Remembering John Glenn’s Historic Space Flight, 50 Years Ago Today

On this day a half cen­tu­ry ago, Mer­cury Astro­naut John Glenn became the first Amer­i­can to orbit the Earth. On the morn­ing of Feb­ru­ary 20, 1962, an anx­ious nation watched as Glenn climbed into his cramped Friend­ship 7 space cap­sule and was pro­pelled by an Atlas 6 rock­et high above the atmos­phere. He cir­cled the Earth three times before re-enter­ing the atmos­phere and splash­ing down in the Atlantic Ocean. As the vet­er­an space pro­gram reporter John Noble Wil­ford wrote last week in The New York Times, “Per­haps no oth­er spaceflight–all 4 hours, 55 min­utes and 23 sec­onds of it–has been fol­lowed by so many with such par­a­lyz­ing appre­hen­sion.”

You can get a sense of the dra­ma and excite­ment of that day by watch­ing the news­reel above, and by read­ing Wil­ford’s inter­est­ing piece in the Times. Also, NASA has put togeth­er an inter­ac­tive online fea­ture on the mis­sion. At a time when Amer­i­ca’s manned space pro­gram depends on Russ­ian space­craft to car­ry astro­nauts to and from the Inter­na­tion­al Space Sta­tion, it’s all the more poignant to look back on the day 50 years ago when Glenn became, as writer Tom Wolfe put it, “the last true nation­al hero Amer­i­ca has ever had.”

Relat­ed Con­tent:

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

How the Great George Carlin Showed Louis CK the Way to Success (NSFW)

There’s prob­a­bly not a standup come­di­an big­ger than Louis CK right now. His FX tele­vi­sion show, Louie, earned him two Emmy Award nom­i­na­tions in 2011, and his recent com­e­dy spe­cial, Live at the Bea­con The­ater, made his­to­ry when CK dis­trib­uted the show via the web (not HBO) and net­ted $1,000,000 in sales in a mat­ter of days.

Louis CK is rid­ing a good wave. But times weren’t always so easy. Back in 2010, CK spoke at a trib­ute to George Car­lin (host­ed at the ven­er­a­ble New York Pub­lic Library) and revis­it­ed his ear­ly days in the pro­fes­sion. For years — actu­al­ly 15 long years — CK per­formed the same old act and spun his wheels. Then he looked to Car­lin and turned his career around. As you might expect, the sto­ry is laced with some pro­fan­i­ty. (Come on, it’s Louis CK talk­ing about George Car­lin!) But, when you strip the lan­guage away, you get a good life les­son. Per­se­ver­ance counts. But so does per­spec­tive, get­ting the right per­spec­tive.

Louis CK’s talk appears above. You can find the full Car­lin trib­ute here. And don’t miss a very relat­ed video where Car­lin describes the turn­ing point in his own life — the moment when he learned “not to give a shit” and his com­ic genius came into full bloom.

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Bertrand Russell’s ABC of Relativity: The Classic Introduction to Einstein (Free Audio)

“Every­body knows that Ein­stein did some­thing aston­ish­ing,” writes Bertrand Rus­sell in the open­ing pas­sage of ABC of Rel­a­tiv­i­ty, “but very few peo­ple know exact­ly what it was. It is gen­er­al­ly rec­og­nized that he rev­o­lu­tion­ized our con­cep­tion of the phys­i­cal world, but the new con­cep­tions are wrapped up in math­e­mat­i­cal tech­ni­cal­i­ties. It is true that there are innu­mer­able pop­u­lar accounts of the the­o­ry of rel­a­tiv­i­ty, but they gen­er­al­ly cease to be intel­li­gi­ble just at the point where they begin to say some­thing impor­tant.”

Eighty-sev­en years after it was writ­ten, ABC of Rel­a­tiv­i­ty still stands as one of the most intel­li­gi­ble intro­duc­tions to Albert Ein­stein’s the­o­ries. Rus­sell wrote the book in 1925 as a com­pan­ion to his ear­li­er vol­ume, ABC of Atoms. The project of writ­ing books for a gen­er­al read­er­ship was born of neces­si­ty. Rus­sell had no aca­d­e­m­ic appoint­ment, and need­ed the mon­ey. But as Peter Clark explains in his intro­duc­tion to the Rout­ledge fifth edi­tion to ABC of Rel­a­tiv­i­ty, the ear­ly 1920s were also a time when Rus­sell was becom­ing increas­ing­ly pre­oc­cu­pied with social and polit­i­cal issues. He believed that many of the social ills of the peri­od, includ­ing the rise of nation­al­ism, were con­se­quences of a wide­spread and entrenched irra­tional­i­ty, born of igno­rance and a lack of edu­ca­tion. Writes Clark:

It was cer­tain­ly a hero­ic peri­od in Rus­sel­l’s life, when he earnest­ly believed that the sort of blind unthink­ing prejudice–which he con­ceived to be fun­da­men­tal­ly respon­si­ble for the hor­rors of the First World War–could be tran­scend­ed by the dis­sem­i­na­tion of knowl­edge and the exer­cise in crit­i­cal rea­son­ing pow­er by all class­es of soci­ety. His huge out­put in this peri­od was designed to bring with­in, as far as pos­si­ble, every­one’s grasp the free­dom of thought and action which knowl­edge and learn­ing brings. That spir­it of enlight­en­ment cer­tain­ly per­vades the ABC of Rel­a­tiv­i­ty.

Thanks to UbuWeb, you can lis­ten to an abridged audio ver­sion of ABC of Rel­a­tiv­i­ty online. The book is read by Eng­lish actor Derek Jaco­bi (who also starred in the film we fea­tured last week on Alan Tur­ing: Break­ing the Code). Jaco­bi reads one of the lat­er edi­tions of ABC of Rel­a­tiv­i­ty. In 1959, and again in 1969, Rus­sell con­sent­ed to revi­sions by physi­cist Felix Pirani. Chap­ter 11 was rewrit­ten by Pirani to incor­po­rate the expan­sion of the uni­verse, which was­n’t announced by Edwin Hub­ble until four years after the first edi­tion of Rus­sel­l’s book. The one trou­bling thing about the text, as it now stands, is that Pirani did­n’t lim­it him­self to the revi­sions made under Rus­sel­l’s super­vi­sion. He made more changes in 1985, fif­teen years after Rus­sel­l’s death.

Stel­lar cours­es focus­ing on Ein­stein’s physics can also be found in our big col­lec­tion of Free Cours­es Online. Just scroll down to the Physics sec­tion.

Name That Movie: 26 Films in One Animated Minute

Evan Seitz cre­at­ed this one-minute ani­ma­tion in which each let­ter of the alpha­bet rep­re­sents a famous movie. How many can you name? The answers have been shared on Buz­zfeed and The High Def­i­nite.

Don’t miss our col­lec­tion of 450 Free Movies Online, which includes many great clas­sics, indies, doc­u­men­taries, noir films and more.

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

Francis Bacon on the South Bank Show: A Singular Profile of the Singular Painter

When did you first feel the rush of stealth­ily man­nered grotes­querie that is Fran­cis Bacon’s Study after Velázquez’s Por­trait of Pope Inno­cent X? If you’ve seen the paint­ing in detail, even in repro­duc­tion, you’ll always remem­ber that moment. By the same token, if you watch this Emmy Award-win­ning pro­file of Fran­cis Bacon (above), you’ll always remem­ber these 51 min­utes. A pro­duc­tion of Lon­don Week­end Tele­vi­sion (now ITV Lon­don), The South Bank Show offered doc­u­men­tary por­traits of well-known artists and per­form­ers from Dou­glas Adams to Steve Reich to Ter­ry Gilliam to the Pet Shop Boys. Only nat­ur­al, then, that it would turn its lens toward Bacon in 1985, when his can­vass­es of human fig­ures, often in trip­tych, just abstract­ed enough to cause sub­con­scious trou­ble, reached a peak on the art mar­ket. Rov­ing from gallery to stu­dio to cafĂ© to bar, the pro­gram reveals an artist, one then held, in the words of host Melvyn Bragg, to be the great­est liv­ing painter in the world.

This episode end­ed up win­ning an Inter­na­tion­al Emmy, and beyond the dose of vig­or for the craft it can still shoot into the veins of doc­u­men­tar­i­ans both fresh-faced and world-weary, it attests to the sharp­ness of the minds Lon­don Week­end Tele­vi­sion employed back then. Dis­play­ing a com­bi­na­tion of casu­al­ness, spon­tane­ity, rig­or, and cin­e­mat­ic pre­sen­ta­tion rare even in the­atri­cal films, the broad­cast fol­lows Bragg (now best known as the pre­sen­ter of BBC Radio 4’s In Our Time) and Bacon in a sin­gle long-form con­ver­sa­tion. It begins, sober­ly enough, in the blue glow of a slide pro­jec­tor and ends, drunk­en­ly enough, in the rud­di­ness of the painter’s favorite “drink­ing club,” carv­ing out spaces in between for Bacon’s imagery as well as its visu­al inspi­ra­tions and ref­er­ents.

The pro­gram finds Bacon ready to dis­cuss his life and work with utter frank­ness: his gam­bling; his homo­sex­u­al­i­ty; his dis­taste for the acad­e­my; his famous paint­ings he’d rather see burned; his habit of not only paint­ing with­out a sketch, but doing so on the “wrong” side of the can­vas. And how often do you see an inter­view over a bot­tle of wine whose par­tic­i­pants have actu­al­ly been drink­ing? “Do you think any­thing exists apart from the moment?” Bragg asks Bacon before the lat­ter stag­gers up to pour anoth­er round. “Are you real?” inter­vie­wee lat­er demands of inter­view­er.

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

Alfred Hitchcock: A Rare Look Into the Filmmaker’s Creative Mind

Note: Appar­ent­ly this video is geo-restrict­ed by YouTube, and we had no way of know­ing this before pub­li­ca­tion. Our apolo­gies. To make it up to you, we have pulled togeth­er 21 Hitch­cock films that are freely avail­able online.

Alfred Hitch­cock takes us inside his cre­ative process in this fas­ci­nat­ing 1964 pro­gram from the Cana­di­an Broad­cast­ing Cor­po­ra­tion. “A Talk with Alfred Hitch­cock” is part inter­view, part mas­ter class in the craft of telling sto­ries on film.

The pro­gram was pro­duced in two seg­ments for the doc­u­men­tary series Tele­scope. It fea­tures scenes from Hitch­cock­’s movies, inter­views with his long-time col­lab­o­ra­tors, and glimpses of Hitch­cock at work on the set of his 1964 film Marnie. The inter­view, con­duct­ed by Fletch­er Markle, cov­ers a lot of ground. In episode one (above), Hitch­cock talks about the nature of art and the meth­ods he uses as a film­mak­er to manip­u­late the audi­ence’s emo­tions. The dis­cus­sion con­tin­ues in episode two (below) with more on Hitch­cock­’s career, along with insights into his rela­tion­ship with the pub­lic and his out­look on life. “A Talk with Alfred Hitch­cock” is a must-see for cin­e­ma lovers.

Relat­ed con­tent:

Alfred Hitch­cock: The Secret Sauce for Cre­at­ing Sus­pense

Alfred Hitch­cock Recalls Work­ing with Sal­vador Dali on Spell­bound

François Truf­faut’s Big Inter­view with Alfred Hitch­cock (Free Audio)

Everything is a Remix: An Exploration of Remixing as a Form of Creativity

In a series of short films, direc­tor Kir­by Fer­gu­son has been grad­u­al­ly mak­ing the case that “Every­thing is a Remix” — that great art does­n’t come out of nowhere. Artists inevitably bor­row from one anoth­er, draw­ing on past ideas and con­ven­tions, then turn­ing these mate­ri­als into some­thing beau­ti­ful and new. The first film high­light­ed the role of remix­ing in lit­er­a­ture and music. The sec­ond install­ment shift­ed the focus to film­mak­ing, while the third turned to tech­nol­o­gy, com­put­ers and user inter­faces. Today, Fer­gu­son released the fourth and final install­ment — “Sys­tem Fail­ure” — which makes the argu­ment that ever-expand­ing copy­right laws, despite what our Found­ing Fathers intend­ed, now tilt in favor of cor­po­rate inter­ests rather than the social good. And, more omi­nous­ly, they threat­en to put the brakes on an essen­tial part of the cre­ative process. If you’ve enjoyed this series, which you can watch in full above, you can sup­port Fer­gu­son’s next project, This is Not a Con­spir­a­cy The­o­ry, on Kick­Starter.

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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Suzanne Vega, “The Mother of the MP3,” Records “Tom’s Diner” with the Edison Cylinder

An oft-repeat­ed piece of sound engi­neer­ing apoc­rypha holds that the cre­ators of the MP3 for­mat geared it specif­i­cal­ly to repro­duce, as faith­ful­ly as pos­si­ble, Suzanne Veg­a’s “Tom’s Din­er.” You might know the song in the orig­i­nal; you prob­a­bly know the song in its DNA remix; you could even know the song in that ver­sion Bil­ly Bragg and R.E.M. put togeth­er, or in any of the count­less trib­utes, falling in unusu­al places on the spec­trum between remix­es and cov­ers, that oth­er artists have paid. Alas, that sto­ry isn’t quite true: when we lis­ten to MP3s, we aren’t lis­ten­ing to music com­pressed by a pre­ci­sion-tuned “Tom’s Din­er” deliv­ery sys­tem. But the song did influ­ence the tech­ni­cal­i­ties of what MP3s do to turn songs into small, man­age­able dig­i­tal files. Karl­heinz Bran­den­burg, a key con­trib­u­tor to the MP3 com­pres­sion algo­rithm, did indeed put MP3 tech­nol­o­gy to the test ear­ly in its devel­op­ment by using it to com­press Veg­a’s hit. Upon play­back, he heard enough dis­tor­tion in the singing to per­form some seri­ous tweak­ing.

Evi­dent­ly such a “warm a capel­la voice,” in Bran­den­burg’s words, does­n’t take com­pres­sion well. So how does it stand up to the brute rig­ors of one of the old­est record­ing media in exis­tence? In this video Vega sings “Tom’s Din­er,” with­out ampli­fi­ca­tion, into the horn of a vin­tage Thomas Edi­son phono­graph machine as its nee­dle digs the song straight into wax. Not “wax” as in the vinyl we’ve all played music on — wax as in wax. The tech­ni­cian then read­ies the cylin­der for play­back, winds the crank, and releas­es “Tom’s Din­er 1890”: a speed- and pitch-incon­stant war­ble beneath a car­pet of sur­face noise, but unmis­tak­ably the same stark, haunt­ing­ly jaun­ty melody that worked its way into our col­lec­tive con­scious­ness for decades, touch­ing even those who lack the audio-geek enthu­si­asm to get excit­ed by this bridge between the first era of imper­fect son­ic repro­duc­tion and our own era of imper­fect son­ic repro­duc­tion.

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

Relat­ed Con­tent:

Neil Young on the Trav­es­ty of MP3s

A Brief, Animated Introduction to Thomas Edison (and Nikola Tesla)

Last year, Jere­mi­ah War­ren cel­e­brat­ed the 154th birth­day of Niko­la Tes­la by cre­at­ing (in less than 36 hours) a short, ani­mat­ed intro­duc­tion to Tes­la’s work, which con­tributed to the birth of com­mer­cial elec­tric­i­ty. Now War­ren turns to Thomas Edi­son, the great inven­tor, who gave us the phono­graph, the motion pic­ture cam­era, the long-last­ing elec­tric light bulb, among oth­er inven­tions. Hold­ing 1,093 US patents in his name, Edi­son is appar­ent­ly the fourth most pro­lif­ic inven­tor in his­to­ry. And, it’s worth not­ing, he once employed Tes­la before lat­er becom­ing his rival.

In times past, we have high­light­ed Edis­on’s tech­nol­o­gy in action. Don’t miss Mark Twain Cap­tured on Film by Thomas Edi­son (1909), Edi­son him­self recit­ing “Mary Had a Lit­tle Lamb” in an Ear­ly Voice Record­ing, Bike Tricks Caught on Film Cour­tesy of Mr. Edi­son, and The World’s First (and Slight­ly Scan­dalous) Hand-Tint­ed Motion Pic­ture, anoth­er Edi­son cre­ation.

Want to share intel­li­gent media with friends? Sim­ply fol­low us on Face­bookTwit­ter and now Google Plus and we’ll make it a cinch.

Trotsky, Russian Revolutionary, Makes Debut Performance Before Microphone (1932)

Many moons ago, we fea­tured a speech by Leon Trot­sky giv­en in his Mex­i­can exile in 1937. Turns out record­ings of his tele­vi­sion address­es go back even fur­ther. The short clip above was record­ed in Den­mark in 1932 and is titled “Trotzky makes debut per­for­mance before micro­phone”. (A lit­tle aside: The clip was pro­duced by Fox Movi­etone News, a news­reel that ran in the U.S. from 1928 to 1963. Would Fox still show some­thing like this today?) In Novem­ber 1932, Trot­sky left his exile in Turkey to accept an invi­ta­tion by the Dan­ish Social Demo­c­ra­t­ic Stu­dents’ Asso­ci­a­tion to come to Copen­hagen and speak about the Russ­ian Rev­o­lu­tion. You can read the text of the speech called “In Defence of Octo­ber” held on Novem­ber 27 here. There are also two impres­sive pho­tos secret­ly tak­en by a pho­to­jour­nal­ist. There was a lot of com­mo­tion sur­round­ing Trot­sky’s trip to Den­mark: the Dan­ish Com­mu­nist Par­ty, con­trolled by Stal­in, staged demon­stra­tions and the Roy­al Fam­i­ly protest­ed against his vis­it — they held Trot­sky respon­si­ble for the vio­lent deaths of their rel­a­tives, the Tsar and his fam­i­ly. Nev­er­the­less, Trot­sky deliv­ered his speech before an audi­ence of about 2,500. The video address was record­ed in Eng­lish two weeks lat­er, on Decem­ber 10, 1932.

To see oth­er famous lead­ers mak­ing their debut per­for­mances, check out Mahat­ma Gand­hi in his First Record­ed Video and Nel­son Mandela’s First-Ever Inter­view.

By pro­fes­sion, Matthias Rasch­er teach­es Eng­lish and His­to­ry at a High School in north­ern Bavaria, Ger­many. In his free time he scours the web for good links and posts the best finds on Twit­ter.

 

In Search of Haruki Murakami: A Documentary Introduction to Japan’s Great Postmodernist Novelist

Haru­ki Muraka­mi holds the titles of both the most pop­u­lar nov­el­ist in Japan and the most pop­u­lar Japan­ese nov­el­ist in the wider world. After pub­lish­ing Nor­we­gian Wood in 1987, a book often called “the Japan­ese Catch­er in the Rye,” Murakami’s noto­ri­ety explod­ed to such an extent that he felt forced out of his home­land, a coun­try whose tra­di­tion­al ways and — to his mind — con­formist mind­set nev­er sat right with him in the first place. Though he returned to Japan in the after­math of the Kobe earth­quake and the Tokyo under­ground gas attacks, he remained an author shaped by his favorite for­eign cul­tures — espe­cial­ly Amer­i­ca’s. This, com­bined with his yearn­ing to break from estab­lished Japan­ese lit­er­ary norms, has gen­er­at­ed enough inter­na­tion­al demand for his work to sell briskly in almost every lan­guage in which peo­ple read nov­els.

I myself once spent a month doing noth­ing but read­ing Murakami’s work, and this BBC doc­u­men­tary Haru­ki Muraka­mi: In Search of this Elu­sive Writer makes a valiant attempt to cap­ture what about it could raise such a com­pul­sion. Rupert Edwards’ cam­era fol­lows vet­er­an pre­sen­ter Alan Yen­tob through Japan, from the mid­night Tokyo of After Hours to the snowed-in Hokkai­do of A Wild Sheep Chase, in a quest to find arti­facts of the supreme­ly famous yet media-shy novelist’s imag­i­nary world. Built around inter­views with fans and trans­la­tors but thick with such Murakami­ana as laid-back jazz stan­dards, grim school hall­ways, six­ties pop hits, women’s ears, vinyl records, marathon run­ners, and talk­ing cats, the broad­cast strives less to explain Murakami’s sub­stance than to sim­ply reflect it. If you find your curios­i­ty piqued by all the fuss over 1Q84, Murakami’s lat­est, you might watch it as some­thing of an aes­thet­ic primer.

Relat­ed con­tent:

An Intro­duc­tion to the World of Haru­ki Muraka­mi Through Doc­u­men­taries, Sto­ries, Ani­ma­tion, Music Playlists & More

A 96-Song Playlist of Music in Haru­ki Murakami’s Nov­els: Miles Davis, Glenn Gould, the Beach Boys & More

Read 5 Sto­ries By Haru­ki Muraka­mi Free Online (For a Lim­it­ed Time)

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

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


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