Watch Tom Waits For No One, the Pioneering Animated Music Video from 1979

in Animation, Music | July 8th, 2024

Tom Waits For No One, above, is sure­ly the only film in his­to­ry to have won an Oscar for Sci­en­tif­ic and Tech­ni­cal Achieve­ment for its cre­ator and a first place award at the Hol­ly­wood Erot­ic Film and Video Fes­ti­val.

Direc­tor John Lamb and his part­ner, Bruce Lyon also deserve recog­ni­tion for their taste in source mate­r­i­al. Singer Tom Waits’ “The One That Got Away” is about as cool as it gets, and the ani­mat­ed Waits is a dead ringer for his then-28-year-old coun­ter­part, with eyes and chop­pers slight­ly exag­ger­at­ed for max­i­mum effect.

The short was con­ceived as a demo mod­el. Lyon and Lamb hoped to con­vince Ralph Bak­shi, direc­tor of the fea­ture-length, X‑rated, car­toon adap­ta­tion of R Crumb’s Fritz the Cat, to use their new­ly patent­ed “pen­cil pre­view” tech­nique on an upcom­ing project. The result is def­i­nite­ly more provoca­tive than the non-nar­ra­tive bounc­ing ball videos devel­op­ers would use to show off fledg­ling CGI tech­niques a decade or so lat­er.

A por­tion of raw footage shows Waits and exot­ic dancer Don­na Gordon—who had pre­vi­ous­ly appeared in John Cas­savetes’ The Killing of a Chi­nese Book­ie—slink­ing around a large­ly bare sound­stage. The crew amassed 13 hours of video that were whit­tled down to 5,500 Roto­scoped frames. These were indi­vid­u­al­ly re-drawn, inked, and hand-paint­ed onto cel­lu­loid acetate.

Gor­don, whose ani­mat­ed look appears to have exert­ed quite an influ­ence on the fol­low­ing decade’s car­toon femme fatale, Jes­si­ca Rab­bit, rec­ol­lect­ed that her co-star was “very nice, shy and qui­et” and that he smelled strong­ly of cig­a­rettes and booze.

Just as Gordon’s fan­ta­sy strip­per elud­ed the ani­mat­ed Waits, this inno­v­a­tive film failed to find dis­tri­b­u­tion, and with­out com­mer­cial release, it sank into obscu­ri­ty.

(I invite Waits fans to join me in imag­in­ing an alter­nate uni­verse, in which it becomes the great­est Sat­ur­day morn­ing car­toon ever, pro­vid­ing morn­ing-after com­fort to a very par­tic­u­lar breed of hun­gover ear­ly-80s nighthawks.)

Relat­ed Con­tent:

A Fan-Made Film Recon­structs an Entire Tom Waits Con­cert from His “Glit­ter and Doom Tour” (2008)

Tom Waits’ Many Appear­ances on David Let­ter­man, From 1983 to 2015

Tom Waits Names 14 of His Favorite Art Films

Tom Waits Makes a List of His Top 20 Favorite Albums of All Time

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

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

in Internet Archive, Media, Music | July 8th, 2024

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.

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Martin Mull (RIP) Satirically Interviews a Young Tom Waits on Fernwood 2 Night (1977)

in Music, Television | July 1st, 2024

These days, ref­er­ences to sev­en­ties tele­vi­sion increas­ing­ly require prefa­to­ry expla­na­tion. Who under the age of 60 recalls, for exam­ple, the cul­tur­al phe­nom­e­non that was Mary Hart­man, Mary Hart­man, an absur­dist satire so faith­ful to the soap-opera form it par­o­died that it aired every week­night, putting out 325 episodes between ear­ly 1976 and mid-1977? And even for those who do remem­ber the show, it would sure­ly require a stretch of the mem­o­ry to sum­mon to mind its minor char­ac­ter Garth Gim­ble, an abu­sive hus­band who meets his gris­ly fate on the sharp end of an alu­minum Christ­mas tree. (We’ll set the ques­tion of how many remem­ber alu­minum Christ­mas trees aside for the hol­i­day sea­son.)

Garth Gim­ble was the break­out role for a musi­cal come­di­an turned actor called Mar­tin Mull, who died last week at the age of 80. Trib­utes have men­tioned the char­ac­ters he played on shows from Roseanne and Sab­ri­na the Teenage Witch to Arrest­ed Devel­op­ment and Veep.

But to those who were watch­ing TV in the sum­mer of 1977, Mull has always been — and will always be — not Garth Gim­ble but his twin broth­er Barth, host of a low-bud­get late-night talk show in the small town of Fer­n­wood, Ohio, the set­ting of Mary Hart­man, Mary Hart­man. Fer­n­wood-2-Night pre­miered as a tem­po­rary replace­ment for that show (and thus as yet anoth­er expan­sion of the tele­vi­su­al uni­verse cre­at­ed by mega-pro­duc­er Nor­man Lear), but it soon took on a coun­ter­cul­tur­al life of its own.

The fic­tion­al talk-show form of Fer­n­wood-2-Night was ahead of its time; more dar­ing still was its occa­sion­al arrange­ment of real-life guests. That ros­ter includ­ed a young Tom Waits, him­self a liv­ing embod­i­ment of the blurred line between real­i­ty and fic­tion. As the show’s announc­er Jer­ry Hub­bard, Fred Willard puts all of his dis­tinc­tive deliv­ery into declar­ing Waits “very famous for Fer­n­wood.” Mull plays Gim­ble as the kind of man on which the appeal of Waits’ art is whol­ly lost: “I know he sells a lot of albums, and he makes about half a mil­lion big ones in one year,” he says by way of intro­duc­tion. “In my book, that spells tal­ent.”

Nat­u­ral­ly, Gim­ble is game to set the liquor-swig­ging singer up for an old groan­er by remark­ing on the strange­ness of talk­ing to a guest with a bot­tle in front of him. “Well, I’d rather have a bot­tle in front of me than a frontal lobot­o­my,” Waits growls in com­pli­ance. This comes after his per­for­mance of the song “The Piano Has Been Drink­ing (Not Me) (An Evening with Pete King)” from his then-most recent album Small Change. It’s safe to say that many view­ers on Fer­n­wood-2-Night’s wave­length became fans of Waits as soon as they heard it. Near­ly half a cen­tu­ry lat­er, they no doubt still remem­ber his appear­ance fond­ly — at least as fond­ly as they remem­ber the Won­derblender.

Relat­ed con­tent:

Watch Tom Waits’ Clas­sic Appear­ance on Aus­tralian TV, 1979

Watch Tom Waits For No One, the Pio­neer­ing Ani­mat­ed Music Video from 1979

Tom Waits Shows Us How Not to Get a Date on Valentine’s Day

Tom Waits’ Many Appear­ances on David Let­ter­man, From 1983 to 2015

RIP Nor­man Lear: Watch Full Episodes of His Dar­ing 70s Sit­coms, Includ­ing All in the Fam­i­ly, Maude, The Jef­fer­sons, and More

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.

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Watch a Japanese Artisan Hand-Craft a Cello in 6 Months

in Music | June 26th, 2024

Cel­lists unwill­ing to set­tle for any but the finest instru­ment must, soon­er or lat­er, make a pil­grim­age to Cre­mona — or rather, to the Cre­monas. One is, of course, the city in Lom­bardy that was home to numer­ous pio­neer­ing mas­ter luthiers, up to and includ­ing Anto­nio Stradi­vari. The oth­er, less­er known Cre­mona is a work­shop in Hiraka­ta, an exurb of Osa­ka. There, a mas­ter luthi­er named Takao Iwai plies his trade, which you can see on detailed dis­play in the ProcessX video above. In just under half an hour, it com­press­es his painstak­ing six-month process of mak­ing a cel­lo whol­ly by hand.

The name of Iwai’s shop evokes a rich his­to­ry of stringed instru­ment-mak­ing, but it also pays trib­ute to the place where he honed his own skills. He did so under the luthi­er Gio Bat­ta Moras­si, described in a trib­ute after his death in 2018 as hav­ing “made a sig­nif­i­cant con­tri­bu­tion to the revival of Cremona’s mod­ern vio­lin-mak­ing,” and indeed hav­ing become “the god­fa­ther of the mod­ern Ital­ian Cre­mona school.”

He seemed to have wel­comed stu­dents no mat­ter their land of ori­gin — France, Chi­na, Rus­sia, and of course Japan — and through them “intro­duced the art of Ital­ian vio­lin mak­ing to the world and raised the lev­el of inter­na­tion­al vio­lin mak­ing.”

Iwai is hard­ly the first ded­i­cat­ed Japan­ese crafts­man we’ve fea­tured here on Open Cul­ture, nor even the first ded­i­cat­ed to a Euro­pean art form: take the sculp­tor Etsuro Sotoo, whose decades of work on Sagra­da Família has earned him a rep­u­ta­tion in his home­land as “the Japan­ese Gaudí.” After his time in Italy, Iwai chose to return to Japan, bring­ing his mas­tery of a for­eign craft into a native cul­ture high­ly con­ducive to its prac­tice, where tra­di­tion­al Japan­ese instru­ments have long been made with the very same sense of detail and tech­nique. If you’d like to wit­ness that as well while you’re in Osa­ka, do pay a vis­it to Tsu­ruya Gak­ki in the port town of Sakai; maybe you’ll even get to see a shamisen being made.

Relat­ed con­tent:

How to Build a Cus­tom Hand­craft­ed Acoustic Gui­tar from Start to Fin­ish: The Process Revealed in a Fas­ci­nat­ing Doc­u­men­tary

Watch a Japan­ese Arti­san Make a Noh Mask, Cre­at­ing an Aston­ish­ing Char­ac­ter From a Sin­gle Block of Wood

Watch the Mak­ing of a Hand-Craft­ed Vio­lin, from Start to Fin­ish, in a Beau­ti­ful­ly Shot Doc­u­men­tary

The Art of Tra­di­tion­al Japan­ese Wood Join­ery: A Kyoto Wood­work­er Shows How Japan­ese Car­pen­ters Cre­at­ed Wood Struc­tures With­out Nails or Glue

Japan­ese Musi­cians Turn Obso­lete Machines Into Musi­cal Instru­ments: Cath­ode Ray Tube TVs, Over­head Pro­jec­tors, Reel-to-Reel Tape Machines & More

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

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.

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Watch Patti Smith Read from Virginia Woolf, and Hear the Only Surviving Recording of Woolf’s Voice

in Literature, Music | June 23rd, 2024

In the video above, poet, artist, Nation­al Book Award win­ner, and “god­moth­er of punk” Pat­ti Smith reads a selec­tion from Vir­ginia Woolf’s 1931 exper­i­men­tal nov­el The Waves, accom­pa­nied on piano and gui­tar by her daugh­ter Jesse and son Jack­son. The “read­ing” marked the open­ing of “Land 250,” a 2008 exhi­bi­tion of Smith’s pho­tog­ra­phy and art­work from 1965 to 2007, at the Fon­da­tion Carti­er pour l’art con­tem­po­rain in Paris.

I put the word “read­ing” in quotes above because Smith only reads a very short pas­sage from Woolf’s nov­el. The rest of the dra­mat­ic per­for­mance is Smith in her own voice, pos­si­bly impro­vis­ing, pos­si­bly recit­ing her homage to Woolf—occasioned by the fact that the start of the exhi­bi­tion fell on the 67th anniver­sary of Woolf’s death by sui­cide. Of Woolf’s death, Smith says, “I do not think of this as sad. I just think that it’s the day that Vir­ginia Woolf decid­ed to say good­bye. So we are not cel­e­brat­ing the day, we are sim­ply acknowl­edg­ing that this is the day. If I had a title to call tonight, I would call it ‘Wave.’ We are wav­ing to Vir­ginia.”

Smith’s choice of a title for the evening is sig­nif­i­cant. She titled her 1979 album Wave, her last record before she went into semi-retire­ment in the 80s. And her exhi­bi­tion includ­ed a set of beau­ti­ful pho­tographs tak­en at Woolf’s Sus­sex retreat, Monk’s House. Her per­for­mance seems like an unusu­al con­flu­ence of voic­es, but Woolf might have enjoyed it, since so much of her work explored the unit­ing of sep­a­rate minds, over the bar­ri­ers of space and time. While Smith express­es her indebt­ed­ness to Woolf, one won­ders what the upper-class Blooms­bury daugh­ter of a well-con­nect­ed and artis­tic fam­i­ly would have thought of the work­ing-class punk-poet from the Low­er East Side? It’s impos­si­ble to say, of course, but some­how it’s fit­ting that they meet through Woolf’s The Waves.

Woolf’s nov­el (she called it a “play­po­em”) blends the voic­es of six char­ac­ters, but Woolf didn’t think of them as char­ac­ters at all, but as aspects of a greater, ever-shift­ing whole. As she once wrote in a let­ter:

The six char­ac­ters were sup­posed to be one. I’m get­ting old myself now—I shall be fifty next year; and I come to feel more and more how dif­fi­cult it is to col­lect one­self into one Vir­ginia; even though the spe­cial Vir­ginia in whose body I live for the moment is vio­lent­ly sus­cep­ti­ble to all sorts of sep­a­rate feel­ings. There­fore I want­ed to give the sense of con­ti­nu­ity.

Spec­u­la­tion over Woolf’s men­tal health aside, her ref­er­ences to voic­es in her let­ters, diaries, and in her elo­quent let­ter to Leonard Woolf before she died, were also state­ments of her craft—which embraced the inner voic­es of oth­ers, not let­ting any one voice be dom­i­nant. I like to think Woolf would have been delight­ed with the fierce­ness of Smith—in some ways, Vir­ginia Woolf antic­i­pat­ed punk, and Pat­ti Smith. In her own voice below, you can hear her describe the words of the Eng­lish lan­guage as “irreclaimable vagabonds,” who “if you start a Soci­ety for Pure Eng­lish, they will show their resent­ment by start­ing anoth­er for impure Eng­lish…. They are high­ly demo­c­ra­t­ic.”

The record­ing below comes from an essay pub­lished in a col­lec­tion—The Death of the Moth and Oth­er Essays—the year after Woolf’s death. The talk was called “Crafts­man­ship,” part of a BBC radio broad­cast from 1937, and it is the only sur­viv­ing record­ing of Woolf’s voice.

Note: An ear­li­er ver­sion of this post appeared on our site in 2013.

Relat­ed Con­tent

Pat­ti Smith on Vir­ginia Woolf’s Cane, Charles Dick­ens’ Pen & Oth­er Cher­ished Lit­er­ary Tal­is­mans

Pat­ti Smith’s Polaroids of Arti­facts from Vir­ginia Woolf, Arthur Rim­baud, Rober­to Bolaño & More

Pat­ti Smith Reads Her Final Let­ter to Robert Map­plethor­pe, Call­ing Him “the Most Beau­ti­ful Work of All”

Pat­ti Smith’s 40 Favorite Books

 Josh Jones is a writer, edi­tor, and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

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Tracking Pianist Yuja Wang’s Heartbeats During Her Marathon Rachmaninoff Performance

in Music, Science | June 21st, 2024

The Carnegie Hall YouTube Chan­nel sets the scene:

On Jan­u­ary 28, 2023, pianist Yuja Wang joined The Philadel­phia Orches­tra and con­duc­tor Yan­nick Nézet-Séguin at Carnegie Hall for a once-in-a-life­time, all-Rach­mani­noff marathon that fea­tured the composer’s four piano con­cer­tos plus his “Rhap­sody on a Theme of Pagani­ni.” Through­out the per­for­mance, Wang—along with Nézet-Séguin, mem­bers of the orches­tra, and con­cert­go­ers in attendance—wore devices to track their heart­beats.

Unprece­dent­ed and insane­ly demand­ing, Wang made his­to­ry. These five pieces include two-and-a-half hours of music, 621 pages of score, and more than 97,000 piano notes.

How high did Wang’s heart rate go? We won’t pro­vide spoil­ers. It plays out above.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book and BlueSky.

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!

via The Kids Should See This

Relat­ed Con­tent 

The Piano Played with 16 Increas­ing Lev­els of Com­plex­i­ty: From Easy to Very Com­plex

John Cage Per­forms His Avant-Garde Piano Piece 4′33″ … in 1′22″ (Har­vard Square, 1973)

Pianist Plays Beethoven, Bach, Chopin, Rav­el & Debussy for Blind Ele­phants in Thai­land

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Hear Edgar Allan Poe Stories Read by Iggy Pop, Jeff Buckley, Christopher Walken, Marianne Faithful & More

in Film, Literature, Music | June 13th, 2024

In 1849, a lit­tle over 175 years ago, Edgar Allan Poe was found dead in a Bal­ti­more gut­ter under mys­te­ri­ous cir­cum­stances very like­ly relat­ed to vio­lent elec­tion fraud. It was an igno­min­ious end to a life marked by hard­ship, alco­holism, and loss. After strug­gling for years as the first Amer­i­can writer to try and make a liv­ing from his art, and fail­ing in sev­er­al pub­lish­ing ven­tures and posi­tions, Poe achieved few of his aims, bare­ly get­ting by finan­cial­ly and only man­ag­ing to attract a little—often negative—notice for now-famous poems like “The Raven.” Con­tem­po­raries like Ralph Wal­do Emer­son dis­par­aged the poem and a lat­er gen­er­a­tion of writ­ers, includ­ing William But­ler Yeats, pro­nounced him “vul­gar.”

But of course, as we know, a coun­ter­cur­rent of Poe appre­ci­a­tion took hold among writ­ers, artists, and film­mak­ers inter­est­ed in mys­tery, hor­ror, and the supernatural—to such a degree that in the pre­vi­ous cen­tu­ry, near­ly every artist even pass­ing­ly asso­ci­at­ed with dark­er themes has inter­pret­ed Poe as a rite of pas­sage. We’ve fea­tured a read­ing of “The Raven” by the often-sin­is­ter Christo­pher Walken.

At the top of the post, you can hear anoth­er ver­sion of the Queens-born actor read­ing Poe’s best-known work, a poem designed to pro­duce what the author called a “uni­ty of effect” with its incan­ta­to­ry rep­e­ti­tions. This record­ing comes from a col­lec­tion of celebri­ty Poe read­ings called Closed on Account of Rabies, which also fea­tures such unique takes on the clas­sic hor­ror writer’s work as that above, “The Tell-Tale Heart” as read by Iggy Pop.

Just above, hear a less­er-known poem by Poe called “Ulalume” read by Jeff Buck­ley, with an accom­pa­ny­ing sound­track of low, puls­ing, vague­ly West­ern-inspired music that well suits Buckley’s for­mal, rhyth­mic recita­tion. The use of music on this album has divid­ed many Poe fans, and admit­ted­ly, some tracks work bet­ter than oth­ers. On Buckley’s “Ulalume,” the music height­ens ten­sion and pro­vides a per­fect atmos­phere for imag­in­ing “the misty mid region of Weir,” its “ghoul-haunt­ed wood­land,” and the “sco­ri­ac rivers” of lava pour­ing from the poet’s heart. On Mar­i­anne Faithful’s read­ing of “Annabelle Lee,” below, a score of keen­ing synths can seem over­wrought and unnec­es­sary.

The remain­der of the 1997 album, which you can pur­chase here, treats us to read­ings from 80s goth-rock stars Dia­man­da Galas and Gavin Fri­day, Bad Lieu­tenant direc­tor Abel Fer­rara, Blondie singer Deb­bie Har­ry, and grav­el-voiced New Orleans blues­man Dr. John, among oth­ers.

Relat­ed Con­tent:

Hear Clas­sic Read­ings of Poe’s “The Raven” by Vin­cent Price, James Earl Jones, Christo­pher Walken, Neil Gaiman & More

Why Should You Read Edgar Allan Poe? An Ani­mat­ed Video Explains

7 Tips from Edgar Allan Poe on How to Write Vivid Sto­ries and Poems

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

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How a Bach Canon Works. Brilliant.

in Music | June 11th, 2024

Bril­liant. This mov­ing man­u­script depicts a sin­gle musi­cal sequence played front to back and then back to front. Give the video a lit­tle time to unfold and enjoy.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book and BlueSky.

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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