Winston Churchill Gets a Doctor’s Note to Drink “Unlimited” Alcohol in Prohibition America (1932)

churchill alcohol letter

In Decem­ber 1931, hav­ing just embarked on a 40-stop lec­ture tour of the Unit­ed States, Win­ston Churchill was run­ning late to dine with financier Bernard Baruch on New York City’s Upper East Side. He hadn’t both­ered to bring Baruch’s address, oper­at­ing under the incor­rect assump­tion that his friend was so dis­tin­guished a per­son­age, any ran­dom cab-dri­ving com­mon­er would auto­mat­i­cal­ly rec­og­nize his build­ing.

Such were the days before cell phones and Google Maps.…

Even­tu­al­ly, Churchill bagged the cab, and shot out across 5th Avenue mid-block, think­ing he would fare bet­ter on foot.

Instead, he was very near­ly “squashed like a goose­ber­ry” when he was struck by a car trav­el­ing about 35 miles an hour.

Churchill, who wast­ed no time ped­dling his mem­o­ries of the acci­dent and sub­se­quent hos­pi­tal­iza­tion to The Dai­ly Mail, explained his mis­cal­cu­la­tion thus­ly:

In Eng­land we fre­quent­ly cross roads along which fast traf­fic is mov­ing in both direc­tions. I did not think the task I set myself now either dif­fi­cult or rash. But at this moment habit played me a dead­ly trick. I no soon­er got out of the cab some­where about the mid­dle of the road and told the dri­ver to wait than I instinc­tive­ly turned my eyes to the left. About 200 yards away were the yel­low head­lights of an approach­ing car. I thought I had just time to cross the road before it arrived; and I start­ed to do so in the prepossession—wholly unwar­rant­ed— that my only dan­gers were from the left.

Yeah, well, that’s why we paint the word “LOOK” in the cross­walk, pal, equip­ping the Os with left-lean­ing pupils for good mea­sure.

Anoth­er cab fer­ried the wound­ed Churchill to Lenox Hill Hos­pi­tal, where he iden­ti­fied him­self as “Win­ston Churchill, a British States­man” and was treat­ed for a deep gash to the head, a frac­tured nose, frac­tured ribs, and severe shock.

“I do not wish to be hurt any more. Give me chlo­ro­form or some­thing,” he direct­ed, while wait­ing for the anes­thetist.

After two weeks in the hos­pi­tal, where he man­aged to devel­op pleurisy in addi­tion to his injuries, Churchill and his fam­i­ly repaired to the Bahamas for some R&R.

It didn’t take long to feel the finan­cial pinch of all those can­celled lec­ture dates, how­ev­er. Six weeks after the acci­dent, he resumed an abbre­vi­at­ed but still gru­el­ing 14-stop ver­sion of the tour, despite his fears that he would prove unfit.

Otto Pick­hardt, Lenox Hill’s admit­ting physi­cian came to the res­cue by issu­ing Churchill the Get Out of Pro­hi­bi­tion Free Pass, above. To wit:

…the post-acci­dent con­va­les­cence of the Hon. Win­ston S. Churchill neces­si­tates the use of alco­holic spir­its espe­cial­ly at meal times. The quan­ti­ty is nat­u­ral­ly indef­i­nite but the min­i­mum require­ments would be 250 cubic cen­time­ters.

Per­haps this is what the emi­nent British States­man meant by chlo­ro­form “or some­thing”? No doubt he was relieved about those indef­i­nite quan­ti­ties. Cheers.

Read Churchill’s “My New York Mis­ad­ven­ture” in its entire­ty here. You can also learn more by perus­ing this sec­tion of Mar­tin Gilbert’s biog­ra­phy, Win­ston Churchill: The Wilder­ness Years.

Note: An ear­li­er ver­sion of this post appeared on our site in May, 2016.

Relat­ed Con­tent:

Win­ston Churchill’s List of Tips for Sur­viv­ing a Ger­man Inva­sion: See the Nev­er-Dis­trib­uted Doc­u­ment (1940)

Win­ston Churchill’s Paint­ings: Great States­man, Sur­pris­ing­ly Good Artist

Col­or Footage of Win­ston Churchill’s Funer­al in 1965

Oh My God! Win­ston Churchill Received the First Ever Let­ter Con­tain­ing “O.M.G.” (1917)

Ani­mat­ed: Win­ston Churchill’s Top 10 Say­ings About Fail­ure, Courage, Set­backs, Haters & Suc­cess

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She lives in New York City, some 30 blocks to the north of the scene of Churchill’s acci­dent. Fol­low her @AyunHalliday

What Advice Would You Give Your Younger Self?: What Research Shows, and What You Have to Say

Pho­to of Dr. Esther Pohl Love­joy via Wiki­me­dia Com­mons

Almost every­one has advice they’d glad­ly give their younger self, so much so that Clem­son Uni­ver­si­ty psy­chol­o­gy pro­fes­sor Robin Kowal­s­ki and doc­tor­al stu­dent Annie McCord, were moved to ini­ti­ate a sys­tem­at­ic study of it.

The first of its kind, this study com­piled the respons­es of more than 400 par­tic­i­pants over 30, whose hypo­thet­i­cal younger self­’s aver­age age was 18.

The study’s data was culled from a sur­vey con­duct­ed over Amazon’s crowd­sourc­ing mar­ket­place, MTurk. Respon­dents spent 45 min­utes or so answer­ing hypo­thet­i­cal ques­tions online, receiv­ing $3 for their efforts.

Mon­ey-grub­bing, data-skew­ing shirk­ers were held at bay by ques­tion 36.

(Play along at home after the fact here.)

Kowal­s­ki and McCord’s find­ings, pub­lished in the bimonth­ly aca­d­e­m­ic Jour­nal of Social Psy­chol­o­gy, echo many recur­rent themes in their oth­er sur­vey of the same demo­graph­ic, this one hav­ing to do with regret—the one that got away, blown edu­ca­tion­al oppor­tu­ni­ties, mon­ey squan­dered, and risks not tak­en.

Per­son­al­i­ty and sit­u­a­tion fig­ure in, of course, but over­whelm­ing­ly, the crowd-sourced advice takes aim at the fate­ful choic­es (or non-choic­es) of youth.

Some com­mon pieces of advice include:

  • “Be kinder to your­self.”
  • “Always know your worth.”
  • “The world is big­ger than you think it is and your wor­ries aren’t as impor­tant as you think they are, just be you.”
  • “Don’t wor­ry if you look dif­fer­ent, or feel you look dif­fer­ent, from most oth­er peo­ple. There is much more to you than what oth­ers see on the sur­face.”
  • “Don’t get so caught up in the dif­fi­cul­ties of the moment since they are only tem­po­rary.”
  • “Don’t dwell on the past. Just because it was that way doesn’t mean it will be that way again.”

There’s not much research to sug­gest how recep­tive the par­tic­i­pants’ younger selves would have been to these unso­licit­ed pearls of wis­dom, but 65.7% of respon­dents report that they have imple­ment­ed some changes as a result of tak­ing Kowalk­si and McCord’s sur­vey.

Dr. Kowal­s­ki, who’s come to believe her “laser-focused on school” younger self would have ben­e­fit­ed from some inter­vals of rose-smelling, writes that the bet­ter-late-than-nev­er approach “can facil­i­tate well-being and bring us more in line with the per­son that we would like to be should we fol­low that advice.”

If you want to dou­ble down, share your advice with chil­dren, prefer­ably your own.

And for those who can’t rest easy til they’ve com­pared them­selves with Oprah Win­frey:

Be relaxed

Stop being afraid

Every­thing will be alright

No sur­prise there.

READERS—WHAT ADVICE WOULD YOU GIVE YOUR YOUNGER SELVES? Add your advice to the com­ments sec­tion below. (The author’s is some­what unprint­able…)

For inspi­ra­tion, see the Advice to My Younger Self Sur­vey Ques­tions here and the relat­ed sur­vey deal­ing with regret here.

via Big Think

Relat­ed Con­tent:

Stephen Fry: What I Wish I Knew When I Was 18

The Top Five Regrets of the Dying

Bertrand Russell’s Advice For How (Not) to Grow Old: “Make Your Inter­ests Grad­u­al­ly Wider and More Imper­son­al”

36 Artists Give Advice to Young Cre­ators: Wim Wen­ders, Jonathan Franzen, Lydia Davis, Pat­ti Smith, David Byrne, Umber­to Eco & More

Bri­an Eno’s Advice for Those Who Want to Do Their Best Cre­ative Work: Don’t Get a Job

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inkyzine.  Her month­ly install­ment book-based vari­ety show, Necro­mancers of the Pub­lic Domain, will resume in the fall. Fol­low her @AyunHalliday.

Jeff Tweedy Explains How to Learn to Love Music You Hate: Watch a Video Animated by R. Sikoryak

Punk rock peer pres­sure forced Jeff Tweedy, founder of Wilco, to shun Neil Young and oth­er  “hippie“musical greats.

Ah, youth…

Were Tweedy, now a sea­soned 51-year-old, to deliv­er a com­mence­ment speech, he’d do well to coun­sel younger musi­cians to reject such knee jerk rejec­tion, as he does in the above ani­mat­ed inter­view for Top­ic mag­a­zine.

Not because he’s now one of those grey beards him­self, but rather because he’s come to view influ­ence and taste as liv­ing organ­isms, capa­ble of inter­act­ing in sur­pris­ing ways.

That’s not to say the young­sters are oblig­ed to declare an affin­i­ty for what they hear when ven­tur­ing into the past, just as Tweedy does­n’t fake a fond­ness for much of the new music he checks out on the reg­u­lar.

Think of this prac­tice as some­thing sim­i­lar to one mil­lions of child­ish picky eaters have endured. Eat your veg­eta­bles. Just a taste. You can’t say you don’t like them until you’ve active­ly tast­ed them. Who knows? You may find one you like. Or per­haps it’ll prove more of a slow burn, becom­ing an unfore­seen ingre­di­ent of your matu­ri­ty.

In oth­er words, bet­ter to sam­ple wide­ly from the unend­ing musi­cal buf­fet avail­able on the Inter­net than con­ceive of your­self as a whol­ly orig­i­nal rock god, sprung ful­ly formed from the head of Zeus, capiche?

The nar­ra­tion sug­gests that Tweedy’s got some prob­lems with online cul­ture, but he gives props to the dig­i­tal rev­o­lu­tion for its soft­en­ing effect on the iron­clad cul­tur­al divide of his 70s and 80s youth.

Was it real­ly all just a mar­ket­ing scheme?

Unlike­ly, giv­en the Viet­nam War, but there’s no deny­ing that edu­cat­ing our­selves in our pas­sion includes approach­ing its his­to­ry with an at-least-par­tial­ly open mind.

If you want to snap it shut after you’ve had some time to con­sid­er, that’s your call, though Tweedy sug­gests he’s nev­er com­fort­able writ­ing some­thing off for­ev­er.

If noth­ing else, the stuff he dis­likes teach­es him more about the stuff he loves—including, pre­sum­ably, some of his own impres­sive cat­a­log.

Kudos to direc­tor Kei­th Stack and Augen­blick Stu­dios, ani­ma­tor of so many Top­ic inter­views, for match­ing Tweedy with car­toon­ist R. Siko­ryak, an artist who clear­ly shares Tweedy’s cre­ative phi­los­o­phy as evidenced by such works as Terms and Con­di­tions and Mas­ter­piece ComicsHere is anoth­er who clear­ly knows how to make a meal from mix­ing old and new, tra­di­tion­al and exper­i­men­tal, high and low. One of the bonus joys of this ani­mat­ed life les­son is catch­ing all of Siko­ryak’s musi­cal East­er eggs—includ­ing a cameo by Nip­per, the face of His Mas­ter’s Voice.

Relat­ed Con­tent:

Kurt Cobain Lists His 50 Favorite Albums: Fea­tures LPs by David Bowie, Pub­lic Ene­my & More

The Out­siders: Lou Reed, Hunter S. Thomp­son, and Frank Zap­pa Reveal Them­selves in Cap­ti­vat­ing­ly Ani­mat­ed Inter­views

‘Beast­ie Boys on Being Stu­pid’: An Ani­mat­ed Inter­view From 1985

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist ofthe East Vil­lage Inky zine.  Join her in New York City June 17 for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Elton John Takes Us Through the Creative Process of His Early Hit “Tiny Dancer” (1970)

We all have our favorites from Elton John’s vast cat­a­log, and I’ll admit that 1970’s “Tiny Dancer” has nev­er been one of mine.

Call me crass, but I tend to get it con­fused with 1973’s “Can­dle in the Wind,” which John retooled so swift­ly for Princess Diana’s 1997 funer­al.

But then Sir Elton—or “Reg” as close friends and long-time lyri­cist Bernie Taupin call the artist for­mer­ly known as Regi­nald Ken­neth Dwight—has always had a knack for work­ing quick­ly, as Taupin explains above.

I’d nev­er been curi­ous enough to inves­ti­gate, but assumed, cor­rect­ly, that the lyric “seam­stress for the band” referred to an actu­al per­son.

John actu­al­ly seems a bit blasé, explain­ing that it’s about Taupin’s then girl­friend and even­tu­al first wife, Max­ine Feibel­man, whom I must thank for inad­ver­tent­ly sup­ply­ing the title of my favorite track, “The Bitch is Back,” which was her code phrase for “Elton’s in a mood.”

As per Sir Elton, “Tiny Dancer”’s lyrics informed the sound, which is more bal­le­ri­na than pirate smile.

And while the orig­i­nal lin­er notes’ ded­i­ca­tion sug­gests that “Tiny Dancer” is indeed a trib­ute to Feibel­man, three wives lat­er, Taupin revised things a bit, telling author Gavin Edwards:

We came to Cal­i­for­nia in the fall of 1970, and sun­shine radi­at­ed from the pop­u­lace. I was try­ing to cap­ture the spir­it of that time, encap­su­lat­ed by the women we met—especially at the clothes stores up and down the Strip in L.A. They were free spir­its, sexy in hiphug­gers and lacy blous­es, and very ethe­re­al, the way they moved. So dif­fer­ent from what I’d been used to in Eng­land. And they all want­ed to sew patch­es on your jeans. They’d moth­er you and sleep with you—it was the per­fect Oedi­pal com­plex.

Writer-direc­tor Cameron Crowe must’ve absorbed that mes­sage, to go by his mem­o­rable use of the song in Almost Famous’ tour bus scene,

Those com­mu­nal good vibes per­me­ate direc­tor Max Weiland’s win­ning entry in a recent John-spon­sored con­test on The Cut, which, like the open­ing scene of La La Land, gets a lot of mileage from LA’s rep­u­ta­tion for traf­fic jams.

Can tick­et buy­ers expect to find the song fea­tured promi­nent­ly in the just released John biopic, Rock­et­man?

No.

(Just kid­ding. Why else would John and his Rock­et­man dop­pel­gänger, actor Taron Egerton choose that one for a duet at John’s annu­al Oscar par­ty?)

Relat­ed Con­tent:

A New Christ­mas Com­mer­cial Takes You on a Sen­ti­men­tal Jour­ney Through Elton John’s Rich Musi­cal Life

Elton John Sings His Clas­sic Hit ‘Your Song’ Through the Years

Elton John Proves He Can Turn any Text into a Song: Watch Him Impro­vise with Lines from Hen­rik Ibsen’s Play, Peer Gynt

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this June for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Watch Patti Smith’s New Tribute to the Avant-Garde Poet Antonin Artaud

The force of Artaud, you couldn’t kill him! — Pat­ti Smith

Found sound enthu­si­asts Sound­walk Col­lec­tive join forces with the God­moth­er of Punk Pat­ti Smith for “Ivry,” the musi­cal trib­ute to poet and the­ater­mak­er Antonin Artaud, above.

The track, fea­tur­ing Smith’s hyp­not­ic impro­vised nar­ra­tion, alter­nate­ly spo­ken and sung over Tarahu­mara gui­tars, Cha­pareke snare drums, and Chi­huahua bells from Mex­i­co’s Sier­ra Tarahu­mara, the region that pro­vid­ed the set­ting for Artaud’s auto­bi­o­graph­i­cal The Pey­ote Dance, has the sooth­ing qual­i­ty of lul­la­bies from such pop­u­lar children’s music Folk Revival­ists as Eliz­a­beth Mitchell and Dan Zanes.

We’d refrain from show­ing the kid­dies this video, though, espe­cial­ly at bed­time.

It begins inno­cent­ly enough with mir­ror images of the beau­ti­ful Artaud—as the Dean of Rouen in 1928’s silent clas­sic The Pas­sion of Joan of Arc, and lat­er in the pri­vate psy­chi­atric clin­ic in Ivry-sur-Seine where he end­ed his days.

Things get much rougher in the final moments, as befits the founder of the The­ater of Cru­el­ty, an avant-garde per­for­mance move­ment that employed scenes of hor­ri­fy­ing vio­lence to shock the audi­ence out of their pre­sumed com­pla­cen­cy.

Noth­ing quite so hairy as Artaud’s vir­tu­al­ly unpro­duce­able short play, Jet of Blood—or, for that mat­ter, Game of Thrones—but we all remem­ber what hap­pened to Joan of Arc, right? (Not to men­tion the gris­ly fate of the many peas­ants whose names his­to­ry fails to note…)

In-between is footage of indige­nous Rará­muri (or Tarahu­mara) tribes­peo­ple enact­ing tra­di­tion­al rit­u­als—the mir­rors on their head­dress­es and the film­mak­ers’ use of reflec­tive sym­me­try hon­or­ing their belief that the after­life mir­rors the mor­tal world.

“Ivry” is the penul­ti­mate track on a brand new Artaud-themed album, also titled The Pey­ote Dance, which delves into the impulse toward expand­ed vision that pro­pelled the artist to Mex­i­co in the 1930s.

Pri­or to bring­ing Smith into the stu­dio, mem­bers of Sound­walk Col­lec­tive revis­it­ed Artaud’s jour­ney through that coun­try (includ­ing a cave in which he once lived), amass­ing stones, sand, leaves, and hand­made Rará­muri instru­ments to “awak­en the landscape’s sleep­ing mem­o­ries and uncov­er the space’s son­ic gram­mar.”

This mis­sion is def­i­nite­ly in keep­ing with Smith’s prac­tice of mak­ing pil­grim­ages and col­lect­ing relics.

The Pey­ote Dance is the first entry in a trip­tych titled The Per­fect Vision. Tune in lat­er this year to trav­el to Ethiopia’s Abyssin­ian val­ley in con­sid­er­a­tion of anoth­er Smith favorite, poet Arthur Rim­baud, and the Indi­an Himalayas, in hon­or of spir­i­tu­al Sur­re­al­ist René Dau­mal, whose alle­gor­i­cal nov­el Mount Ana­logue: A Nov­el of Sym­bol­i­cal­ly Authen­tic Non-Euclid­ean Adven­tures in Moun­tain Climb­ing end­ed in mid-sen­tence, when he died at 36 from the effects of tuber­cu­lo­sis (and, quite pos­si­bly, youth­ful exper­i­ments with such psy­choac­tive chem­i­cals as car­bon tetra­chlo­ride.)

You can order Sound­walk Collective’s album, The Pey­ote Dance, which also fea­tures the work of actor Gael Gar­cía Bernal, here.

via Boing­Bo­ing

Relat­ed Con­tent:

Hear Antonin Artaud’s Cen­sored, Nev­er-Aired Radio Play: To Have Done With The Judg­ment of God (1947)

Iggy Pop Reads Walt Whit­man in Col­lab­o­ra­tions With Elec­tron­ic Artists Alva Noto and Tar­wa­ter

Pat­ti Smith’s 40 Favorite Books

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this June for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Todd Rundgren’s Advice to Young Artists: Be Free and Fearless, Make Art That Expresses Your True Self, and Never Mind the Critics

The Inter­net has redeemed grad­u­a­tion sea­son for those of us whose com­mence­ment speak­ers failed to inspire.

One of the chief dig­i­tal plea­sures of the sea­son is truf­fling up words of wis­dom that seem ever so much wis­er than the ones that were poured past the mor­tar­board into our own ten­der ears.

Our most-recent­ly found pearls come from the mouth of one of our favorite dark hors­es, musi­cian, pro­duc­er, and mul­ti­me­dia pio­neer Todd Rund­gren, one of Berklee Col­lege of Music’s 2017 com­mence­ment speak­ers.

Rund­gren claims he nev­er would have passed the pres­ti­gious institution’s audi­tion. He bare­ly man­aged to grad­u­ate from high school. But he struck a blow for life­long learn­ers whose pur­suit of knowl­edge takes place out­side the for­mal set­ting by earn­ing hon­orary degrees from both Berklee, and DePauw Uni­ver­si­ty, where the new­ly anoint­ed Doc­tor of Per­form­ing Arts can be seen below, study­ing his hon­oris causa as the school band ser­e­nades him with a stu­dent-arranged ver­sion of his song, All the Chil­dren Sing.

Rundgren’s out­sider sta­tus played well with Berklee’s Class of 2017, as he imme­di­ate­ly ditched his cer­e­mo­ni­al head­dress and con­ferred some cool on the sun­glass­es dic­tat­ed by his fail­ing vision.

But it wasn’t all open­ing snark, as he praised the stu­dents’ pre­vi­ous night’s musi­cal per­for­mance, telling them that they were a cred­it to their school, their fam­i­lies and them­selves.

His was a dif­fer­ent path.

Rund­gren, an expe­ri­enced pub­lic speak­er, claims he was stumped as to how one would go about craft­ing com­mence­ment speech­es. Reject­ing an avalanche of advice, whose urgency sug­gest­ed his speech could only result in “uni­ver­sal jubi­la­tion or mass sui­cide if (he) didn’t get it right,” he chose instead to spend his first 10 min­utes at the podi­um recount­ing his per­son­al his­to­ry.

It’s inter­est­ing stuff for any stu­dent of rock n roll, with added cool points owing to the Rock n’ Roll Hall of Fame’s fail­ure to acknowl­edge this musi­cal inno­va­tor.

Whether or not the Class of 17 were famil­iar with their speak­er pri­or to that day, it’s prob­a­ble most of them were able to do the math and real­ize that the self-edu­cat­ed Rund­gren would have been their age in 1970, when his debut album, Runt, was released, and only a cou­ple of years old­er when his third album, 1972’s two disc, Rital­in-fueled Something/Anything shot him to fame.

After which, this proud icon­o­clast prompt­ly thumbed his nose at com­mer­cial suc­cess, detour­ing into the son­ic exper­i­ments of A Wiz­ard, a True Star, whose dis­as­trous crit­i­cal recep­tion belies the mas­ter­piece rep­u­ta­tion it now enjoys.

Rolling Stone called it a case of an artist “run amok.”

Pat­ti Smith, whose absolute­ly manda­to­ry Creem review reads like beat poet­ry, was a rare admir­er.

Did a shiv­er of fear run through the par­ents in the audi­ence, as Rund­gren regaled their chil­dren with tales of how this delib­er­ate trip into the unknown cost him half his fan­base?

How much is Berklee’s tuition these days, any­way?

Auto­bi­o­graph­i­cal urges from the com­mence­ment podi­um run the risk of com­ing off as inap­pro­pri­ate indul­gence, but Rundgren’s per­son­al sto­ry is sup­port­ing evi­dence of his very wor­thy mes­sage to his younger fel­low artists :

  • Don’t self-edit in an attempt to fit some­one else’s image of who you should be as an artist. See your­self.
  • Use your art as a tool for vig­or­ous self-explo­ration.
  • Com­mit to remain­ing free and fear­less, in the ser­vice of your defin­ing moment, whose arrival time is rarely pub­lished in advance.
  • Don’t view grad­u­a­tion as the end of your edu­ca­tion. Think of it as the begin­ning. Learn about the things you love.

Relat­ed Con­tent:

David Byrne’s Grad­u­a­tion Speech Offers Trou­bling and Encour­ag­ing Advice for Stu­dents in the Arts

John Waters’ RISD Grad­u­a­tion Speech: Real Wealth is Nev­er Hav­ing to Spend Time with A‑Holes

The First 10 Videos Played on MTV: Rewind the Video­tape to August 1, 1981

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this June for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Graduation Highlight: Billionaire Robert F. Smith Announces That He’ll Pay Off the Student Loans of Morehouse’s Class of 2019

Robert F. Smith, the bil­lion­aire CEO of Vista Equi­ty Part­ners, received an hon­orary degree from More­house Col­lege on Sun­day. And he gave some­thing back–a grant to retire the stu­dent loans of More­house­’s 2019 grad­u­at­ing class. Like that an esti­mat­ed $40 mil­lion in debt was gone.

Mean­while, in oth­er news, a titan of indus­try spent $90 mil­lion this week on a Jeff Koons rab­bit stat­ue. And now it will like­ly serve as an orna­ment piece in a walled-off man­sion some­where. Imag­ine how that mon­ey could have been put to more pro­duc­tive use…

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:

Is the Leonar­do da Vin­ci Paint­ing “Sal­va­tor Mun­di” (Which Sold for $450 Mil­lion in 2017) Actu­al­ly Authen­tic?: Michael Lewis Explores the Ques­tion in His New Pod­cast

John Waters’ RISD Grad­u­a­tion Speech: Real Wealth is Nev­er Hav­ing to Spend Time with A‑Holes

Meryl Streep Gives Grad­u­a­tion Speech at Barnard

David Byrne’s Grad­u­a­tion Speech Offers Trou­bling and Encour­ag­ing Advice for Stu­dents in the Arts

Jim Car­rey Com­mence­ment Speech: It’s Bet­ter to Fail at What You Love Than Fail at What You Don’t

‘This Is Water’: Com­plete Audio of David Fos­ter Wallace’s Keny­on Grad­u­a­tion Speech (2005)

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A New Archive Transcribes and Puts Online the Diaries & Notebooks of Women Artists, Art Historians, Critics and Dealers

While one is still com­par­a­tive­ly young, one has many more thoughts & cer­tain­ly sen­ti­ments than one is able to make use of. It seems as if these might be stored up so that in old age or when one became less pro­lif­ic one could find mat­ter to use. Every thought or sug­ges­tion could be of use.

- Gertrude Van­der­bilt Whit­neysculp­tor, col­lec­tor, founder of the Whit­ney Muse­um of Amer­i­can Art, 1906

There are very few moral defens­es for rum­mag­ing inside another’s pri­vate diary or sketch­book, until that per­son shuf­fles off this mor­tal coil … and even then snoop­ers may get burned by what they read.

Or not.

Bore­dom is anoth­er strong pos­si­bil­i­ty.

Best to stick with fig­ures of his­tor­i­cal import.

With all due respect to Fri­da Kahlo, I pre­fer those whom his­to­ry hasn’t turned into mega-celebs.

It’s fun to dis­cov­er a fas­ci­nat­ing per­son via her own words and doo­dles, rather than seek them out as a bedaz­zled fan girl.

The Women’s His­to­ry Project at the Archives of Amer­i­can Art is scan­ning a trove of hand­writ­ten papers as part of a year long mis­sion to pre­serve and pass along the cre­ative process­es and dai­ly doings of var­i­ous women artists, art his­to­ri­ans, crit­ics, deal­ers, and gallery own­ers. Fas­ci­nat­ing read­ing awaits those who can get past the enig­mat­ic antique scrawl. More on that below.

A sam­ple:

Por­traitist Cecil­ia Beaux’s let­ters to her friend, fre­quent sit­ter, and pos­si­ble lover, actress Dorothea Gilder. (See Beaux’s paint­ing of “Mrs. Theodore Roo­sevelt and daugh­ter Ethel” from 1902 up top.)

The note­book of sculp­tor Anna Cole­man Ladd, stuffed with quotes, poems, research, def­i­n­i­tions, and auto­bi­o­graph­i­cal mus­ings, dat­ed the same year that she found­ed the Amer­i­can Red Cross Stu­dio for Por­trait Masks for severe­ly dis­fig­ured WW1 vets.

The above men­tioned Whitney’s 1914 trav­el diary, when she made sev­er­al trips to France in the name of estab­lish­ing and sup­port­ing a hos­pi­tal in north-cen­tral France.

Ready to explore?

You can do more than that.

The project is a part of the Smith­son­ian Tran­scrip­tion Cen­ter, which depends upon the pub­lic to take a crack at deci­pher­ing the obscure cur­sive of these hand­writ­ten pages, strike-throughs, mar­gin­a­lia, and all.  You can try your hand at a sin­gle sen­tence or tack­le an entire col­lec­tion or diary. No wor­ries if you have no tran­scrip­tion expe­ri­ence. The Cen­ter has easy to fol­low instruc­tions here.

Your efforts will make the dig­i­tized doc­u­ments key­word search­able, while pre­serv­ing the orig­i­nal cre­ators’ mem­o­ries for future gen­er­a­tions. New con­tent will be added month­ly through March 2020.

Begin your explo­rations of the Women’s His­to­ry Project at the Archives of Amer­i­can Art here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Ven­er­a­ble Female Artists, Musi­cians & Authors Give Advice to the Young: Pat­ti Smith, Lau­rie Ander­son & More

The Dai­ly Rit­u­als of 143 Famous Female Cre­ators: Octavia But­ler, Edith Whar­ton, Coco Chanel & More

“The Artist Project” Reveals What 127 Influ­en­tial Artists See When They Look at Art: An Acclaimed Video Series from The Met­ro­pol­i­tan Muse­um of Art

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City this June for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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