Philip Glass, Seen and Heard Through the Cinematic Mind of Peter Greenaway (1983)

Long­time Simp­sons-watch­ers sure­ly remem­ber Home­r’s weak­ly feigned enthu­si­asm for an evening with Philip Glass: “Just an evening?” Yet for some enthu­si­asts of the com­poser’s repet­i­tive, mes­mer­iz­ing music, just an evening real­ly would­n’t sat­is­fy. Run­ning over five hours, Glass’ opera Ein­stein on the Beach arguably requires more than an evening by itself. If you don’t feel up to so exten­sive a lis­ten­ing expe­ri­ence, rest assured that you’ve most like­ly heard, and may well have enjoyed, his com­po­si­tions before. A pro­lif­ic crafts­man of film scores, Glass has made music to accom­pa­ny, among many oth­er pic­tures, Errol Mor­ris’ The Thin Blue Line and The Fog of War; God­frey Reg­gio’s tril­o­gy of Koy­aanisqat­siPowaqqat­si, and Naqoyqat­si; and the hor­ror favorite Can­dy­man as well as its sequel, Can­dy­man: Farewell to the Flesh. You can learn more about what exact­ly goes on in Glass’ music and how he thinks about it in Philip Glass, which comes direct­ed by Peter Green­away as one of four 1983 por­traits of Amer­i­can com­posers.

If you watch Green­away’s films, you might find your­self sur­prised at the rel­a­tive straight­for­ward­ness of this project: no elab­o­rate set design, no fix­a­tion on lists and sys­tems, few grim­ly dry wise­cracks, and nobody more eccen­tric than Glass him­self. Between extend­ed seg­ments of Glass and his ensem­ble in con­cert, we see inter­views with Glass and his play­ers. (A sim­ple set­up, yes, but not with­out its points of strange­ness: each inter­vie­wee appears with a dif­fer­ent, always near­ly silent inter­view­er, some­times sep­a­rat­ed by a high­ly con­spic­u­ous cam­era reflec­tion.) We learn about how tran­scrib­ing Ravi Shankar’s music gave Glass the idea of “work­ing in a rhyth­mic struc­ture, not a har­mon­ic or nar­ra­tive one,” how hir­ing the sound man from the Fill­more East grant­ed his music a new tech­no­log­i­cal dimen­sion, and the kind of heck­ling he endures even after becom­ing famous. (“We get scream­ers,” he admits, quot­ing their shouts of “This isn’t music!” and “Why are you doing this to me?”) To the best of my knowl­edge, Glass has nev­er scored any of Green­away’s fea­tures. But watch­ing this doc­u­men­tary and notic­ing their shared fas­ci­na­tion with form and rep­e­ti­tion, their lack of enthu­si­asm for nar­ra­tive, their free­dom from “clear­ly pop­ulist inten­tions,” and their ten­den­cy to attract pre­dictable dis­ap­proval, I won­der why not.

Relat­ed con­tent:

A Min­i­mal Glimpse of Philip Glass

Philip Glass Com­pos­es for Sesame Street (1979)

Koy­aanisqat­si at 1552% Speed

Philip Glass & Lou Reed at Occu­py Lin­coln Cen­ter: An Art­ful View

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Coursera Strikes Partnerships with 12 Universities, Raises More $$$, Announces a Long List of Courses

There’s an inter­est­ing com­pe­ti­tion shap­ing up between Udac­i­ty and Cours­era. Spe­cial­iz­ing in offer­ing Mas­sive­ly Open Online Cours­es (MOOCs), both ven­tures spun out of Stan­ford ear­li­er this year. But they did so in very dif­fer­ent ways. When Sebas­t­ian Thrun, Udac­i­ty’s founder, left his tenured posi­tion at Stan­ford, he kicked a lit­tle sand in the Uni­ver­si­ty’s face. And true to its name, Udac­i­ty (oh the audac­i­ty!) has posi­tioned itself as an out­sider. It isn’t part­ner­ing with estab­lished uni­ver­si­ties (so far as we know). Rather, it’s cre­at­ing cours­es under its own brand (à la Khan Acad­e­my and The Teach­ing Com­pa­ny) and exert­ing top-down con­trol over the prod­uct (à la Apple). It’s an approach that has obvi­ous upsides and down­sides.

Mean­while, Cours­era is head­ing down a very dif­fer­ent path. The founders (both Stan­ford pro­fes­sors) did­n’t snub their employ­er, and they’ve instead built a plat­form on which tra­di­tion­al uni­ver­si­ties can launch their own open cours­es. The down­side: the com­pa­ny does­n’t exer­cise great con­trol over the cours­es being built. The upside: they can lever­age the brands of great uni­ver­si­ties, and the many cours­es they’ll build. Case in point.…

Today, Cours­era is announc­ing that they’ve signed part­ner­ship agree­ments with 12 new uni­ver­si­ties: Geor­gia TechDuke Uni­ver­si­tyUni­ver­si­ty of Wash­ing­tonCal­techRice Uni­ver­si­ty,  Uni­ver­si­ty of Edin­burghUni­ver­si­ty of Toron­toEPFL — Lau­sanneJohns Hop­kins Uni­ver­si­ty (School of Pub­lic Health)UCSF, Uni­ver­si­ty of Vir­ginia, and the Uni­ver­si­ty of Illi­nois. That’s in addi­tion to their four exist­ing part­ners: Uni­ver­si­ty of Penn­syl­va­nia, Prince­ton, Uni­ver­si­ty of Michi­gan and Stan­ford.

There’s a lot of great insti­tu­tions enter­ing Cours­er­a’s sta­ble. And they’ll bring with them over 60 cours­es in the com­ing months. (Find a com­plete list of cours­es below the jump.) We’ll keep you post­ed on how Cours­era and Udac­i­ty evolve, and, in the com­ing weeks, we’ll care­ful­ly test dri­ve their cours­es and let you know the pros and cons of each. Stay tuned for more from the bat­tle of the MOOCs.

Relat­ed Con­tent:

Cours­era Adds Human­i­ties Cours­es, Rais­es $16 Mil­lion, Strikes Deal with 3 Uni­ver­si­ties

Har­vard and MIT Cre­ate EDX to Offer Free Online Cours­es World­wide

Udac­i­ty to Launch 5 New Cours­es, from Sta­tis­tics to Physics. Shoot­ing for Largest Online Class Ever.

Free Online Cer­tifi­cate Cours­es from Great Uni­ver­si­ties: A Com­plete List

(more…)

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The Rolling Stones First Played 50 Years Ago; Watch Them Explode Into Fame Shortly Thereafter

Just four days ago, the Rolling Stones cel­e­brat­ed the fifti­eth anniver­sary of their first con­cert, which hap­pened on July 12, 1962 at Lon­don’s Mar­quee club. Arti­cles have quot­ed lead singer Mick Jag­ger as describ­ing the crowd that evening as the kind of audi­ence they’d expect­ed as a band: “col­lege stu­dents hav­ing a night out,” an “art-school kind of crowd” who “weren’t par­tic­u­lar­ly demon­stra­tive, but they appre­ci­at­ed and enjoyed the set.” But the Stones’ demo­graph­ic would soon both shift and expand dra­mat­i­cal­ly: “A few months lat­er we were play­ing in front of 11 year olds who were scream­ing at us.” You can wit­ness this very phe­nom­e­non in the 1964 news­reel above; per­haps all of the kids lined up out­side the the­ater aren’t quite that young, but we’re def­i­nite­ly not look­ing at a col­le­giate crowd. Still, what this full house (“in fact,” the nar­ra­tor says, “it could have been filled ten times over”) lacks in matu­ri­ty, they make up for in raw enthu­si­asm.

This short film comes from British Pathé, then known as Pathé News, a pro­duc­er of news­reels from the very ear­ly twen­ti­eth cen­tu­ry right up to the sev­en­ties. They cap­tured the Stones per­form­ing in 1964, after they had already racked up a con­sid­er­able degree of fame, espe­cial­ly in their own coun­try. The show itself takes place in Kingston upon Hull, a medi­um-sided city in the north­east of Eng­land. Sum­mon­ing the sur­pris­ing sense of fun that mid-six­ties Eng­lish media some­times could when cov­er­ing pop­u­lar cul­ture, this news­reel, called Rolling Stones Gath­er Moss, opens with Jag­ger, Kei­th Richards, Bri­an Jones, Char­lie Watts, and Bill Wyman try­ing to hitch a ride along­side the grassy road to the venue. “Lit­tle do they know, they’re hav­ing their legs pulled,” the announc­er says of the unhesi­tat­ing motorists, “because these appar­ent hitch­hik­ers, so bland­ly ignored, are five of the most famous young men in show busi­ness, the Rolling Stones. Some of these motorists will be kick­ing them­selves when they learn they missed the chance of a life­time of get­ting to know them.” But the his­tor­i­cal moment remains cap­tured on film, as do count­less oth­ers, among the 90,000 clips in Pathé’s online archive.

Relat­ed con­tent:

The Rolling Stones Sing Jin­gle for Rice Krispies Com­mer­cial (1964)

Jean-Luc Godard Films The Rolling Stones Record­ing “Sym­pa­thy for the Dev­il” (1968)

The Rolling Stones Jam With Their Idol, Mud­dy Waters

John Lennon and The Rolling Stones Sing Bud­dy Hol­ly

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Beethoven’s “Ode to Joy” Movingly Flashmobbed in Spain

Flash­mob per­for­mances haven’t been a fresh con­cept for some time. And they’ve been some­what tak­en over by cor­po­ra­tions dur­ing recent years. But that does­n’t stop view­ers from enjoy­ing the per­for­mances, whether in per­son or on the web. Take this recent exam­ple orches­trat­ed by the finan­cial­ly-chal­lenged Span­ish bank, Ban­co Sabadell.

Ear­li­er this sum­mer, the bank brought togeth­er 100 musi­cians and singers from the Orches­tra Sim­fon­i­ca del Valles,Amics de l’Opera de Sabadell,Coral Belles Arts, and Cor Lieder Cam­era to per­form the anthem of the Euro­pean Union — Beethoven’s “Ode to Joy” from his Sym­pho­ny No. 9. It all hap­pens in the Plaça de Sant Roc in Sabadell, Spain, a lit­tle north of Barcelona. Per­haps this will put a smile on your face. Maybe you’ll even shed a tear. One way or anoth­er, make sure you turn up your speak­ers.…

For more flash­mob clas­si­cal per­for­mances see:

Copen­hagen Phil­har­mon­ic Plays Ravel’s Bolero at Train Sta­tion

Copen­hagen Phil­har­mon­ic Plays Grieg’s Peer Gynt in the Sub­way

Opera in the Fruit & Veg­gie Mar­ket

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Our Big List of 500 Free Courses Featured by The Young Turks

Yes­ter­day, the team at The Young Turks Uni­ver­si­ty cre­at­ed a lit­tle video seg­ment pro­mot­ing our big list of 500 Free Online Cours­es from top uni­ver­si­ties. As they right­ly explain, the list lets you down­load free cours­es from schools like Stan­ford, Yale, MIT, Oxford, Har­vard and UC Berke­ley. And when you dive in, you’ll dis­cov­er 55 cours­es in Phi­los­o­phy50 in His­to­ry50 in Com­put­er Sci­ence, and 35 in Physics, plus lec­tures from famous intel­lec­tu­als like Richard Feyn­man, Leo Strauss, Bertrand Rus­sell, Michel Fou­cault and Richard Dawkins. Final­ly, you can usu­al­ly access the cours­es from mul­ti­ple sources — YouTube, iTunes or uni­ver­si­ty web sites. So what are you wait­ing for? Dive right into the com­plete list here and start using your leisure time in a pro­duc­tive way.

Fol­low us on Face­bookTwit­ter and now Google Plus and share intel­li­gent media with your friends! They’ll thank you for it.

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Woody Guthrie at 100: Celebrate His Amazing Life with a BBC Film

Sat­ur­day marks the 100th anniver­sary of the birth of Woody Guthrie, the great­ly influ­en­tial folk singer whose music was insep­a­ra­ble from the hard cir­cum­stances of his life and his deep sense of social jus­tice.

“A folk song is what’s wrong and how to fix it,” Guthrie once said, “or it could be who’s hun­gry and where their mouth is or who’s out of work and where the job is or who’s broke and where the mon­ey is or who’s car­ry­ing a gun and where the peace is.”

To help mark the mile­stone we bring you rare footage, above, of Guthrie singing “The Ranger’s Com­mand” in 1945. The clip is from the 1988 BBC Are­na doc­u­men­tary, Woody Guthrie, which can be seen in its entire­ty below. The film is a vivid por­trait of the singer, with rare audio record­ings of Guthrie speak­ing, along with inter­views with Alan Lomax, Jack Elliot, Pete Seeger, Arlo Guthrie and oth­ers. As BBC Are­na edi­tor Antho­ny Wall writes of the film’s sub­ject:

“This land is your land”, sang Woody Guthrie, his mis­sion to reclaim the true Amer­i­ca from the lawyers and politi­cians and thugs and return it to the peo­ple. He said he was just try­ing ‘to tell peo­ple what they already know’. Orig­i­nal­ly from a com­fort­ably-off fam­i­ly in Okla­homa, he took to the road and rails to chron­i­cle in song the depres­sion and dust­bowl. A fab­u­lous exam­ple of Amer­i­can self-inven­tion, ‘Guthrie came with the dust and he went with the wind’

For more on the Woody Guthrie Cen­ten­ni­al, vis­it Woody100.com. The Web site fea­tures a biog­ra­phy with pho­tographs and oth­er mate­ri­als, a “song of the day,” and a 2012 cal­en­dar of events. This week­end there are sev­er­al big events in New York, includ­ing a birth­day par­ty Sat­ur­day on Coney Island, with appear­ances by Bil­ly Bragg, Steve Ear­le and Guthrie’s daugh­ter, Nora, along with a free screen­ing the film “Bound For Glo­ry” on the beach. On Sun­day, Arlo Guthrie and oth­ers in the Guthrie fam­i­ly will give a free con­cert in Cen­tral Park.

And for more Guthrie resources, go to:

  • SoundPortraits.org to down­load audio of Alan Lomax’s 1940 inter­view with Guthrie, along with a tran­script of the con­ver­sa­tion.
  • CulturalEquity.org, host of the Alan Lomax Archives, for sev­er­al short but inter­est­ing takes of Guthrie singing polit­i­cal songs in 1948, includ­ing “If Dewey Gets Elect­ed” and “The Road is Rocky.”
  • NPR.org for a 40-minute radio pro­gram, “Fresh Air Cel­e­brates Woody Guthrie at 100.” Ter­ry Gross inter­views Guthrie biog­ra­ph­er Ed Cray and Smith­son­ian Folk­ways archivist Jeff Place, who co-pro­duced the new box set Woody at 100.
  • DemocracyNow.org for a one-hour tele­vi­sion spe­cial, “On Woody Guthrie’s Cen­ten­ni­al, Cel­e­brat­ing the Life, Pol­i­tics & Music of the ‘Dust Bowl Trou­ba­dour.’ ” Hosts Amy Good­man and Juan Gon­za­lez inter­view Woody’s daugh­ter Nora Guthrie, author of the new book, My Name is New York: Ram­blin’ Around Woody Guthrie’s Town, and his grand­daugh­ter Anna Canoni, along with musi­cian Steve Ear­le. The show also fea­tures rare audio record­ings of Guthrie speak­ing.

Relat­ed Con­tent:

Pete Seeger: To Hear Your Ban­jo Play

The Alan Lomax Sound Archive Now Online: Fea­tures 17,000 Record­ings

Henry Rollins Remembers the Life-Changing Decision That Brought Him From Häagen-Dazs to Black Flag

Metafil­ter recent­ly fea­tured this Big Think clip of Hen­ry Rollins telling the sto­ry of his most life-chang­ing deci­sion. This choice, of course, was the one that brought him to the front of punk rock band Black Flag. Before he made it, he could call him­self only a col­lege dropout assis­tant-man­ag­ing a Wash­ing­ton, D.C. Häa­gen-Dazs. In 1981, after catch­ing one of Black Flag’s New York shows — dur­ing which he hap­pened to climb onstage and sing a song with them — he decid­ed to try out to become the group’s actu­al singer. When Rollins ditched the ice cream game for the day (a for­feit, he recalls, of no more than $21) to audi­tion, Black Flag went from his favorite band to his band. Think­ing back, he real­izes he had lit­tle to lose: if he did­n’t give it a shot, he’d find him­self look­ing down the bar­rel of a long, hard exis­tence on his feet, answer­ing to cus­tomers all day, every day. If he gave it a shot and did­n’t make it, he’d at worst feel humil­i­at­ed, but, as he puts it, “humil­i­a­tion and young peo­ple kind of go togeth­er.”

“I don’t have tal­ent,” Rollins insists. “I have tenac­i­ty. I have dis­ci­pline. There was no choice for me but to work real­ly hard.” You may recall him mak­ing a sim­i­lar point in his pre­vi­ous Big Think video we fea­tured, in which he rec­om­mend­ed going at one’s pur­suits with a “monas­tic obses­sion.” But this time, he adds a note of fear. He talks about com­ing to under­stand that, with­out rely­ing on his four pil­lars of “appli­ca­tion, dis­ci­pline, focus, rep­e­ti­tion,” an enti­ty he calls “the Amer­i­ca” would have got­ten the bet­ter of him. This term seems to refer to the con­stant threat of crush­ing medi­oc­rity he feels in the Unit­ed States. “Every moment I am alive is because I have not been mur­dered by the Amer­i­ca,” he says in anoth­er inter­view. “The tasks I set out for myself are what I do to beat the per­fect point­less­ness of life.” Even if you don’t con­ceive of your own sit­u­a­tion quite so grim­ly, Rollins offers a per­spec­tive worth con­sid­er­ing. Per­haps his recruit­ment into Black Flag strikes you as a lucky break; he cer­tain­ly con­sid­ers it one. But as Bri­an Eno, anoth­er cul­tur­al fig­ure as well known for his point of view as his music, once said, “Luck is being ready.”

Relat­ed con­tent:

Hen­ry Rollins Tells Young Peo­ple to Avoid Resent­ment and to Pur­sue Suc­cess with a “Monas­tic Obses­sion”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Does God Exist? Christopher Hitchens Debates Christian Philosopher William Lane Craig (2009)

When we talk about reli­gion around here, we often end up talk­ing about some­thing that falls between agnos­ti­cism and athe­ism. That’s because pub­lic intel­lec­tu­als who com­ment on reli­gion fre­quent­ly fall into those camps. Here and there, the­ists polite­ly call us on it. They ask us to con­sid­er show­ing The Four Horse­men (Hitchens/Dawkins/Dennett/Harris) in mean­ing­ful con­ver­sa­tion with reli­gious thinkers. It would be a step toward cre­at­ing some bal­ance, they say. We’ve done some of that before. But it has been a while. So we’re bring­ing you today the 2009 debate between Hitchens and William Lane Craig, a Chris­t­ian philoso­pher. It was held at Bio­la Col­lege, a school that offers a “Bib­li­cal­ly Cen­tered Edu­ca­tion,” which puts Craig on the home court.

The basic ques­tion fram­ing the debate is “Does God Exist?,” and the answers are all ground­ed in phi­los­o­phy, though that did­n’t stop the con­ver­sa­tion from veer­ing into biol­o­gy, physics, cos­mol­o­gy, and moral the­o­ry. You might be sur­prised that Hitchens does­n’t take the stri­dent athe­ist posi­tion that would have let more sparks fly. No, he ends up in a more agnos­tic place, and there’s a kind of a humil­i­ty to his posi­tion, an accep­tance that we just can’t know the answers to the big ques­tions, at least not yet. That speaks to me intel­lec­tu­al­ly. But I’m sure oth­ers will see things dif­fer­ent­ly.

If you’re hun­ger­ing for more, you can watch Craig debate Sam Har­ris here. We thank Tay­lor for send­ing these videos along.

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Before Mad Men: Familiar and Forgotten Ads from 1950s to 1980s Now Online

Before com­ing up with the slo­gan “Utz Are Bet­ter Than Nuts!” for the real-world Utz pota­to chip com­pa­ny on Mad Men, Don Drap­er and his crew had to study the com­pe­ti­tion, like this ad for Beech Nut or this one with Andy Grif­fith for Gen­er­al Foods.

Today we’re sat­u­rat­ed with ads, more than the ad men that inspired Draper’s char­ac­ter could have ever imag­ined. They’re everywhere—on the dark inte­ri­ors of tun­nels as we speed along in light rail trains, in the games we let our kids play on smart phones—and they reveal a lot to us about our­selves.

Duke University’s John W. Hart­man Cen­ter for Sales, Adver­tis­ing & Mar­ket­ing His­to­ry put togeth­er Adviews, a col­lec­tion that brings togeth­er thou­sands of his­toric com­mer­cials from the 1950s to 1980s. Col­lect­ed or cre­at­ed by the D’Arcy Masius Ben­ton & Bowles adver­tis­ing agency, the dig­i­tal col­lec­tion is avail­able online and on iTune­sU as a free archive. It’s also found at the Inter­net Archive, where ads can be down­loaded as MP4 videos.

Watch Ster­ling Cooper’s (fic­tion­al) ad for Utz pota­to chips and then com­pare it to this goofy com­mer­cial for Dad­dy Crisp chips above.

Vis­it the amaz­ing world of con­ve­nience foods that made house­wives cheer and mir­a­cle fibers that made clean-up a snap.

We may have grown more savvy and sus­pi­cious of prod­ucts that promise bet­ter health and effi­cien­cy, but if any­thing we’re more fas­ci­nat­ed by adver­tis­ing than ever. Since launch­ing the archive in 2009, the com­mer­cials have logged 2.5 mil­lion down­loads.

And for y’all who miss Andy Grif­fith, there’s a wealth of great stuff.

Cinecitta Luce and Google to Bring Italy’s Largest Film Archive to YouTube

Italy’s Cinecit­ta Luce pos­sess­es more than 100,000 films dat­ing back to 1927. Any­one with an inter­est in Ital­ian cul­ture, his­to­ry, or cin­e­ma will sure­ly want to take a look at them, and now, thanks to a part­ner­ship between Cinecit­ta Luce and Google, they can. As those 100,000 films under­go dig­i­ti­za­tion, they’ll make their way to Cinecit­ta Luce’s offi­cial Youtube chan­nel, which offers, to rough­ly trans­late the Ital­ian on the page, “sev­en­ty years of Ital­ian his­to­ry and social life from the twen­ties to the nineties,” the “price­less pat­ri­mo­ny of our visu­al mem­o­ry.” So far, the chan­nel has bro­ken the films into sev­en cat­e­gories: art, sci­ence and lit­er­a­ture; the Sec­ond World War; movie stars and the cat­walk; pro­tag­o­nists of the twen­ti­eth cen­tu­ry; the “dust archive” (which seems mis­cel­la­neous); mate­r­i­al relat­ed to Cinecit­ta Luce’s cur­rent film fes­ti­vals; and la dolce vita (a phrase, I would argue, bet­ter pre­sent­ed in the orig­i­nal).

At the top of this post, you’ll find a two-and-a-half-minute sequence show­cas­ing the kind of his­to­ry in motion to be found in Cinecit­ta Luce’s archive: musi­cal per­for­mances, beau­ty pageants, culi­nary fes­ti­vals, sport­ing events, movie pre­mieres, impor­tant moments in pol­i­tics and indus­try, and — for what­ev­er rea­son — all sorts of march­es. Just above this para­graph, we’ve embed­ded some news­reel footage of Fed­eri­co Felli­ni fresh off his Best For­eign-Lan­guage Film Acad­e­my Award win for 8½. But the hours of mate­r­i­al now on Cinecit­ta Luce’s Youtube chan­nel rep­re­sent only the tip of the ice­berg. We hard­ly need tell Italophiles that they’ll want to con­sid­er sub­scrib­ing, so as not to miss more from an archive the Hol­ly­wood Reporter describes as “rich in videos from the Vat­i­can, the 1960 Olymics in Rome, and sceners from gen­er­a­tions of every-day life in Rome.” And giv­en that Ben­i­to Mus­soli­ni orig­i­nal­ly cre­at­ed the Cinecit­ta film stu­dios and the Luce archives as engines of pro­pa­gan­da, they still retain the world’s largest col­lec­tion of Mus­soli­ni-relat­ed film. Schol­ars of dic­ta­tor­ships, take spe­cial note!

Relat­ed con­tent:

Mus­soli­ni Sends a Hap­py Mes­sage to Amer­i­ca, Helps Change Cin­e­ma His­to­ry (1927)

Fellini’s Fan­tas­tic TV Com­mer­cials

Learn Ital­ian for Free

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

40 Years Ago Today: Chess Rivals Bobby Fischer and Boris Spassky Meet in the ‘Match of the Century’

They called it the “Match of the Cen­tu­ry.” The eccen­tric Amer­i­can chess mas­ter Bob­by Fis­ch­er and the reign­ing world cham­pi­on Boris Spassky of the Sovi­et Union faced off against one anoth­er 40 years ago today in Reyk­javik, Ice­land. As the world looked on, the Cold War strug­gle between two super­pow­ers was played out in proxy, on a chess board.

The tense atmos­phere and enor­mous fan­fare sur­round­ing the event are cap­tured in this excerpt from the 2006 GSN doc­u­men­tary Any­thing to Win: The Mad Genius of Bob­by Fis­ch­er. Spassky won the first game, on July 11, 1972, when Fis­ch­er made a sur­pris­ing blun­der. Game two went to Spassky when Fis­ch­er refused to play because the tele­vi­sion cam­eras were both­er­ing him. Before the start of game three, Fis­ch­er went around the room inspect­ing TV equip­ment for sources of noise. The entire sequence of events was per­haps an elab­o­rate game of psy­cho­log­i­cal war­fare. When Fis­ch­er final­ly sat down to play, Spassky’s equa­nim­i­ty was shat­tered: The third game went to Fis­ch­er, and the tide had turned. When the match final­ly con­clud­ed on Sep­tem­ber 1, the score was Fis­ch­er 12½, Spassky 8½. To learn more about the match, and Fis­cher’s extra­or­di­nary life, you can watch the entire one-hour GSN doc­u­men­tary here.

Relat­ed Con­tent:

A Famous Chess Match from 1910 Reen­act­ed with Clay­ma­tion


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