Movie Accent Expert Analyzes 31 Actors Playing Other Famous People: Jamie Foxx as Ray Charles, Natalie Portman as Jackie Kennedy, Cate Blanchett as Bob Dylan, and More

Well-known fig­ures’ voic­es are often as dis­tinc­tive as their thou­sand-watt smiles and influ­en­tial hair­dos.

While there is some evi­dence as to the accents and idio­syn­crat­ic speech pat­terns of such his­tor­i­cal heavy hit­ters as Thomas Edi­son, Flo­rence Nightin­gale, and Har­ry Hou­di­ni, tech­no­log­i­cal improve­ments have real­ly upped the ante for those charged with imper­son­at­ing real life peo­ple from the mid 20th-cen­tu­ry onward.

Natal­ie Port­man had to sus­tain her Jack­ie Kennedy imper­son­ation for an entire fea­ture-length biopic, a per­for­mance dialect coach Erik Singer gives high marks, above. Port­man, he explains, has tru­ly inter­nal­ized Jackie’s idi­olect, the indi­vid­ual quirks that add yet anoth­er lay­er to such sig­ni­fiers as class and region.

As evi­dence, he sub­mits a side-by-side com­par­i­son of the First Lady’s famous 1962 tele­vised tour of the White House ren­o­va­tions she had spear­head­ed, and Portman’s recre­ation there­of.

Port­man has done her home­work with regard to breath pat­tern, pitch, and the refine­ment that strikes most 21st cen­tu­ry ears as a bit stilt­ed and strange. Most impres­sive to Singer is the way Port­man trans­fers Kennedy’s odd­ly musi­cal elon­ga­tion of cer­tain syl­la­bles to oth­er words in the script. Tis no mere par­rot job.

Jamie Foxx’s Oscar-win­ning turn as Ray Charles suc­ceeds on copi­ous research and his abil­i­ty to inhab­it Charles’ habit­u­al smile. Obvi­ous­ly, the pos­ture in which an indi­vid­ual holds their mouth has a lot to do with the sound of their voice, and Foxx was blessed with plen­ty of source mate­r­i­al.

The 1982 epic Gand­hi pro­vid­ed the ver­sa­tile Ben Kings­ley with the oppor­tu­ni­ty to show­case not one, but two, idi­olects. The adult Gand­hi under­went a dra­mat­ic and well doc­u­ment­ed evo­lu­tion from the British accent he adopt­ed as a young law stu­dent in Lon­don to a proud­ly Indi­an voice bet­ter suit­ed to inspir­ing a nation to uni­fy against its British col­o­niz­ers.

It’s like­ly that many of us have nev­er con­sid­ered the speech-relat­ed build­ing blocks Singer scru­ti­nizes while ana­lyz­ing 29 oth­er per­for­mances for the WIRED video, above—epenthesis, tongue posi­tions, rel­a­tive degrees of emphat­ic mus­cu­lar­i­ty, and retroflex consonants—but it’s easy to see how they play a part.

Singer invites you to expand his research and teach­ing library by record­ing your­self speak­ing extem­po­ra­ne­ous­ly and read­ing from two sam­ple texts here. Pray that who­ev­er plays you in the biopic gets it right.

Relat­ed Con­tent:

Peter Sell­ers Gives a Quick Demon­stra­tion of British Accents

Why Do Peo­ple Talk Fun­ny in Old Movies?, or The Ori­gin of the Mid-Atlantic Accent

Watch Meryl Streep Have Fun with Accents: Bronx, Pol­ish, Irish, Aus­tralian, Yid­dish & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  See her onstage in New York City through Decem­ber 20th in the 10th anniver­sary pro­duc­tion of Greg Kotis’ apoc­a­lyp­tic hol­i­day tale, The Truth About San­ta, and the book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Hunter S. Thompson, Existentialist Life Coach, Presents Tips for Finding Meaning in Life

hst

Image by Steve Ander­son, via Wiki­me­dia Com­mons

At first blush, Hunter S. Thomp­son might be the last per­son you would want to ask for advice. After all, his dai­ly rou­tine involved copi­ous amounts of cocaine, LSD and Chivas Regal. He once raked a neighbor’s house with gun­fire. And he once almost acci­den­tal­ly blew up John­ny Depp. Yet beneath his gonzo per­sona lay a man who thought deeply and often about the mean­ing of it all. He was some­one who spent a life­time star­ing into the abyss.

So in 1958, before he became a counter-cul­ture icon, before he even start­ed writ­ing pro­fes­sion­al­ly, Thomp­son wrote a long let­ter about some of the big ques­tions in life to his friend, Hume Logan, who was in the throes of an exis­ten­tial cri­sis.

While the first cou­ple of para­graphs warns against the dan­gers of seek­ing advice, Hunter then expounds at length on some deep, and sur­pris­ing­ly lev­el-head­ed truths. Below are a few pearls of wis­dom:

  • Whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this!
  • You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.)
  • To put our faith in tan­gi­ble goals would seem to be, at best, unwise. We do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.
  • Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.
  • Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

The let­ter was pub­lished in the 2013 book, Let­ters of Note. You can read it in its entire­ty below.

April 22, 1958
57 Per­ry Street
New York City

Dear Hume,

You ask advice: ah, what a very human and very dan­ger­ous thing to do! For to give advice to a man who asks what to do with his life implies some­thing very close to ego­ma­nia. To pre­sume to point a man to the right and ulti­mate goal— to point with a trem­bling fin­ger in the RIGHT direc­tion is some­thing only a fool would take upon him­self.

I am not a fool, but I respect your sin­cer­i­ty in ask­ing my advice. I ask you though, in lis­ten­ing to what I say, to remem­ber that all advice can only be a prod­uct of the man who gives it. What is truth to one may be dis­as­ter to anoth­er. I do not see life through your eyes, nor you through mine. If I were to attempt to give you spe­cif­ic advice, it would be too much like the blind lead­ing the blind.

“To be, or not to be: that is the ques­tion: Whether ’tis nobler in the mind to suf­fer the slings and arrows of out­ra­geous for­tune, or to take arms against a sea of trou­bles … ” (Shake­speare)

And indeed, that IS the ques­tion: whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this! Think of any deci­sion you’ve ever made which had a bear­ing on your future: I may be wrong, but I don’t see how it could have been any­thing but a choice how­ev­er indi­rect— between the two things I’ve men­tioned: the float­ing or the swim­ming.

But why not float if you have no goal? That is anoth­er ques­tion. It is unques­tion­ably bet­ter to enjoy the float­ing than to swim in uncer­tain­ty. So how does a man find a goal? Not a cas­tle in the stars, but a real and tan­gi­ble thing. How can a man be sure he’s not after the “big rock can­dy moun­tain,” the entic­ing sug­ar-can­dy goal that has lit­tle taste and no sub­stance?

The answer— and, in a sense, the tragedy of life— is that we seek to under­stand the goal and not the man. We set up a goal which demands of us cer­tain things: and we do these things. We adjust to the demands of a con­cept which CANNOT be valid. When you were young, let us say that you want­ed to be a fire­man. I feel rea­son­ably safe in say­ing that you no longer want to be a fire­man. Why? Because your per­spec­tive has changed. It’s not the fire­man who has changed, but you. Every man is the sum total of his reac­tions to expe­ri­ence. As your expe­ri­ences dif­fer and mul­ti­ply, you become a dif­fer­ent man, and hence your per­spec­tive changes. This goes on and on. Every reac­tion is a learn­ing process; every sig­nif­i­cant expe­ri­ence alters your per­spec­tive.

So it would seem fool­ish, would it not, to adjust our lives to the demands of a goal we see from a dif­fer­ent angle every day? How could we ever hope to accom­plish any­thing oth­er than gal­lop­ing neu­ro­sis?

The answer, then, must not deal with goals at all, or not with tan­gi­ble goals, any­way. It would take reams of paper to devel­op this sub­ject to ful­fill­ment. God only knows how many books have been writ­ten on “the mean­ing of man” and that sort of thing, and god only knows how many peo­ple have pon­dered the sub­ject. (I use the term “god only knows” pure­ly as an expres­sion.) There’s very lit­tle sense in my try­ing to give it up to you in the prover­bial nut­shell, because I’m the first to admit my absolute lack of qual­i­fi­ca­tions for reduc­ing the mean­ing of life to one or two para­graphs.

I’m going to steer clear of the word “exis­ten­tial­ism,” but you might keep it in mind as a key of sorts. You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.) But back to the answer. As I said, to put our faith in tan­gi­ble goals would seem to be, at best, unwise. So we do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.

But don’t mis­un­der­stand me. I don’t mean that we can’t BE fire­men, bankers, or doc­tors— but that we must make the goal con­form to the indi­vid­ual, rather than make the indi­vid­ual con­form to the goal. In every man, hered­i­ty and envi­ron­ment have com­bined to pro­duce a crea­ture of cer­tain abil­i­ties and desires— includ­ing a deeply ingrained need to func­tion in such a way that his life will be MEANINGFUL. A man has to BE some­thing; he has to mat­ter.

As I see it then, the for­mu­la runs some­thing like this: a man must choose a path which will let his ABILITIES func­tion at max­i­mum effi­cien­cy toward the grat­i­fi­ca­tion of his DESIRES. In doing this, he is ful­fill­ing a need (giv­ing him­self iden­ti­ty by func­tion­ing in a set pat­tern toward a set goal), he avoids frus­trat­ing his poten­tial (choos­ing a path which puts no lim­it on his self-devel­op­ment), and he avoids the ter­ror of see­ing his goal wilt or lose its charm as he draws clos­er to it (rather than bend­ing him­self to meet the demands of that which he seeks, he has bent his goal to con­form to his own abil­i­ties and desires).

In short, he has not ded­i­cat­ed his life to reach­ing a pre-defined goal, but he has rather cho­sen a way of life he KNOWS he will enjoy. The goal is absolute­ly sec­ondary: it is the func­tion­ing toward the goal which is impor­tant. And it seems almost ridicu­lous to say that a man MUST func­tion in a pat­tern of his own choos­ing; for to let anoth­er man define your own goals is to give up one of the most mean­ing­ful aspects of life— the defin­i­tive act of will which makes a man an indi­vid­ual.

Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.

Nat­u­ral­ly, it isn’t as easy as it sounds. You’ve lived a rel­a­tive­ly nar­row life, a ver­ti­cal rather than a hor­i­zon­tal exis­tence. So it isn’t any too dif­fi­cult to under­stand why you seem to feel the way you do. But a man who pro­cras­ti­nates in his CHOOSING will inevitably have his choice made for him by cir­cum­stance.

So if you now num­ber your­self among the dis­en­chant­ed, then you have no choice but to accept things as they are, or to seri­ous­ly seek some­thing else. But beware of look­ing for goals: look for a way of life. Decide how you want to live and then see what you can do to make a liv­ing WITHIN that way of life. But you say, “I don’t know where to look; I don’t know what to look for.”

And there’s the crux. Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

If I don’t call this to a halt, I’m going to find myself writ­ing a book. I hope it’s not as con­fus­ing as it looks at first glance. Keep in mind, of course, that this is MY WAY of look­ing at things. I hap­pen to think that it’s pret­ty gen­er­al­ly applic­a­ble, but you may not. Each of us has to cre­ate our own cre­do— this mere­ly hap­pens to be mine.

If any part of it doesn’t seem to make sense, by all means call it to my atten­tion. I’m not try­ing to send you out “on the road” in search of Val­hal­la, but mere­ly point­ing out that it is not nec­es­sary to accept the choic­es hand­ed down to you by life as you know it. There is more to it than that— no one HAS to do some­thing he doesn’t want to do for the rest of his life. But then again, if that’s what you wind up doing, by all means con­vince your­self that you HAD to do it. You’ll have lots of com­pa­ny.

And that’s it for now. Until I hear from you again, I remain,

your friend,
Hunter

Note: An ear­li­er ver­sion of this post appeared on our site in Feb­ru­ary 2015.

Relat­ed Con­tent:

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Hunter S. Thompson’s Deca­dent Dai­ly Break­fast: The “Psy­chic Anchor” of His Fre­net­ic Cre­ative Life

How Hunter S. Thomp­son Gave Birth to Gonzo Jour­nal­ism: Short Film Revis­its Thompson’s Sem­i­nal 1970 Piece on the Ken­tucky Der­by

Hunter S. Thomp­son Chill­ing­ly Pre­dicts the Future, Telling Studs Terkel About the Com­ing Revenge of the Eco­nom­i­cal­ly & Tech­no­log­i­cal­ly “Obso­lete” (1967)

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 bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

The Thoughtful Note That George H.W. Bush Left on Bill Clinton’s Desk Before Leaving the White House (1993)

With the pass­ing of George H.W. Bush, Bill Clin­ton reflect­ed on the life and lega­cy of his polit­i­cal pre­de­ces­sor, and par­tic­u­lar­ly the thought­ful note that Bush 41 left on his desk, right before leav­ing the White House. Dat­ed Jan­u­ary 20, 1993, it read:

Dear Bill,

When I walked into this office just now I felt the same sense of won­der and respect that I felt four years ago. I know you will feel that, too.

I wish you great hap­pi­ness here. I nev­er felt the lone­li­ness some Pres­i­dents have described.

There will be very tough times, made even more dif­fi­cult by crit­i­cism you may not think is fair. I’m not a very good one to give advice; but just don’t let the crit­ics dis­cour­age you or push you off course.

You will be our Pres­i­dent when you read this note. I wish you well. I wish your fam­i­ly well.

Your suc­cess now is our country’s suc­cess. I am root­ing hard for you.

Good luck—

George

It’s hard not to see this let­ter as a rel­ic of an irre­triev­able age in Amer­i­can pol­i­tics. But Clin­ton won’t quite buy that. He writes today in the Wash­ing­ton Post: “Giv­en what pol­i­tics looks like in Amer­i­ca and around the world today, it’s easy to sigh and say George H.W. Bush belonged to an era that is gone and nev­er com­ing back — where our oppo­nents are not our ene­mies, where we are open to dif­fer­ent ideas and chang­ing our minds, where facts mat­ter and where our devo­tion to our children’s future leads to hon­est com­pro­mise and shared progress. I know what he would say: ‘Non­sense. It’s your duty to get that Amer­i­ca back.’ ” Soon enough, after enough sturm and drang, the major­i­ty of Amer­i­cans (Elec­toral Col­lege includ­ed) may be ready to sign up for that.

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 2,000+ Films Watched by Pres­i­dents Nixon, Carter & Rea­gan in the White House

Gonzo Illus­tra­tor Ralph Stead­man Draws the Amer­i­can Pres­i­dents, from Nixon to Trump

Barack Oba­ma Shares a List of Enlight­en­ing Books Worth Read­ing

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Two Cats Keep Trying to Get Into a Japanese Art Museum … and Keep Getting Turned Away: Meet the Thwarted Felines, Ken-chan and Go-chan

Pag­ing direc­tor Hayao Miyaza­ki.

A com­pelling sub­ject for a fea­ture length ani­ma­tion is hang­ing around the slid­ing glass doors of Hiroshi­ma Prefecture’s Onomichi City Muse­um of Art.

In June of 2016, a black tom­cat start­ed show­ing up at the muse­um on the reg­u­lar, for rea­sons unknown.

Those open to the sort of nar­ra­tive whim­sy at which Miyaza­ki excels might choose to believe that the beast was drawn by a cat-themed exhib­it of work by not­ed wildlife pho­tog­ra­ph­er and film­mak­er Mit­sua­ki Iwa­go, a por­tion of which would have been vis­i­ble to him through the mod­ern building’s large glass win­dows.

What­ev­er his rea­sons, the cat, Ken-chan, whose own­ers run a near­by restau­rant, was refused entry by a white-gloved secu­ri­ty guard and oth­er staffers, whose efforts to send him on his way start­ed blow­ing up the Inter­net short­ly after his first appear­ance.

Even­tu­al­ly, Ken-chan start­ed bring­ing back-up in the form of a well-man­nered orange tom­cat the muse­um staff dubbed Go-chan.

Their vis­its have proved to be a boon for both the small muse­um and the city they call home.

The New York Pub­lic Library has its lions.

Boston’s Pub­lic Gar­den has its ducks.

Onomichi and its small art muse­um have Ken-chan and Go-chan, whose Inter­net fame is quick­ly out­pac­ing the sup­ply of com­mem­o­ra­tive tote bags, below.

Ten­der heart­ed fans bom­bard the museum’s Twit­ter account with requests to grant the feline pair entry, but the muse­um brass is wise­ly pri­or­i­tiz­ing dra­mat­ic ten­sion over con­sum­ma­tion.

Mean­while, offi­cials in Zelenograd­sk, a Russ­ian resort town boast­ing both a cat muse­um and giant cat street mon­u­ment have invit­ed Ken-chan, Go-chan, and muse­um staff to be their guests in March, for a cat-cen­tric hol­i­day cel­e­bra­tion.

For now, Ken-chan and Go-chan are stick­ing close to home, alter­nate­ly enter­tain­ing and dis­ap­point­ing vis­i­tors who show up, cam­era in hand, hop­ing to catch them in the act.

Arm­chair trav­el­ers can enjoy a cat’s eye view tour of Onomichi, thanks to Google Street View-style 360-degree cam­era tech­nol­o­gy.

And pho­tog­ra­ph­er Iwa­go shares some pro advice for any­one seek­ing to cap­ture feline sub­jects:

…male cats are eas­i­er to pho­to­graph. Male cats seem to have more lat­i­tude and leisure in their lives. Because females do things such as raise the kit­tens, they con­cen­trate more on what goes on around them. Because males are out on patrol, it is more like­ly that you will encounter them. Because they have the free time, they’ll let you hang out and pho­to­graph them.

Depend­ing on the cat, there are a num­ber of ways to get a cat’s atten­tion. For exam­ple, when it’s start­ing to get dark out, you need to use a low­er shut­ter speed. How­ev­er, this means that the cat will be blur­ry if it moves. To avoid this, in such sit­u­a­tions, I say to the cat, ‘Stop, hold your breath!’ At that instant, when the cat is frozen, I snap the pic­ture. When you speak out to a cat, they get the mes­sage. That said, you can also get shots of good cat body lan­guage by let­ting them roam freely. They don’t need to be look­ing at the cam­era.

Even a cell­phone cam­era is enough. How­ev­er, if you don’t have a tele­pho­to lens, you’re going to have to get close to the cat you’re pho­tograph­ing. Due to this, it might be good to use a sin­gle-lens reflex (SLR) cam­era if you are pho­tograph­ing out­side. How­ev­er, if you are pho­tograph­ing the cat you live at home with, a big cam­era may prove intim­i­dat­ing. To avoid this prob­lem, it is nec­es­sary to reg­u­lar­ly put your cam­era in a place that the cat can see. It is good to start snap­ping pic­tures only after your cat has got­ten over its fear of cam­eras. If you use a flash to pho­to­graph cats indoors, their hair will look spiky and lose its soft­ness. There­fore, I rec­om­mend avoid­ing a flash. I also rec­om­mend not using a tri­pod, con­sid­er­ing the line of sight will become too high. When I am pho­tograph­ing cats, I kneel down so that I am at the same eye line as they are. It’s as if I’m crawl­ing for­ward into bat­tle.

Fol­low the Onomichi City Muse­um of Art on Twit­ter to keep up with Ken-chan and Go-chan.

via The Guardian/Hyper­al­ler­gic

Relat­ed Con­tent:

Insane­ly Cute Cat Com­mer­cials from Stu­dio Ghi­b­li, Hayao Miyazaki’s Leg­endary Ani­ma­tion Shop

Medieval Cats Behav­ing Bad­ly: Kit­ties That Left Paw Prints … and Peed … on 15th Cen­tu­ry Man­u­scripts

Free Enter­tain­ment for Cats and Dogs: Videos of Birds, Squir­rels & Oth­er Thrills

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC this Decem­ber for the 10th anniver­sary pro­duc­tion of Greg Kotis’ apoc­a­lyp­tic hol­i­day tale, The Truth About San­ta, and the next month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

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

The Bitch is Back…or is he?

Yes, Elton John is spend­ing the next cou­ple of years bid­ding adieu to fans on his Good­bye Yel­low Brick Road world tour.

And yes, there’s a soon-to-be released biopic, Rock­et­man.

On the oth­er hand, there’s the ridicu­lous­ly pneu­mat­ic two-minute tele­vi­sion com­mer­cial above, upscale depart­ment store John Lewis’s attempt to best rivals Sainsbury’s and Marks & Spencer in the unof­fi­cial British hol­i­day advert bowl.

These annu­al pro­duc­tions are as hot­ly antic­i­pat­ed as Super­bowl ads, but this year’s entry, in which view­ers trav­el back­wards in time near­ly 70 years to the three-year-old Elton (née Regi­nald Dwight) receiv­ing a (SPOILER!) piano from his granny, has proved a bit of a mis­fire.

View­ers are flock­ing to social media to lam­bast the ad for inad­ver­tent­ly sug­gest­ing that Elton John is the rea­son for the sea­son. (Pop­u­lar sub­jects from Christ­mases past include Padding­ton Bear, pen­guins, and box­er dogs.)

There’s also a bit of cyn­i­cism sur­round­ing the fact that John Lewis hus­tled to add dig­i­tal key­boards to its inven­to­ry pri­or to the release of “The Boy And The Piano”…

And then there’s the rumor that Sir Elton took home £5 mil­lion for his par­tic­i­pa­tion in the four day shoot.

Sev­er­al of the star’s most out­ré looks have been faith­ful­ly recre­at­ed, but, Christ­mas aside, it’s hard not to feel that this por­trait is rather too san­i­tized. You won’t find any friends rolling ‘round the base­ment floor here. His dad, an RAF offi­cer with whom he had a thorny rela­tion­ship is sim­i­lar­ly strick­en from the record. There’s nary a whis­per of drugs or diva-esque behav­ior.


As colum­nist Stu­art Her­itage notes in The Guardian before offer­ing a hilar­i­ous allit­er­a­tive script in which Sir Elton screams pro­fan­i­ties, flings vas­es, and bad­mouths Madon­na:

Elton John isn’t a great pop star because he sings songs about lit­tle dancers, croc­o­diles that rock, and being able to stand up. No, Elton John is a great pop star because he is knot­ty and com­pli­cat­ed and, well, a bit of a dick some­times.

A num­ber of spoofs have already cropped up, and nat­u­ral­ly there’s a Mak­ing Of, below—also set to “Your Song”—wherein the young actors who embod­ied Sir Elton at var­i­ous stages of his life and career, some­times with the help of pros­thet­ics, hold forth.

Also… while we don’t dis­miss out of hand the pos­si­bil­i­ty that sen­ti­men­tal attach­ment could have caused Sir Elton to hold on to his child­hood piano, we’ll eat our plat­form boots if that’s what con­sti­tutes his Christ­mas tree.

Relat­ed Con­tent:

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

Enjoy a Blue­grass Per­for­mance of Elton John’s 1972 Hit, “Rock­et Man”

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

Sell & Spin: The His­to­ry of Adver­tis­ing, Nar­rat­ed by Dick Cavett (1999)

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC this Decem­ber for the 10th anniver­sary pro­duc­tion of Greg Kotis’ apoc­a­lyp­tic hol­i­day tale, The Truth About San­ta, and the next month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

British Doctors To Prescribe Arts & Culture to Patients: “The Arts Are Essential to our Health and Wellbeing”

Pho­to by Adam Jones, via Wiki­me­dia Com­mons

The arts and human­i­ties are after­thoughts in many Amer­i­can schools, rarely giv­en pri­or­i­ty as part of a com­pre­hen­sive edu­ca­tion, though they formed the basis of one for thou­sands of years else­where. One might say some­thing sim­i­lar of pre­ven­ta­tive med­i­cine in the U.S. health­care sys­tem. It’s tempt­ing to ide­al­ize the pri­or­i­ties of oth­er wealthy coun­tries. The Japan­ese invest­ment in “for­est bathing,” for exam­ple, comes to mind, or Finnish pub­lic schools and France’s fund­ing of an Alzheimer’s vil­lage.

But every­place has its prob­lems, and no coun­try is an island, exempt from the glob­al pres­sures of cap­i­tal or hos­tile inter­fer­ence.

But if we con­sid­er such things as art, music, and dance as essential—not only to an edu­ca­tion, but to our gen­er­al well-being—we must com­mend the UK’s Health Sec­re­tary, Matt Han­cock, for his “social pre­scrib­ing” ini­tia­tive.

Han­cock wants “the country’s doc­tors to pre­scribe ther­a­peu­tic art- or hob­by-based treat­ments for ail­ments rang­ing from demen­tia to psy­chosis, lung con­di­tions and men­tal health issues,” reports Meilan Sol­ly at Smith­son­ian. The plan “could find patients enrolled in dance class­es and singing lessons, or per­haps enjoy­ing a per­son­al­ized music playlist.”

In a speech Han­cock deliv­ered on what hap­pened to be elec­tion day in the U.S., he referred to a quote from Con­fu­cius that rep­re­sents one par­tic­u­lar­ly ancient edu­ca­tion­al tra­di­tion: “Music pro­duces a kind of plea­sure, which human nature can­not do with­out.” (He also quotes the Rolling Stones’ “Sat­is­fac­tion.”) Hancock’s idea goes beyond aris­to­crat­ic tra­di­tions of old, pro­claim­ing a diet of the arts for every­one.

They’re not just a right in their own terms as the search for truth and expres­sion of the human con­di­tion. We shouldn’t only val­ue them for the role they play in bring­ing mean­ing and dig­ni­ty to our lives. We should val­ue the arts and social activ­i­ties because they’re essen­tial to our health and well­be­ing. And that’s not me as a for­mer Cul­ture Sec­re­tary say­ing it. It’s sci­en­tif­i­cal­ly proven. Access to the arts and social activ­i­ties improves people’s men­tal and phys­i­cal health.

We’ve like­ly all come across research on the tremen­dous health ben­e­fits of what Warnock calls “social activ­i­ties,” main­tain­ing friend­ships and get­ting out and about. But what does the research into art and health say? “The med­ical ben­e­fits of engag­ing with the arts are well-record­ed,” Sol­ly writes, cit­ing stud­ies of stroke sur­vivors mak­ing great strides after per­form­ing with the Roy­al Phil­har­mon­ic; dance lessons improv­ing clar­i­ty and con­cen­tra­tion among those with ear­ly psy­chosis; and those with lung con­di­tions improv­ing with singing lessons. Addi­tion­al­ly, many stud­ies have shown the emo­tion­al lift muse­um vis­its and oth­er cul­tur­al activ­i­ties of a social nature can give.

Sim­i­lar tri­als have tak­en place in Cana­da, but the UK project is “simul­ta­ne­ous­ly more com­pre­hen­sive and less fleshed-out,” aim­ing to encour­age every­thing from cook­ing class­es, play­ing bin­go, and gar­den­ing to “more cul­tur­al­ly focused ven­tures.” The pro­pos­al does not, how­ev­er, ful­ly address fund­ing or acces­si­bil­i­ty issues for the most at-risk patients. Hancock’s rhetoric also per­haps heed­less­ly pits “more pre­ven­tion and per­spi­ra­tion” against “pop­ping pills and Prozac,” a char­ac­ter­i­za­tion that seems to triv­i­al­ize drug ther­a­pies and cre­ate a false bina­ry where the two approach­es can work well hand-in-hand.

Nonethe­less, a shift away from “over-med­ical­is­ing” and toward pre­ven­ta­tive and holis­tic approach­es has the poten­tial to address not only chron­ic symp­toms of dis­ease, but the non-med­ical causes—including stress, iso­la­tion, and sadness—that con­tribute to and wors­en ill­ness. The plan may require a rig­or­ous­ly indi­vid­u­al­ized imple­men­ta­tion by physi­cians and it will “start at a dis­ad­van­tage,” with 4% cuts per year to the NHS bud­get until 2021, as Roy­al Col­lege of Nurs­ing pub­lic health expert Helen Dono­van points out.

Those chal­lenges aside, giv­en all we know about the impor­tance of emo­tion­al well-being to phys­i­cal health, it’s hard to argue with Hancock’s premise. “Access to the arts improves people’s men­tal and phys­i­cal health,” he tweet­ed dur­ing his Novem­ber 6th roll-out of the ini­tia­tive. “It makes us hap­pi­er and health­i­er.” Art is not a lux­u­ry, but a nec­es­sary ingre­di­ent in human flour­ish­ing, and yet “the arts do not tend to be thought of in med­ical terms,” writes pro­fes­sor of health human­i­ties Paul Craw­ford, though they con­sti­tute a “shad­ow health ser­vice,” bring­ing us a kind of hap­pi­ness, I’d argue with Con­fu­cius, that we sim­ply can­not find any­where else.

via The Smith­son­ian

Relat­ed Con­tent:

How the Japan­ese Prac­tice of “For­est Bathing”—Or Just Hang­ing Out in the Woods—Can Low­er Stress Lev­els and Fight Dis­ease

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

The French Vil­lage Designed to Pro­mote the Well-Being of Alzheimer’s Patients: A Visu­al Intro­duc­tion to the Pio­neer­ing Exper­i­ment

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

On the Pow­er of Teach­ing Phi­los­o­phy in Pris­ons

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

Bette Davis Divorced: “She Read Too Much,” Says Husband (1938)

On Decem­ber 7, 1938, The New York Times report­ed on the dis­so­lu­tion of Bette Davis’ mar­riage with Har­mon “Oscar” Nel­son. The stat­ed rea­son for the divorce? The actress read too much. The report goes on to say: Har­mon “usu­al­ly just sat there while his wife read ‘to an unnec­es­sary degree.” “She thought her work was more impor­tant than her mar­riage.” “She even insist­ed on read­ing books or man­u­scripts when [Har­mon] had guests. It was all very upset­ting.”

Davis lat­er dis­cussed the emo­tion­al gulf that had sep­a­rat­ed the hus­band and wife. She also addressed an affair with busi­ness mag­nate Howard Hughes–something that appar­ent­ly got men­tioned in the divorce pro­ceed­ings but not the pages of The New York Times itself.

via @Tom DC Roberts

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:

Albert Ein­stein Impos­es on His First Wife a Cru­el List of Mar­i­tal Demands

The Irre­press­ible Bette Davis Recalls Her Good and Bad Days Kiss­ing in the Movies

1933 Arti­cle on Fri­da Kahlo: “Wife of the Mas­ter Mur­al Painter Glee­ful­ly Dab­bles in Works of Art”

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

“What­ev­er you do, nobody else can do that bet­ter than you. You have to find what you can do bet­ter than any­one else, what you have in your­self that nobody else has in them. Don’t do any­thing that you know, deep in your heart, that some­body else can do bet­ter, but do what nobody else can do except for you.” That sounds like fine advice, but when receiv­ing advice we should always con­sid­er the source. In this case we could hard­ly do bet­ter: the source is Wim Wen­ders, direc­tor of Alice in the CitiesParis, TexasWings of Desire, and many oth­er films besides, an auteur sel­dom accused of mak­ing movies any­one else could make.

Wen­ders’ inter­view clip and the oth­ers here come from “Advice to the Young,” a video series cre­at­ed by the Louisiana Muse­um in Den­mark (which has quite an impres­sive gift shop, inci­den­tal­ly, if you hap­pen to need advice on gift-shop­ping). Jonathan Franzen, author of nov­els like The Cor­rec­tionsFree­dom, and Puri­ty, admits to feel­ing embar­rass­ment about “giv­ing advice to the young writer,” but he still has valu­able words for cre­ators in any domain: “The most impor­tant advice I have is to have fun, to try to cre­ate some­thing that is fun to work on.”

And by fun he means fun like you have on a ten­nis court, where “you’re not just mess­ing around, you’re not just hit­ting the ball wher­ev­er you want — you are focused on hav­ing a game, and once you are in it you are hav­ing fun. That’s the kind of focused fun I’m talk­ing about, and if you are hav­ing that kind of focused fun, there’s a good chance that the read­er will too.”

The range of writ­ers from which Louisiana Muse­um has sought advice also includes Lydia Davis, whose sen­si­bil­i­ty may dif­fer from Franzen’s but who has gar­nered an equal (or even greater) degree of respect from her read­er­ship. “You learn from mod­els and you ana­lyze them, you study them, you ana­lyze them very close­ly, one thing at a time,” she says, begin­ning her more expan­sive advice based on her own method. “You don’t just sort of read the para­graph and say, ‘Oh, that real­ly flows, you know? That’s good.’ You say, ‘What kind of adjec­tives? How many? What kind of nouns? How long are the sen­tences? What’s the rhythm?’ You know, you pick it apart, and that’s very help­ful.” Her oth­er sug­ges­tions include to “be very patient, even patient with chaos” and to keep a note­book (“it takes some of the ten­sion and the wor­ry away, because if you write it down, it may just be a note. It does­n’t have to be the begin­ning of any­thing”).

“Do what you want to do,” Davis con­cludes, “and don’t wor­ry if it’s a lit­tle odd or does­n’t fit the mar­ket.” That bit of guid­ance seems to have worked for her, and in the great vari­ety of forms it can take seems to have worked for seem­ing­ly every oth­er artist. Take Ed Ruscha, for instance, whose can­vass­es of gas sta­tions, cor­po­rate sig­nage, and oth­er icons of Amer­i­can blank­ness must hard­ly have seemed geared toward any par­tic­u­lar “mar­ket” when first he paint­ed them. For the young he has only one piece of advice, received sec­ond-hand and briefly deliv­ered: “No one could ever beat this thing that Max Ernst said. They asked him what a young artist should do, and he said, ‘cut off an ear.’ That’s good advice to fol­low. You can’t beat that.”

Oth­er artists fea­tured in the video playlist include Lau­rie Ander­son, David Byrne, Umber­to Eco, Pat­ti Smith & more.

Relat­ed Con­tent:

21 Artists Give “Advice to the Young:” Vital Lessons from Lau­rie Ander­son, David Byrne, Umber­to Eco, Pat­ti Smith & More

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

To Make Great Films, You Must Read, Read, Read and Write, Write, Write, Say Aki­ra Kuro­sawa and Wern­er Her­zog

John Cleese’s Advice to Young Artists: “Steal Any­thing You Think Is Real­ly Good”

Walt Whit­man Gives Advice to Aspir­ing Young Writ­ers: “Don’t Write Poet­ry” & Oth­er Prac­ti­cal Tips (1888)

Ursu­la Le Guin Gives Insight­ful Writ­ing Advice in Her Free Online Work­shop

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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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