How Leo Tolstoy Learned to Ride a Bike at 67, and Other Tales of Lifelong Learning

Some say you’re nev­er too old to learn some­thing new. Oth­ers say you can’t teach an old dog new tricks. Well, you know where we come down on this. And we’ve got some celebri­ty case stud­ies to back us up. In a blog post yes­ter­day, The New York Times fea­tured four cul­tur­al icons and one war hero who learned new skills lat­er in life. Miles Davis start­ed box­ing when most box­ers are hang­ing up their gloves. Ayn Rand, in her 60s, improb­a­bly took up the hob­by of stamp col­lect­ing. Marie Curie learned to swim in her 50s. And the great nov­el­ist Leo Tol­stoy took his first bike ride at the age of 67. The Times writes that he start­ed cycling:

only a month after the death of his 7‑year-old son, Vanich­ka. He was still griev­ing, and the Moscow Soci­ety of Veloci­pede-Lovers pro­vid­ed him a free bike and instruc­tion along the gar­den paths on his estate. He became a devo­tee, tak­ing rides after his morn­ing chores. “Count Leo Tol­stoy … now rides the wheel,” declared Sci­en­tif­ic Amer­i­can in 1896, “much to the aston­ish­ment of the peas­ants on his estate.”

Appar­ent­ly that’s Tol­stoy and his bike above.

via @kirstinbutler

Relat­ed Con­tent:

The Last Days of Leo Tol­stoy Cap­tured on Video

Rare Record­ing: Leo Tol­stoy Reads From His Last Major Work in Four Lan­guages, 1909

The Art of Leo Tol­stoy: See His Draw­ings in the War & Peace Man­u­script & Oth­er Lit­er­ary Texts

 

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Charles Bukowski Tells the Story of His Worst Hangover Ever

Charles Bukows­ki, “Hank” to his friends, was once called the “best poet in Amer­i­ca” by kin­dred spir­it Jean Genet. He was a writer who told the truth, when he wasn’t lying, and who could tell a great sto­ry, whether sober or drunk. Bukows­ki once told Sean Penn in a 1987 Inter­view mag­a­zine piece: “Alco­hol is prob­a­bly one of the great­est things to arrive upon the earth — along­side of me. Yes…these are two of the great­est arrivals upon the sur­face of the earth. So…we get along.” This state­ment encap­su­lates the qual­i­ties Bukows­ki is best known for—lifelong heavy drink­ing and brava­do. They tend to go hand in hand, espe­cial­ly in nov­el­ists of his gen­er­a­tion. But what made him a poet was anoth­er qual­i­ty the booze helped him cope with, his ten­den­cy to be “a shy, with­drawn per­son,” an almost ten­der per­son, and humane in his own low-rent way. In the video above, he tells the sto­ry of his worst hang­over ever. I’ll let him tell it. There’s no way a para­phrase could come close to Bukowski’s own voice.

Relat­ed Con­tent:

Charles Bukows­ki: Depres­sion and Three Days in Bed Can Restore Your Cre­ative Juices (NSFW)

The Last Faxed Poem of Charles Bukows­ki

Charles Bukows­ki Reads His Poem “The Secret of My Endurance”

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Johnny Cash’s Short and Personal To-Do List

cashlistjpg

John­ny Cash wrote down at least two lists in his life­time. Let’s start with the big one. In 1973, when his daugh­ter Roseanne turned 18, the leg­endary musi­cian pulled out a sheet of yel­low legal paper and began writ­ing down 100 Essen­tial Coun­try Songs, the songs she need­ed to know if she want­ed to start her own musi­cal career. The list, writes the web­site Folk­Works, did­n’t con­strue coun­try music nar­row­ly. It was eclec­tic, tak­ing in old folk songs, Appalachi­an bal­lads, and also protest songs, ear­ly coun­try clas­sics, and mod­ern folks songs sung by artists like Bob Dylan. (Don’t miss our post on Dylan and Cash’s 1969 col­lab­o­ra­tion here.) This essen­tial list nev­er went pub­lic, at least not in full. Roseanne Cash guard­ed it close­ly until 2009, when she released an album fea­tur­ing inter­pre­ta­tions of 12 titles from her father’s list. The oth­er 88 songs still remain a mys­tery.

Now on to that oth­er list: Some­where along the way (we’re not sure when) The Man in Black jot­ted down 10 “Things to Do Today!” This list feels almost like some­thing you and I could have writ­ten, the stuff of mor­tals. Heck, in a giv­en day, we all “Cough,” “Eat” and “Pee.” We strug­gle with will pow­er (not eat­ing too much, per­haps not smok­ing, maybe not fool­ing around with any­one but our spouse). And we’re hope­ful­ly good to our loved ones. So what sets John­ny Cash apart from us? Just June and that piano.

John­ny’s to-do list sold at auc­tion for $6,250 in 2010.

via The New York Times via Lists of Note

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Kurt Vonnegut Writes an Offbeat Contract Outlining His Chores Around the House, 1947

vonnegut lettersKurt Von­negut nev­er did things the con­ven­tion­al way. He did­n’t write par­tic­u­lar­ly con­ven­tion­al nov­els. He cer­tain­ly did­n’t make very con­ven­tion­al speech­es at uni­ver­si­ties. But he did make semi-con­ven­tion­al domes­tic agree­ments. Take, for exam­ple, this con­tract writ­ten on Jan­u­ary 26, 1947. Post­ed on the Harper’s web­site in full, this odd lit­tle doc­u­ment, dubbed “The Chore List of Cham­pi­ons,” finds Von­negut out­lin­ing all of the tasks he promised to do around the house — this while his young wife, Jane, pre­pared to give birth to their first child. The con­tract (the con­tent is con­ven­tion­al, the form is not) will be pub­lished in Kurt Von­negut: Let­ters next month. And it begins:

I, Kurt Von­negut, Jr., that is, do here­by swear that I will be faith­ful to the com­mit­ments here­un­der list­ed:

I. With the agree­ment that my wife will not nag, heck­le, or oth­er­wise dis­turb me on the sub­ject, I promise to scrub the bath­room and kitchen floors once a week, on a day and hour of my own choos­ing. Not only that, but I will do a good and thor­ough job, and by that she means that I will get under the bath­tub, behind the toi­let, under the sink, under the ice­box, into the cor­ners; and I will pick up and put in some oth­er loca­tion what­ev­er mov­able objects hap­pen to be on said floors at the time so as to get under them too, and not just around them. Fur­ther­more, while I am under­tak­ing these tasks I will refrain from indulging in such remarks as “Shit,” “God­damn sono­fabitch,” and sim­i­lar vul­gar­i­ties, as such lan­guage is nerve-wrack­ing to have around the house when noth­ing more dras­tic is tak­ing place than the fac­ing of Neces­si­ty. If I do not live up to this agree­ment, my wife is to feel free to nag, heck­le, and oth­er­wise dis­turb me until I am dri­ven to scrub the floors any­way—no mat­ter how busy I am.

And then lat­er con­tin­ues:

g. When smok­ing I will make every effort to keep the ash­tray I am using at the time upon a sur­face that does not slant, sag, slope, dip, wrin­kle, or give way upon the slight­est provo­ca­tion; such sur­faces may be under­stood to include stacks of books pre­car­i­ous­ly mount­ed on the edge of a chair, the arms of the chair that has arms, and my own knees;

h. I will not put out cig­a­rettes upon the sides of, or throw ash­es into, either the red leather waste­bas­ket or the stamp waste­bas­ket that my lov­ing wife made me for Christ­mas, 1945, as such prac­tice notice­ably impairs the beau­ty and ulti­mate prac­ti­ca­bil­i­ty of said waste­bas­kets;

j. An excep­tion to the above three-day time lim­it is the tak­ing out of the garbage, which, as any fool knows, had bet­ter not wait that long; I will take out the garbage with­in three hours after the need for dis­pos­al has been point­ed out to me by my wife. It would be nice, how­ev­er, if, upon observ­ing the need for dis­pos­al with my own two eyes, I should per­form this par­tic­u­lar task upon my own ini­tia­tive, and thus not make it nec­es­sary for my wife to bring up a sub­ject that is mod­er­ate­ly dis­taste­ful to her;

l. The terms of this con­tract are under­stood to be bind­ing up until that time after the arrival of our child (to be spec­i­fied by the doc­tor) when my wife will once again be in full pos­ses­sion of all her fac­ul­ties, and able to under­take more ardu­ous pur­suits than are now advis­able.

You can read the com­plete “Chore List of Cham­pi­ons” at Harper’s.

via Metafil­ter

Relat­ed Con­tent:

22-Year-Old P.O.W. Kurt Von­negut Writes Home from World War II: “I’ll Be Damned If It Was Worth It”

Kurt Von­negut Reads from Slaugh­ter­house-Five

Kurt Vonnegut’s Eight Tips on How to Write a Good Short Sto­ry

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Remembering Neil Armstrong, the First Man on the Moon, with Historic Footage and a BBC Bio Film

Sev­er­al weeks ago, we watched NASA sci­en­tists explode with applause when they land­ed their rugged rover, Curios­i­ty, on Mars. Imag­ine how an ear­li­er gen­er­a­tion of sci­en­tists must have felt when, on July 20, 1969, Neil Arm­strong took his first steps on the moon and then uttered his immor­tal words: “That’s one small step for man, one giant leap for mankind.” You can get goose­bumps think­ing about it.

Today, Amer­i­ca lost a great one. Neil Arm­strong has died at 82, after under­go­ing heart-bypass surgery ear­li­er this month. Above, we bring you leg­endary footage from the Apol­lo 11 Mis­sion. And here you can view high res­o­lu­tion images from that his­toric space flight. Below, we present an hour-long BBC doc­u­men­tary on the life and times of the pio­neer­ing astro­naut.

Relat­ed Con­tent: 

“First Orbit”: Cel­e­brat­ing 50th Anniver­sary of Yuri Gagaran’s Space Flight

Dark Side of the Moon: A Mock­u­men­tary on Stan­ley Kubrick and the Moon Land­ing Hoax

125 Great Sci­ence Videos: From Astron­o­my to Physics & Psy­chol­o­gy

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Three Public Service Announcements by Frank Zappa: Vote, Brush Your Teeth, and Don’t Do Speed

By the 1980s, Frank Zap­pa was enter­ing the third decade of his musi­cal career. An icon of the avant-garde music scene, Zap­pa had cul­tur­al cap­i­tal to spend. And spend he did. On one occa­sion in 1986, Zap­pa appeared on CNN’s Cross­fire, where he sparred with con­ser­v­a­tives look­ing to cen­sor rock lyrics. On oth­er occa­sions, he record­ed pub­lic ser­vice announce­ments (PSAs) that encour­aged a younger gen­er­a­tion to make bet­ter life deci­sions. The PSAs dealt with the mun­dane and the dead­ly seri­ous, and things that fell some­where in between. But they were always pre­sent­ed in Zap­pa’s own dis­tinc­tive way.

Above we start you off with Zap­pa’s “Reg­is­ter to Vote” PSAs from 1984. It’s worth recall­ing that the ’84 pres­i­den­tial elec­tion pit­ted the incum­bent Ronald Rea­gan against Wal­ter Mon­dale. That’s fol­lowed by Zap­pa (now reborn as “The Den­tal Floss Tycoon”) record­ing PSAs for the Amer­i­can Den­tal Asso­ci­a­tion in 1981. And final­ly we head back to the late 1960s, when Zap­pa cut announce­ments for The Do It Now Foun­da­tion, an orga­ni­za­tion ded­i­cat­ed to high­light­ing the dan­gers of amphet­a­mine abuse. At its height, the cam­paign aired on 1,500 radio sta­tions across the US and beyond.

Brush Your Teeth

Don’t Do Speed

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

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Henry Rollins Pitches Education as the Key to Restoring Democracy

Hen­ry Rollins had dropped out of col­lege and was work­ing at a Haa­gen-Dazs in Wash­ing­ton, DC when he joined the sem­i­nal L.A. hard­core punk band Black Flag in 1981, a career move that would shape the rest of the singer/author/actor/activist’s life. And although he left high­er edu­ca­tion for a more indi­vid­u­al­ized path, Rollins has a very high regard for the poten­tial of a good edu­ca­tion to change peo­ple’s lives.

We’ve pre­vi­ous­ly fea­tured Rollins’ moti­va­tion­al Big Think talk to young peo­ple on the dan­gers of resent­ment. In the short, but equal­ly inspir­ing, talk above–from the same set of inter­views–Rollins describes edu­ca­tion as the engine of a demo­c­ra­t­ic soci­ety, “the great equal­iz­er.” For Rollins, edu­ca­tion is the key to a “more vig­or­ous democ­ra­cy.” And although he makes some arguable claims about the pos­si­bil­i­ty of edu­ca­tion­al reform to sub­stan­tial­ly dimin­ish the effects of insti­tu­tion­al­ized racism and pover­ty, his view of what an edu­ca­tion should be cor­re­sponds to what edu­ca­tion­al reform­ers have stressed for decades—that mov­ing to a focus on crit­i­cal think­ing, rather than “teach­ing to the test,” is a shift that needs to hap­pen in order for stu­dents to become curi­ous, inten­tion­al, and inde­pen­dent learn­ers and, ulti­mate­ly, free and inde­pen­dent cit­i­zens.

Rollins spec­u­lates that cer­tain polit­i­cal actors and vest­ed inter­ests delib­er­ate­ly block edu­ca­tion­al reform to main­tain the sta­tus quo. Whether or not you accept his analy­sis, there’s no deny­ing that the state of pri­ma­ry, sec­ondary, and high­er edu­ca­tion in the U.S. is dire, and the func­tion­al effi­ca­cy of our demo­c­ra­t­ic process seems con­stant­ly in jeop­ardy. Allud­ing to the dic­tum attrib­uted to Thomas Jef­fer­son (who may not have actu­al­ly writ­ten this) that “An edu­cat­ed cit­i­zen­ry is a vital req­ui­site for our sur­vival as a free peo­ple,” Rollins believes that edu­ca­tion­al reforms offer “the way out” of our cur­rent polit­i­cal grid­lock and of the despair­ing sit­u­a­tions under­priv­i­leged peo­ple are born into. I think he makes a pret­ty com­pelling case in just under four min­utes.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

The Making of Apocalypse Now Remixed/Revisited

In an inter­view aired on San Fran­cis­co radio last week, Fran­cis Ford Cop­po­la acknowl­edged that he could no longer com­pete with him­self — that he could­n’t make the kind of films that made him famous dur­ing the 1970s. The God­fa­ther (1972), The God­fa­ther II (1974), and Apoc­a­lypse Now (1979) — they were big, sprawl­ing, mas­ter­ful films. And they some­times pushed a young Cop­po­la to the phys­i­cal and finan­cial brink.

The mak­ing of Apoc­a­lypse Now is a leg­endary tale. Shot in the Philip­pines in 1976, the pro­duc­tion ran into imme­di­ate prob­lems. After only two weeks, Cop­po­la fired Har­vey Kei­t­el, the lead actor, and replaced him with Mar­tin Sheen, who stum­bled into chaos upon his arrival. As biog­ra­ph­er Robert Sell­ers not­ed in The Inde­pen­dent, “Cop­po­la was writ­ing the movie as he went along and fir­ing per­son­nel, peo­ple were com­ing down with var­i­ous­trop­i­cal dis­eases and the heli­copters used in the com­bat sequences were con­stant­ly recalled by Pres­i­dent Mar­cos to fight his own war against anti-gov­ern­ment rebels.” And things only got worse from there. Mar­lon Bran­do showed up enor­mous­ly over­weight and not know­ing his lines. Then, dur­ing the dif­fi­cult film­ing, Sheen suf­fered a heart attack, and Cop­po­la him­self had a seizure and even­tu­al­ly a ner­vous break­down, appar­ent­ly threat­en­ing to com­mit sui­cide on sev­er­al occa­sions. Speak­ing about the whole expe­ri­ence years lat­er, Cop­po­la’s wife, Eleanor, said:

It was a jour­ney for him up the riv­er I always felt. He went deep­er and deep­er into him­self and deep­er and deep­er and deep­er into the pro­duc­tion. It just got out of con­trol.… The script was evolv­ing and the scenes were chang­ing — it just got larg­er and more com­plex. And lit­tle by lit­tle he got out there as far as his char­ac­ters. That was­n’t the inten­tion at all at the begin­ning.

Yes, it’s no won­der that Cop­po­la, now 73 years old, might not have anoth­er epic film in him.

Apoc­a­lypse Now hit the­aters exact­ly 33 years ago this week. And to com­mem­o­rate that occa­sion, we’re serv­ing up a short remix film, Heart of Cop­po­la, that weaves togeth­er scenes from the film, footage from behind the scenes, and audio of the great Orson Welles read­ing from Heart of Dark­ness, the Joseph Con­rad novel­la upon which Apoc­a­lypse Now was loose­ly based. (Find it in our col­lec­tion of Free Audio Books and Free eBooks.)

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