Pop Songs with Narrative: Pretty Much Pop (#69) Discusses Tunes Ranging from Bob Dylan’s “Hurricane” to “The Pina Colada Song” with Songwriter/Author Rod Picott

Plen­ty of songs pur­port to tell sto­ries, and the nar­ra­tive bal­lad of course has a long enough his­to­ry that the two forms cer­tain­ly aren’t alien. But how do our lis­ten­ing prac­tices con­di­tioned by pop music jibe with rec­og­niz­ing and under­stand­ing nar­ra­tive?

Singer/songwriter and short sto­ry author Rod Picott joins your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt to talk about clas­sics by writ­ers like Bob Dylan and John­ny Cash, for­ma­tive night­mares like “Leader of the Pack” and “Escape (The Pina Cola­da Song), bor­der­line cas­es like “Bohemi­an Rhap­sody,” and more. We also con­sid­er how this form relates to musi­cal the­ater, music videos, sound­tracks, and com­mer­cials.

We tried to stick to pop­u­lar songs, but most of us are pret­ty old. You can lis­ten and read the lyrics if you’re not fol­low­ing:

Why these songs? Well, we found a few lists online:

Hear Mark inter­view Rod on Naked­ly Exam­ined Music. Learn more at rodpicott.com.

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This time, an update on Rod’s music plus polit­i­cal dis­cus­sion and more.

This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

A Free Stanford Course on How to Teach Online: Designed for Middle & High School Teachers

Update: You can find the video record­ing of the work­shop here.

This past spring, teach­ers and stu­dents every­where got an abrupt intro­duc­tion to online learn­ing. When class­rooms moved online in March, many teach­ers exper­i­ment­ed with online ped­a­gogy for the first time, often with­out much train­ing or sup­port. To help ease this tran­si­tion, the Stan­ford Online High School–an inde­pen­dent high school that oper­ates entire­ly online–launched a free course designed to help teach­ers get com­fort­able teach­ing in this new medi­um. 7,000 teach­ers signed up. To con­tin­ue pro­vid­ing sup­port, an updat­ed ver­sion of this free course will be offered again this week­end.

Teach­ing Your Class Online” will take place this Sat­ur­day (Novem­ber 21) and Sun­day (Novem­ber 22),  and run from 9:00 am — 11:00 am Pacif­ic time each day. (Update: The lec­tures are now avail­able online.) Designed main­ly for instruc­tors teach­ing grades 7–12, the course can be help­ful for ele­men­tary and col­lege instruc­tors as well. Top­ics cov­ered will include “chal­lenges [such] as stu­dent engage­ment and dis­cus­sion (includ­ing for large groups, break­out rooms, and hybrid groups), effec­tive com­mu­ni­ca­tion with stu­dents and par­ents, assess­ment and cur­ricu­lum adap­ta­tion for online ped­a­gogy, and strate­gies for sup­port­ing both stu­dents and your­selves.”

Teach­ing Your Class Online” is sup­port­ed by Stan­ford Online High School and Stan­ford Con­tin­u­ing Stud­ies. You can enroll in the course on the Con­tin­u­ing Stud­ies web­site here.

If you know any teach­ers who could ben­e­fit from this free course, please feel free to share this post with them.

Relat­ed Con­tent:

1,700 Free Online Cours­es from Top Uni­ver­si­ties

200 Free Kids Edu­ca­tion­al Resources: Video Lessons, Apps, Books, Web­sites & More

“I Will Sur­vive,” the Coro­n­avirus Ver­sion for Teach­ers Going Online

How to Teach and Learn Phi­los­o­phy Dur­ing the Pan­dem­ic: A Col­lec­tion of 450+ Phi­los­o­phy Videos Free Online

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What Happens When You Spend Weeks, Months, or Years in Solitary Confinement

The lone­li­ness and iso­la­tion of quar­an­tine is noth­ing to laugh about, though we might have heard grim jokes about soli­tary con­fine­ment in the last few months. We’ve also seen over­wrought com­par­isons of social dis­tanc­ing to prison. These are, I think, release valves for real pain. One hopes the har­row­ing expe­ri­ence of the pan­dem­ic will give Amer­i­cans some com­pas­sion for the lives of pris­on­ers, a shock­ing num­ber of whom spend years, even decades, in soli­tary, most­ly deprived of nat­ur­al light, human con­tact, enter­tain­ment, edu­ca­tion, or a change of scenery. It seems, inar­guably, like a form of tor­ture.

Unsur­pris­ing­ly, soli­tary con­fine­ment does real harm to the body and brain. Even inmates placed in soli­tary for a few days expe­ri­ence symp­toms of acute anx­i­ety and depres­sion. “Iso­lat­ed inmates often report symp­toms sim­i­lar to those of hyper­ten­sion, such as chron­ic headaches, trem­bling sweaty palms, extreme dizzi­ness and heart pal­pi­ta­tions,” Mary Mur­phy Cor­co­ran writes at NYU’s Applied Psy­chol­o­gy Opus. “Inmates in iso­la­tion may also have dif­fi­cul­ty sleep­ing, and some may expe­ri­ence insom­nia…. Con­se­quent­ly, inmates report feel­ings of chron­ic lethar­gy.” Over the years, this stress exacts its long-term toll.

In the Slate video at the top, for­mer inmate Five Mual­imm-Ak describes the five years he spent in soli­tary dur­ing a 12-year prison sen­tence. His account and those of oth­ers were recent­ly col­lect­ed in a book with the grim­ly evoca­tive title Hell is a Very Small Place. For­mer soli­tary inmate Ter­rence Slater describes a kind of fur­ther soli­tary of the mind: how impor­tant it is to lim­it the amount of time one thinks about loved ones dur­ing a 23-hour day alone in a cell, or “you’re going to lose your mind in there.” It’s esti­mat­ed that rough­ly 80,000 inmates in the U.S. are placed in such con­di­tions every year.

Giv­en enough time, one may lit­er­al­ly lose one’s mind, as Robert King dis­cov­ered. King was “con­fined in a 6x9-foot cell for almost 30 years,” Elana Blan­co-Suarez writes at Psy­chol­o­gy Today. “King knew that soli­tary con­fine­ment was chang­ing the way his brain worked. When he final­ly left his cell, he real­ized he had trou­ble rec­og­niz­ing faces and had to retrain his eyes to learn what a face was like.” He could no longer fol­low sim­ple direc­tions. “It was as if his brain had erased all those capa­bil­i­ties that were no longer nec­es­sary for sur­vival in a cell no big­ger than the back of a pick-up truck.”

Pro­longed peri­ods of sen­so­ry depri­va­tion can be espe­cial­ly inju­ri­ous for pris­on­ers who go into soli­tary with pre-exist­ing men­tal health issues, and “men­tal­ly impaired pris­on­ers are dis­pro­por­tion­ate­ly rep­re­sent­ed in soli­tary con­fine­ment,” Kirsten Weir notes at the Amer­i­can Psy­cho­log­i­cal Asso­ci­a­tion. One 2005 study found that the “preva­lence of men­tal ill­ness in admin­is­tra­tive seg­re­ga­tion” in Col­orado “was greater than 35 per­cent, com­pared with a men­tal ill­ness rate of less than 25 per­cent among the gen­er­al prison pop­u­la­tion.”

Clin­i­cal pro­fes­sor of psy­chi­a­try at the Uni­ver­si­ty of Col­orado Jef­frey Met­zn­er argues that the “cor­rec­tion­al sys­tem has become our men­tal health care sys­tem for too many peo­ple,” using abu­sive, bar­bar­ic prac­tices that haven’t exist­ed in men­tal health wards for decades. The effects of soli­tary con­fine­ment sug­gest that “it doesn’t make facil­i­ties safer, doesn’t make our com­mu­ni­ties safer, and that peo­ple are devel­op­ing men­tal and phys­i­cal ail­ments because of this prac­tice.”

So says James Burns, a for­mer­ly incar­cer­at­ed film­mak­er who vol­un­tar­i­ly entered soli­tary con­fine­ment for 30 days in 2016 and livestreamed the whole expe­ri­ence. See his last four hours above and read at Vice about his rea­sons for sub­mit­ting him­self to hell—not a “dark dun­geon,” he writes, but “a very ster­ile, bright hell” which is, “more than any­thing… a mind fuck.”

Relat­ed Con­tent: 

Pris­ons Around the U.S. Are Ban­ning and Restrict­ing Access to Books

Inmates in New York Prison Defeat Harvard’s Debate Team: A Look Inside the Bard Prison Ini­tia­tive

Art Class Instead Of Jail: New Pro­gram Lets Young Offend­ers Take Free Art Class­es Rather Than Spend Time in the Crim­i­nal Sys­tem

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

How Soy Sauce Has Been Made in Japan for Over 220 Years: An Inside View

Soy sauce has fig­ured into the cui­sine of east Asia for more than two mil­len­nia. By that stan­dard, the two-cen­tu­ry-old Fue­ki Shoyu Brew­ing has­n’t been in the game long. But in run­ning the oper­a­tion today, Masat­sugu Fue­ki can hard­ly be accused of fail­ing to uphold tra­di­tion: he adheres to just the same prac­tices for mak­ing soy sauce (shoyu, in Japan­ese) as the com­pa­ny’s founders did back in 1879. You can see the entire process in the Eater video above, shot at the Fue­ki fac­to­ry in Saita­ma Pre­fec­ture, just north­west of Tokyo. Fue­ki him­self guides the tour, explain­ing first the sheer sim­plic­i­ty of the ingre­di­ents — soy­beans, flour, and salt — and then the intri­cate bio­log­i­cal inter­ac­tions between them that must be prop­er­ly man­aged if the result is to pos­sess a suit­ably rich uma­mi fla­vor.

That we all know what uma­mi is today owes in part to the prop­a­ga­tion of soy sauce across the world. One of the “five basic fla­vors,” this dis­tinc­tive savori­ness man­i­fests in cer­tain fish, cheeses, toma­toes, and mush­rooms, but if you need a quick shot of uma­mi, you reach for the soy sauce. In bot­tles small and large, it had already become a com­mon prod­uct in the Unit­ed States by the time I was grow­ing up there in the 1980s and 90s.

It must be said, how­ev­er, that Amer­i­cans then still had some odd ways of using it: the now-acknowl­edged West­ern faux pas, for instance, of lib­er­al­ly driz­zling the stuff over rice. But wider aware­ness of soy sauce has led to a wider under­stand­ing of its prop­er place in food, and also of what sets the best apart from the mediocre — as well as a curios­i­ty about what it takes to make the best.

Fue­ki and his work­ers take pains every step of the way, from steam­ing the soy­beans to decom­pos­ing the wheat with a mold called koji to heat­ing the raw soy sauce in tanks before bot­tling. But the key is the kioke, a large wood­en fer­men­ta­tion bar­rel, the old­est of which at Fue­ki Shoyu Brew­ing goes back 150 years. Today, Fue­ki explains, few­er that 50 crafts­men in all of Japan know how to make them: hence the launch of the in-house Kioke Project, a series of work­shops meant to revi­tal­ize the craft. As he climbs down into an emp­ty kioke, Fue­ki describes it as “filled with invis­i­ble yeast fun­gus that’s unique to our place” — far from a con­t­a­m­i­nant, “the most impor­tant ele­ment, or trea­sure and our heart.” The care and sen­si­tiv­i­ty required, and indeed the indus­tri­al tech­niques them­selves, aren’t so dif­fer­ent from those involved in the mak­ing of fine wines. But it sure­ly takes a palate as expe­ri­enced as Fuek­i’s to taste “choco­late, vanil­la, cof­fee, rose, hyacinth” in the final prod­uct.

Relat­ed Con­tent:

Short Fas­ci­nat­ing Film Shows How Japan­ese Soy Sauce Has Been Made for the Past 750 years

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

Cook­pad, the Largest Recipe Site in Japan, Launch­es New Site in Eng­lish

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

The Right and Wrong Way to Eat Sushi: A Primer

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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, on Face­book, or on Insta­gram.

Rubens’ Cupid Escapes His Painting & Flies Around Brussels Airport, Thanks to Projection Mapping Technology

Peter Paul Rubens’ zaftig beau­ties and plump lit­tle angels burst with health. His “pow­er­ful and exu­ber­ant style,” notes one analy­sis of his tech­nique, “came to char­ac­ter­ize the Baroque art of north­ern Europe.” Rubens’ name became syn­ony­mous with fig­ures who were “real­is­tic, fleshy and indeed cor­pu­lent… set in dynam­ic com­po­si­tions that echo the grand orga­ni­za­tions of the Renais­sance mas­ters.”

An excel­lent exam­ple of such a com­po­si­tion is The Feast of Venus (1636), paint­ed in the “ecsta­t­ic inten­si­ty” of Rubens’ own style, writes the Kun­sthis­torisches Muse­um Wien, after a “descrip­tion in antiq­ui­ty of a Greek paint­ing in which a cult image of Aphrodite is dec­o­rat­ed by nymphs, with winged cupids danc­ing around it.” Venus may be at the cen­ter of the huge piece, but the cupids’ roly-poly arms and legs upstage her.

Rubens’ cupids already look like they’re going to pop off the can­vas. In the video at the top, one of them does—breaks right through the frame, scam­pers across the top and takes flight around the gallery over the heads of awed onlook­ers. Cupid retrieves a bow and arrows and begins fir­ing love darts around the room. The scene is Brus­sels Air­port, where a selec­tion of Rubens’ paint­ings recent­ly hung in an art-themed lounge.

The spec­ta­tors are pas­sen­gers wait­ing for their flights, and the escaped cupid is a trick of pro­jec­tion map­ping, cre­at­ed by the Bel­gian com­pa­ny SkullMap­ping and com­mis­sioned by the tourist agency Vis­it­Flan­ders. The cupid flew until April of last year, when the paint­ings were replaced by work from Brueghel as part of a larg­er project to pro­mote Flem­ish art and cul­ture in places where peo­ple are most like­ly to encounter it.

Would such small-scale pro­jec­tion maps, “mini-map­ping,” as it’s called, ever be employed in an actu­al gallery, to the work of revered old mas­ters? Might this be some­thing of an art world heresy? Or might we see in the near future huge, detailed can­vas­es of painters like Rubens and his role mod­el, Tit­ian, sud­den­ly burst into three dimen­sions, their sub­jects giv­en life, of some kind, and invit­ed to walk or fly around the halls?

Do these gim­micks triv­i­al­ize great art or renew appre­ci­a­tion for it? I’d wager that, if he were alive, Rubens might thrill to see his well-fed cupids and angels in motion, and he might just take to build­ing pro­jec­tion maps him­self. We have some small idea, at least, of what they might look like, above.

Relat­ed Con­tent:

The Largest & Most Detailed Pho­to­graph of Rembrandt’s The Night Watch Is Now Online: Zoom In & See Every Brush Stroke

Bat­man & Oth­er Super Friends Sit for 17th Cen­tu­ry Flem­ish Style Por­traits

Artist Nina Katchadouri­an Cre­ates Flem­ish Style Self-Por­traits in Air­plane Lava­to­ry

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

Watch Sassy Justice, the New Deepfake Satire Show Created by the Makers of South Park

If any cul­tur­al, polit­i­cal, or tech­no­log­i­cal phe­nom­e­non of the past cou­ple of decades has­n’t been lam­pooned by South Park, it prob­a­bly did­n’t hap­pen. But the 21st cen­tu­ry has brought forth so much non­sense that even Trey Park­er and Matt Stone, cre­ators of that at once crude and mul­ti­di­men­sion­al­ly satir­i­cal car­toon show, have had to expand into fea­ture films and even onto Broad­way to ridicule it all. The lat­est project takes the hum­bler but unde­ni­ably more rel­e­vant form of a Youtube series, and one mod­eled on the form of ultra-local tele­vi­sion news. Sassy Jus­tice comes host­ed by anchor Fred Sassy, a flam­boy­ant “con­sumer advo­cate” for the peo­ple of Cheyenne, Wyoming — and one pos­sessed, come to think of it, of an odd­ly famil­iar face.

Fred Sassy is based on Sassy Trump, a cre­ation of voice actor Peter Ser­afi­now­icz. Despite his for­mi­da­ble skills as an impres­sion­ist, the trou­ble Ser­afi­now­icz had nail­ing the sound and man­ner of the cur­rent U.S. Pres­i­dent gave him the idea of dub­bing over real footage of the man with delib­er­ate­ly invent­ed char­ac­ter voic­es. This led to an inter­est in deep­fakes, videos cre­at­ed using dig­i­tal like­ness­es of real peo­ple with­out their actu­al par­tic­i­pa­tion.

The increas­ing­ly con­vinc­ing look of these pro­duc­tions once had a lot of peo­ple spooked, as you’ll recall if you can cast your mind back to 2019. Deep­fakes thus made per­fect sub­ject mat­ter for a Park­er-Stone project, but not long after they began col­lab­o­rat­ing with Ser­afi­now­icz on a deep­fake-sat­u­rat­ed Fred Sassy movie, the coro­n­avirus pan­dem­ic put an end to pro­duc­tion. From the ash­es of that project ris­es Sassy Jus­tice, which pre­miered last month.

This first episode (with a clip playlist here) also pro­vides a glimpse of the sure­ly enor­mous all-deep­fake cast to come. Uncan­ny ver­sions of Al Gore, Mark Zucker­berg (now a dial­y­sis-cen­ter mag­nate), and Julie Andrews (as com­put­er tech­ni­cian “Lou Xiang,” a ref­er­ence that if you get, you get) all make appear­ances, as do those of White House reg­u­lars Jared Kush­n­er, Ivan­ka Trump, and even Don­ald Trump, on whose voice Ser­afi­now­icz seems to have made progress. But “it’s impos­si­ble for a human to accu­rate­ly mim­ic some­one else’s voice to 100 per­cent,” as Sassy is assured by a Zoom inter­vie­wee, the oft-imi­tat­ed actor Michael Caine — or is it? Less able than ever to tell real from the fake, let alone the deep­fake, “we’re all going to have to trust our gut, that inner voice,” as Sassy advis­es in the episode’s final seg­ment. “It’s all we have now.” But then, all effec­tive satire is a lit­tle fright­en­ing.

via MIT Tech­nol­o­gy Review

Relat­ed Con­tent:

The Zen Wis­dom of Alan Watts Ani­mat­ed by the Cre­ators of South Park, Trey Park­er and Matt Stone

Amer­i­can His­to­ry: An Off-Kil­ter 1992 Stu­dent Film from South Park Cre­ator Trey Park­er

Arti­fi­cial Intel­li­gence Brings to Life Fig­ures from 7 Famous Paint­ings: The Mona Lisa, Birth of Venus & More

Arti­fi­cial Intel­li­gence Cre­ates Real­is­tic Pho­tos of Peo­ple, None of Whom Actu­al­ly Exist

Long Before Pho­to­shop, the Sovi­ets Mas­tered the Art of Eras­ing Peo­ple from Pho­tographs — and His­to­ry Too

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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, on Face­book, or on Insta­gram.

Dr. Fauci’s Lecture from MIT’s Free Course on COVID-19: It’s Now Online

Back in Sep­tem­ber, we gave you a heads up on MIT’s free course on COVID-19. As we men­tioned, “COVID-19, SARS-CoV­‑2 and the Pan­dem­ic” runs from Sep­tem­ber 1, 2020 through Decem­ber 8, 2020. And it fea­tures a com­bi­na­tion of MIT fac­ul­ty and guest speak­ers, includ­ing Dr. Antho­ny Fau­ci, cov­er­ing the sci­ence of the pan­dem­ic. Since our orig­i­nal post, Dr. Fau­ci’s pre­sen­ta­tion, “Insights from the COVID-19 pan­dem­ic,” has gone online. You can watch it above. Then find all of the oth­er lec­tures here.

MIT’s course has been added to the Biol­o­gy sec­tion of our meta col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

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!

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Constantly Wrong: Filmmaker Kirby Ferguson Makes the Case Against Conspiracy Theories

Dis­cor­dian writer and prankster Robert Anton Wil­son cel­e­brat­ed con­spir­a­cy the­o­ries as decen­tral­ized pow­er incar­nate. “Con­spir­a­cy is just anoth­er name for coali­tion,” he has a char­ac­ter say in The His­tor­i­cal Illu­mi­na­tus Chron­i­cles. Accord­ing to Wil­son, any suf­fi­cient­ly imag­i­na­tive group of peo­ple can make a fic­tion real. Anoth­er state­ment of his sounds more omi­nous, read in the light of how we usu­al­ly think about con­spir­a­cy the­o­ry: “Real­i­ty is what you can get away with.”

When his­to­ri­an Richard Hof­s­tadter diag­nosed what he called “the para­noid style in Amer­i­can pol­i­tics,” he was quick to point out that it pre­dat­ed the “extreme right-wingers” of his time by sev­er­al hun­dred years. Where Wil­son thinks of con­spir­a­cy the­o­ry as a shin­ing exam­ple of ratio­nal thought against a con­spir­a­cy of Kings and Popes, Hof­s­tadter saw it as anti-Enlight­en­ment, an extreme reac­tion in the U.S. to Illu­min­ism, “a some­what naive and utopi­an move­ment,” Hof­s­tadter writes dis­mis­sive­ly.

Per­haps the utopi­an and the para­noid style are not so eas­i­ly dis­tin­guish­able, in that they both “promise to deliv­er pow­er­ful insights, promise to trans­form how you see for the bet­ter,” says Kir­by Fer­gu­son, cre­ator of the Every­thing is a Remix Series episode below. But no mat­ter how dark or illu­mi­nat­ed they may be, he sug­gests, all con­spir­a­cy the­o­ries share the com­mon fea­ture of being “con­stant­ly wrong.” Ferguson’s new film series, This is Not a Con­spir­a­cy The­o­ry digs deep­er into the “role of con­spir­a­cy the­o­ries in Amer­i­can cul­ture,” he writes on his site.

Despite its osten­si­ble sub­ject, the project’s “ulti­mate pur­pose is to intro­duce peo­ple to the realms of sys­tems sci­ence, which is where we can bet­ter under­stand the hid­den forces that shape our lives.” Pro­duced over eight years in an enter­tain­ing “con­spir­a­cy-like style,” the film cham­pi­ons skep­ti­cism and com­plex­i­ty over the cer­tain­ty and pat, closed-cir­cle nar­ra­tives offered by con­spir­acists. Con­spir­a­cy theories—like the innu­mer­able per­mu­ta­tions of the JFK assas­si­na­tion, Chem­trails, or Roswell—are “too much like movies,” he says, to con­tain very much real­i­ty.

Ferguson’s vision of the world resem­bles Wilson’s, who wrote most of his work before the inter­net. Real­i­ty, he says, is a “mas­sive, decen­tral­ized hive of activ­i­ty.” Pow­er and con­trol exist, of course, but there is no man behind the cur­tain, no secret hier­ar­chies. Just bil­lions of peo­ple pulling their own levers to make things hap­pen, cre­at­ing a real­i­ty that is a sum, at any giv­en moment, of all those lever-pulls. Are there no such thing as con­spir­a­cies? “To be sure,” as Michael Par­en­ti argues, “con­spir­a­cy is a legit­i­mate con­cept in law,” and actu­al con­spir­a­cies, like Water­gate or Iran-Con­tra, “are a mat­ter of pub­lic record.”

What dif­fer­en­ti­ates sus­pi­cion about events like these from what Par­en­ti calls “wacko con­spir­a­cy the­o­ries”? Maybe a sec­tion Fer­gu­son left out of his “Con­stant­ly Wrong” episode at the top will illu­mi­nate. A con­spir­a­cy the­o­ry, he writes, “is a claim of secret crimes by a hid­den group, and this claim is dri­ven by a com­mu­ni­ty of ama­teurs” who are more eager to believe than to apply crit­i­cal think­ing. Learn more about Ferguson’s new film here.

Relat­ed Con­tent:

Every­thing is a Remix: The Full Series, Explor­ing the Sources of Cre­ativ­i­ty, Released in One Pol­ished HD Video on Its 5th Anniver­sary

Neil Arm­strong Sets Straight an Inter­net Truther Who Accused Him of Fak­ing the Moon Land­ing (2000)

Stan­ley Kubrick’s Daugh­ter Vivian Debunks the Age-Old Moon Land­ing Con­spir­a­cy The­o­ry

The Paul McCart­ney is Dead Con­spir­a­cy The­o­ry, Explained

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

John Waters Gives Art Collection to The Baltimore Museum Of Art in Exchange for Getting Its Bathrooms Named After Him

It’s not unusu­al for an insti­tu­tion to rec­og­nize a major benefactor’s gen­eros­i­ty by nam­ing some­thing in their hon­or — a wing, an atri­um, a library, a gym­na­si­um, a con­cert hall…

But bath­rooms?

It’s a fit­ting trib­ute for the Pope of Trash, film­mak­er John Waters.

So fit­ting that he him­self sug­gest­ed it when donat­ing 372 prints, paint­ings, and pho­tographs from his per­son­al col­lec­tion to the Bal­ti­more Muse­um Of Art.

With Har­vard, the Uni­ver­si­ty of Penn­syl­va­nia, and the Uni­ver­si­ty of Col­orado at Boul­der, New York City’s New Muse­um of Con­tem­po­rary Art and famed down­town per­for­mance venue Dixon Place all boast­ing restrooms that dou­ble as tem­ples to phil­an­thropy, Waters is not the first donor to be lion­ized in latrine form…

But he is sure­ly the most famous, thanks to a career that spans six decades, includes numer­ous books and exhi­bi­tions of his pho­tog­ra­phy and sculp­tures, in addi­tion to his infa­mous cult films.

Waters got his start as an art col­lec­tor at the age of 12: he spent $2 on a Joan Miró poster in the Bal­ti­more Museum’s gift shop:

After tak­ing it home and hang­ing it on my bed­room wall at my par­ents’ house, I real­ized from the hos­tile reac­tion of my neigh­bor­hood play­mates that art could pro­voke, shock, and cause trou­ble. I became a col­lec­tor for life. It’s only fit­ting that the fruits of my 60-year search for new art that could star­tle, antag­o­nize, and infu­ri­ate even me, ends up where it all began—in my home­town muse­um.

Muse­um direc­tor Christo­pher Bed­ford calls Waters a “man of extra­or­di­nary refine­ment” as well as “a local trea­sure.”

Cura­tor Asma Naeem adds that Waters’ dona­tion, in addi­tion to being one of the largest gifts of art in recent his­to­ry, is also one of the “most per­son­al and indi­vid­u­al­ized, show­ing the true stamp of the donor’s taste, eye, and predilec­tions.”

Among the 125 artists rep­re­sent­ed are Mike Kel­ley, Cindy Sher­man, Roy Licht­en­stein, Diane Arbus, Nan Goldin, Cy Twombly, Andy Warhol, and Waters him­self. (The muse­um host­ed a ret­ro­spec­tive of his visu­al art two years ago.)

Waters is per­son­al­ly acquaint­ed with many of the artists in his col­lec­tion, and has a strong pref­er­ence for ear­ly work. “They were nev­er blue-chip artists,” he told The New York Times. “They became that lat­er.”

In an inter­view with the CBC’s Car­ol Off, Waters reflect­ed that he loves art that inspires out­rage:

…because I’m in on it. You final­ly learn to see dif­fer­ent­ly if you like art. And it’s a secret club. It’s like a bik­er gang where you learn a spe­cial lan­guage, you have to dress a cer­tain way. I love all the ridicu­lous elit­ism about the art world. I think it’s hilar­i­ous.

In addi­tion to the two bath­rooms in the East Lob­by, a rotun­da in the Euro­pean art gal­leries will also bear Waters’ name.

The muse­um has pledged to nev­er deac­ces­sion the works in the col­lec­tion, and Waters spec­u­lates that it’s only a mat­ter of time until a gen­der-neu­tral bath­room bear­ing his name will also be made avail­able to patrons.

“I loved going [to the BMA],” he told Bal­ti­more Fish­bowl:

When I was a kid, that was a huge world that I was turned onto. Thank God my par­ents took me.

Relat­ed Con­tent: 

Grow­ing Up John Waters: The Odd­ball Film­mak­er Cat­a­logues His Many For­ma­tive Rebel­lions (1993)

John Waters Designs a Wit­ty Poster for the New York Film Fes­ti­val

John Waters’ RISD Grad­u­a­tion Speech: Real Wealth is Life with­out A*Holes

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

The Biblical Sci-Fi of “Raised by Wolves”–Pretty Much Pop: A Culture Podcast #68

What hap­pens when a male android loves a female android VERY much, and they nurse human embryos togeth­er on a dis­tant plan­et after flee­ing from war-torn Earth? Why the female android flies and makes a bunch of peo­ple explode with her eyes, that’s what hap­pens! …In the first episode of this bonkers HBO Max series by Aaron Guzikows­ki (with notable assis­tance from Rid­ley Scott of Alien and Blade Run­ner fame).

Your hosts Bri­an Hirt, Eri­ca Spyres, and Mark Lin­sen­may­er reflect on how much we’re sup­posed to under­stand, what if any char­ac­ter we’re sup­posed to iden­ti­fy with, whether the imagery is just TOO heavy-hand­ed, and how this show com­pares with relat­ed sci-fi like West­world or post-apoc­a­lyp­tic shows like The Walk­ing Dead. Beware: Spoil­ers abound in this one, so you might want to watch the show, or just let us reveal its weird­ness to you.

Here are some arti­cles to feast on:

Learn more at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

Experience a Video Painting of Brian Eno’s Thursday Afternoon That Has Soothed & Relaxed Millions of People

Bri­an Eno may not have invent­ed ambi­ent music, but he did give it a name. What bet­ter to call an album like his 1978 Music for Air­ports, whose slow­ly shift­ing pieces forego not just melody but all then-accept­ed meth­ods of com­po­si­tion and per­for­mance? The result, as its title sug­gests, is meant not to occu­py the inten­tion of the lis­ten­er but to col­or the atmos­phere of a space. This marked one evo­lu­tion­ary step for an idea Eno first essayed in 1975’s Dis­creet Music, issued on his own label Obscure Records in an era when much of the music peo­ple lis­tened to was any­thing but dis­creet. Record­ing tech­nol­o­gy first made ambi­ent music pos­si­ble; by the mid-1980s, video tech­nol­o­gy had devel­oped to the point that it could pos­sess a visu­al dimen­sion as well.

Just as Eno’s ambi­ent music was­n’t made for lis­ten­ing, Eno’s “video paint­ings,” as he called them, weren’t made for view­ing. 1981’s Mis­tak­en Mem­o­ries of Medieval Man­hat­tan, pre­vi­ous­ly fea­tured here on Open Cul­ture, cap­tures the urban land­scape out­side from Eno’s New York win­dow — iron­i­cal­ly, with a por­trait ori­en­ta­tion, so that any TV dis­play­ing it had to be turned on its side.

Thurs­day After­noon, the next in the series, looks not to the built envi­ron­ment but that oth­er tra­di­tion­al sub­ject of paint­ing, the female form: specif­i­cal­ly that of Eno’s friend, pho­tog­ra­ph­er Chris­tine Ali­ci­no. Here video mak­ing pos­si­ble some­thing tru­ly new, with no artis­tic con­nec­tion to, as Eno put it, “Sting’s new rock video” or “bor­ing, grimy ‘Video Art.’ ”

But just like a Hol­ly­wood movie, Thurs­day After­noon had an epony­mous sound­track album. Released in 1985, it cut the 80-minute video paint­ing’s ambi­ent score down to an unbro­ken track of near­ly 61 min­utes, a length made pos­si­ble by the recent­ly intro­duced Com­pact Disc. “Played” on an acoustic piano and syn­the­siz­ers, the music shifts sub­tly in tex­ture through­out the hour, cre­at­ing a son­ic envi­ron­ment that many have found high­ly con­ge­nial for work­ing, think­ing, and relax­ing. I myself have lis­tened to it hun­dreds of times over the past twen­ty years, and in the form of a Youtube video paint­ing made by fan Jonathan Jol­ly, it’s racked up more than four mil­lion views. The col­or-treat­ed time-lapse footage of pass­ing clouds fits right in with the spir­it of the music, and it cer­tain­ly seems to do the trick for the video’s com­menters, grate­ful as they are for reduced anx­i­eties, recov­ered mem­o­ries, increased focus, and even altered con­scious­ness.

Relat­ed Con­tent:

Decon­struct­ing Bri­an Eno’s Music for Air­ports: Explore the Tape Loops That Make Up His Ground­break­ing Ambi­ent Music

A Six-Hour Time-Stretched Ver­sion of Bri­an Eno’s Music For Air­ports: Med­i­tate, Relax, Study

Watch Bri­an Eno’s “Video Paint­ings,” Where 1980s TV Tech­nol­o­gy Meets Visu­al Art

Bri­an Eno Explains the Loss of Human­i­ty in Mod­ern Music

Bri­an Eno on Cre­at­ing Music and Art As Imag­i­nary Land­scapes (1989)

The “True” Sto­ry Of How Bri­an Eno Invent­ed Ambi­ent Music

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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, on Face­book, or on Insta­gram.


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