of statistical data,” drawn from “sources such as the United States Census, the Atlanta University Reports, and various governmental reports that had been compiled by Du Bois for groups such as the United States Bureau of Labor.” (Much of the data would have gone uncollected were it not for Du Bois’ tireless efforts.)

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The charts are also, Provenzo notes, “remarkable in terms of their design,” as you can see for yourself. Du Bois and his students committed to “examining everything,” Meier writes, quoting Slate’s Rebecca Onion, “from the value of household and kitchen furniture to the ‘rise of the negroes from slavery to freedom in one generation.’” And they did so in a way that still looks “strikingly vibrant and modern, almost anticipating the crossing lines of Piet Mondrian or the intersecting shapes of Wassily Kandinsky.” However much their creators had explicitly modernist intentions, these designs also draw from historical techniques in data visualization—from 17th century scientific texts to Florence Nightingale’s revolutionary 19th century epidemiological maps.

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You can view and download scans of all the hand-drawn Du Bois’ Pan-African Conference charts and graphs at the Library of Congress. There, you’ll also find other features of the Du Bois/Calloway/Washington Exhibit, including photographs of several African-American men who had “received appointment as clerks in civil service departments… through competitive examinations” and a “hand-lettered description of Hampton Normal and Agricultural Institute” in Virginia. Du Bois’ description of his project says as much about his sense of Black Nationalism as it does about pride in the progress made a generation after slavery: “an honest straightforward exhibit of a small nation of people, picturing their life and development without apology or gloss, and above all made by themselves.”

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via Hyperallergic/All My Eyes/Seeing Complexity/Slate

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Frank Lloyd Wright Designs an Urban Utopia: See His Hand-Drawn Sketches of Broadacre City (1932)

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As much as we admire buildings designed by genius architects, we have to admit that — sometimes, just sometimes — those genius architects themselves can be control freaks. These tendencies manifest with a special clarity when a maker of individual structures turns his mind toward building, or knocking down and re-building, the city as a whole. The Cartesian grid of lookalike towers on the green of Le Corbusier’s Radiant City stand (or rather, the project having gone unbuilt, don’t stand) as perhaps the best-known image of urbanism re-envisioned to suit a single architect’s desires. In response, Frank Lloyd Wright came up with an urban Utopia of his own: Broadacre City.

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“Imagine spacious landscaped highways,” Wright wrote in 1932, “giant roads, themselves great architecture, pass public service stations, no longer eyesores, expanded to include all kinds of service and comfort. They unite and separate — separate and unite the series of diversified units, the farm units, the factory units, the roadside markets, the garden schools, the dwelling places (each on its acre of individually adorned and cultivated ground), the places for pleasure and leisure.

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All of these units so arranged and so integrated that each citizen of the future will have all forms of production, distribution, self improvement, enjoyment, within a radius of a hundred and fifty miles of his home now easily and speedily available by means of his car or plane.” 

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Those words appeared in The Disappearing City, a sort of manifesto about Wright’s hope for the industrial metropolis of the early 20th century: that it would go away. He “hated cities,” writes The New Yorker‘s Morgan Meis. “He thought that they were cramped and crowded, stupidly designed, or, more often, built without any sense of design at all.” Visitors to 2014’s Museum of Modern Art exhibition Frank Lloyd Wright and the City could behold not just Wright’s sketches of Broadacre City but a twelve-foot-by-twelve-foot model of the (to the architect) ideal place, a re-thinking of the urban with the sensibilities of the rural. Almost eighty years before, 40,000 visitors to Rockefeller Center who first saw the model saw it emblazoned with such straightforward declarations as “No slum,” “No Scum,” and “No traffic problems.”

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Nelson Rockefeller supported the idea of Broadacre city, as did Albert Einstein and John Dewey, all of whom signed a petition Wright passed around in its favor in 1943. But “even in the 1930s, urban planners were disgusted by Broadacre,” writes Next City’s Katherine Don. “Its philosophy was deeply individualistic; its layout was conspicuously wasteful. Liberals of the time who emulated the socialist spirit of Europe classified Wright as an anti-government eccentric, which indeed he was.” Matt Novak at Paleofuture describes Wright’s utopia as “ultimately an extension of the things that made him personally comfortable: open spaces, the automobile, and not surprisingly, the architect as master controller.”

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Image courtesy of MoMA

Though Wright and Le Corbusier “shared an interest in dismantling the recognizable urban fabric, they had different ideas about what should replace it,” writes City Journal‘s Anthony Paletta. The architect of Fallingwater thought it best for the city “not to be rationalized but to be pastoralized. Urban ills were to be diluted by ample helpings of prairie soil.” By the time he died in 1958, a sprawling postwar America had wholeheartedly adopted his “new standard of space measurement — the man seated in his automobile.” But nothing as techno-pastoral paradisiacal as a Broadacre ever came into being, and indeed, the suburbs turned out to grow in a fashion even more haphazard and irrational than the one that so disgusted him in traditional cities. Then again, a true perfectionist — and a true artist — must grow accustomed to such disappointments.

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, the crowdfunded journalism project Where Is the City of the Future?, and the Los Angeles Review of Books’ Korea Blog. Follow him on Twitter at @colinmarshall or on Facebook.

Hear 75 Free, Classic Audio Books on Spotify: Austen, Joyce, Bukowski, Kafka, Vonnegut, Poe, Shakespeare, Kerouac & More

spotify-free-audio-books

Here’s a little known tip. If you open Spotify, click “Browse” (in the left hand nav), then scroll way down to “Word,” you will find a number of free audiobook collections–readings by Sylvia PlathLangston Hughes, and Dylan Thomas; old time crime and sci-fi dramas; a big H.P. Lovecraft compendium and more. But that way of navigating things really only scratches the surface of what Spotify has to offer.

If you rummage around enough, you’ll find many quality recordings–everything from Christopher Lee reading Dracula and Frankenstein, to Kurt Vonnegut reading four of his novels, to a 68-hour playlist of Shakespeare’s plays being performed by legendary actors. We’ve found 75+ recordings in recent months and gradually added them to our collection, 700 Free Audio Books: Download Great Books for Free. But they seemed worth highlighting and calling to your attention here.

If you need Spotify’s free software, download it here. And if you find any other gems, please list them in the comments below and we’ll add them to our list.

  • Austen, JanePride and PrejudiceSpotify
  • Beckett, Samuel Waiting for Godot (Theatrical performance with Bert Lahr) – Spotify
  • Bukowski, Charles – 4 Hours of Bukowski Readings – Spotify
  • Bukowski, CharlesHostageSpotify
  • Bukowski, CharlesMaster CollectionSpotify
  • Burroughs, William S.Call Me Burroughs (his first spoken word album) – Spotify
  • Burroughs, William S. – Let Me Hang You (posthumous album settting readings of Naked Lunch to music) – Spotify
  • Carroll, Lewis – Alice’s Adventures in Wonderland (Read by Sir John Gielgud) – Spotify
  • Carroll, Lewis – Through the Looking Glass (Read by Joan Greenwood, Stanley Holloway) – Spotify

  • Ciardi, JohnAs If: Poems New and Selected by John Ciardi (read by the author) –Spotify
  • Coleridge, SamuelPoems (Read by Ralph Richardson) – Free Spotify
  • Collins, BillyThe Best Cigarette (Poetry collection read by the author) – Free Spotify
  • Collins, BillySoapSpotify
  • Conan Doyle, Arthur The Adventures of Sherlock Holmes (64 Hours of Readings) – Spotify
  • Dante AlighieriThe Inferno, Cantos I-VIII (Read by John Ciardi) – Spotify
  • Defoe, Daniel Robinson Crusoe (Read by Nigel Graham)
  • Dickinson, EmilyPoems & Letters – Spotify
  • Eliot, T.S. – The Cocktail Party (Performed by Alec Guinness & Cathleen Nesbitt) – Free Spotify
  • Eliot, T.S.Old Possum’s Book of Practical Cats (Read by T.S. Eliot) – Spotify playlist
  • Eliot, T.S. T.S. Eliot Reading Poems and ChorusesSpotify
  • Eliot T.S.T.S. Eliot Reads the Waste LandSpotify
  • Ferlinghetti, Lawrence A Coney Island of the MindSpotify
  • Frost, RobertRobert Frost Reads His PoetryFree Spotify
  • Ginsberg, AllenHowlSpotify
  • Ginsberg, Allen – First Blues: Rags, Ballads and Harmonium SongsSpotify
  • Ginsberg, AllenThe Last Word on First BluesSpotify
  • Ginsberg, Allen The Lion for Real – Free on Spotify
  • Ginsberg, Allen Witchita Vortex SutraSpotify
  • Hawthorne, Nathaniel – The Scarlet LetterSpotify
  • Hugo, Victor – The Hunchback of Notre Dame (Abridged version read by Christopher Lee) – Spotify
  • Hesse, Hermann – Siddhartha – Spotify
  • Hitchcock, Alfred – Alfred Hitchcock Presents Ghost Stories for Young PeopleSpotify
  • Hughes, LangstonLangston Hughes Reads Langston HughesSpotify
  • Hughes, Langston  The Dream Keeper and Other Poems of Langston Hughes (Read by Hughes) – Spotify
  • Hughes, Langston The Glory of Negro HistorySpotify
  • Hughes, LangstonThe Voice of Langston HughesSpotify
  • Joyce, James Dubliners – Free on Spotify
  • Joyce, James – “The Dead” (Read by Bart Wolffe) – Spotify
  • Kafka, Franz – The Metamorphosis – Spotify
  • Kerouac, Jack4 Albums with Kerouac Reciting Poetry & VerseSpotify
  • Leroux, GastonThe Phantom of the Opera (Abridged version read by Christopher Lee) – Spotify
  • Lovecraft, H.P – The Call of of Cthulhu & Other StoriesSpotify
  • Melville, Herman – Moby-Dick (Abridged version read by Hayward Morse) – Spotify
  • Miller, Arthur – Readings from The Crucible and Death of a SalesmanSpotify
  • Nabokov, Vladimir – Vladimir Nabokov Reads from Lolita & Selected Poems – Spotify
  • Nash, OgdenChristmas with Ogden NashSpotify
  • Nash, OgdenOgden Nash Reads Ogden NashSpotify
  • Neruda, PabloPablo Neruda Lee a Pablo Neruda (in Spanish) – Spotify
  • Orwell, George – Animal FarmSpotify
  • Poe, Edgar AllanThe Essential Edgar Allan PoeSpotify
  • Poe, Edgar AllanThe Mask of the Red Death (Read by William S. Burroughs) –Spotify
  • Prokofiev, SergeiPeter and the Wolf (Narrated by David Bowie) – Spotify
  • Sandburg, CarlA Lincoln Album: Readings by Carl SandurgSpotify
  • Sandburg, Carl The People YesSpotify
  • Sexton, AnneWhat’s ThatSpotify
  • Schiller, Friedrich – Poetry of Friedrich von Schiller: Read in German by KinskiSpotify
  • Shakespeare, William – A 68 Hour Playlist of Shakespeare’s Plays Being Performed by Great Actors: Gielgud, McKellen & MoreFree on Spotify
  • Shakespeare, WilliamHamlet (French translation by Marcel Pagnol) – SpotifyYouTube
  • Shakespeare, WilliamHamlet (Starring John Gielgud) – Spotify + Archive.org
  • Shakespeare, WilliamMacbeth (with Alec Guinness) – Free Spotify
  • Shelley, Mary – Frankenstein (Abridged version read by Christophe Lee) – Spotify
  • Shelley, Percy Bysshe Various Poems (Read by Vincent Price) – Free Spotify
  • Steinbeck, John – “The Snake” and “Johnny Bear” – Free Stream – Spotify
  • Stevenson, Robert Louis – The Strange Case of Dr Jekyll & Mr Hyde (Read by Christopher Lee) – Spotify
  • Stevenson, Robert Louis – Treasure Island (Read by Hans Conried) – Spotify
  • Stoker, Bram – Dracula (Read by Christopher Lee) – Spotify
  • Thomas, DylanDylan Thomas Reads 8 Hours of His PoetrySpotify
  • Thomas, Dylan An Evening with Dylan ThomasSpotify
  • Thomas, DylanRichard Burton Reads 15 Poems by Dylan Thomas – Spotify
  • Twain, Mark – The Adventures of Tom SawyerSpotify version
  • Vonnegut, Kurt Slaughterhouse 5, Cat’s Cradle, Breakfast of Champions, Welcome to the Monkey House (Abridged readings by Vonnegut) – Spotify
  • Welles, Orson – 61 Hours of Orson Welles’ Classic 1930s Radio Plays: War of the Worlds, Heart of Darkness & More – Spotify
  • Wells, HG – The War of the Worlds (Read by Maxwell Caulfield) – Spotify
  • Wilde, Oscar – The Importance of Being Earnest (Performed by John Gielgud) – Free
  • Woolf, Virginia – The Short StoriesSpotify
  • Yeats, William Butler – William Butler Reads His Own WorkSpotify

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