Coursera Partners with Leading Universities to Offer Master’s Degrees at a More Affordable Price

in Business, Computer Science, Online Courses | October 24th, 2017

If you’re a reg­u­lar Open Cul­ture read­er, you’re already famil­iar with Cours­era, the ed tech com­pa­ny, which, since its found­ing in 2012, has giv­en the world access to online cours­es from top universities–e.g. cours­es on Roman Archi­tec­ture (Yale), Mod­ern and Post­mod­ern Phi­los­o­phy (Wes­leyan), and Bud­dhism and Neu­ro­science (Prince­ton). And you’ve per­haps noticed, too, that Cours­era has recent­ly bun­dled cer­tain cours­es into “Spe­cial­iza­tions”–essen­tial­ly areas of concentration–that let stu­dents spe­cial­ize in fields like Deep Learn­ing and Data Sci­ence.

But what if stu­dents want to deep­en their knowl­edge fur­ther and get a tra­di­tion­al degree? In what per­haps marks the begin­ning of a sig­nif­i­cant new trend, Cours­era has part­nered with lead­ing uni­ver­si­ties to offer full-fledged grad­u­ate degrees in a more afford­able online for­mat. As described in the video above, HEC Paris (the #2 busi­ness school in Europe) now offers through Cours­er­a’s plat­form a Mas­ter’s in Inno­va­tion and Entre­pre­neur­ship. Designed for aspir­ing entre­pre­neurs, the pro­gram con­sists of 20 cours­es (all online) and takes an esti­mat­ed 10–16 months to com­plete. The total tuition amounts to 20,000 Euros (rough­ly 23,500 U.S. dol­lars), a sum that’s con­sid­er­ably less than what exec­u­tive edu­ca­tion pro­grams usu­al­ly cost.

For stu­dents look­ing for a broad­er edu­ca­tion in busi­ness, the Uni­ver­si­ty of Illi­nois at Urbana-Cham­paign has launched an entire MBA pro­gram through Cours­era. Con­sist­ing of 18 online cours­es and three cap­stone projects, the iMBA pro­gram cov­ers the sub­jects usu­al­ly found in b‑school programs–leadership, strat­e­gy, eco­nom­ics, account­ing, finance, etc. The com­plete cur­ricu­lum should take rough­ly 24 to 36 months to com­plete, and costs less than $22,000–about 25%-33% of what an on-cam­pus MBA pro­gram typ­i­cal­ly runs.

(The iMBA is actu­al­ly one of three degree pro­grams the Uni­ver­si­ty of Illi­nois has launched on Cours­era. The oth­er two include a Mas­ters in Account­ing (iMSA) and a Mas­ter of Com­put­er Sci­ence in Data Sci­ence (MCS-DS).)

Now, in case you’re won­der­ing, the diplo­mas and tran­scripts for these pro­grams are grant­ed direct­ly by the uni­ver­si­ties them­selves (e.g., the Uni­ver­si­ty of Illi­nois at Urbana-Cham­paign and HEC Paris). The paper­work does­n’t car­ry Cours­er­a’s name. Nor does it indi­cate that the stu­dent com­plet­ed an “online pro­gram.” In short, online stu­dents get the same tran­script as bricks and mor­tar stu­dents.

Final­ly, all of the degree pro­grams men­tioned above are “stackable”–meaning stu­dents can (at no cost) take an indi­vid­ual course offered by any of these pro­grams. And then they can decide lat­er whether they want to apply to the degree pro­gram, and, if so, retroac­tive­ly apply that course towards the actu­al degree. Essen­tial­ly, you can try things out before mak­ing a larg­er com­mit­ment.

If you want to learn more about these pro­grams, or sub­mit an appli­ca­tion, check out the fol­low­ing links. We’ve includ­ed the dead­lines for sub­mit­ting appli­ca­tions.

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!

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

New Deep Learn­ing Cours­es Released on Cours­era, with Hope of Teach­ing Mil­lions the Basics of Arti­fi­cial Intel­li­gence

MOOCs from Great Uni­ver­si­ties (Many With Cer­tifi­cates)

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Ingmar Bergman’s 1950s Soap Commercials Wash Away the Existential Despair

in Business, Film, Television | October 19th, 2017

Ing­mar Bergman is usu­al­ly remem­bered for the intense­ly seri­ous nature of his films. Death, anguish, the absence of God–his themes can be pret­ty gloomy. So it might come as a sur­prise to learn that Bergman once direct­ed a series of rather sil­ly soap com­mer­cials.

The year was 1951. Bergman was 33 years old. The Swedish film indus­try, his main source of income, had just gone on strike to protest high gov­ern­ment tax­es on enter­tain­ment. With two ex-wives, five chil­dren, a new wife and a sixth child on the way, Bergman need­ed to find anoth­er way to make mon­ey.

A solu­tion pre­sent­ed itself when he was asked to cre­ate a series of com­mer­cials for a new anti-bac­te­r­i­al soap called Bris (“Breeze,” in Eng­lish). Bergman threw him­self into the project. He lat­er recalled:

Orig­i­nal­ly, I accept­ed the Bris com­mer­cials in order to save the lives of my self and my fam­i­lies. But that was real­ly sec­ondary. The pri­ma­ry rea­son I want­ed to make the com­mer­cials was that I was giv­en free rein with mon­ey and I could do exact­ly what I want­ed with the pro­duc­t’s mes­sage. Any­how, I have always found it dif­fi­cult to feel resent­ment when indus­try comes rush­ing toward cul­ture, check in hand.

Bergman enlist­ed his favorite cin­e­matog­ra­ph­er at that time, Gun­nar Fis­ch­er, and togeth­er they made nine minia­ture films, each a lit­tle more than one minute long, to be screened in movie the­aters over the next three years. Bergman used the oppor­tu­ni­ty to exper­i­ment with visu­al and nar­ra­tive form.

Many of the styl­is­tic devices and motifs that would even­tu­al­ly fig­ure into his mas­ter­pieces can be spot­ted in the com­mer­cials: mir­rors, dou­bles, the tele­scop­ing in or out of a sto­ry-with­in-a-sto­ry. You don’t need to under­stand Swedish to rec­og­nize the mark of the mas­ter.

In the win­dow above we fea­ture Episode 1, “Bris Soap,” which is per­haps the most basic of the com­mer­cials. They become pro­gres­sive­ly more imag­i­na­tive as the series moves along:

  • Episode 2, Ten­nis Girl: An inno­cent game of ten­nis sets the stage for an epic bat­tle between good (Bris soap) and evil (bac­te­ria). Can you guess which side wins?
  • Episode 3, Gus­ta­vian: Bad hygiene in the 17th cen­tu­ry court of King Gus­tav III. Plen­ty of fop­pish­ness, but no Bris.
  • Episode 4, Oper­a­tion: “Per­haps the most intrigu­ing of the com­mer­cials,” writes Swedish film schol­ar Fredrik Gustafs­son. “In this one Bergman is decon­struct­ing the whole busi­ness of film­mak­ing, using all the tricks of his dis­pos­al to trick and treat us.”
  • Episode 5, The Mag­ic Show: Anoth­er bat­tle between good and evil, this time in minia­ture.
  • Episode 6, The Inven­tor: A man hero­ical­ly invents anti-bac­te­r­i­al soap, only to awak­en and real­ize it was all a dream. (And any­way, the mak­ers of Bris had already done it.)
  • Episode 7, The Rebus: Bergman uses mon­tage to cre­ate a game of “rebus,” a heraldic rid­dle (non ver­bis, sed rebus: “not by words but by things”), to piece togeth­er the slo­gan, “Bris kills the bacteria–no bac­te­ria, no smell.”
  • Episode 8, Three-Dimen­sion­al: Bergman thought 3‑D films were “ridicu­lous­ly stu­pid,” and in this episode he takes a few play­ful jabs.
  • Episode 9, The Princess and the Swine­herd: In this rein­ven­tion of Hans Chris­t­ian Ander­son­’s “The Swine­herd,” a 15-year-old Bibi Ander­s­son, who went on to star in many of Bergman’s great­est films, makes her screen debut as a beau­ti­ful princess who promis­es a swine­herd 100 kiss­es in exchange for a bar of soap. Not a bad deal for the swine­herd.

To learn more about Bergman’s soap com­mer­cials you can watch a 2009 report by Slate film crit­ic Dana Stevens here. (Note the video requires a flash play­er.)

Note: This post first appeared on our site in 2011. It’s one of our favorites. So we’re bring­ing it back.

Relat­ed Con­tent:

The Mir­rors of Ing­mar Bergman, Nar­rat­ed with the Poet­ry of Sylvia Plath

Ing­mar Bergman Vis­its The Dick Cavett Show, 1971

Fellini’s Fan­tas­tic TV Com­mer­cials

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20 Free Business MOOCs (Massive Open Online Courses) That Will Advance Your Career

in Business | September 11th, 2017

Art, phi­los­o­phy, lit­er­a­ture and history–that’s main­ly what we dis­cuss around here. We’re about enrich­ing the mind. But we’re not opposed to help­ing you enrich your­self in a more lit­er­al way too.

Recent­ly, Busi­ness Insid­er Italy asked us to review our longer list of 1600 MOOCs (Mas­sive Open Online Cours­es) and cre­ate a short list of 20 cours­es that can help you advance your career. And, with the help of Cours­era and edX, the two top MOOC providers, we whit­tled things down to the fol­low­ing list.

Above, you’ll find the intro­duc­to­ry video for Design Think­ing for Inno­va­tion, a course from the Uni­ver­si­ty of Vir­ginia. Oth­er cours­es come from such top insti­tu­tions as Yale, MIT, the Uni­ver­si­ty of Michi­gan and Colum­bia Uni­ver­si­ty. Top­ics include every­thing from busi­ness fun­da­men­tals, to nego­ti­a­tion and deci­sion mak­ing, to cor­po­rate finance, strat­e­gy, mar­ket­ing and account­ing.

One tip to keep in mind. If you want to take a course for free, select the “Full Course, No Cer­tifi­cate” or “Audit” option when you enroll. If you would like an offi­cial cer­tifi­cate doc­u­ment­ing that you have suc­cess­ful­ly com­plet­ed the course, you will need to pay a fee. Here’s the list:

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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Discover Dr. Seuss’s Audacious Advertisements from the 1930s & 40s: All on Display in a Digital Archive

in Business, Literature | July 12th, 2017

I well remem­ber learn­ing that Dr. Seuss’s real name was Theodor Geisel, most­ly because I found Theodor Geisel was just as much fun to say as “Dr. Seuss.” Both names rolled around in the mouth, did som­er­saults and back­flips off the tongue like the author’s mul­ti­tude of strange­ly rub­bery char­ac­ters. With his Rube Gold­berg machines, minis­cule Whos, enor­mous Hor­tons, and moun­tains of com­ic absur­di­ty, Seuss is like Swift for kids, his sto­ries full of fan­tas­tic satire along­side much good clean com­mon sense. Books like Hor­ton Hears a Who and The Grinch Who Stole Christ­mas are chock full of “pos­i­tive mes­sages,” writes Amy Chyao at the Har­vard Polit­i­cal Review, as well as tren­chant social cri­tique for five-year-olds.

Among the many lessons, “embrac­ing diver­si­ty is per­haps the sin­gle most salient one embed­ded in many of Dr. Seuss’s books.” Geisel did not always espouse this val­ue. There are those who read Hor­ton’s refrain, “a person’s a per­son no mat­ter how small,” as penance for work he did as a polit­i­cal car­toon­ist dur­ing World War II, when he drew what Jonathan Crow described in a pre­vi­ous post as “breath­tak­ing­ly racist” depic­tions of the Japan­ese, pro­mot­ing the big­otry that led to vio­lence and the intern­ment of Japan­ese Amer­i­cans, an action he vig­or­ous­ly sup­port­ed.

You can see many of his polit­i­cal car­toons at UC San Diego’s dig­i­tal library, “Dr. Seuss Went to War.” UCSD also hosts an online archive of Geisel’s adver­tis­ing work, which sus­tained him through­out much of the 30s and 40s, and not all of which has aged well either.

Geisel lat­er expressed regret for his blan­ket anti-Japan­ese atti­tudes after a trip to Japan in 1953. And he lat­er made sev­er­al anti-racist car­toons against Jim Crow laws and anti-Semi­tism. These might have been meant to atone for more of his less well-known work, adver­tise­ments fea­tur­ing crude, ugly stereo­types of Africans and Arabs.

You will find some of these ads in the USCD archive; Geisel did truck in some bla­tant­ly inflam­ma­to­ry images. But he most­ly drew innocu­ous, yet visu­al­ly excit­ing, car­toons like the one at the top, one of the dozens of ads he drew dur­ing a 17-year cam­paign for Flit, an insect repel­lant made by Stan­dard Oil.

Geisel did ads for Stan­dard Oil’s main prod­uct, pro­mot­ing Essol­ube motor oil, fur­ther up, with the kind of crea­ture that would lat­er inhab­it his children’s books. He got irrev­er­ent­ly high con­cept with a GE ad set in hell, pub­lished explic­it­ly under the pen name Dr. Theophras­tus Seuss. And just above, in a brochure for the Nation­al Broad­cast­ing Com­pa­ny, he intro­duces the visu­al aes­thet­ic of Horton’s jun­gle, with a troupe of stereo­typ­i­cal grass-skirt­ed Africans that might have come from one of Hergé’s offen­sive colo­nial­ist Tintin comics. (Both Seuss’s and Hergé’s ear­ly work are tes­ta­ments to the com­mon co-exis­tence of pro­gres­sive pol­i­tics with often con­temp­tu­ous or con­de­scend­ing treat­ment of non­white peo­ple in the ear­ly twen­ti­eth cen­tu­ry.)

The Seuss adver­tise­ments archive shows us the artist’s devel­op­ment from visu­al puns and quirks to the ful­ly-fledged mechan­i­cal sur­re­al­ism of his mature style, as in the Nation­al Broad­cast­ing Com­pa­ny brochure above, with its musi­cal con­trap­tion the “Zim­ba­phone,” a pre­cur­sor to the many cacoph­o­nous, over­com­pli­cat­ed instru­ments to come. It is when he is at his most inven­tive that Geisel is at his best. When he aban­doned lazy, mean-spir­it­ed stereo­types, his work embraced a world of joy­ous pos­si­bil­i­ty and weird­ness.

Relat­ed Con­tent:

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

Dr. Seuss’ World War II Pro­pa­gan­da Films: Your Job in Ger­many (1945) and Our Job in Japan (1946)

Neil Gaiman Reads Dr. Seuss’ Green Eggs and Ham

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

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Blitzscaling: A Free Stanford Course on Scaling a Startup, Led by LinkedIn’s Reid Hoffman

in Business, Entrepreneurship, Online Courses | June 1st, 2017

A quick post­script to yes­ter­day’s men­tion of Reid Hoff­man’s new pod­cast, Mas­ters of Scale. Many of the con­cepts dis­cussed in Mas­ters of Scale expand on a 2015 course taught at Stan­ford by Hoff­man and his col­leagues– John Lil­ly from Grey­lock Part­ners, LinkedIn co-founder Allen Blue, and author Chris Yeh. The course focus­es on Blitzs­cal­ing–or what Hoff­man described in the Har­vard Busi­ness Review as “the sci­ence and art of rapid­ly build­ing out a com­pa­ny to serve a large and usu­al­ly glob­al mar­ket, with the goal of becom­ing the first mover at scale.” And to help demys­ti­fy that process, Hoff­man invit­ed guest speak­ers to class to break things down. Eric Schmidt on Struc­tur­ing Teams and Scal­ing Google, Net­flix’s Reed Hast­ings on Build­ing a Stream­ing Empire, Airbn­b’s Bri­an Chesky on Launch­ing Airbnb and the Chal­lenges of Scale–they’re among the experts fea­tured in the course.

You can stream the 20 lec­tures from start to fin­ish above, or find the playlist on Grey­lock Part­ner’s YouTube chan­nel. You can also find class notes for the course on Medi­um.

Blitzs­cal­ing will be added to our list of Free Online Busi­ness Cours­es, a sub­set of our 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!

Relat­ed Con­tent:

LinkedIn Co-Founder Reid Hoff­man Cre­ates a New Pod­cast Offer­ing Wis­dom on Nur­tur­ing & Scal­ing New Busi­ness­es

Seth Godin’s Start­up School: A Free Mini-Course for New Entre­pre­neurs

Peter Thiel’s Stan­ford Course on Star­tups: Read the Lec­ture Notes Free Online

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LinkedIn Co-Founder Reid Hoffman Creates a New Podcast Offering Wisdom on Nurturing & Scaling New Businesses

in Business, Entrepreneurship | May 30th, 2017

How do you cre­ate and even­tu­al­ly scale a suc­cess­ful busi­ness? It’s a com­pli­cat­ed ques­tion. And you can do worse than get answers from Reid Hoff­man. He’s cur­rent­ly a part­ner at the ven­ture cap­i­tal firm Grey­lock Part­ners. But you prob­a­bly know him best as the co-founder of LinkedIn, the pro­fes­sion­al social net­work site recent­ly acquired by Microsoft for $26 bil­lion dol­lars. In his new pod­cast, Mas­ters of Scale, Hoff­man looks at how com­pa­nies grow from zero users to a gazil­lion by inter­view­ing fel­low Sil­i­con Val­ley entre­pre­neurs who have crossed that bridge. Guests include Facebook’s Mark Zucker­berg & Sheryl Sand­berg, Netflix’s Reed Hast­ings, and Google’s Eric Schmidt, among oth­ers.

Even if you work in a busi­ness with more mod­est aspi­ra­tions, there’s some wis­dom you can take away from these wide-rang­ing con­ver­sa­tions. Hoff­man’s con­ver­sa­tion with Airbn­b’s CEO Bri­an Chesky (above) about hand-craft­ing cus­tomer expe­ri­ences would help you run almost any busi­ness. You can find the Mas­ters of Scale pod­cast on iTunes, Stitch­er, Entrepreneur.com, Spo­ti­fy, and Google Play. Also find cours­es from oth­er sea­soned entre­pre­neurs right below.

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:

How to Start a Start-Up: A Free Course from Y Com­bi­na­tor Taught at Stan­ford

Seth Godin’s Start­up School: A Free Mini-Course for New Entre­pre­neurs

Peter Thiel’s Stan­ford Course on Star­tups: Read the Lec­ture Notes Free Online

Start Your Start­up with Free Stan­ford Cours­es and Lec­tures

Down­load Marc Andreessen’s Influ­en­tial Blog (“Pmar­ca”) as a Free eBook

150 Free Online Busi­ness Cours­es

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The Museum of Failure: A New Swedish Museum Showcases Harley-Davidson Perfume, Colgate Beef Lasagne, Google Glass & Other Failed Products

in Business, Museums, Technology | May 4th, 2017

Here, in Sil­i­con Val­ley, fail­ure isn’t always fail­ure. At least accord­ing to the local mythol­o­gy, it’s some­thing to be embraced, accept­ed, even cel­e­brat­ed. “Fail fast, fail often,” they say. And even­tu­al­ly you’ll learn enough to achieve real suc­cess.

On June 7th, the Muse­um of Fail­ure will open in Hels­ing­borg, Swe­den. There you’ll find the remains of failed inno­va­tion. Google Glass, the Sony Beta­max, the Apple New­ton, Noki­a’s N‑gage–they’re all there. Dit­to a bot­tle of Harley-David­son Per­fume, Coca-Cola BlāK (aka cof­fee-fla­vored coke), and a Col­gate Beef Lasagne TV Din­ner. And, don’t for­get the Trump monop­oly-style board game–part of a long line of failed Trump prod­ucts and busi­ness­es.

Above, cura­tor Samuel West high­lights items in the col­lec­tion. Bring­ing togeth­er over 60 failed prod­ucts and ser­vices from around the world, the col­lec­tion pro­vides “unique insight into the risky busi­ness of inno­va­tion.” You can get anoth­er glimpse of the new insti­tu­tion below. Fit­ting­ly, the muse­um is free.

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 Long Game of Cre­ativ­i­ty: If You Haven’t Cre­at­ed a Mas­ter­piece at 30, You’re Not a Fail­ure

Oprah Winfrey’s Har­vard Com­mence­ment Speech: Fail­ure is Just Part of Mov­ing Through Life

Paulo Coel­ho on The Fear of Fail­ure

How to Start a Start-Up: A Free Course from Y Com­bi­na­tor Taught at Stan­ford

Seth Godin’s Start­up School: A Free Mini-Course for New Entre­pre­neurs

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Montblanc Unveils a New Line of Miles Davis Pens … and (Kind of) Blue Ink

in Business, Music | May 1st, 2017


Got spare cash burn­ing a hole in your pock­et? An urge to com­mod­i­fy your favorite jazz artist? The need for an admit­ted­ly beau­ti­ful writ­ing instru­ment? All of the above, you say? Good, because Mont­blanc recent­ly unveiled a new line of Miles Davis pens. They’ve got the Miles Davis ball­point pen, foun­tain pen, and roller pen. But sure­ly the pièce de résis­tance is the Miles Davis Lim­it­ed Edi­tion 1926 Foun­tain Pen, which “tells the sto­ry of one of the great­est jazz per­son­al­i­ties.” “The sur­face of the cap and bar­rel is engraved with sym­bol­ic motifs that refer to the five major jazz peri­ods he helped to cre­ate.” What’s more, “a star, set with a dia­mond, is engraved on the bar­rel, and Miles Davis’s famous album Kind of Blue is reflect­ed in the blue col­or on the cone.” Swank.

And what’s a pen with­out ink? It’s blue, of course. Get a close up view of that 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 Night When Miles Davis Opened for the Grate­ful Dead in 1970: Hear the Com­plete Record­ings

Watch Miles Davis Impro­vise Music for Ele­va­tor to the Gal­lows, Louis Malle’s New Wave Thriller (1958)

The Paint­ings of Miles Davis

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