David Byrne’s Personal Lending Library Is Now Open: 250 Books Ready to Be Checked Out

david byrne lending library

Just yes­ter­day we were mus­ing on perus­ing rock stars’ book­shelves, and today we learn it has become a real­i­ty, if you live in Lon­don. Poly­math and all-around swell per­son David Byrne opened the 22nd annu­al Melt­down Fes­ti­val this last Mon­day, and in the spir­it of London’s Poet­ry Library (which is host­ing this part of the event), the for­mer Talk­ing Heads front­man has shipped over 250 books to stock his own lend­ing library for the dura­tion of the fes­ti­val, until August 30.

In his Guardian essay explain­ing his deci­sion to let you rifle through his col­lec­tion of music books—some of which were used as research for his own How Music Works—Byrne wax­es about the library he loved in his teenage years in sub­ur­ban Bal­ti­more:

We were des­per­ate to know what was going on in the cool places, and, giv­en some sug­ges­tions and direc­tion, the library was one place where that wider excit­ing world became avail­able. In my lit­tle town, the library also had vinyl that one could check out and I dis­cov­ered avant-garde com­posers such as Xenakis and Mes­si­aen, folk music from var­i­ous parts of the world and even some pop records that weren’t get­ting much radio play in Bal­ti­more. It was tru­ly a for­ma­tive place.

A full list of the books has yet to sur­face, but a few peo­ple are tweet­ing pho­tos of titles, like Evan Eisenberg’s The Record­ing Angel: Music, Records and Cul­ture from Aris­to­tle to Zap­pa or Steve Goodman’s Son­ic War­fare: Sound, Affect, and the Ecol­o­gy of Fear. Squint­ing our eyes at the pro­mo­tion­al pho­to of Byrne sit­ting in front of the shelves, we can spot Lester Bangs’ Psy­chot­ic Reac­tions and Car­bu­ra­tor Dung, Eric Weisbard’s Lis­ten Again: A Momen­tary His­to­ry of Pop Music, Paula Court’s pho­to­book New York Noise: Art and Music from the New York Under­ground 1978–88; and Thurston Moore’s Mix Tape: The Art of Cas­sette Cul­ture. (Rec­og­nize some oth­er titles? Please add them in the com­ments.)

Byrne has set up a free-to-bor­row sys­tem with a cred­it card on file just in case you abscond with the book, although he does admit it may hap­pen and “so be it.” There’s also an added thrill:

Some of my books may have high­light­ed bits or notes scrawled in the mar­gins. I hope noth­ing embar­rass­ing.

Byrne’s pro­gram­ming for the Melt­down Fes­ti­val can be seen here. High­lights include an a cap­pel­la work­shop by Petra Haden, a show­ing of There Will Be Blood with live score by Jon­ny Green­wood and the Lon­don Con­tem­po­rary Orches­tra, the reap­pear­ance of Young Mar­ble Giants, Young Jean Lee’s band Future Wife per­form­ing We’re Gonna Die with David Byrne as spe­cial guest; and many oth­er selec­tions of “Things David Thinks You Should Hear.”

In the mean­time, here’s a pho­to from the fes­t’s open­ing of Mr. Byrne rid­ing a portable espres­so shop on wheels.

Relat­ed Con­tent:

Bri­an Eno Lists 20 Books for Rebuild­ing Civ­i­liza­tion & 59 Books For Build­ing Your Intel­lec­tu­al World

Pat­ti Smith’s List of Favorite Books: From Rim­baud to Susan Son­tag

David Bowie’s Top 100 Books

David Byrne: How Archi­tec­ture Helped Music Evolve

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

How Can I Know Anything at All? BBC Animations Feature the Philosophy of Wittgenstein, Hume, Popper & More

How did every­thing begin? What makes us human? What is the self? How do I live a good life? What is love? We’ve all asked these ques­tions, if only with­in our heads, and recent­ly a series of BBC ani­ma­tions writ­ten by philoso­pher Nigel War­bur­ton and nar­rat­ed by a vari­ety of celebri­ties have done their lev­el best to answer them–or at least to point us in the direc­tion of answer­ing them for our­selves by not just telling but wit­ti­ly show­ing us what great minds have thought and said on the issues before we came along. Most recent­ly, they’ve tak­en on that eter­nal conun­drum, “How can I know any­thing at all?”

The already philo­soph­i­cal­ly inclined will have rec­og­nized this as the foun­da­tion­al ques­tion of epis­te­mol­o­gy, that for­mi­da­ble branch of phi­los­o­phy con­cerned with what we know, how we know, and whether we can know in the first place. Many famil­iar names in the his­to­ry of phi­los­o­phy have stepped onto this field, includ­ing Lud­wig Wittgen­stein, with whose thoughts this series of extreme­ly brief explana­to­ry videos begins. It lays out his anal­o­gy of the bee­tle in a box, where­in each per­son holds a box con­tain­ing what they call a “bee­tle,” but nobody can look inside anoth­er’s box to con­firm whether their idea of a bee­tle aligns with any­one else’s.

In Wittgen­stein’s view, says actor Aidan Turn­er, “there can’t be more to the pub­lic mean­ing of a lan­guage than we’re capa­ble of teach­ing each oth­er, and the pri­vate ‘something’—the ‘beetle’—can’t have a role in that teach­ing, because we can’t get at it.” The next video, in ask­ing whether we should believe in mir­a­cles, brings in Scot­tish Enlight­en­ment thinker David Hume, who thought that “if we fol­low the rule of pro­por­tion­ing our beliefs to the avail­able evi­dence, there will always be more evi­dence that the eye­wit­ness accounts were mis­tak­en than not.” Hume’s pre­de­ces­sor George Berke­ley makes an appear­ance to weigh in on whether any­thing exists—or, more pre­cise­ly, whether any­thing exists besides our minds, which con­vince us that we expe­ri­ence real things out there in the world.

Final­ly, the series lands on a method we can use to know, one sci­ence has relied on, with seem­ing suc­cess, for quite some time now: Karl Pop­per’s idea of fal­si­fi­ca­tion. “Rather than look­ing for sup­port­ing evi­dence, Pop­per argued that sci­en­tists go out of their way to refute their own hypothe­ses, test­ing them to destruc­tion,” leav­ing those that remain, at least pro­vi­sion­al­ly, as knowl­edge. Though none of these videos exceed two min­utes in length, each one, dense with both philo­soph­i­cal and pop-cul­tur­al ref­er­ences, will leave you with more knowl­edge about epis­te­mol­o­gy than you went in with—assuming they don’t leave you dis­be­liev­ing in knowl­edge itself.

Relat­ed Con­tent:

140 Free Online Phi­los­o­phy Cours­es

What is Love? BBC Phi­los­o­phy Ani­ma­tions Fea­ture Sartre, Freud, Aristo­phanes, Dawkins & More

What is the Self? Watch Phi­los­o­phy Ani­ma­tions Nar­rat­ed by Stephen Fry on Sartre, Descartes & More

How Did Every­thing Begin?: Ani­ma­tions on the Ori­gins of the Uni­verse Nar­rat­ed by X‑Files Star Gillian Ander­son

What Makes Us Human?: Chom­sky, Locke & Marx Intro­duced by New Ani­mat­ed Videos from the BBC

How to Live a Good Life? Watch Phi­los­o­phy Ani­ma­tions Nar­rat­ed by Stephen Fry on Aris­to­tle, Ayn Rand, Max Weber & More

How Can I Know Right From Wrong? Watch Phi­los­o­phy Ani­ma­tions on Ethics Nar­rat­ed by Har­ry Shear­er

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

18 Stories & Novels by Neil Gaiman Online: Free Texts & Readings by Neil Himself

Neil Gaiman might just be the most beloved fan­ta­sy author out there. He writes weird, twist­ed, exhil­a­rat­ing tales about hid­den real­i­ties and the bizarre, fan­ci­ful crea­tures that live in them. His works, like Sand­man, Frag­ile Things and Amer­i­can Gods, are pure escapism and a blast to read. No doubt, that’s the major rea­son why the author has devel­oped such a rabid fan base.

But per­haps anoth­er rea­son is that he is sim­ply more avail­able than most writ­ers. Sure, oth­er authors, like J. K. Rowl­ing for instance, might have inspired an entire gen­er­a­tion with her Har­ry Pot­ter series but she prefers to keep a cer­tain remove from her read­er­ship. Though she has a Twit­ter account, she uses it spar­ing­ly.

Gaiman, on the oth­er hand, is seem­ing­ly always on Twit­ter — he has, as of this writ­ing, tweet­ed at least nine times in the past 24 hours, inter­act­ing with fans, pub­lish­ers and the press. This is the guy who once report­ed­ly signed 75,000 copies of his book The Ocean at the End of the Lane, after all.

He has also post­ed a lot of his work for free up on the inter­net. Below is a list of Gaiman’s work that you can read, see or hear online. Many are read by Neil him­self. If you know of any miss­ing texts, please let us know and we’ll get them added to our list ASAP.

Above you can find videos of Gaiman read­ing the first chap­ter of his book Cora­line, and also the sto­ry “The Man Who For­got Ray Brad­bury.”

Audio & Video
Text

Relat­ed Con­tent:

1,000 Free Audio Books: Down­load Great Books for Free

Neil Gaiman Reads “The Man Who For­got Ray Brad­bury”

Where Do Great Ideas Come From? Neil Gaiman Explains

Aman­da Palmer Ani­mates & Nar­rates Hus­band Neil Gaiman’s Uncon­scious Mus­ings

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Michael Stipe Recommends 10 Books for Anyone Marooned on a Desert Island

stipe books

Image by David Shankbone

Michael Stipe’s tenure as front­man and lyri­cist for R.E.M. cer­tain­ly revealed a lit­er­ate mind. A for­mer art major at the Uni­ver­si­ty of Geor­gia and cur­rent art teacher at NYU, his best lyrics scan well as poet­ry.  One can imag­ine being invit­ed over for a din­ner par­ty to Mr. Stipe’s place, and, glass of wine in hand, absolute­ly hav­ing to nose through his book­shelf. What does the writer of “Nightswim­ming” read? With the his­tor­i­cal ref­er­ences that course through those ear­ly albums, would he have socio-polit­i­cal books about Amer­i­ca? Would he pull a book off the shelf and say, here, “You have to read this. It will change your life”?

Won­der no more, because Stipe was recent­ly asked to write down his Top Ten list of books to take to a desert island. The list was pub­lished in The New York Times. Find a skele­tal ver­sion here:

Some of these are classics—for exam­ple Ker­ouac’s On the Road, which Stipe calls “my band’s template”—and the one poet on the list, Rim­baud, is very much an ear­ly influ­ence on his writ­ing. Dhal­gren was also a favorite of David Bowie’s, who based a lot of Dia­mond Dogs on the nov­el. The Copeland and Did­ion choic­es stand out, most­ly by being less obvi­ous selec­tions from their bib­li­ogra­phies. And as he says that he’s cur­rent­ly read­ing the Pat­ti Smith book (now being turned into a series on Show­time), we can’t take the selec­tion too seri­ous­ly. Maybe he just wants to take it to the desert island to fin­ish it.

Stipe has includ­ed a few sen­tences on each book to explain his choic­es. Find them here.

Relat­ed con­tent:

Pat­ti Smith’s List of Favorite Books: From Rim­baud to Susan Son­tag

David Bowie’s Top 100 Books

Bri­an Eno Lists 20 Books for Rebuild­ing Civ­i­liza­tion & 59 Books For Build­ing Your Intel­lec­tu­al World

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

The Fascinating Whistled Languages of the Canary Islands, Turkey & Mexico (and What They Say About the Human Brain)

For some years now lin­guist Daniel Everett has chal­lenged the ortho­doxy of Noam Chom­sky and oth­er lin­guists who believe in an innate “uni­ver­sal gram­mar” that gov­erns human lan­guage acqui­si­tion. A 2007 New York­er pro­file described his work with a reclu­sive Ama­zon­ian tribe called the Pira­ha, among whom Everett found a lan­guage “unre­lat­ed to any oth­er extant tongue… so con­found­ing to non-natives that” until he arrived in the 70s, “no out­sider had suc­ceed­ed in mas­ter­ing it.” And yet, for all its extra­or­di­nary dif­fer­ences, at least one par­tic­u­lar fea­ture of Pira­ha is shared by humans across the globe—“its speak­ers can dis­pense with their vow­els and con­so­nants alto­geth­er and sing, hum, or whis­tle con­ver­sa­tions.”

In places as far flung as the Brazil­ian rain­for­est, moun­tain­ous Oax­a­ca, Mex­i­co, the Canary Islands, and the Black Sea coast of Turkey, we find lan­guages that sound more like the speech of birds than of humans. “Whis­tled lan­guages,” writes Michelle Nijhuis in a recent New York­er post, “have been around for cen­turies. Herodotus described com­mu­ni­ties in Ethiopia whose res­i­dents ‘spoke like bats,’ and reports of the whis­tled lan­guage that is still used in the Canary Islands date back more than six hun­dred years.”

In the short video from UNESCO at the top of the post, you can hear the whis­tled lan­guage of Canary Islanders. (See anoth­er short video from Time mag­a­zine here.) Called Sil­bo Gomero, the lan­guage “repli­cates the islanders’ habit­u­al lan­guage (Castil­ian Span­ish) with whistling,” replac­ing “each vow­el or con­so­nant with a whistling sound.” Spo­ken (so to speak) among a very large com­mu­ni­ty of over 22,000 inhab­i­tants and passed down for­mal­ly in schools and cer­e­monies, Sil­bo Gomero shows no signs of dis­ap­pear­ing. Oth­er whis­tled lan­guages have not fared as well. As you will see in the doc­u­men­tary above, when it comes to the whis­tled lan­guage of north­ern Oax­a­can peo­ples in a moun­tain­ous region of Mex­i­co, “only a few whistlers still prac­tice their ancient tongue.” In a pre­vi­ous Open Cul­ture post on this film, Matthias Rasch­er point­ed us toward some schol­ar­ly efforts at preser­va­tion from the Sum­mer Insti­tute of Lin­guis­tics in Mex­i­co, who record­ed and tran­scribed a con­ver­sa­tion between two native Oax­a­can whistlers.

Whis­tled lan­guages evolved for much the same rea­son as birdcalls—they enable their “speak­ers” to com­mu­ni­cate across large dis­tances. “Most of the forty-two exam­ples that have been doc­u­ment­ed in recent times,” Nijhuis writes, “arose in places with steep ter­rain or dense forests—the Atlas Moun­tains, in north­west Africa; the high­lands of north­ern Laos, the Brazil­ian Amazon—where it might oth­er­wise be hard to com­mu­ni­cate at a dis­tance.” Such is the case for the Pira­ha, the Canary Islanders, the Oax­a­can whistlers, and anoth­er group of whistlers in a moun­tain­ous region of Turkey. As Nijhuis doc­u­ments in her post, these sev­er­al thou­sand speak­ers have learned to translit­er­ate Turk­ish into “loud, lilt­ing whis­tles” that they call “bird lan­guage.” New Sci­en­tist brings us the exam­ple of whis­tled Turk­ish above (with sub­ti­tles), and you can hear more record­ed exam­ples at The New York­er.

As with most whis­tled lan­guages, the Turk­ish “bird lan­guage” makes use of sim­i­lar structures—though not sim­i­lar sounds—as human speech, mak­ing it a bit like sem­a­phore or Morse code. As such, whis­tled lan­guages are not like­ly to offer evi­dence against the idea of a uni­ver­sal gram­mar in the archi­tec­ture of the brain. Yet accord­ing to biopsy­chol­o­gist Onur Gün­türkün—who con­duct­ed a study on the Turk­ish whistlers pub­lished in the lat­est Cur­rent Biol­o­gy—these lan­guages can show us that “the orga­ni­za­tion of our brain, in terms of its asym­met­ri­cal struc­ture, is not as fixed as we assume.”

Where we gen­er­al­ly process lan­guage in the left hemi­sphere and “pitch, melody, and rhythm” in the right, Nijhuis describes how the whis­tled Turk­ish study sug­gests “that both hemi­spheres played sig­nif­i­cant roles” in com­pre­hen­sion. The oppor­tu­ni­ties to study whis­tled lan­guages will dimin­ish in the years to come, as cell phones take over their func­tion and more of their speak­ers lose region­al dis­tinc­tive­ness. But the work of Gün­türkün and oth­er bio­log­i­cal researchers may have fas­ci­nat­ing impli­ca­tions for lin­guists as well, cre­at­ing fur­ther con­nec­tions between speech and music—and per­haps even between the speech of humans and that of oth­er ani­mals.

via The New York­er

Relat­ed Con­tent:

Speak­ing in Whis­tles: The Whis­tled Lan­guage of Oax­a­ca, Mex­i­co

How Lan­guages Evolve: Explained in a Win­ning TED-Ed Ani­ma­tion

Noam Chom­sky Talks About How Kids Acquire Lan­guage & Ideas in an Ani­mat­ed Video by Michel Gondry

What Makes Us Human?: Chom­sky, Locke & Marx Intro­duced by New Ani­mat­ed Videos from the BBC

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

H.P. Lovecraft’s Monster Drawings: Cthulhu & Other Creatures from the “Boundless and Hideous Unknown”

Cthulhu_sketch_by_Lovecraft

If you’ve ever played Call of Cthul­hu, the table­top role-play­ing game based on the writ­ing of H.P. Love­craft, you’ve felt the frus­tra­tion of hav­ing char­ac­ter after painstak­ing­ly-cre­at­ed char­ac­ter go insane or sim­ply drop dead upon catch­ing a glimpse of one of the many hor­rif­ic beings infest­ing its world. But as the count­less read­ers Love­craft has posthu­mous­ly accu­mu­lat­ed over near­ly eighty years know, that just sig­nals faith­ful­ness to the source mate­r­i­al: Love­craft’s char­ac­ters tend to run into the same prob­lem, liv­ing, as they do, in what French nov­el­ist Michel Houelle­becq (one of his notable fans, a group that also includes Stephen King, Joyce Car­ol Oates, and Jorge Luis Borges) calls “an open slice of howl­ing fear.”

Read enough of Love­craft’s mid­dle-class east-coast pro­fes­sion­al nar­ra­tors’ mor­tal strug­gles for the words to con­vey what he called “the bound­less and hideous unknown” that sud­den­ly con­fronts them, and you start to won­der what these crea­tures actu­al­ly look like. The clear­est word-pic­ture comes in the 1928 sto­ry “The Call of Cthul­hu,” whose nar­ra­tor describes the tit­u­lar ancient malevolence—avoiding instan­ta­neous men­tal break­down by look­ing at an idol rather than the being itself—as “a mon­ster of vague­ly anthro­poid out­line, but with an octo­pus-like head whose face was a mass of feel­ers, a scaly, rub­bery-look­ing body, prodi­gious claws on hind and fore feet, and long, nar­row wings behind.”

And so mod­ern Love­craftians have enjoyed a new vari­a­tion of that giant octo­pus-drag­on-man form on “Cthul­hu for Pres­i­dent” shirts each and every elec­tion year. (You can find one for 2016 here.) While that phe­nom­e­non would sure­ly have sur­prised Love­craft him­self, con­stant­ly and fruit­less­ly as he strug­gled in life, I like to think he’d have approved of the designs, which align in fear­some spir­it with the sketch­es he made. At the top of the post you can see one sketch of the Cthul­hu idol, drawn in 1934 on a piece of cor­re­spon­dence with writer R.H. Bar­low, Love­craft’s friend and the even­tu­al execu­tor of his estate.

MadnessPlotOutlineFinal.jpg.CROP.article920-large

If “The Call of Cthul­hu” ranks as Love­craft’s best-known work, his 1936 novel­la At the Moun­tains of Mad­ness sure­ly comes in a close sec­ond. Just above, we have an illus­trat­ed page of the writer’s plot notes for this unfor­get­table cau­tion­ary tale of an Antarc­tic expe­di­tion that hap­pens dis­as­trous­ly upon the mind-bend­ing ruins of a city pre­vi­ous­ly thought only a myth – and the mon­sters that inhab­it it. It exem­pli­fies the defin­ing qual­i­ty of Love­craft’s mythol­o­gy, where, as Slate’s Rebec­ca Onion puts it, “ancient beings of pro­found malev­o­lence lurk just below the sur­face of the every­day world.”

“Moun­tains fea­tured sev­er­al species of for­got­ten, intel­li­gent beings, includ­ing the ‘Elder Things.’ The sketch on the right side of this page of notes (click here to view it in a larg­er for­mat), with its anno­ta­tions (‘body dark grey’; ‘all appendages not in use cus­tom­ar­i­ly fold­ed down to body’; ‘leath­ery or rub­bery’) rep­re­sents Love­craft work­ing out the specifics of an Elder Thing’s anato­my.” That such things lurked in Love­craft’s imag­i­na­tion have made his state of mind a sub­ject of decades and decades of rich dis­cus­sion among his enthu­si­asts. But just the body count racked up by Cthul­hu, the Elder Things, and the oth­er denizens of this unfath­omable realm should make us thank­ful that Love­craft saw them in his mind’s eye so we would­n’t have to.

Note: The sec­ond image on this page was fea­tured in the 2013 exhi­bi­tion held at Brown Uni­ver­si­ty, “The Shad­ow Over Col­lege Street: H. P. Love­craft in Prov­i­dence.” The Brown Uni­ver­si­ty Library is the home to the largest col­lec­tion of H. P. Love­craft mate­ri­als in the world.

Relat­ed Con­tent:

H.P. Love­craft Gives Five Tips for Writ­ing a Hor­ror Sto­ry, or Any Piece of “Weird Fic­tion”

H.P. Love­craft High­lights the 20 “Types of Mis­takes” Young Writ­ers Make

H.P. Lovecraft’s Clas­sic Hor­ror Sto­ries Free Online: Down­load Audio Books, eBooks & More

Love­craft: Fear of the Unknown (Free Doc­u­men­tary)

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

1980s Photo Captures Neil deGrasse Tyson Looking Hip in Grad School (Plus More on His “Failed Experiment” at UT-Austin)

Neil deGrasse Tyson in graduate school at Texas - 1980s - Imgur

Last year, we revis­it­ed the high school days of Neil deGrasse Tyson. Grow­ing up in New York City dur­ing the 1970s, Tyson attend­ed Bronx Sci­ence (class of ’76), ran an impres­sive 4:25 mile, cap­tained the school’s wrestling team, and, he fond­ly recalls, wore bas­ket­ball sneak­ers belong­ing to the Knick’s Walt “Clyde” Fra­zier. Tyson was, of course, also a pre­co­cious stu­dent. Famous­ly, Carl Sagan recruit­ed Tyson to study with him at Cor­nell. But Tyson polite­ly declined and went to Har­vard for his under­grad­u­ate stud­ies. Then, he head­ed off to Texas, to start his PhD at UT-Austin. That’s where the pho­to, tak­en cir­ca 1980, cap­tures him above — hang­ing out with friends, and look­ing hip­per than your aver­age astro­physics stu­dent.

This pho­to (now mak­ing the rounds on Red­dit) orig­i­nal­ly appeared in a 2012 arti­cle pub­lished in the Alcalde, the alum­ni mag­a­zine of The Uni­ver­si­ty of Texas. To the mag­a­zine’s cred­it, the arti­cle takes an unvar­nished look at Tyson’s “failed exper­i­ment” in Texas. The piece starts with the lede “Neil deGrasse Tyson, MA ’83, is the pub­lic face of sci­ence. But he says his suc­cess has noth­ing to do with UT.” And, from there, it recounts how pro­fes­sors and uni­ver­si­ty police imme­di­ate­ly stereo­typed him.

The first com­ment direct­ed to me in the first minute of the first day by a fac­ul­ty mem­ber I had just met was, ‘You must join the depart­ment bas­ket­ball team!

or

I was stopped and ques­tioned sev­en times by Uni­ver­si­ty police on my way into the physics build­ing. Sev­en times. Zero times was I stopped going into the gym—and I went to the gym a lot. That says all you need to know about how wel­come I felt at Texas.

But the real prob­lem was­n’t race. Accord­ing to Tyson, “there was sim­ply no room for me to be the full per­son that I was.” “An obses­sive focus on one thing at a time; a strong con­nec­tion to pop cul­ture, from the moon­walk to the Rubik’s cube; and a refusal to put research first: these traits con­tributed to Tyson’s fail­ure at UT,” con­cludes the Alcalde. They also allowed him to flour­ish lat­er in life.

After his “advi­sors dis­solved his dis­ser­ta­tion committee—essentially flunk­ing him,” Tyson trans­ferred to Colum­bia, earned his PhD in 1988, and became the great­est pop­u­lar­iz­er of sci­ence since Carl Sagan. We like sto­ries with hap­py end­ings.

Read more about Tyson’s expe­ri­ence in Texas at the Alcalde.

via Boing Boing

Relat­ed Con­tent:

Neil deGrasse Tyson, High School Wrestling Team Cap­tain, Invent­ed a Physics-Based Wrestling Move

Carl Sagan Writes a Let­ter to 17-Year-Old Neil deGrasse Tyson (1975)

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

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Stream 58 Hours of Free Classical Music Selected to Help You Study, Work, or Simply Relax

Johann_Sebastian_Bach

We are bom­bard­ed by music, all the time, whether we like it or not. In many cases—such as those almost dai­ly, inescapable trips to the gro­cery store, drug store, pet store, what-have-you store—the musi­cal accom­pa­ni­ment to our jour­ney through life has been cho­sen specif­i­cal­ly for its abil­i­ty to make us buy things: How­ev­er grat­ing we may find the soft rock, lite pop, or easy lis­ten­ing that pumps out of phar­ma­cy speak­er sys­tems, some sin­is­ter cabal of mar­ket­ing researchers deter­mined long ago that schmaltz equals sales. And so we endure yet anoth­er ter­ri­ble pop song while wait­ing in line with our essen­tials. For peo­ple like myself—highly sen­si­tive to sound and unable to tune out bad back­ground music—the expe­ri­ence can be excru­ci­at­ing.

In our own pri­vate spaces—offices, cars, the space between our ears with head­phones on—we become our own sound design­ers. We may pre­fer silence, or we may choose very spe­cif­ic kinds of music to accom­pa­ny our leisure and our work (as we dis­cussed in a few posts on music to write by some years back). These days, we can make our own dig­i­tal playlists, grab­bing music from all over the web, or we can have the algo­rithms of inter­net radio ser­vices like Pan­do­ra or Apple Radio curate our lis­ten­ing for us, a more—or some­times less—satisfying expe­ri­ence. Lovers of clas­si­cal music have a third online option, thanks to an enter­pris­ing dig­i­tal cura­tor who goes by the name of Ulysse­s­tone and who com­piled the Spo­ti­fy playlist below of 58 hours of clas­si­cal music — from Sibelius to Satie, Bach to Debussy. It’s designed for any­one who wants to study, work, or sim­ply relax.

Ulysses has pre­vi­ous­ly brought us a playlist of the endur­ing­ly clas­si­cal music in Stan­ley Kubrick­’s films and all of Mozart in a 127 hour playlist. As one music blog­ger put it, his inter­ven­tions have made Spo­ti­fy’s ser­vice “a whole lot eas­i­er for clas­si­cal lis­ten­ers.” See for your­self at Spo­ti­fy Clas­si­cal Playlists, where you’ll find blog posts on the changes to Spo­ti­fy’s clas­si­cal radio, as well as over 50 playlists ded­i­cat­ed to famous composers—“great start­ing points,” writes Ulysses, “for peo­ple who want to get into clas­si­cal music or explore a bit more.” You can stream the 58-hour playlist of study-enhanc­ing clas­si­cal music (fea­tur­ing 789 free tracks in total) by click­ing this link, or stream­ing the play­er above. To down­load Spo­ti­fy and start a free account, head on over to their site.

Relat­ed Con­tent:

Down­load Free Music from 150+ Clas­si­cal Com­posers, Cour­tesy of Musopen.org

The World Con­cert Hall: Lis­ten To The Best Live Clas­si­cal Music Con­certs for Free

The Clas­si­cal Music in Stan­ley Kubrick’s Films: Lis­ten to a Free, 4 Hour Playlist

Philip K. Dick’s Favorite Clas­si­cal Music: A Free, 11-Hour Playlist

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

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