The Sounds of Blade Runner: How Music & Sound Effects Became Part of the DNA of Ridley Scott’s Futuristic World

Blade Run­ner, among its many oth­er achieve­ments, stands as quite pos­si­ble the only 35-year-old sci­ence-fic­tion movie whose visu­al effects still hold up. Direc­tor Rid­ley Scott and his col­lab­o­ra­tors’ thor­ough­ly real­ized vision of 2019 Los Ange­les rewards a seem­ing­ly infi­nite num­ber of view­ings, reveal­ing some­thing new to the view­er each and every time. Yet the sheer amount to look at can also dis­tract from all there is to lis­ten to. For a visu­al medi­um, movies stand or fall to a sur­pris­ing extent on the qual­i­ty and design of their sound, and if Blade Run­ner remains con­vinc­ing and com­pelling, it does so in large part not because of what see when we watch it, but what we hear.

This in addi­tion to all it makes us think about, some of which the video essay­ist Evan Puschak, bet­ter known as Nerd­writer, explained in Blade Run­ner: The Oth­er Side of Moder­ni­ty.” Appar­ent­ly as big a fan of the film as we here at Open Cul­ture, Puschak has also made anoth­er video essay focus­ing on the mas­ter­piece’s aur­al dimen­sion, “Lis­ten­ing to Blade Run­ner.”

As every­one inter­est­ed in its mak­ing knows, Blade Run­ner would­n’t quite have been Blade Run­ner with­out its music by Van­ge­lis, a com­pos­er who used syn­the­siz­ers (espe­cial­ly the leg­endary Yahama CS80) in a way sel­dom if ever heard at that time. But as Puschak points out, “the score isn’t laid on top of the visu­als. It’s not a guide or an addi­tion” but “baked into the DNA of the movie itself.”

Every piece of audio in Blade Run­ner, “includ­ing score, sound design, and dia­logue,” is tight­ly inte­grat­ed: “each blurs into the oth­ers.” Puschak shows us how, as in the scene above, the film keeps the audi­ence unaware of “where the music ends and the world begins,” by match­ing the qual­i­ties of the music to the qual­i­ties of the space and light, incor­po­rat­ing “faint computer‑y nois­es,” and apply­ing still-new dig­i­tal rever­ber­a­tion tech­nol­o­gy Van­ge­lis uses on both the music and the dia­logue to “fold sep­a­rate audio sources into one mas­ter track,” cre­at­ing a “cohe­sive acoustic envi­ron­ment” that empha­sizes dif­fer­ent dimen­sions of sound at dif­fer­ent times in dif­fer­ent ways — in ser­vice, of course, to dif­fer­ent ele­ments of the sto­ry.

Though still active as a com­pos­er, Van­ge­lis, alas, has­n’t returned to do the score for Blade Run­ner 2049, Den­nis Vil­leneu­ve’s much-antic­i­pat­ed sequel com­ing out lat­er this year. But the son­ic world he cre­at­ed in 1982 has had a more recent trib­ute paid to it in the form of the unof­fi­cial so-called “Esper edi­tion” of the Blade Run­ner sound­track. The exist­ing edi­tions, say the two fans who assem­bled it, “nev­er ‘got it right’ in terms of chronol­o­gy‚ or thor­ough­ness,” so, “like tak­ing pieces from a puz­zle‚ we decid­ed to sim­ply ‘cut and paste’ from all the excit­ing releas­es…‚ 1982 video‚ 1992 direc­tors cut… and con­struct some­thing fresh.” The near­ly two-hour lis­ten­ing expe­ri­ence will under­score just how much putting in the right music and sound can do for a movie.

Con­verse­ly, watch­ing the five min­utes of Har­ri­son Ford’s now-excised voiceovers from the orig­i­nal the­atri­cal release below will under­score how much tak­ing out cer­tain sounds can do for one as well:

Relat­ed Con­tent:

Stream 72 Hours of Ambi­ent Sounds from Blade Run­ner: Relax, Go to Sleep in a Dystopi­an Future

How Rid­ley Scott’s Blade Run­ner Illu­mi­nates the Cen­tral Prob­lem of Moder­ni­ty

The Art of Mak­ing Blade Run­ner: See the Orig­i­nal Sketch­book, Sto­ry­boards, On-Set Polaroids & More

Watch an Ani­mat­ed Ver­sion of Rid­ley Scott’s Blade Run­ner Made of 12,597 Water­col­or Paint­ings

The Blade Run­ner Sketch­book Fea­tures The Orig­i­nal Art of Syd Mead & Rid­ley Scott (1982)

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.

 

Watch Clouds Roil Through the Grand Canyon: A Beautiful Timelapse Film Captures a Rare Full Cloud Inversion

From pro­duc­er and edi­tor Harun Mehmedi­novic comes a pret­ty breath­tak­ing time­lapse film of a rare phe­nom­e­non at the Grand Canyon. Writes Mehmedi­novic:

Mil­lions of vis­i­tors a year come to Ari­zon­a’s Grand Canyon Nation­al Park, one of the sev­en nat­ur­al won­ders of the world and the most vis­it­ed nation­al park in the west­ern Unit­ed States. How­ev­er, on extreme­ly rare days when cold air is trapped in the canyon and topped by a lay­er of warm air, which in com­bi­na­tion with mois­ture and con­den­sa­tion, form the phe­nom­e­non referred to as the full cloud inver­sion. In what resem­bles some­thing between ocean waves and fast clouds, Grand Canyon is com­plete­ly obscured by fog, mak­ing the vis­i­tors feel as if they are walk­ing on clouds.

This video was filmed as part of SKYGLOW (skyglowproject.com), an ongo­ing crowd­fund­ed quest to explore the effects and dan­gers of urban light pol­lu­tion in con­trast with some of the most incred­i­ble dark sky areas in North Amer­i­ca. This project is being pro­duced in col­lab­o­ra­tion with Inter­na­tion­al Dark-Sky Asso­ci­a­tion (darksky.org), a non-prof­it fight­ing for the preser­va­tion of night skies around the globe.

The film was shot on Canon 5DSR & 5DIII cam­eras and lens­es. You can down­load high res­o­lu­tion stills via this zip file. Enjoy.

via Twist­ed Sifter

Relat­ed Con­tent:

Mes­mer­iz­ing Time­lapse Film Cap­tures the Won­der of Bees Being Born

Google Street View Takes You on a Panoram­ic Tour of the Grand Canyon

Albert Ein­stein Sports a Native Amer­i­can Head­dress and a Peace Pipe at the Grand Canyon, 1931

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How Finland Created One of the Best Educational Systems in the World (by Doing the Opposite of U.S.)

Every con­ver­sa­tion about edu­ca­tion in the U.S. takes place in a mine­field. Unless you’re a bil­lion­aire who bought the job of Sec­re­tary of Edu­ca­tion, you’d bet­ter be pre­pared to answer ques­tions about racial and eco­nom­ic equi­ty, dis­abil­i­ty issues, pro­tec­tions for LGBTQ stu­dents, teacher pay and unions, reli­gious char­ter schools, and many oth­er press­ing con­cerns. These issues are not mutu­al­ly exclu­sive, nor are they dis­tinct from ques­tions of cur­ricu­lum, test­ing, or achieve­ment. The ter­rain is lit­tered with pos­si­ble explo­sive con­flicts between edu­ca­tors, par­ents, admin­is­tra­tors, leg­is­la­tors, activists, and prof­i­teers.

The needs of the most deeply invest­ed stake­hold­ers, as they say, the stu­dents them­selves, seem to get far too lit­tle con­sid­er­a­tion. What if we in the U.S., all of us, actu­al­ly want­ed to improve the edu­ca­tion­al expe­ri­ences and aca­d­e­m­ic out­comes for our children—all of them? Where might we look for a mod­el? Many peo­ple have looked to Fin­land, at least since 2010, when the doc­u­men­tary Wait­ing for Super­man con­trast­ed strug­gling U.S. pub­lic schools with high­ly suc­cess­ful Finnish equiv­a­lents.

The film, a pos­i­tive spin on the char­ter school move­ment, received sig­nif­i­cant back­lash for its cher­ry-picked exam­ples and blam­ing of teach­ers’ unions for America’s fail­ing schools. By con­trast, Finland’s schools have been described by William Doyle, an Amer­i­can Ful­bright Schol­ar who stud­ies them, as “the ‘ulti­mate char­ter school net­work’ ” (a phrase, we’ll see, that means lit­tle in the Finnish con­text.) There, Doyle writes at The Hechinger Report, “teach­ers are not strait-jack­et­ed by bureau­crats, scripts or exces­sive reg­u­la­tions, but have the free­dom to inno­vate and exper­i­ment as teams of trust­ed pro­fes­sion­als.”

Last year, Michael Moore fea­tured many of Finland’s inno­v­a­tive edu­ca­tion­al exper­i­ments in his humor­ous, hope­ful trav­el­ogue Where to Invade Next. In the clip above, you can hear from the country’s Min­is­ter of Edu­ca­tion, Krista Kiu­ru, who explains to him why Finnish chil­dren do not have home­work; hear also from a group of high school stu­dents, high school prin­ci­pal Pasi Majas­sari, first grade teacher Anna Hart and many oth­ers. Short­er school hours—the “short­est school days and short­est school years in the entire West­ern world”—leave plen­ty of time for leisure and recre­ation. Kids bake, hike, build things, make art, con­duct exper­i­ments, sing, and gen­er­al­ly enjoy them­selves.

“There are no man­dat­ed stan­dard­ized tests,” writes Lyn­Nell Han­cock at Smith­son­ian, “apart from one exam at the end of stu­dents’ senior year in high school… there are no rank­ings, no com­par­isons or com­pe­ti­tion between stu­dents, schools or regions.” Yet Finnish stu­dents have, in the past sev­er­al years, con­sis­tent­ly ranked in the top ten among mil­lions of stu­dents world­wide in sci­ence, read­ing, and math. “If there was one thing I kept hear­ing over and over again from the Finns,” says Moore above, “it’s that Amer­i­ca should get rid of stan­dard­ized tests,” should stop teach­ing to those tests, stop design­ing entire cur­ric­u­la around mul­ti­ple-choice tests. Han­cock describes the results of the Finnish sys­tem, and its costs:

Nine­ty-three per­cent of Finns grad­u­ate from aca­d­e­m­ic or voca­tion­al high schools, 17.5 per­cent­age points high­er than the Unit­ed States, and 66 per­cent go on to high­er edu­ca­tion, the high­est rate in the Euro­pean Union. Yet Fin­land spends about 30 per­cent less per stu­dent than the Unit­ed States.

Moore’s cam­era reg­is­ters the shock on Finnish edu­ca­tors’ faces when they hear that many U.S. schools elim­i­nat­ed music, art, poet­ry and oth­er pur­suits in order to focus almost exclu­sive­ly on test­ing. Though light­heart­ed in tone, the seg­ment real­ly dri­ves home the depress­ing degree to which so many U.S. stu­dents receive an impov­er­ished education—one bare­ly wor­thy of the name—unless they luck into a vouch­er for a high-end char­ter school or have the inde­pen­dent means for an expen­sive pri­vate one. In Fin­land, says the Min­is­ter of Edu­ca­tion, “all the schools are equal. You nev­er ask where the best school is.”

It’s also ille­gal in Fin­land to prof­it from school­ing. Wealthy par­ents have to ensure that neigh­bor­hood schools can give their kids the best edu­ca­tion pos­si­ble, because they are the only option. Many peo­ple in the U.S. object to com­par­isons like Moore’s by not­ing that soci­eties like Fin­land are “homoge­nous” next to what may seem to them like mad­den­ing cul­tur­al diver­si­ty in the U.S. How­ev­er, Fin­land has incor­po­rat­ed (not with­out dif­fi­cul­ty) large immi­grant and refugee pop­u­la­tions—even as its schools con­tin­ue to improve. The gov­ern­ment has respond­ed in part to ris­ing immi­gra­tion with edu­ca­tion­al solu­tions such as this one, a “nation­al ini­tia­tive to rein­force Finnish high­er edu­ca­tion insti­tu­tions (HEIs) as sig­nif­i­cant stake­hold­ers in migrants’ inte­gra­tion.”

The sub­tan­tive dif­fer­ences between the two coun­tries’ edu­ca­tion­al sys­tems may have less to do with demog­ra­phy and more to do with eco­nom­ics and the train­ing and social sta­tus of teach­ers.

In Fin­land, writes Doyle, no teacher “is allowed to lead a pri­ma­ry school class with­out a master’s degree in edu­ca­tion, with spe­cial­iza­tion in research and class­room prac­tice.” Teach­ing “is the most admired job in Fin­land next to med­ical doc­tors.” And as Dana Gold­stein points out at The Nation—a fact Wait­ing for Super­man failed to mention—Finnish teach­ers are “gasp!—unionized and grant­ed tenure.” Per­haps an even more sig­nif­i­cant dif­fer­ence the doc­u­men­tary glossed over: in Fin­land, “fam­i­lies ben­e­fit from a cra­dle-to-grave social wel­fare sys­tem that includes uni­ver­sal day­care, preschool and health­care, all of which are proven to help chil­dren achieve bet­ter results at school.”

Hun­dreds of stud­ies in recent years sub­stan­ti­ate this claim. It would seem intu­itive that stress­es asso­ci­at­ed with hunger and pover­ty would have a per­ni­cious effect on learn­ing, espe­cial­ly when poor­er schools are so egre­gious­ly under-resourced. And the data says as much, to vary­ing degrees. And yet, we are now in the U.S. slash­ing break­fast and lunch pro­grams that feed hun­gry chil­dren and decid­ing whether to unin­sure mil­lions of fam­i­lies as mil­lions more still lack basic health cov­er­age. Most every Amer­i­can par­ent knows that qual­i­ty day­cares and preschools can cost as much per year as a decent uni­ver­si­ty edu­ca­tion in this coun­try.

It seems to many of us that the atro­cious state of the U.S. edu­ca­tion­al sys­tem can only be attrib­uted to an act of will on the part our polit­i­cal elite, who see schools as com­pe­ti­tion for fun­da­men­tal­ist belief sys­tems, oppor­tu­ni­ties to pun­ish their oppo­nents out of spite, or as rich fields for pri­vate prof­it. But it needn’t be so. It took 40 years for the Finns to cre­ate their cur­rent sys­tem. In the 1960s, their schools ranked on the very low end—along with those in the U.S. By most accounts, they’ve since shown there can be sys­tems that, while sure­ly imper­fect in their own way, work for all kids, embed­ded with­in larg­er sys­tems that prize their teach­ers and fam­i­lies.

Relat­ed Con­tent:

Study Shows That Teach­ing Young Kids Phi­los­o­phy Improves Their Aca­d­e­m­ic Per­for­mance, Mak­ing Them Bet­ter at Read­ing & Math

In Japan­ese Schools, Lunch Is As Much About Learn­ing As It’s About Eat­ing

Med­i­ta­tion is Replac­ing Deten­tion in Baltimore’s Pub­lic Schools, and the Stu­dents Are Thriv­ing

Mal­colm Glad­well Asks Hard Ques­tions about Mon­ey & Mer­i­toc­ra­cy in Amer­i­can High­er Edu­ca­tion: Stream 3 Episodes of His New Pod­cast

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

Timelapse Animation Lets You See the Rise of Cities Across the Globe, from 3700 BC to 2000 AD

Last year, a Yale-led research project pro­duced an inno­v­a­tive dataset that mapped the his­to­ry of urban set­tle­ments. Cov­er­ing a 6,000 year peri­od, the project traced the loca­tion and size of cities across the world, start­ing in 3700 BC (when the first known urban dwellings emerged in Sumer) and con­tin­u­ing through 2000 AD. Accord­ing to Yale’s Mered­ith Reba, if we under­stand “how cities have grown and changed over time, through­out his­to­ry, it might tell us some­thing use­ful about how they are chang­ing today,” and par­tic­u­lar­ly whether we can find ways to make mod­ern cities sus­tain­able.

The Yale dataset was orig­i­nal­ly pub­lished in Sci­en­tif­ic Data in 2016. And before too long, some enter­pris­ing YouTu­ber brought the data to life. Above, the his­to­ry of urban life unfolds before your eyes. The action starts off slow, but then lat­er kicks into high gear.

You can read more about the map­ping of urban set­tle­ments at this Yale web­site. And see the ani­mat­ed map in a larg­er for­mat here.

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

The Rise & Fall of the Romans: Every Year Shown in a Time­lapse Map Ani­ma­tion (753 BC ‑1479 AD)

200,000 Years of Stag­ger­ing Human Pop­u­la­tion Growth Shown in an Ani­mat­ed Map

Buck­min­ster Fuller Cre­ates an Ani­mat­ed Visu­al­iza­tion of Human Pop­u­la­tion Growth from 1000 B.C.E. to 1965

The Story of Habitat, the Very First Large-Scale Online Role-Playing Game (1986)

Long before World of War­craft, before Everquest and Sec­ond Life, and even before Ulti­ma Online, com­put­er-gamers of the 1980s look­ing for an online world to explore with oth­ers of their kind could fire up their Com­modore 64s, switch on their dial-up modems, and log into Habi­tat. Brought out for the Com­modore online ser­vice Quan­tum Link by Lucas­film Games (lat­er known as the devel­op­er of such clas­sic point-and-click adven­ture games as Mani­ac Man­sion and The Secret of Mon­key Island, now known as Lucasarts), Habi­tat debuted as the very first large-scale graph­i­cal vir­tu­al com­mu­ni­ty, blaz­ing a trail for all the mas­sive­ly mul­ti­play­er online role-play­ing games (or MMORPGs) so many of us spend so much of our time play­ing today.

Designed, in the words of cre­ators Chip Morn­ingstar and F. Ran­dall Farmer, to “sup­port a pop­u­la­tion of thou­sands of users in a sin­gle shared cyber­space,” Habi­tat pre­sent­ed “a real-time ani­mat­ed view into an online sim­u­lat­ed world in which users can com­mu­ni­cate, play games, go on adven­tures, fall in love, get mar­ried, get divorced, start busi­ness­es, found reli­gions, wage wars, protest against them, and exper­i­ment with self-gov­ern­ment.” All that hap­pened and more with­in the ser­vice’s vir­tu­al real­i­ty dur­ing its pilot run from 1986 to 1988. The fea­tures both cau­tious­ly and reck­less­ly imple­ment­ed by Habi­tat’s devel­op­ers, and the feed­back they received from its users, laid down the tem­plate for all the more advanced graph­i­cal online worlds to come.

At the top of the post, you can watch Lucas­film’s orig­i­nal Habi­tat pro­mo­tion­al video promise a “strange new world where names can change as quick­ly as events, sur­pris­es lurk at every turn, and the keynotes of exis­tence are fan­ta­sy and fun,” one where “thou­sands of avatars, each con­trolled by a dif­fer­ent human, can con­verge to shape an imag­i­nary soci­ety.” (All per­formed, the nar­ra­tor notes, “with the coop­er­a­tion of a huge main­frame com­put­er in Vir­ginia.”) The form this soci­ety even­tu­al­ly took impressed Habi­tat’s cre­ators as much as any­one, as Farmer writes in his Habi­tat Anec­dotes” from 1988, an exam­i­na­tion of the most mem­o­rable hap­pen­ings and phe­nom­e­na among its users.

Farmer found he could group those users into five now-famil­iar cat­e­gories: the Pas­sives (who “want to ‘be enter­tained’ with no effort, like watch­ing TV”), the Active (whose “biggest prob­lem is over­spend­ing”), the Moti­va­tors (the most valu­able users, for they “under­stand that Habi­tat is what they make of it”), the Care­tak­ers (employ­ees who “help the new users, con­trol per­son­al con­flicts, record bugs” and so on), and the Geek Gods (the vir­tu­al world’s all-pow­er­ful admin­is­tra­tors). Some­times every­one got along smooth­ly, and some­times — inevitably, giv­en that every­one had to define the prop­er­ties of this brand new medi­um even as they expe­ri­enced it — they did­n’t.

“At first, dur­ing ear­ly test­ing, we found out that peo­ple were tak­ing stuff out of oth­ers’ hands and shoot­ing peo­ple in their own homes,” Farmer writes. Lat­er, a Greek Ortho­dox Min­is­ter opened Habi­tat’s first church, but “I had to even­tu­al­ly put a lock on the Church’s front door because every time he dec­o­rat­ed (with flow­ers), some­one would steal and pawn them while he was not logged in!” This cit­i­zen-gov­erned vir­tu­al soci­ety even­tu­al­ly elect­ed a sher­iff from among its users, though the design­ers could nev­er quite decide what pow­ers to grant him. Oth­er sur­pris­ing­ly “real world” insti­tu­tions devel­oped, includ­ing a news­pa­per whose user-pub­lish­er “tire­less­ly spent 20–40 hours a week com­pos­ing a 20, 30, 40 or even 50 page tabloid con­tain­ing the lat­est news, events, rumors, and even fic­tion­al arti­cles.”

Though devel­op­ing this then-advanced soft­ware for “the ludi­crous Com­modore 64” posed a seri­ous tech­ni­cal chal­lenge, write Farmer and Morn­ingstar in their 1990 paper “The Lessons of Lucas­film’s Habi­tat,” the real work began when the users logged on. All the avatars need­ed hous­es, “orga­nized into towns and cities with asso­ci­at­ed traf­fic arter­ies and shop­ping and recre­ation­al areas” with “wilder­ness areas between the towns so that every­one would not be jammed togeth­er into the same place.” Most of all, they need­ed inter­est­ing places to vis­it, “and since they can’t all be in the same place at the same time, they need­ed a lot of inter­est­ing places to vis­it. [ … ] Each of those hous­es, towns, roads, shops, forests, the­aters, are­nas, and oth­er places is a dis­tinct enti­ty that some­one needs to design and cre­ate. Attempt­ing to play the role of omni­scient cen­tral plan­ners, we were swamped.”

All this, the cre­ators dis­cov­ered, required them to stop think­ing like the engi­neers and game design­ers they were, giv­ing up all hope of rig­or­ous cen­tral plan­ning and world-build­ing in favor of fig­ur­ing out the trick­er prob­lem of how, “like the cruise direc­tor on an ocean voy­age,” to make Habi­tat fun for every­one. Farmer faces that ques­tion again today, hav­ing launched the open-source Neo­Hab­i­tat project ear­li­er this year with the aim of reviv­ing the Habi­tat world for the 21st cen­tu­ry. As much progress as graph­i­cal mul­ti­play­er online games have made in the past thir­ty years, the con­clu­sion Farmer and Morn­ingstar reached after their expe­ri­ence cre­at­ing the first one holds as true as ever: “Cyber­space may indeed change human­i­ty, but only if it begins with human­i­ty as it real­ly is.”

Relat­ed Con­tent:

Free: Play 2,400 Vin­tage Com­put­er Games in Your Web Brows­er

Long Live Glitch! The Art & Code from the Game Now Released into the Pub­lic Domain

Tim­o­thy Leary Plans a Neu­ro­mancer Video Game, with Art by Kei­th Har­ing, Music by Devo & Cameos by David Byrne

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.

Watch a Mesmerizing Hourglass Filled with 1,250,000 “Nanoballs” (Created by the Designer of the Apple Watch)

Apple Watch design­er Marc New­son has cre­at­ed an hour­glass that stands about 6 inch­es tall, mea­sures 5 inch­es wide, and fea­tures 1,249,996 tiny spheres called “nanoballs,” each made of stain­less steel and cov­ered with a fine cop­per coat­ing. It takes 10 min­utes for the nanoballs to pour through the glass, from first to last. The action looks pret­ty mes­mer­iz­ing, to say the least.

You can pick up your very own hand-made hour­glass for $12,000. But if your pock­ets don’t run quite that deep, you can set­tle for watch­ing the time piece in the video above. Get more infor­ma­tion on the New­son hour­glass here.

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!

via The Verge

Relat­ed Con­tent:

An Ani­mat­ed Alan Watts Wax­es Philo­soph­i­cal About Time in The Fine Art of Goof­ing Off, the 1970s “Sesame Street for Grown-Ups”

Why Time Seems to Speed Up as We Get Old­er: What the Research Says

How Clocks Changed Human­i­ty For­ev­er, Mak­ing Us Mas­ters and Slaves of Time

An Animated History of Tea

Self pro­claimed tea geek, Shu­nan Teng’s knowl­edge of her cho­sen sub­ject extends well beyond the prop­er way to serve and pre­pare her best-loved bev­er­age.

Her recent TED-Ed les­son on the His­to­ry of Tea, above, hints at cen­turies of blood­shed and mer­ce­nary trade prac­tices, dis­creet­ly masked by Steff Lee’s benign ani­ma­tion.

Addic­tion, war, and child labor—the last, a grim ongo­ing real­i­ty…. Med­i­tate on that the next time you’re enjoy­ing a nice cup of Dar­jeel­ing, or bet­ter yet, matcha, a prepa­ra­tion whose West­ern buzz is start­ing to approx­i­mate that of the Tang dynasty.

Even die-hard cof­fee loy­al­ists with lit­tle patience for the rit­u­al­is­tic niceties of tea cul­ture can indulge in some fas­ci­nat­ing triv­ia, from the inven­tion of the clip­per ship to the pos­si­ble health ben­e­fits of eat­ing rather than drink­ing those green leaves.

Test your TQ post-les­son with TED-Ed’s quiz, or this one from Tea Drunk, Teng’s authen­tic Man­hat­tan tea house.

Relat­ed Con­tent:

George Orwell Explains How to Make a Prop­er Cup of Tea

10 Gold­en Rules for Mak­ing the Per­fect Cup of Tea (1941)

“The Virtues of Cof­fee” Explained in 1690 Ad: The Cure for Lethar­gy, Scurvy, Drop­sy, Gout & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She’ll be appear­ing onstage in New York City this June as one of the clowns in Paul David Young’s Faust 3. Fol­low her @AyunHalliday.

Large Choir Sings “Black Hole Sun”: A Moving Tribute to Chris Cornell

They paid trib­ute to Prince last year. Now they’re doing the same for Chris Cor­nellChoir!Choir!Choir!–a group that meets week­ly and sings their hearts out in Toronto–got togeth­er and sang Soundgar­den’s 1994 hit, “Black Hole Sun.” Turn up your speak­ers, await the goose­bumps, and even­tu­al­ly wipe away a tear.

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Relat­ed Con­tent:

Rufus Wain­wright and 1,500 Singers Sing Leonard Cohen’s “Hal­lelu­jah”

This Is What It Sounds Like When 1999 Peo­ple Sing Prince’s “When Doves Cry”

Ice­landic Folk Singers Break Into an Impromp­tu Per­for­mance of a 13th Cen­tu­ry Hymn in a Train Sta­tion, and It’s Delight­ful

Kurt Vonnegut Ponders Why “Poor Americans Are Taught to Hate Themselves” in a Timely Passage from Slaughterhouse-Five

Image by Daniele Prati, via Flickr Com­mons

Amidst what is now an ordi­nary day’s chaos and tur­moil in the news, you may have noticed some out­rage cir­cu­lat­ing over com­ments made by erst­while brain sur­geon, for­mer pres­i­den­tial can­di­date, and cur­rent Sec­re­tary of HUD Ben Car­son. Pover­ty, he said, is a “state of mind.” The idea fits square­ly in the wheel­house of Carson’s brand of mag­i­cal think­ing, as well as into what has always been a self-help tra­di­tion in the U.S. since Poor Richard’s Almanac.

Con­sid­er, for exam­ple, the immense pop­u­lar­i­ty of a book writ­ten dur­ing the Great Depres­sion, Napoleon Hill’s 1937 Think and Grow Rich, which has increased every year since its pub­li­ca­tion. By 2015, the book had sold around 100 mil­lion copies world­wide. Hill’s pro­lif­ic self-help cot­tage indus­try occu­pies a promi­nent place in a dis­tinct­ly Amer­i­can genre, and an econ­o­my unto itself. Books, videos, sem­i­nars, and megachurch­es promise the faith­ful that they need only to change them­selves to change their eco­nom­ic out­comes, in order not only thrive but to “grow rich.”

The notion has had pur­chase among wealthy oppo­nents of a wel­fare state, who find it a con­ve­nient way to blame the poor for cir­cum­stances out­side their con­trol. But it also, as robust sales indi­cate, has wide appeal among the not-so-wealthy. Why? One reason—the pre­scient­ly, acer­bical­ly insight­ful observ­er of Amer­i­can cul­ture, Kurt Von­negut might argue—has to do with the fact that Amer­i­cans think of pover­ty as a per­son­al fail­ing rather than a social con­di­tion, and con­verse­ly con­flate wealth with intel­li­gence and capa­bil­i­ty.

Von­negut artic­u­lates these obser­va­tions in his 1969 clas­sic Slaugh­ter­house-Five, through a char­ac­ter named Howard W. Camp­bell, Jr., an Amer­i­can play­wright who becomes a Nazi pro­pa­gan­dist (and who stands tri­al in Israel in an ear­li­er nov­el, Moth­er Night). Osten­si­bly quot­ing from a mono­graph of Camp­bel­l’s, Von­negut writes, “Amer­i­ca is the wealth­i­est nation on Earth, but its peo­ple are main­ly poor, and poor Amer­i­cans are urged to hate them­selves.” Camp­bel­l’s mono­graph con­tin­ues:

To quote the Amer­i­can humorist Kin Hub­bard, ‘It ain’t no dis­grace to be poor, but might as well be.’ It is in fact a crime for an Amer­i­can to be poor, even though Amer­i­ca is a nation of poor. Every oth­er nation has folk tra­di­tions of men who were poor but extreme­ly wise and vir­tu­ous, and there­fore more estimable than any­one with pow­er and gold. No such tales are told by the Amer­i­can poor. They mock them­selves and glo­ri­fy their bet­ters. The mean­est eat­ing or drink­ing estab­lish­ment, owned by a man who is him­self poor, is very like­ly to have a sign on its wall ask­ing this cru­el ques­tion: ‘if you’re so smart why ain’t you rich?’ There will also be an Amer­i­can flag no larg­er than a child’s hand glued to a lol­lipop stick and fly­ing from the cash reg­is­ter.

The Kin Hub­bard quot­ed here may now be large­ly for­got­ten, but in the first three decades of the 20th cen­tu­ry, he was a humorist as wide­ly admired as Mark Twain or Will Rogers. Hub­bard drew a pop­u­lar com­ic strip based on a char­ac­ter called Abe Mar­tin, and his humor was once described as a “com­i­cal mix­ture of hoss sense and no sense at all.”  The quote above comes from one of Mar­t­in’s many pithy polit­i­cal rumi­na­tions, which include lines like “It’s all right t’ aspire to office, but when a feller begins t’ per­spire fer one it’s time t’ watch out.”

The Hub­bard-quot­ing Camp­bell, writes Von­negut with wry humor, was “said by some to have had the high­est I.Q., of all the war crim­i­nals who were made to face a death by hang­ing.” He also pitch­es his appeals to the com­mon man, and ties togeth­er the “think and grow rich” phe­nom­e­non and the ten­den­cy of so many of the country’s less-well-off to sup­port can­di­dates and poli­cies that rou­tine­ly endan­ger access to pub­lic ser­vices, qual­i­ty edu­ca­tion, and health­care.

Amer­i­cans, like human beings every­where, believe many things that are obvi­ous­ly untrue. Their most destruc­tive untruth is that it is very easy for any Amer­i­can to make mon­ey. They will not acknowl­edge how in fact hard mon­ey is to come by, and there­fore, those who have no mon­ey blame and blame and blame them­selves. This inward blame has been a trea­sure for the rich and pow­er­ful, who have had to do less for their poor, pub­licly and pri­vate­ly, than any oth­er rul­ing class since, say, Napoleon­ic times.

Camp­bell appears else­where in the nov­el in an attempt to recruit Amer­i­can POWs into “a Ger­man mil­i­tary unit called ‘The Free Amer­i­can Corps,” of which he is “the inven­tor and com­man­der.” Near the top of the post, see the char­ac­ter in the 1972 Slaugh­ter­house-Five film defend his alliance with the Nazis and explain his bizarre uni­form in terms one com­men­ta­tor sees as dis­tinct­ly res­o­nant with today’s far-right rhetoric. For all his out­landish pre­sen­ta­tion, he is a com­pli­cat­ed figure—something of an amal­gam of the far right’s show­men and huck­sters and its cyn­i­cal intel­lec­tu­als, who often under­stand very well how the stark divi­sions of race and class are main­tained in the U.S., and exploit that knowl­edge for polit­i­cal gain.

Relat­ed Con­tent:

Kurt Von­negut Gives a Ser­mon on the Fool­ish­ness of Nuclear Arms: It’s Time­ly Again (Cathe­dral of St. John the Divine, 1982)

Hear Kurt Von­negut Read Slaugh­ter­house-Five, Cat’s Cra­dle & Oth­er Nov­els

Hear Kurt Von­negut Vis­it the After­life & Inter­view Dead His­tor­i­cal Fig­ures: Isaac New­ton, Adolf Hitler, Eugene Debs & More (Audio, 1998)

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

Beat Club, the 1960s TV Show That Brought Rock Music to 70 Million Kids in Germany, Hungary, Thailand, Tanzania & Beyond

It took a bit longer for the youth rock rev­o­lu­tion to hit Ger­man tele­vi­sions com­pared to the Unit­ed States–where Amer­i­can Band­stand was already in exis­tence pre-Elvis–and the Unit­ed King­dom, where Oh Boy debuted in 1958 as that coun­try’s first pop show. But when Ger­man tele­vi­sion pre­miered Beat Club in Sep­tem­ber 1965, it would pro­found­ly change the cul­ture.

The show took its visu­al cues from both the UK–with its Lon­don Under­ground-aping logo–and the US, with its go-go dancers. It even bor­rowed some of its hosts from across the Chan­nel, like Dave Lee Travis, who was work­ing at pirate sta­tion Radio Car­o­line at the time.

The show’s pro­duc­er Michael Lecke­busch was a more tra­di­tion­al man who pre­ferred musi­cals to rock, but he knew his mar­ket, and he knew how to check the pulse of the scene, by attend­ing The Star Club in Hamburg–one of the venues where the Bea­t­les paid their dues.

Over its sev­en years of shows, which went into col­or broad­cast right when psy­che­delia was tak­ing off, Beat Club intro­duced Ger­man teenagers to the likes of The Kinks, King Crim­son, The Grate­ful Dead, Cap­tain Beef­heart, Cream, Frank Zap­pa, The Small Faces, The Rolling Stones, Step­pen­wolf, Led Zep­pelin, Jimi Hen­drix, The Who, and David Bowie, among many oth­ers.

In fact, Ger­man acts did not appear on the show until 1971. But by that time Beat Club had also strayed from rock and was explor­ing jazz-rock, fusion, and oth­er non-pop for­mats.

The impact on a coun­try that was used to quiz shows and cof­fee and cake on a Sun­day after­noon can’t be over­stat­ed. It was, as the announc­er Wil­helm Wiegen told the view­ers, a show “by young peo­ple, for young peo­ple.” That sounds like basic mar­ket­ing now, but at the time it was a life­line to an entire gen­er­a­tion.

And soon the effect was felt beyond Ger­many, accord­ing to Ger­man site Deutsche Welle.

But Beat-Club kept the youth on its side, pulling in 70 mil­lion view­ers from approx­i­mate­ly 30 coun­tries — from Hun­gary and Fin­land to as far as Thai­land and Tan­za­nia. At its peak, 63 per­cent of Ger­many’s under-30s were reg­u­lar­ly tun­ing in to the music show.
These were the begin­nings of the youth that would become the Stu­den­ten­be­we­gung (“stu­dent move­ment”), also known as the 68ers. With hits such as The Who’s “My Gen­er­a­tion” and the Rolling Stones’ “Sat­is­fac­tion,” Beat-Club gave its “Beat-friends” the moti­va­tion to stand up and fight back against an out-dat­ed gen­er­a­tion. It was a sound­track for a new life.

There is plen­ty of footage of the show knock­ing around YouTube, includ­ing this chan­nel devot­ed to full episodes, and numer­ous oth­er clips. And though the show stopped in 1972, a nos­tal­gic radio ver­sion con­tin­ues to broad­cast with its orig­i­nal female host Uschi Nerke.

Relat­ed Con­tent:

The Rolling Stones Intro­duce Blues­man Howl­in’ Wolf on US TV, One of the “Great­est Cul­tur­al Moments of the 20th Cen­tu­ry” (1965)

Radio Car­o­line, the Pirate Radio Ship That Rocked the British Music World (1965)

Watch the Pro­to-Punk Band The Monks Sow Chaos on Ger­man TV, 1966: A Great Con­cert Moment on YouTube

Four Female Punk Bands That Changed Women’s Role in Rock

The Crazy, Icon­ic Life of Nico; Andy Warhol Muse, Vel­vet Under­ground Vocal­ist, Enig­ma in Amber

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Slavoj Žižek Names His 5 Favorite Films

Any­one who has read the prose of philoso­pher-provo­ca­teur Slavoj Žižek, a potent mix­ture of the aca­d­e­m­ic and the psy­che­del­ic, has to won­der what mate­r­i­al has influ­enced his way of think­ing. Those who have seen his film-ana­lyz­ing doc­u­men­taries The Per­vert’s Guide to Cin­e­ma and The Per­vert’s Guide to Ide­ol­o­gy might come to sus­pect that he’s watched even more than he’s read, and the inter­view clip above gives us a sense of which movies have done the most to shape his inter­nal uni­verse. Asked to name his five favorite films, he impro­vis­es the fol­low­ing list:

  • Melan­cho­lia (Lars von Tri­er), “because it’s the end of the world, and I’m a pes­simist. I think it’s good if the world ends”
  • The Foun­tain­head (King Vidor, 1949), “ultra­cap­i­tal­ist pro­pa­gan­da, but it’s so ridicu­lous that I can­not but love it”
  • A Man with a Movie Cam­era (Dzi­ga Ver­tov, 1929), “stan­dard but I like it.” It’s free to watch online.
  • Psy­cho (Alfred Hitch­cock, 1960), because “Ver­ti­go is still too roman­tic” and “after Psy­cho, every­thing goes down”
  • To Be or Not to Be (Ernst Lubitsch, 1942), “mad­ness, you can­not do a bet­ter com­e­dy”

You can watch a part of Žižek’s break­down of Psy­cho, which he describes as “the per­fect film for me,” in the Per­vert’s Guide to Cin­e­ma clip just above. He views the house of Nor­man Bates, the tit­u­lar psy­cho, as a repro­duc­tion of “the three lev­els of human sub­jec­tiv­i­ty. The ground floor is ego: Nor­man behaves there as a nor­mal son, what­ev­er remains of his nor­mal ego tak­ing over. Up there it’s the super­ego — mater­nal super­ego, because the dead moth­er is basi­cal­ly a fig­ure of super­ego. Down in the cel­lar, it’s the id, the reser­voir of these illic­it dri­ves.” Ulti­mate­ly, “it’s as if he is trans­pos­ing her in his own mind as a psy­chic agency from super­ego to id.” But giv­en that Žižek’s inter­pre­tive pow­ers extend to the her­menu­tics of toi­lets and well beyond, he could prob­a­bly see just about any­thing as a Freudi­an night­mare.

You can watch anoth­er of Žižek’s five favorite films, Dzi­ga Ver­tov’s A Man with a Movie Cam­era, which we fea­tured here on Open Cul­ture a few years ago, just above. Whether or not you can tune into the right intel­lec­tu­al wave­length to enjoy Žižek’s own work, the man can cer­tain­ly put togeth­er a stim­u­lat­ing view­ing list.

For more of his rec­om­men­da­tions — and his dis­tinc­tive jus­ti­fi­ca­tions for those rec­om­men­da­tions — have a look at his picks from the Cri­te­ri­on Col­lec­tion and his expla­na­tion of the great­ness of Andrei Tarkovsky. If uni­ver­si­ty super­star­dom one day stops work­ing out for him, he may well have a bright future as a revival-the­ater pro­gram­mer.

Relat­ed Con­tent:

Slavoj Žižek Names His Favorite Films from The Cri­te­ri­on Col­lec­tion

Slavoj Žižek Explains the Artistry of Andrei Tarkovsky’s Films: Solaris, Stalk­er & More

In His Lat­est Film, Slavoj Žižek Claims “The Only Way to Be an Athe­ist is Through Chris­tian­i­ty”

Free: Dzi­ga Vertov’s A Man with a Movie Cam­era, the 8th Best Film Ever Made

Alfred Hitchcock’s Rules for Watch­ing Psy­cho (1960)

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.


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