10,000 Chicago Concert Recordings Are Being Uploaded to the Internet Archive: Nirvana, Phish, Sonic Youth, They Might Be Giants & More

Per­haps you’ve had the expe­ri­ence of mov­ing to a new city and imme­di­ate­ly being told that you’ve missed its gold­en age of live music. To an extent, this has hap­pened in more or less every peri­od of the past fifty or six­ty years. But what if the per­son regal­ing you with those sto­ries had an archive of more than 10,000 con­cert record­ings to back them up? Chicago’s Aadam Jacobs has made just such an archive, and a few years ago he and it became the sub­ject of Katlin Schnei­der’s doc­u­men­tary Melo­ma­ni­ac. Apart from their sto­ries of Jacobs’ exploits with his increas­ing­ly bulky record­ing rig, the var­i­ous rock musi­cians and club own­ers inter­viewed there­in express one con­cern above all: what will become of all his tapes in the future?

As so often, the Inter­net Archive has come to save the day. At its new­ly opened Aadam Jacobs Archive, you can now lis­ten to near­ly 2,500 of the con­cert record­ings that vol­un­teers have dig­i­tized and uploaded so far. In that more than a ter­abyte of files, you’ll find con­certs by Nir­vana, Phish, Tra­cy Chap­man, Depeche Mode, Flam­ing Lips, Stere­o­lab, Liz Phair, Son­ic Youth, Nick Cave and the Bad Seeds, Björk, They Might Be Giants (record­ed four times in 1988 alone), and the Mekons, among many oth­ers.

If you have a cer­tain taste in rock — and espe­cial­ly if you belong to a cer­tain gen­er­a­tion — you may well, in the full­ness of time, find a Jacobs-record­ed show by your favorite band. But you’re just as like­ly to dis­cov­er a per­for­mance by the best act you’ve nev­er heard of before.

Pur­su­ing his avo­ca­tion of con­cert-record­ing with the indus­tri­ous­ness of a pro­fes­sion­al, and indeed an obses­sive one, Jacobs cap­tured mul­ti­ple shows each night at the height of his activ­i­ty. He has his par­tic­u­lar tastes, as empha­sized in Melo­ma­ni­ac, but also demon­strates remark­ably lit­tle dis­crim­i­na­tion about which bands are “cool” and which aren’t, to say noth­ing of their lev­el of com­mer­cial suc­cess. When Chica­go musi­cians first saw Jacobs’ famil­iar long-haired, heavy-back­packed fig­ure turn up at their own shows, they knew they had a chance of “mak­ing it.” Even so, as Jacobs acknowl­edges, there’s scant cor­re­la­tion between which bands blew up, which bands he likes as peo­ple, and which bands have cre­at­ed his favorite records. His tapes con­sti­tute a valu­able record of the sound of Chica­go between the eight­ies and the twen­ty-tens, and it will only grow more so, the more acces­si­ble it becomes. But as we enjoy it, we should also bear in mind the efforts of the man who cre­at­ed it, and the love of music he per­son­i­fies. Enter the archive here.

via Kot­tke

Relat­ed con­tent:

Jam­Base Launch­es a New Video Archive of 100,000 Stream­ing Con­certs: Phish, Wilco, the Avett Broth­ers, Grate­ful Dead & Much More

The Live Music Archive Lets You Stream/Download More Than 250,000 Con­cert Recordings–for Free

Stream a Mas­sive Archive of Grate­ful Dead Con­certs from 1965–1995

Rock Scene: Browse a Com­plete Online Archive of the Irrev­er­ent Mag­a­zine That Chron­i­cled the 1970s Rock & Punk Scene

Free Archive of Audio Inter­views with Rock, Jazz & Folk Leg­ends Now on iTunes

Nir­vana Before They Were Nir­vana: Watch Their 1988 Per­for­mance Record­ed in a Radio Shack

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. He’s the author of the newslet­ter Books on Cities as well as the books 한국 요약 금지 (No Sum­ma­riz­ing Korea) and Kore­an Newtro. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The Internet Archive Rescues MTV News’ Web Site, Making 460,000+ of Its Pages Searchable Again

Image via Inter­net Archive

Last month, MTV News’ web site went miss­ing. Or at least almost all of it did, includ­ing an archive of sto­ries going back to 1997. To some of us, and espe­cial­ly to those of us old enough to have grown up watch­ing MTV on actu­al tele­vi­sion, that won’t sound like an espe­cial­ly long time. But if you remem­ber the hit sin­gles of that year — “Bare­ly Breath­ing,” “Semi-Charmed Life,” “MMM­Bop,” the Princess Diana-memo­ri­al­iz­ing “Can­dle in the Wind” — you’ll start to feel a bit more his­tor­i­cal dis­tance. And if you con­sid­er all that’s hap­pened in not just music but enter­tain­ment in gen­er­al over the past 27 years, cov­er­age of that peri­od of great change in pop­u­lar cul­ture and tech­nol­o­gy will seem invalu­able.

It will thus come as a relief to hear that, despite Para­mount Glob­al’s cor­po­rate deci­sion to purge MTV News’ online con­tent (as well as that of Com­e­dy Cen­tral, TVLand and CMT), much of the site has been res­ur­rect­ed on the Inter­net Archive, which now offers “a search­able index of 460,575 web pages pre­vi­ous­ly pub­lished at mtv.com/news.”

So reports Vari­ety’s Todd Span­gler, not­ing that the con­tent “is not the full com­ple­ment of what was pub­lished over the span of more than two decades. In addi­tion, some images in the archived pages of MTV News on the ser­vice are unavail­able. But the new col­lec­tion at least ensures, for the time being, that much of MTV News’ arti­cles remain acces­si­ble in some form.”

MTV News itself shut down in May of last year. It had begun in 1987 as a seg­ment called “This Week in Rock” anchored by a print jour­nal­ist named Kurt Loder. “I was work­ing at Rolling Stone and every­body that wrote about rock music, as it was called at the time, had a very down point of view about MTV,” Loder recalls in an inter­view with that mag­a­zine. But choos­ing to throw him­self into this new form of info­tain­ment gave him the chance to get to know the likes of Madon­na, Prince, and Nir­vana (the death of whose singer Kurt Cobain became one of his career-defin­ing sto­ries). “You could just fly off any­where you want­ed and do all this stuff,” Loder says. “It was a great time. I’m not sure it’ll ever be back, but some­thing else will.” What­ev­er it is, may the Inter­net Archive be here to pre­serve it.

Relat­ed con­tent:

Watch the First Two Hours of MTV’s Inau­gur­al Broad­cast (August 1, 1981)

All the Music Played on MTV’s 120 Min­utes: A 2,500-Video Youtube Playlist

The Com­plete Col­lec­tion Of MTV’s Head­bangers Ball: Watch 1,215 Videos from the Hey­day of Met­al Videos

Enter “The Mag­a­zine Rack,” the Inter­net Archive’s Col­lec­tion of 34,000 Dig­i­tized Mag­a­zines

Watch John­ny Cash’s Poignant Final Inter­view & His Last Per­for­mance: “Death, Where Is Thy Sting?” (2003)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

A New Online Archive Lets You Read the Whole Earth Catalog and Other Whole Earth Publications, Taking You from 1970 to 2002


Today, if you want to get start­ed in home brew­ing, shop for a syn­the­siz­er, find out what cyber­net­ics is, order non-genet­i­cal­ly-mod­i­fied seeds, start your own mush­room farm, learn how to repair a Volk­swa­gen, sub­scribe to lib­er­tar­i­an pub­li­ca­tions, pur­chase the work of Mar­shall McLuhan, sign up for an out­door excur­sion, read an essay on zen Bud­dhism, com­pare home-birth setups, gath­er home­school­ing mate­ri­als, build a geo­des­ic dome, you go to one place first: the inter­net. Half a cen­tu­ry ago, when the per­son­al com­put­er had only just come into exis­tence, that would­n’t have been an option. But pro­vid­ed you were suf­fi­cient­ly tapped into the coun­ter­cul­ture, you could open up the nine­teen-sev­en­ties equiv­a­lent of the inter­net: The Whole Earth Cat­a­log.

Launched by Stew­art Brand in 1968, the Whole Earth Cat­a­log curat­ed and pre­sent­ed the prod­ucts and ser­vices of a wide vari­ety of busi­ness­es all between the cov­ers of one increas­ing­ly weighty print­ed vol­ume offer­ing what its slo­gan called “access to tools.”

While cer­tain of its sec­tions reflect­ed the most lit­er­al mean­ing of the term “tools” — you could’ve kept a pret­ty robust farm going with all the imple­ments on offer, and no doubt more than a few read­ers tried to do so — the larg­er enter­prise seemed to run on the goal of expand­ing the def­i­n­i­tion of what a tool could be, as well as the range of pos­si­bil­i­ties it could open to its user. Even sub­scribers who nev­er bought a prod­uct could receive an edu­ca­tion from the cat­a­log’s often eccen­tric but always infor­ma­tive descrip­tions of those prod­ucts.

“Behind the infor­ma­tion, the advice, the hints, and the facts, this book is about com­ing to see things as they are, through your own eyes, instead of the hired eyes of some expert or oth­er. It’s about train­ing your­self to trust your­self, and trust­ing your­self to train your­self, until you‘re able to claim your right as a human to be com­pe­tent with your hands.” These words come from writer and doc­u­men­tar­i­an Gur­ney Nor­man’s cap­sule review, in the spring 1970 Whole Earth Cat­a­log, of Joan Ran­son Short­ney’s book, How to Live on Noth­ing (described there­in as “our best-sell­ing book”). But Nor­man could just as well have been describ­ing the Whole Earth Cat­a­log itself, which was all about the abil­i­ty of indi­vid­u­als and small groups, equipped with not just tech­nol­o­gy new and old but also deep reserves of opti­mism and humor, to deter­mine their own des­tiny.

“The Whole Earth Cat­a­log offered a vision for a new social order,” writes the New York­er’s Anna Wiener, “one that eschewed insti­tu­tions in favor of indi­vid­ual empow­er­ment, achieved through the acqui­si­tion of skills and tools. The lat­ter cat­e­go­ry includ­ed agri­cul­tur­al equip­ment, weav­ing kits, mechan­i­cal devices, books like Kib­butz: Ven­ture in Utopia, and dig­i­tal tech­nolo­gies and relat­ed the­o­ret­i­cal texts, such as Nor­bert Wiener’s Cyber­net­ics and the Hewlett-Packard 9100A, a pro­gram­ma­ble cal­cu­la­tor.” Oth­er sec­tions might offer Grav­i­ty’s Rain­bow; an Apple II home com­put­er; some­thing called “self-ther­a­peu­tic rub­ber”; and even a hot tub. “Many a new­com­er to Cal­i­for­nia remem­bers for­ev­er the trau­ma of first being invit­ed — at a per­fect­ly ordi­nary par­ty — to strip and enter a steam­ing tub full of strangers,” writes Brand in the Next Whole Earth Cat­a­log of fall 1980, which may sound a bit late in the game for that sort of thing.

But then, the spir­it of the Whole Earth Cat­a­log, first ani­mat­ed by the free-enter­prise-and-free-love nine­teen-six­ties and sev­en­ties, has long out­last­ed its orig­i­nal cul­tur­al moment — and indeed the cat­a­log itself, which ceased pub­li­ca­tion in 1998. But now, thanks to Gray Area and the Inter­net Archive, you can read and down­load many issues of not just the Whole Earth Cat­a­log but also its suc­ces­sor pub­li­ca­tions, from CoEvo­lu­tion Quar­ter­ly to Whole Earth Mag­a­zine, in a new online col­lec­tion span­ning the years 1970 to 2002. To browse it is to enter a coun­ter­cul­tur­al time machine, expe­ri­enc­ing both the pre­pos­ter­ous­ness and the pre­science of the coun­ter­cul­ture as if for the first time. But then, for the vast major­i­ty of its vis­i­tors here in the twen­ty-first cen­tu­ry — who know that coun­ter­cul­ture only indi­rect­ly, through its wide but dif­fuse influ­ence on every­thing up to and includ­ing the inter­net — it will be the first time. Enter the col­lec­tion here.

Relat­ed con­tent:

Watch Stew­art Brand’s 6‑Part Series How Build­ings Learn, With Music by Bri­an Eno

Earth­rise, Apol­lo 8’s Pho­to of Earth from Space, Turns 50: Down­load the Icon­ic Pho­to­graph from NASA

Bri­an Eno Cre­ates a List of 20 Books That Could Rebuild Civ­i­liza­tion

Down­load the Com­plete Archive of Oz, “the Most Con­tro­ver­sial Mag­a­zine of the 60s,” Fea­tur­ing R. Crumb, Ger­maine Greer & More

Buck­min­ster Fuller Tells the World “Every­thing He Knows” in a 42-Hour Lec­ture Series (1975)

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 or on Face­book.

The Live Music Archive Lets You Stream/Download More Than 250,000 Concert Recordings–for Free

The Inter­net Archive main­tains an enor­mous Live Music Archive of con­cert record­ings, not all of them by the Grate­ful Dead. There are more than 17,000 such record­ings in its Grate­ful Dead col­lec­tion — 2,000 more than when last we fea­tured it here on Open Cul­ture — but one must com­pare that fig­ure to the 250,000 items now in the whole of the LMA. “It would be a great sto­ry to have the first item as part of the col­lec­tion to be some rare Grate­ful Dead record­ing from 1968,” says a post at the Inter­net Archive blog reflect­ing on the twen­ti­eth anniver­sary of the LMA last year, “but it is actu­al­ly an unas­sum­ing Rust­ed Root audi­ence record­ing from August 24, 2001.”

In addi­tion to Rust­ed Root and the Grate­ful Dead, you can stream or down­load a wealth of record­ed live shows from bands like Lit­tle Feat, Blues Trav­el­er, My Morn­ing Jack­et, Los Lobos, and the Smash­ing Pump­kins, as well as singer-song­writ­ers like War­ren Zevon, Elliott Smith, Jack John­son, Robyn Hitch­cock, and John May­er.

How wide or nar­row a vari­ety of musi­cal expe­ri­ences these names con­jure up will, of course, depend on your per­spec­tive. But if they do share a major char­ac­ter­is­tic in com­mon, it’s the fact, to their true fans, their live per­for­mances count for as much as — or, often, more than — their stu­dio record­ings. The truest (or at least most tech­ni­cal­ly adept) such fans have donat­ed their time and skills to make these live per­for­mances freely acces­si­ble and end­less­ly reliv­able on the LMA.

“For years, con­cert-goers record­ed and trad­ed tapes, but in 2002, the Inter­net Archive offered a reli­able infra­struc­ture to pre­serve per­for­mances files,” writes the Inter­net Archive’s Car­alee Adams in a blog post mark­ing the upload­ing of 250,000 record­ings. “Part­ner­ing with the etree music com­mu­ni­ty, the Live Music Archive was estab­lished to pro­vide ongo­ing, free access to loss­less and MP3-encod­ed audio record­ings.” Over the past 21 years, “more than 8,000 artists have giv­en per­mis­sion to have record­ings of their shows archived on the Live Music Archive, and users from around the world have lis­tened to files more than 600 mil­lion times.” Whether or not you’re into jam bands, if you’ve ever enjoyed live music, have a look through the LMA’s 250 ter­abytes of record­ings made in venues from sta­di­ums to neigh­bor­hood cof­fee shops. There’ll be a con­cert for you, no charge for admis­sion.

Relat­ed con­tent:

Jam­Base Launch­es a New Video Archive of 100,000 Stream­ing Con­certs: Phish, Wilco, the Avett Broth­ers, Grate­ful Dead & Much More

Stream 385,000 Vin­tage 78 RPM Records at the Inter­net Archive: Louis Arm­strong, Glenn Miller, Bil­lie Hol­i­day & More

Stream a Mas­sive Archive of Grate­ful Dead Con­certs from 1965–1995

Down­load 10,000 of the First Record­ings of Music Ever Made, Cour­tesy of the Uni­ver­si­ty of Cal­i­for­nia-San­ta Bar­bara

BBC Launch­es World Music Archive

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 or on Face­book.

Download Instructions for More Than 6,800 LEGO Kits at the Internet Archive

We’ve all come across a LEGO set from child­hood and felt the temp­ta­tion to try build­ing it one more time — mak­ing the gen­er­ous assump­tion, of course, that all the pieces are in the box, to say noth­ing of the instruc­tions. If you’re miss­ing a few bricks, you can always turn to the robust sec­ondary mar­ket in LEGO com­po­nents. If you’re miss­ing the man­u­al, there’s now one place you should look first: the LEGO build­ing instruc­tions col­lec­tion at the Inter­net Archive. There you’ll find dig­i­tized mate­ri­als for more than 6,800 dif­fer­ent sets, includ­ing such pop­u­lar releas­es as the LEGO Chevro­let Camaro Z28, the LEGO Inter­na­tion­al Space Sta­tion, and the LEGO cov­er pho­to of Meet the Bea­t­les.

Since they were first brought to mar­ket in the late nine­teen-fifties, LEGO’s sig­na­ture build­ing bricks have been pri­mar­i­ly con­sid­ered chil­dren’s toys. And of course, most of us got to know LEGO in child­hood; I myself have fond mem­o­ries of work­ing my way up to the Ice Plan­et 2002 series, with its still much-ref­er­enced trans­par­ent orange chain­saws.

But even after com­ing of age, the seri­ous enthu­si­ast need not leave LEGO behind: the com­pa­ny has put out such adult-ori­ent­ed mod­els as the Colos­se­um, Andy Warhol’s Mar­i­lyn Mon­roe, the Eif­fel Tow­er, and the Solomon R. Guggen­heim Muse­um, to name just a few whose instruc­tions are down­load­able from the Inter­net Archive.

The Metafil­ter dis­cus­sion of the Inter­net Archive’s LEGO build­ing instruc­tions col­lec­tion reveals not only that some are excit­ed indeed about the exis­tence of this resource, but also that oth­ers con­sid­er build­ing from instruc­tions to be a mis­use of the medi­um. It may be true that fol­low­ing spe­cif­ic doc­u­ment­ed steps for hours on end may encour­age a cer­tain slack­en­ing of the imag­i­na­tion. But then, it may also be true that phys­i­cal­ly work­ing one’s way through a com­plex assem­bly process can build dex­ter­i­ty and gen­er­ate ideas for lat­er freeform con­struc­tions. How­ev­er we approach LEGO, and what­ev­er age at which we approach it, we need only keep in mind the Dan­ish imper­a­tive that gave the com­pa­ny its name: leg godt — play well. Enter the col­lec­tion of instruc­tions here.

via Metafil­ter

Relat­ed con­tent:

Hokusai’s Icon­ic Print The Great Wave off Kana­gawa Recre­at­ed with 50,000 LEGO Bricks

The LEGO Tur­ing Machine Gives a Quick Primer on How Your Com­put­er Works

The Vin­cent van Gogh Star­ry Night LEGO Set Is Now Avail­able: It’s Cre­at­ed in Col­lab­o­ra­tion with MoMA

With 9,036 Pieces, the Roman Colos­se­um Is the Largest LEGO Set Ever

Ai Wei­wei Recre­ates Monet’s Water Lilies Trip­tych Using 650,000 Lego Bricks

Why Did LEGO Become a Media Empire? Pret­ty Much Pop: A Cul­ture Pod­cast #37

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 or on Face­book.

Stream 385,000 Vintage 78 RPM Records at the Internet Archive: Louis Armstrong, Glenn Miller, Billie Holiday & More

We may have yet to devel­op the tech­nol­o­gy of time trav­el, but record­ed music comes pret­ty close. Those who lis­ten to it have expe­ri­enced how a song or an album can, in some sense, trans­port them right back to the time they first heard it. But old­er records also have the much stranger pow­er to con­jure up eras we nev­er expe­ri­enced. You can musi­cal­ly send your­self as far back as the nine­teen-twen­ties with the above Youtube playlist of dig­i­tized 78 RPM records from the George Blood col­lec­tion.

George Blood is the head of the audio-visu­al dig­i­ti­za­tion com­pa­ny George Blood Audio, which has been par­tic­i­pat­ing in the Inter­net Archive’s Great 78 Project. “The brain­child of the Archive’s founder, Brew­ster Kahle, the project is ded­i­cat­ed to the preser­va­tion and dis­cov­ery of 78rpm records,” writes The Vinyl Fac­to­ry’s Will Pritchard.

The piece quotes Blood him­self as say­ing that his com­pa­ny has been dig­i­tiz­ing five to six thou­sand records per month with the ambi­tious goal of cre­at­ing a “ref­er­ence col­lec­tion of sound record­ings from the peri­od of approx­i­mate­ly 1880 to 1960.” He said that five years ago. Today, the Inter­net Archive’s George Blood col­lec­tion con­tains more than 385,000 records free to stream and down­load.

The 78 hav­ing been the most pop­u­lar record­ed-music for­mat in the first few decades of the twen­ti­eth cen­tu­ry, George Blood L.P. and the Great 78 Pro­ject as a whole have had plen­ty of mate­r­i­al to work with. In the large archive built up so far you’ll find plen­ty of obscu­ri­ties — the Youtube playlist at the top of the post can get you acquaint­ed with the likes of Eric Whit­ley and the Green Sis­ters, Tin Ear Tan­ner and His Back Room Boys, and Dou­glas Ven­able and His Bar X Ranch Hands — but also the work of musi­cians who remain beloved today. For the 78 was the medi­um through which many lis­ten­ers enjoyed the big-band hit of Glenn Miller, or dis­cov­ered jazz as per­formed by leg­ends like Louis Arm­strong and Bil­lie Hol­i­day. To know their music most inti­mate­ly, one would per­haps have need­ed to hear them in the actu­al nine­teen-thir­ties, but this is sure­ly the next best thing.

Relat­ed con­tent:

How the Inter­net Archive Has Dig­i­tized More than 250,000 78 R.P.M. Records: See the Painstak­ing Process Up-Close

Mas­sive Archive of 78RPM Records Now Dig­i­tized & Put Online: Stream 78,000 Ear­ly 20th Cen­tu­ry Records from Around the World

200,000+ Vin­tage Records Being Dig­i­tized & Put Online by the Boston Pub­lic Library

Rare Ara­bic 78 RPM Records Enter the Pub­lic Domain

Down­load 10,000 of the First Record­ings of Music Ever Made, Cour­tesy of the Uni­ver­si­ty of Cal­i­for­nia-San­ta Bar­bara

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 or on Face­book.

A Gallery of Fantastical Alchemical Drawings

I once had to tell a ten-year-old that the Har­ry Pot­ter book series was not a his­tor­i­cal lit­er­ary clas­sic but a recent pub­lish­ing phe­nom­e­non that occurred in my life­time. She was amazed, but she was­n’t sil­ly for think­ing that the books might date from a far­away past. They do, after all, make fre­quent ref­er­ence to fig­ures from cen­turies when alche­my flour­ished in Europe, and magi­cians like Paracel­sus and Nicholas Flamel (both of whom appear in Pot­ter books and spin-offs) plied their soli­tary craft, such as it was. Should we call it mag­ic, ear­ly sci­ence, occult reli­gion, out­sider art, or some admix­ture of the above?

We can call it “black mag­ic,” but the term was not, as the Chris­tians thought, a ref­er­ence to the dev­il, but to the soil of the Nile. “Derived from the Ara­bic root ‘kimia,’” writes the Pub­lic Domain Review, “from the Cop­tic ‘khem’ (refer­ring to the fer­tile black soil of the Nile delta), the word ‘alche­my’ alludes to the dark mys­tery of the pri­mor­dial or First Mat­ter (the Khem).”

Find­ing this first sub­stance con­sti­tutes “the alchemist’s cen­tral goal – along with the dis­cov­ery of the Stone of Knowl­edge (The Philosopher’s Stone) and the key to Eter­nal Youth.”

In the descrip­tion above, we can see the roots of Rowling’s fic­tions and the ori­gins of many a world-shap­ing mod­ern myth. Alchemists study and change mat­ter to pro­duce cer­tain effects – just as ear­ly sci­en­tists did – and it may sur­prise us to learn just how fer­vent­ly some well-known ear­ly sci­en­tists, most espe­cial­ly Isaac New­ton, pur­sued the alchem­i­cal course. But the essence of alche­my was imag­i­na­tion, and the artists who depict­ed alchem­i­cal rit­u­als, mag­i­cal crea­tures, mys­ti­cal sym­bols, etc. had no short­age of it, as we see in the images here, drawn from Well­come Images and the Man­ley Palmer Hall col­lec­tion at the Inter­net Archive.

The images are strange, sur­re­al, cryp­tic, and seem to ref­er­ence no known real­i­ty. They are the inspi­ra­tion for cen­turies of occult art and eso­teric lit­er­a­ture. But each one also had prac­ti­cal intent — to illus­trate mys­te­ri­ous, often secre­tive process­es for dis­cov­er­ing the foun­da­tions of the uni­verse, and prof­it­ing from them. If these tech­niques look noth­ing like our mod­ern meth­ods for doing the same, that’s for good rea­son, but it does­n’t mean that alche­my has noth­ing to do with sci­ence. It is, rather, sci­ence’s weird dis­tant ances­tor. See more alchem­i­cal images at the Pub­lic Domain Review.

via Pub­lic Domain Review

Relat­ed Con­tent:

How the Bril­liant Col­ors of Medieval Illu­mi­nat­ed Man­u­scripts Were Made with Alche­my

Videos Recre­ate Isaac Newton’s Neat Alche­my Exper­i­ments: Watch Sil­ver Get Turned Into Gold

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

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

400,000+ Sound Recordings Made Before 1923 Have Entered the Public Domain

A cen­tu­ry ago, the Unit­ed States was deep into the Jazz Age. No writer is more close­ly asso­ci­at­ed with that heady era than F. Scott Fitzger­ald, who (in addi­tion to coin­ing the verb to cock­tail) took it upon him­self to pop­u­lar­ize its name. In 1922 he even titled a short sto­ry col­lec­tion Tales from the Jazz Age, which entered the pub­lic domain not long ago. You may be more famil­iar with anoth­er work of Fitzger­ald’s that fol­lowed Tales from the Jazz Age into free­dom just last year: a nov­el called The Great Gats­by. But only this year have the actu­al sounds of the Jazz Age come into the pub­lic domain as well, thanks to the Music Mod­ern­iza­tion Act passed by U.S. Con­gress in 2018.

“Accord­ing to the act, all sound record­ings pri­or to 1923 will have their copy­rights expire in the US on Jan­u­ary 1, 2022,” says the Pub­lic Domain Review. This straight­ens out a tan­gled legal frame­work that pre­vi­ous­ly would­n’t have allowed the release of pre-1923 sound record­ings until the dis­tant year of 2067.

And so all of us now have free use of every sound record­ing from a more than 60-year peri­od  that “com­pris­es a rich and var­ied playlist: exper­i­men­tal first dab­blings, vaude­ville, Broad­way hits, rag­time, and the begin­nings of pop­u­lar jazz. Includ­ed will be the works of Scott Joplin, Thomas Edison’s exper­i­ments, the emo­tive war­blings of Adeli­na Pat­ti and the first record­ing of Swing Low, Sweet Char­i­ot.”

If you’d like to have a lis­ten to all this, the Pub­lic Domain Review rec­om­mends start­ing with its own audio col­lec­tion, a search for all pre-1923 record­ings on Inter­net Archive, and two projects from the Library of Con­gress: the Nation­al Juke­box and the Cit­i­zen DJ project, the lat­ter of which “has plans to do some­thing spe­cial with the pre-1923 record­ings once they enter the pub­lic domain.” You might also have a look at the Asso­ci­a­tion for Record­ed Sound Col­lec­tions’ list of ten notable pre-1923 record­ings, which high­lights such pro­to-jazz records as “Crazy Blues” and “Dix­ieland Jass Band One-Step” (along with the whol­ly non-jazz work of Enri­co Caru­so and Pablo Casals).

Accord­ing to Alex­is Rossi at the Inter­net Archive Blog, the sound record­ings just lib­er­at­ed by the Music Mod­ern­iza­tion act come to about 400,000 in total. Among them you’ll find “ear­ly jazz clas­sics like ‘Don’t Care Blues’ by Mamie Smith and her Jazz Hounds, ‘Ory’s Cre­ole Trom­bone’ by Kid Ory’s Sun­shine Orches­tra, and ‘Jazz­in’ Babies Blues’ by Ethel Waters.” Rossi also high­lights the nov­el­ty songs such as Bil­ly Mur­ray’s 1914 ren­di­tion of “Fido is a Hot Dog Now,” “which seems to be about a dog who is def­i­nite­ly going to hell.” The Jazz Age soon to come would exhib­it a more rau­cous but also more refined sen­si­bil­i­ty: as Fitzger­ald wrote in 1931, with the era he defined (and that defined him) already past, “It was an age of mir­a­cles, it was an age of art, it was an age of excess, and it was an age of satire.”

via Mefi

Relat­ed con­tent:

Free: The Great Gats­by & Oth­er Major Works by F. Scott Fitzger­ald

What’s Enter­ing the Pub­lic Domain in 2022: The Sun Also Ris­es, Win­nie-the-Pooh, Buster Keaton Come­dies & More

Hear the First Jazz Record, Which Launched the Jazz Age: “Liv­ery Sta­ble Blues” (1917)

The Clean­est Record­ings of 1920s Louis Arm­strong Songs You’ll Ever Hear

Great New Archive Lets You Hear the Sounds of New York City Dur­ing the Roar­ing 20s

How the Inter­net Archive Has Dig­i­tized More than 250,000 78 R.P.M. Records: See the Painstak­ing Process Up-Close

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include 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 or on Face­book.

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