Aldous Huxley Tells Mike Wallace What Will Destroy Democracy: Overpopulation, Drugs & Insidious Technology (1958)

Over­pop­u­la­tion, manip­u­la­tive pol­i­tics, imbal­ances of soci­etal pow­er, addic­tive drugs, even more addic­tive tech­nolo­gies: these and oth­er devel­op­ments have pushed not just democ­ra­cy but civ­i­liza­tion itself to the brink. Or at least author Aldous Hux­ley saw it that way, and he told Amer­i­ca so when he appeared on The Mike Wal­lace Inter­view in 1958. (You can also read a tran­script here.) “There are a num­ber of imper­son­al forces which are push­ing in the direc­tion of less and less free­dom,” he told the new­ly famous news anchor, “and I also think that there are a num­ber of tech­no­log­i­cal devices which any­body who wish­es to use can use to accel­er­ate this process of going away from free­dom, of impos­ing con­trol.”

Hux­ley’s best-known nov­el Brave New World has remained rel­e­vant since its first pub­li­ca­tion in 1932. He appeared on Wal­lace’s show to pro­mote Brave New World Revis­it­ed (first pub­lished as Ene­mies of Free­dom), a col­lec­tion of essays on how much more rapid­ly than expect­ed the real world had come to resem­ble the dystopia he’d imag­ined a quar­ter-cen­tu­ry ear­li­er.

Some of the rea­sons behind his grim pre­dic­tions now seem over­stat­ed — he points out that “in the under­de­vel­oped coun­tries actu­al­ly the stan­dard of liv­ing is at present falling,” though the reverse has now been true for quite some time — but oth­ers, from the van­tage of the 21st cen­tu­ry, sound almost too mild.

“We must­n’t be caught by sur­prise by our own advanc­ing tech­nol­o­gy,” Hux­ley says in that time before smart­phones, before the inter­net, before per­son­al com­put­ers, before even cable tele­vi­sion. We also must­n’t be caught by sur­prise by those who seek indef­i­nite pow­er over us: to do that requires “con­sent of the ruled,” some­thing acquirable by addic­tive sub­stances — both phar­ma­co­log­i­cal and tech­no­log­i­cal — as well as “new tech­niques of pro­pa­gan­da.” All of this has the effect of “bypass­ing the sort of ratio­nal side of man and appeal­ing to his sub­con­scious and his deep­er emo­tions, and his phys­i­ol­o­gy even, and so, mak­ing him actu­al­ly love his slav­ery.”

Wal­lace’s ques­tions bring Hux­ley to a ques­tion of his own: “What does a democ­ra­cy depend on? A democ­ra­cy depends on the indi­vid­ual vot­er mak­ing an intel­li­gent and ratio­nal choice for what he regards as his enlight­ened self-inter­est, in any giv­en cir­cum­stance.” But democ­ra­cy-debil­i­tat­ing com­mer­cial and polit­i­cal pro­pa­gan­da appeals “direct­ly to these uncon­scious forces below the sur­faces so that you are, in a way, mak­ing non­sense of the whole demo­c­ra­t­ic pro­ce­dure, which is based on con­scious choice on ratio­nal ground.” Hence the impor­tance of teach­ing peo­ple “to be on their guard against the sort of ver­bal boo­by traps into which they are always being led.” The skill has arguably only grown in impor­tance since, as has his final thought in the broad­cast: “I still believe in democ­ra­cy, if we can make the best of the cre­ative activ­i­ties of the peo­ple on top plus those of the peo­ple on the bot­tom, so much the bet­ter.”

Relat­ed Con­tent:

Aldous Hux­ley Reads Dra­ma­tized Ver­sion of Brave New World

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

An Ani­mat­ed Aldous Hux­ley Iden­ti­fies the Dystopi­an Threats to Our Free­dom (1958)

Aldous Hux­ley Pre­dicts in 1950 What the World Will Look Like in the Year 2000

Aldous Hux­ley, Psy­che­delics Enthu­si­ast, Lec­tures About “the Vision­ary Expe­ri­ence” at MIT (1962)

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

Watch a Marathon Streaming of All 856 Episodes of Mister Rogers Neighborhood, and the Moving Trailer for the New Documentary, Won’t You Be My Neighbor?

The bom­bast, arro­gance and bloviation–maybe you need a break from it all. You may need exact­ly the opposite–a lit­tle Fred Rogers. If so, we’ve got two things for you. First, head over to Twitch.TV where they’re cur­rent­ly livestream­ing all 856 episodes of Mis­ter Rogers Neigh­bor­hood (for a lim­it­ed time). It’s a grand way of cel­e­brat­ing what would have been Fred’s 90th birth­day this week. And then, above, watch the brand new trail­er for Won’t You Be My Neigh­bor?, the upcom­ing doc­u­men­tary by Oscar-win­ning direc­tor Mor­gan Neville (20 Feet from Star­dom). Due out in June, the film “takes us beyond the zip-up cardi­gans and the land of make-believe, and into the heart of a cre­ative genius who inspired gen­er­a­tions of chil­dren with com­pas­sion and lim­it­less imag­i­na­tion.” As you watch the trail­er, you’ll be remind­ed that Rogers worked his mag­ic dur­ing oth­er peri­ods of chaos and dis­con­tent, and how sore­ly his calm­ing pres­ence is miss­ing today.

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!

Relat­ed Con­tent:

Mis­ter Rogers Turns Kids On to Jazz with Help of a Young Wyn­ton Marsalis and Oth­er Jazz Leg­ends (1986)

Watch Mr. Rogers Per­suade Con­gress to Stop Cut­ting PBS Bud­get in 1969 : Would It Stop Trump from Defund­ing PBS & NEA Today?

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

All of the Songs Played on “WKRP in Cincinnati” in One Spotify Playlist: Stream 202 Classic Tracks

I don’t know how many peo­ple still watch WKRP in Cincin­nati (appar­ent­ly it is stream­ing on Hulu), or how well the jokes have aged, but there is a small but ded­i­cat­ed fan base out there. Part of it might be nos­tal­gia not just for the sit­com itself, but for a time when radio sta­tions were idio­syn­crat­ic things, not just part of vast media con­glom­er­ates that have a song playlist you could fit onto a thumb dri­ve. Ask any boomer and they’ll recall their own favorite real-life ver­sions of rock DJ John­ny Fever (Howard Hes­se­man) and funk/soul DJ Venus Fly­trap (Tim Reid).

Recent­ly, one ded­i­cat­ed fan went through the first sea­son and iden­ti­fied every song played on the shows, and pro­duced this spread­sheet first men­tioned on Boing­Bo­ing. That then led to some­body wish­ing for a Spo­ti­fy playlist and of course the Inter­net has pro­vid­ed. Find the playlist and stream all 202 tracks below.

What to make of the choic­es? DJ John­ny Fever starts off with Ted Nugent’s “Queen of the For­est” to announce the station’s switch from muzak to a rock/Top 40 for­mat in the first episode. A major­i­ty of the songs are major label selec­tions, with the Rolling Stones the favorite choice through the sea­son with five songs total. Oth­er bands are still sta­ples of clas­sic rock for­mat sta­tions to this day: Bob Seger, Boston, Styx, Van Mor­ri­son, For­eign­er, The Grate­ful Dead, Blondie, The Doors. Venus Flytrap’s selec­tions aren’t as com­mon, but they are also a famil­iar cross-sec­tion of the dis­co era: Chic, A Taste of Hon­ey, Eve­lyn Cham­pagne King, and Mar­vin Gaye.

One inter­est­ing appear­ance was Michael Des Bar­res, for­mer front­man of the rock band Detec­tive (who were signed to Led Zeppelin’s Swan Song label), and post-Robert Palmer front­man of Pow­er Sta­tion. He was cast as the lead singer of the punk band “Scum of the Earth” in one WKRP episode, where he sang three Detec­tive tunes. (The band actu­al­ly came dressed in busi­ness suits, so I’m not sure how “punk” they were). Now, the pro­duc­ers must have liked Michael Des Bar­res, because when the ill-fat­ed sequel The New WKRP in Cincin­nati pre­miered in 1991, he played one half of a morn­ing show team.

Cre­ator Hugh Wil­son explains in this video how cost­ly some of the orig­i­nal rights usages could be, where maybe “I could get 17 sec­onds of Pink Floyd for $3,000.” But as the show grew in pop­u­lar­i­ty, record com­pa­nies start­ed to treat the show “like a real sta­tion” and pro­vid­ing music and mer­chan­dise to dress the sets.

The use of actu­al radio hits (and not “sounda­likes”) became a prob­lem for the show in syn­di­ca­tion. When it was time to renew the rights, the var­i­ous media com­pa­nies want­ed 10 times as much. As Wil­son says, that was the end of WKRP in syn­di­ca­tion.

The Shout Fac­to­ry DVD box set was able to repro­duce most of Sea­son one with 80 per­cent of the orig­i­nal music intact, and it’s pos­si­bly why only one sea­son is out there.

That also may be why that $3,000 worth of Pink Floyd only exists as a very blur­ry YouTube video up at the top of the post.

Relat­ed Con­tent:

Hear the Only Instru­men­tal Ever Banned from the Radio: Link Wray’s Seduc­tive, Raunchy Song, “Rum­ble” (1958)

A His­to­ry of Rock ‘n’ Roll in 100 Riffs

Rick Wake­man Tells the Sto­ry of the Mel­lotron, the Odd­ball Pro­to-Syn­the­siz­er Pio­neered by the Bea­t­les

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

David Lynch Teaches Typing: A New Interactive Comedy Game

Typ­ing pro­grams demand some patience on the part of the stu­dent, and David Lynch Teach­es Typ­ing is no excep­tion.

You’ve got 90 sec­onds to get accli­mat­ed to the crud­dy flop­py disc-era graph­ics and the cacoph­o­nous voice of your instruc­tor, a dead ringer for FBI Deputy Direc­tor Gor­don Cole, the hard-of-hear­ing char­ac­ter direc­tor David Lynch played on his sem­i­nal ear­ly 90s series, Twin Peaks.

Things perk up about a minute and a half in, when stu­dents are instruct­ed to place their left ring fin­gers in an undu­lat­ing bug to the left of their key­boards.

That sec­ond “in”? Not a typo (though you’ll notice plen­ty of no doubt inten­tion­al boo-boos in the teacher’s pre-pro­grammed respons­es…)

The bug in ques­tion may well put you in mind of the mys­te­ri­ous baby in Lynch’s first fea­ture length film, 1977’s Eraser­head.

On the oth­er hand, it might not.

David Lynch Teach­es Typ­ing is actu­al­ly a short inter­ac­tive com­e­dy game, and many of the mil­len­ni­al review­ers cov­er­ing that beat have had to play catch-up in order to catch the many nods to the director’s work con­tained there­in.

One of our favorites is the Apple-esque name of the program’s retro com­put­er, and we’ll wager that fre­quent Lynch col­lab­o­ra­tor, actor Kyle MacLach­lan, would agree.

Anoth­er ref­er­ence that has thus far elud­ed online gam­ing enthu­si­asts in their 20s is Mavis Bea­con Teach­es Typ­ing. Take a peek below at what the vir­tu­al typ­ing tutor’s graph­ics looked like around the time the orig­i­nal Twin Peaks aired to dis­cov­er the cre­ators of David Lynch Teach­es Typ­ing’s oth­er inspi­ra­tion.

David Lynch Teach­es Typ­ing is avail­able for free down­load here. If you’re anx­ious that doing so might open you up to a tech­ni­cal bug of night­mar­ish pro­por­tions, stick with watch­ing the play through at the top of the page.

Relat­ed Con­tent:

The Big Lebows­ki Reimag­ined as a Clas­sic 8‑Bit Video Game

What Makes a David Lynch Film Lynchi­an: A Video Essay

“The Art of David Lynch”— How Rene Magritte, Edward Hop­per & Fran­cis Bacon Influ­enced David Lynch’s Cin­e­mat­ic Vision

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her March 20 in New York City for the sec­ond edi­tion of Necro­mancers of the Pub­lic Domain, a low bud­get vari­ety show born of a 1920 man­u­al for Girl Scout Camp Direc­tors. Fol­low her @AyunHalliday.

HBO Drops a Teaser Trailer for Fahrenheit 451, Its New Adaptation of Ray Bradbury’s Classic Dystopian Novel

From HBO comes the lat­est teas­er trail­er for a new adap­ta­tion of Ray Brad­bury’s 1953 dystopi­an nov­el, Fahren­heit 451. Sched­uled to debut in May 2018, the new film will fea­ture Michael B. Jor­dan and Michael Shan­non.

Osten­si­bly Fahren­heit 451 is a sto­ry about gov­ern­ment cen­sor­ship. And some have con­sid­ered it a response to McCarthy­ism. But, when asked what the sto­ry is real­ly about, Ray Brad­bury said this: It’s about peo­ple “being turned into morons by TV.”  As a medi­um, tele­vi­sion “gives you the dates of Napoleon, but not who he was,” spread­ing “fac­toids” instead of knowl­edge. “They stuff you with so much use­less infor­ma­tion, you feel full.” Just some­thing to keep in mind before and after the new HBO film hits your TV sets this spring.

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!

Relat­ed Con­tent:

Ray Brad­bury Reveals the True Mean­ing of Fahren­heit 451: It’s Not About Cen­sor­ship, But Peo­ple “Being Turned Into Morons by TV”

Hear Ray Bradbury’s Clas­sic Sci-Fi Sto­ry Fahren­heit 451 as a Radio Dra­ma

Father Writes a Great Let­ter About Cen­sor­ship When Son Brings Home Per­mis­sion Slip to Read Ray Bradbury’s Cen­sored Book, Fahren­heit 451

To Read This Exper­i­men­tal Edi­tion of Ray Bradbury’s Fahren­heit 451, You’ll Need to Add Heat to the Pages

When Archie Bunker’s Advice on Gun Control Becomes Mainstream GOP Policy (1972)

The more things change, the more the talk­ing points stay the same. Just swap teach­ers for air­plane pas­sen­gers, and watch a sil­ly sit­com punch­line morph into actu­al GOP pol­i­cy.

When Japan’s Top Animators Made a Thrilling Cyberpunk Commercial for Irish Beer: Watch Last Orders (1997)

When it came out in 1995, Mamoru Oshi­i’s Ghost in the Shell showed the world what the art of Japan­ese ani­ma­tion could do with the kind of grit­ty, tech-sat­u­rat­ed, glob­al­ized cyber­punk visions pop­u­lar­ized in the pre­vi­ous decade by William Gib­son and oth­er writ­ers. The film’s par­tic­u­lar­ly suc­cess­ful release in the Unit­ed King­dom got some cul­tur­al­ly savvy mar­keters in Ire­land think­ing: why not use this sort of thing to sell beer?

But rather than rip­ping it off and water­ing it down — all too par for the course in adver­tis­ing — they hired ani­ma­tors straight from Pro­duc­tion I.G., Ghost in the Shell’s stu­dio, to cre­ate a whole new ani­mat­ed cyber­punk real­i­ty, the one in which Last Ordersthe minute-long spot above, takes place. The 1997 com­mer­cial tells the sto­ry of six samu­rai rush­ing through a cityscape that has every­thing we’ve now come to expect from this genre: forests of high-ris­es, bustling streets, mys­te­ri­ous women, arti­fi­cial humanoids, the tech­no­log­i­cal every­where merged with the organ­ic, and neon signs aplen­ty.

The samu­rai con­verge on their des­ti­na­tion, a tav­ern, just in time to silent­ly but firm­ly sig­nal their demand for their drink of choice: Mur­phy’s Irish Stout, a Heineken-dis­trib­uted brew offered as a lighter, less bit­ter alter­na­tive to the mar­ket-dom­i­nat­ing Guin­ness. But no mat­ter of the steely deter­mi­na­tion of the samu­rai in Last Orders, the first ani­me-style com­mer­cial ever to air in the UK and Ire­land, it seems that one chal­lenges such an icon­ic brand at one’s per­il: Mur­phy’s cur­rent­ly has only a five-per­cent share of the Irish stout mar­ket, and that most­ly thanks to a 28-per­cent share in its native Cork.

The Japan­ese ani­ma­tors who worked on the com­mer­cial have fared rather bet­ter, going on to, among many oth­er respect­ed projects, Blood: The Last Vam­pire and Jin-Roh: The Wolf Brigade. Though I’ve nev­er encoun­tered Mur­phy’s on any tap, I’d glad­ly watch a movie or even an entire series set in its world. The stout mar­ket, the mighty Guin­ness includ­ed, may have been on the decline in recent years, but cyber­punk, in our own ever more glob­al­ized and tech-sat­u­rat­ed real­i­ty, seems about due for a come­back.

via Kotaku

Relat­ed Con­tent:

The Phi­los­o­phy, Sto­ry­telling & Visu­al Cre­ativ­i­ty of Ghost in the Shell, the Acclaimed Ani­me Film, Explained in Video Essays

Watch the New Ani­me Pre­quel to Blade Run­ner 2049, by Famed Japan­ese Ani­ma­tor Shinichi­ro Watan­abe

Watch a New Star Wars Ani­ma­tion, Drawn in a Clas­sic 80s Japan­ese Ani­me Style

The Art of Hand-Drawn Japan­ese Ani­me: A Deep Study of How Kat­suhi­ro Otomo’s Aki­ra Uses Light

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

Philip K. Dick’s Electric Dreams, the New Series Starring Bryan Cranston, Anna Paquin & Steve Buscemi, Now Streaming Free on Amazon Prime

Do I like Philip K. Dick? Do androids dream of elec­tric sheep? Hon­est­ly, I don’t think we’ll ever be able to answer such ques­tions about the sub­jec­tive expe­ri­ence of arti­fi­cial beings. But I know for cer­tain that I like Philip K. Dick. Deeply admire, respect, fear, even… there are many words I could use to describe the way I feel about his imag­i­na­tion and vision. And I could say much the same about the film adap­ta­tions of Dick’s work, up to and includ­ing Blade Run­ner 2049, which wasn’t as visu­al­ly over­whelm­ing on the small screen after its release on stream­ing video but still as emo­tion­al­ly cap­ti­vat­ing in its nar­ra­tive, pac­ing, score, and direc­tor Denis Villeneuve’s fideli­ty to, and expan­sion of, the orig­i­nal film’s use of col­or and mon­u­men­tal, future-bru­tal­ist archi­tec­ture to tell a sto­ry.

Though he very much want­ed to break out of sci­ence fic­tion and achieve the sta­tus of a “lit­er­ary” writer—the dis­tinc­tions in his day being much hard­er and faster—Dick’s fic­tion has pro­vid­ed the ulti­mate source for the cin­e­mat­ic sci-fi epic for sev­er­al decades now, and shows lit­tle sign of falling out of favor. The com­mer­cial and cre­ative ques­tion seems to be not whether Dick’s sto­ries still res­onate, but whether they trans­late to tele­vi­sion as bril­liant­ly as they do to film. Crit­i­cal opin­ion can sharply divide on Amazon’s adap­ta­tion of Dick’s alter­na­tive his­to­ry nov­el The Man in the High Cas­tle (about a world in which the Axis pow­ers tri­umphed), which might be “pon­der­ous,” “bor­ing,” and—in its sec­ond season—“the worst TV show of the year,” or “the sec­ond best show Ama­zon has ever made.”

How much this lat­ter judg­ment con­veys depends upon how high­ly, on the whole, one rates the qual­i­ty of pro­gram­ming from that cor­po­rate mega-jug­ger­naut threat­en­ing to over­take near­ly every aspect of con­sumer cul­ture. To say that I find it iron­ic that such an enti­ty pos­sess­es not only one Philip K. Dick prop­er­ty, but now two, with its lat­est Dick-inspired anthol­o­gy show Philip K. Dick­’s Elec­tric Dreams, would be to gross­ly under­state the case. The author who imag­ined an intru­sive inter­net of things and a dystopi­an world where adver­tise­ments appear in our minds might also find this sit­u­a­tion some­what… Dick-ian (Dick-like? Dick-ish?). But such is the world we live in. Putting these ironies aside, let’s revis­it the ques­tion: do Dick­’s sto­ries work as well on TV as they do on film?

Find out for your­self. The first sea­son of Philip K. Dick­’s Elec­tric Dreams is now stream­ing on Ama­zon (see the trail­er above), and you can either pur­chase it by episode, or binge-stream the whole thing gratis with a 30-day free tri­al of Ama­zon Prime. Giv­en that the series, which adapts sto­ries from a col­lec­tion of the same title, is not the prod­uct of one sin­gu­lar vision but a dif­fer­ent cre­ative team each time, you may agree with Evan Nar­cisse at Giz­mo­do, who writes that the episodes “don’t just vary in aes­thet­ics; they vary wide­ly in qual­i­ty.” It has a star-stud­ded cast—including Anna Paquin, Janelle Mon­ae, Ter­rance Howard, Steve Busce­mi, and Bryan Cranston (who co-produced)—and some impres­sive pro­duc­tion val­ues.

But Elec­tric Dreams also has a sig­nif­i­cant chal­lenge set before it: “to show both new view­ers and con­ver­sant fans why Dick’s oeu­vre mat­ters, which is hard in a world where we’re eeri­ly close to some of his fic­tion­al real­i­ties.” Indeed—as we pon­der whether we might be char­ac­ters in a sim­u­lat­ed real­i­ty, our thoughts and beliefs manip­u­lat­ed by pow­er­ful com­pa­nies like those in Dick’s unset­tling Ubik—watch­ing the show might add yet anoth­er lay­er of bewil­der­ment to the already very strange expe­ri­ence of every­day life these days. But then again, “if you feel weird­ed out while watch­ing, that just means the show is doing its job.”

Relat­ed Con­tent:

A New 2‑In‑1 Illus­trat­ed Edi­tion of Philip K. Dick’s Do Androids Dream of Elec­tric Sheep? & A Scan­ner Dark­ly

Free Philip K. Dick: Down­load 13 Great Sci­ence Fic­tion Sto­ries

33 Sci-Fi Sto­ries by Philip K. Dick as Free Audio Books & Free eBooks

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

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