Hear Radio Dramas of Isaac Asimov’s Foundation Trilogy & 7 Classic Asimov Stories

Rochester Insti­tute of Tech­nol­o­gy, via Wiki­me­dia Com­mons

Isaac Asi­mov’s huge­ly influ­en­tial sci­ence fic­tion clas­sic The Foun­da­tion Tril­o­gy will soon, it seems, become an HBO series, reach­ing the same audi­ences who were won over by the Game of Thrones adap­ta­tions. We can expect favorite char­ac­ter arcs to emerge, per­haps dis­tort­ing the orig­i­nal nar­ra­tive; we can expect plen­ty of inter­net memes and new rip­ples of influ­ence through suc­ces­sive gen­er­a­tions. In fact, if the series becomes a real­i­ty, and catch­es on the way most HBO shows do—either with a mass audi­ence or a lat­er devot­ed cult following—I think we can expect much renewed inter­est in the field of “psy­chohis­to­ry,” the futur­is­tic sci­ence prac­ticed by the nov­els’ hero Hari Sel­don.

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This is no small thing. Foun­da­tion has inspired a great many sci­ence fic­tion writ­ers, from Dou­glas Adams to George Lucas. But it has also guid­ed the careers of peo­ple whose work has more imme­di­ate real-world con­se­quences, like econ­o­mist Paul Krug­man and fer­vent advo­cate of pos­i­tive psy­chol­o­gy Mar­tin Selig­man. “The tril­o­gy real­ly is a unique mas­ter­piece,” writes Krug­man,” there has nev­er been any­thing quite like it.” The fic­tion­al sci­ence of psy­chohis­to­ry inspired the exper­i­men­tal pre­dic­tive tech­niques Selig­man devel­oped and described in his book Learned Opti­mism:

In his impos­si­ble-to-put-down Foun­da­tion Trilogy—I read it in one thir­ty-hour burst of ado­les­cent excitement—Asimov invents a great hero for pim­ply, intel­lec­tu­al kids…. “Wow!” thought this impres­sion­able ado­les­cent…. That “Wow!” has stayed with me all my life.

If you’re think­ing that the epic scale of Asi­mov’s sprawl­ing trilogy—one he explic­it­ly mod­eled after Edward Gib­bon’s mul­ti-vol­ume His­to­ry of the Decline and Fall of the Roman Empire—will prove impos­si­ble to real­ize on the screen, you may be right. On the oth­er hand, Asi­mov’s prose has lent itself par­tic­u­lar­ly well to an old­er dra­mat­ic medi­um: the radio play. As we not­ed in an ear­li­er post on a pop­u­lar 1973 BBC adap­ta­tion of the tril­o­gy, Ender’s Game author Orson Scott Card once described the books as “all talk, no action.” This may sound like a dis­par­age­ment, except, Card went on to say, “Asi­mov’s talk is action.”


Today, we bring you sev­er­al dif­fer­ent radio adap­ta­tions of Asi­mov’s fic­tion, and you can hear the many ways his fas­ci­nat­ing con­cepts, trans­lat­ed into equal­ly fas­ci­nat­ing, and yes, talky, fic­tion, have inspired writ­ers, sci­en­tists, film­mak­ers, and “pim­ply, intel­lec­tu­al kids” alike for decades. At the top of the post, hear the entire, eight-hour BBC adap­ta­tion of Foun­da­tion from start to fin­ish. You can also stream and down­load indi­vid­ual episodes on Spo­ti­fy and at Youtube and the Inter­net Archive. Below it, we have clas­sic sci-fi radio dra­ma series Dimen­sion X’s drama­ti­za­tions of “Peb­ble in the Sky” and “Night­fall,” both from 1951.

Also hear two Asi­mov’s sto­ries “The ‘C’ Chute” and “Hostess”—both pro­duced by Dimen­sion X suc­ces­sor X Minus One. These series, wrote Col­in Mar­shall in a pre­vi­ous post, “show­case Amer­i­can cul­ture at its mid-20th-cen­tu­ry finest: for­ward-look­ing, tem­pera­men­tal­ly bold, tech­no­log­i­cal­ly adept, and sat­u­rat­ed with earnest­ness but for the occa­sion­al sur­pris­ing­ly know­ing irony or bleak edge of dark­ness.”

Not to be out­done by these two pro­grams, Mutu­al Broad­cast­ing Sys­tem cre­at­ed Explor­ing Tomor­row, a “sci­ence fic­tion show of sci­ence-fic­tion­eers, by sci­ence-fic­tion­eers and for sci­ence-fic­tion­eers” that ran briefly from 1957 to 1958. Below, they adapt Asi­mov’s sto­ry “The Liar.”

These old-time radio dra­mas will cer­tain­ly appeal to the nos­tal­gia of peo­ple who were alive to hear them when they first aired. But while their pro­duc­tion val­ues will nev­er come close to match­ing those of HBO, they offer some­thing for younger lis­ten­ers as well—an oppor­tu­ni­ty to get lost in Asi­mov’s com­plex ideas, and to engage the imag­i­na­tion in ways tele­vi­sion does­n’t allow. Whether or not Foun­da­tion ever suc­cess­ful­ly makes it to the small screen, I would love to see Asi­mov’s fiction—in print, on the radio, on screen, or on the internet—continue to inspire new sci­en­tif­ic and social vision­ar­ies for gen­er­a­tions to come.

Relat­ed Con­tent:

Isaac Asimov’s Favorite Sto­ry “The Last Ques­tion” Read by Isaac Asi­mov— and by Leonard Nimoy

Isaac Asimov’s Foun­da­tion Tril­o­gy: Hear the 1973 Radio Drama­ti­za­tion

Dimen­sion X: The 1950s Sci­Fi Radio Show That Dra­ma­tized Sto­ries by Asi­mov, Brad­bury, Von­negut & More

X Minus One: More Clas­sic 1950s Sci-Fi Radio from Asi­mov, Hein­lein, Brad­bury & Dick

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

David Bowie Sings in a Wonderful M.C. Escher-Inspired Set in Jim Henson’s Labyrinth

A gen­er­a­tion grew up watch­ing and re-watch­ing Jim Hen­son’s Labyrinth. Now, their fond mem­o­ries of that musi­cal fantasy—featuring not just Hen­son’s sig­na­ture pup­pets but live actors like Jen­nifer Con­nel­ly and David Bowie—have got them try­ing to turn their own chil­dren on to the movie’s won­ders. Some now regard Labyrinth as a goofy, flam­boy­ant nov­el­ty suit­able for no oth­er audi­ence but chil­dren, but that gives short shrift to the con­sid­er­able craft that went into it. To get a sense of that, we need only take a look at Jim Hen­son’s Red Book.

Hen­son kept the Red Book, a kind of diary writ­ten one line at a time, until 1988, not long after Labyrinth’s release, and it cap­tures intrigu­ing details of the film’s pro­duc­tion. On its site, the Jim Hen­son Com­pa­ny has sup­ple­ment­ed the Red Book’s entries with oth­er mate­ri­als, such as the mak­ing-of clip above, which shows what went into the scene where “Bowie’s char­ac­ter Jareth taunts Sarah (Jen­nifer Con­nel­ly) as she tries to get to her broth­er Toby (Toby Froud) in an elab­o­rate set inspired by the art of Dutch artist and illus­tra­tor M.C. Esch­er.”

Hen­son and his team want­ed to bring into three dimen­sions “Escher’s images of seem­ing­ly impos­si­ble archi­tec­ture where stairs seemed to lead both up and down at the same time. The inabil­i­ty of the view­er to rec­og­nize what is and is not real was a theme the per­me­at­ed some of Jim’s exper­i­men­tal works in the 1960s and was explored at length in the film.” You can watch the still-con­vinc­ing final prod­uct, in which Bowie sings the song “With­in  You” while step­ping and leap­ing from one per­spec­tive-defy­ing plat­form or stair­way to anoth­er, just above. Spe­cial cred­it for pulling all this off goes to the film’s pro­duc­tion design­er Elliot Scott. But from which mem­ber of the team should we demand an expla­na­tion for, by far, the most bizarre visu­al aspect of Labyrinth — David Bowie’s hair?

Relat­ed Con­tent:

David Bowie Paper Dolls Recre­ate Some of the Style Icon’s Most Famous Looks

Watch The Sur­re­al 1960s Films and Com­mer­cials of Jim Hen­son

Jim Henson’s Orig­i­nal, Spunky Pitch for The Mup­pet Show

Jim Henson’s Zany 1963 Robot Film Uncov­ered by AT&T: Watch Online

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Mick Jagger Acts in The Nightingale, a Televised Play from 1983

Pity the man who has every­thing. Sat­is­fac­tion is but fleet­ing.

One won­ders if rock god Mick Jag­ger might know a thing or two about the con­di­tion. He does­n’t seem to know all that much about act­ing, as evi­denced by his turn in The Nightin­gale episode of Shel­ley Duvall’s Faerie Tale The­atre series.

No mat­ter. His art­less­ness is part of the charm. As the spoiled emper­or of Cathay, he makes no effort to alter his Mock­ney accent. He also keeps his famous strut under wraps, weight­ed down by his roy­al robes (and top knot!).

The 1983 episode cleaves close­ly to the Hans Chris­t­ian Ander­sen orig­i­nal that inspired it. To sum­ma­rize the plot:

The emper­or demands an audi­ence with a nightin­gale, after hear­ing tell of its song, but the toad­ies who com­prise his court are too rar­i­fied to locate one in the for­est.

A low­ly kitchen maid (Bar­bara Her­shey, on the brink of star­dom) is the only one with the know how to deliv­er.

But the emper­or is fick­le — it isn’t long before his head is turned by a jew­el encrust­ed, mechan­ics facsimile…a com­mon enough rock n’ roll pit­fall.

A large part of Faerie Tale The­ater’s mag­ic was the jux­ta­po­si­tion of high wattage stars and extreme­ly low pro­duc­tion bud­gets. There’s an ele­ment of stu­dent film to the pro­ceed­ings. The video­tape on which it was shot flat­tens rather than flat­ters. This is not a crit­i­cism. It makes me awful­ly fond of the big shots who agreed to par­tic­i­pate.

In addi­tion to Jag­ger and Her­shey, look for Angel­i­ca Hus­ton, Edward James Olmos, and Jagger’s then girl­friend, Jer­ry Hall, in small­er roles. There’s also Bud Cort of Harold and Maude, flap­ping around the sparse­ly dec­o­rat­ed for­est like a vis­i­tor from an entire­ly dif­fer­ent sto­ry, nay, plan­et.

A curi­ous enter­prise indeed.

Relat­ed Con­tent:

Stephen Fry Reads Oscar Wilde’s Children’s Sto­ry “The Hap­py Prince”

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

Andy Warhol’s 85 Polaroid Por­traits: Mick Jag­ger, Yoko Ono, O.J. Simp­son & Many Oth­ers (1970–1987)

Ayun Hal­l­i­day will be appear­ing at the Brook­lyn Book Fes­ti­val in New York City this week­end.. Fol­low her @AyunHalliday

An Animated Introduction to Virginia Woolf

It’s a pity writer Vir­ginia Woolf (1882–1941) drowned her­self before the advent of the Inter­net.

Indus­tri­al­iza­tion did not faze her.

It’s less clear how the great observ­er of “the Mod­ern Age” would’ve respond­ed to the pro­lif­er­a­tion of Mom­my blog­gers.

Their sheer num­bers sug­gest that per­haps female writ­ers do not need a “room of one’s own” (though pre­sum­ably all of them would be in favor of such a devel­op­ment.)

Woolf’s name is an endur­ing one, inspir­ing both the title of a clas­sic Amer­i­can play and a dog­gy day care facil­i­ty. Its own­er passed away near­ly 75 years ago, yet she remains a peren­ni­al on Women’s Stud­ies’ syl­labi.

Ergo, it’s pos­si­ble for the gen­er­al pub­lic to know of her, with­out know­ing much of any­thing about her and her work. (Find her major works on our lists of Free eBooks and Free Audio Books).

The lat­est ani­mat­ed install­ment in The School of Life human­i­ties series seeks to rem­e­dy that sit­u­a­tion in ten min­utes with the video above, which offers insight into her place in both the West­ern canon and the ever-glam­orous Blooms­bury Group, and cel­e­brates her as a keen observ­er of life’s dai­ly rou­tine. And that by-now-famil­iar cut-out ani­ma­tion style takes full advan­tage of the author’s best known head shots.

Arrange what­ev­er pieces come your way.

- Vir­ginia Woolf

Relat­ed Con­tent:

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

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

Vir­ginia Woolf and Friends Dress Up as “Abyssin­ian Princes” and Fool the British Roy­al Navy (1910)

Vir­ginia Woolf’s Hand­writ­ten Sui­cide Note: A Painful and Poignant Farewell (1941)

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

Taylor Swift Songs Sung in the Style of The Velvet Underground by Father John Misty

If you’re from a fad­ing rock n roll gen­er­a­tion, here’s maybe a way to make peace with today’s pop music scene. Just take Tay­lor Swift hits and hear them sung in the style of The Vel­vet Under­ground.

That’s what folk singer-song­writer J. Till­man — oth­er­wise known as Father John Misty — did for us, per­haps inad­ver­tent­ly, when he record­ed VU-style ver­sions of “Blank Space” and “Wel­come to New York.” Today, not coin­ci­den­tal­ly, marks the release of Ryan Adams’s own bal­ly­hooed album that cov­ers Tay­lor Swift’s 1989, which you can also hear down below.

Ryan Adams’ Cov­ers

via Con­se­quence of Sound

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

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An Animated Margaret Atwood Explains How Stories Change with Technology

From the  video series comes an ani­ma­tion fea­tur­ing Mar­garet Atwood med­i­tat­ing on how tech­nol­o­gy shapes the way we tell sto­ries. Just like the Guten­berg Press did almost 600 years ago, the recent advent of dig­i­tal plat­forms (the inter­net, ebooks, etc.) has cre­at­ed new ways for us to tell, dis­trib­ute and share sto­ries. And Atwood has­n’t been afraid to explore it all, writ­ing sto­ries on Wattpad and Twit­ter. Atwood will appear at The Future of Sto­ry­telling Sum­mit on Octo­ber 7 and 8.

via Matthias Rasch­er

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:

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Kurt Von­negut Dia­grams the Shape of All Sto­ries in a Master’s The­sis Reject­ed by U. Chica­go

Writ­ing Tips by Hen­ry Miller, Elmore Leonard, Mar­garet Atwood, Neil Gaiman & George Orwell

1,000 Free Audio Books: Down­load Great Books for Free

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The 2,000+ Films Watched by Presidents Nixon, Carter & Reagan in the White House

family-theater-reagan

Many of us keep a record of the movies we watch. Few of us, how­ev­er, lead the free world. As the reli­able sales num­bers of pres­i­den­tial biogra­phies (no mat­ter how thick) attest, the actions of the Pres­i­dent of the Unit­ed States of Amer­i­ca, no mat­ter who that Pres­i­dent may be and no mat­ter what sort of actions that Pres­i­dent takes, always draw inter­est. For instance, you may have seen that Pale­o­fu­ture’s Matt Novak recent­ly went through Jim­my Carter’s diaries to draw up a list of every sin­gle movie Carter watched dur­ing his Pres­i­den­cy.

“Part of my fas­ci­na­tion with the movies that pres­i­dents watch is just cheap voyeurism,” Novak writes. “But the oth­er part is an earnest belief that pop­u­lar cul­ture influ­ences things in the real world. Pres­i­dent Nixon was obsessed with the film Pat­ton dur­ing the Viet­nam War. Pres­i­dent Rea­gan urged Con­gress to take com­put­er secu­ri­ty seri­ous­ly after see­ing War Games in 1983.” And you can learn what else they watched by pulling up What Nixon Saw and When He Saw It by Nixon at the Movies author Mark Feeney, and the list of films Mr. and Mrs. Rea­gan viewed from the Ronald Rea­gan Pres­i­den­tial Library.

Nixon watched sev­er­al depic­tions of hard-bit­ten heroes (and anti­heroes) tough­ing out their trou­bles: not just Pat­ton, but Bul­littTrue GritIce Sta­tion ZebraOur Man in Havana, The Trea­sure of the Sier­ra MadreSpar­ta­cus, and Lawrence of Ara­bia — with the occa­sion­al Paint Your Wag­on or Aun­tie Mame thrown in there as well. Carter hewed a bit clos­er to the over­all Amer­i­can cin­e­mat­ic zeit­geist, watch­ing such era-defin­ing films as RockyNet­workStar WarsAir­port ’77Annie HallAni­mal HouseThe Last Pic­ture ShowApoc­a­lypse Now, Alien, and 10. 

Rea­gan, famous­ly a film actor him­self, watched all sorts movies, though his list shows a cer­tain pref­er­ence for mil­i­tary-themed spec­ta­cles like Gal­lipoliInchonDas BootFire­foxRed DawnIron Eagle, and Top Gun, as well as sports pic­tures like Break­ing AwayThe Win­ning Team, and even Knute Rockne, All Amer­i­can, in which he him­self por­trayed foot­ball play­er George Gipp, a role that anoint­ed him with the nick­name that would stick until the end.

The Free­dom of Infor­ma­tion act assures us that we’ll have the chance to study the in-office view­ing habits of many pres­i­dents to come. Novak, in fact, has already put in a request for the lists from George H.W. Bush, Bill Clin­ton, and George W. Bush: “They said I can expect the list in 46 months.” Well, the wheels of gov­ern­ment do grind slow­ly, after all — we’ve learned that from the movies.

Below you can find a list of the first 10 films each pres­i­dent watched upon tak­ing office. The dif­fer­ence in their cul­tur­al sen­si­bil­i­ties imme­di­ate­ly leaps out.

Nixon (list of 528 films here):

  • The Shoes of the Fish­er­man 
  • The Sound of Music 
  • The Sand Peb­bles
  • Play Dirty 
  • Doc­tor Zhiva­go 
  • Where Eagles Dare 
  • Camelot 
  • A Man for All Sea­sons
  • May­er­ling 
  • Twist­ed Nerve

Carter (list 403 films here):

  • All the President’s Men
  • One Flew Over the Cuckoo’s Nest 
  • Net­work
  • Rocky 
  • The God­fa­ther 
  • The Mag­ic Chris­t­ian 
  • Buf­fa­lo Bill and the Indi­ans 
  • The Bad News Bears
  • The Shoo­tist 
  • Butch Cas­sidy and the Sun­dance Kid 

Rea­gan (list of 363 films here)

  • Trib­ute
  • Nine to Five
  • Black Stal­lion
  • Break­ing Away
  • Oh God, Book II
  • Tess
  • Being There
  • The Com­pe­ti­tion
  • Blood­line
  • The Mir­ror Crack­’d

Relat­ed Con­tent:

Por­traits of Vice Pres­i­dents with Octo­pus­es on Their Heads — the Ones You’ve Always Want­ed To See

Watch a Wit­ty, Grit­ty, Hard­boiled Retelling of the Famous Aaron Burr-Alexan­der Hamil­ton Duel

Pres. Oba­ma Releas­es a Free Playlist of 40 Songs for a Sum­mer Day (Plus 6 Books on His Sum­mer Read­ing List)

Lyn­don John­son Orders New Pants on the Phone and Requests More Room for His … John­son (1964)

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

A Great Compilation of “The Lick” Found in Music Everywhere: From Coltrane & Stravinsky, to Christina Aguilera

A cou­ple years ago, we brought you a post on the his­to­ry of the “Amen Break,” six sec­onds of sam­pled drums from a gospel instru­men­tal that—since sam­pling began in the 80s—has became a ubiq­ui­tous rhyth­mic ele­ment in vir­tu­al­ly every pop­u­lar genre of rhythm-based music, from hip-hop, to drum and bass, to EDM. While the tech­nol­o­gy that enabled the “Amen Break” may be unique to the dig­i­tal era, the sam­ple’s end­less iter­a­tions show us some­thing time­less about how music evolves.

Pick­ing up on Richard Dawkins’ 1976 coin­ing of the term “meme,” Susan Black­more argued in The Meme Machine that “what makes us dif­fer­ent” from oth­er ani­mals “is our abil­i­ty to imi­tate…. When you imi­tate ssome­one else, some­thing is passed on. This ‘some­thing’ can then be passed on again, and again, and so take on a life of its own.” In this the­o­ret­i­cal schema, the meme is a fun­da­men­tal unit of cul­ture, and the “Amen Break” is indeed a per­fect exam­ple of how such units guide cul­tur­al evo­lu­tion. So is anoth­er very wide­ly imi­tat­ed melod­ic ele­ment in jazz and rock and roll. Var­i­ous­ly tran­scribed as “Doo Ba Doo Pee Dwee Doo Ahh” or “Doo ba dih bee dWee doo daah” or oth­er non­sense syl­lab­ic sequences, it is just as often referred to sim­ply as “The Lick.”

Licks are, in gen­er­al, part of the stan­dard vocab­u­lary of every musi­cian. They come in all forms, writes sax­o­phon­ist, com­pos­er, and music the­o­rist Joe San­ta Maria—“Cool, Skanky, Soft, Crunchy, Salty, Dirty, Screamin’, Sul­try, Tasty”—and they get repeat­ed again and again. But there is one lick in par­tic­u­lar, as you can see and hear in the super­cut above, that—like the “Amen Break”—has man­aged to seed itself every­where. “The Lick,” it seems, “per­vades music his­to­ry.” It shows up in Stravinsky’s “Fire­bird,” Player’s “Baby Come Back,” Christi­na Aguilera’s “Get Mine, Get Yours.” Writes San­ta Maria, “Every­one from Coltrane to Ken­ny G has put this hot lick to the test.” It even has its own Face­book page, where users sub­mit exam­ple after exam­ple of appear­ances of “The Lick.”

Unlike the “Amen Break,” which can be defin­i­tive­ly traced to a sin­gle source (the B‑side of a 1969 sin­gle called “Col­or Him Father”), no one seems to know where exact­ly “The Lick” came from. At some point, its ori­gin ceased to mat­ter. While cer­tain licks are played very self-con­scious­ly, San­ta Maria admits, “to wow and mys­ti­fy,” or “entrance groupies like the pied piper,” the arche­typ­al, defin­i­tive­ly named “The Lick” seems to have worked itself so deeply into our musi­cal uncon­scious that many play­ers and com­posers like­ly have no idea they’re repro­duc­ing a musi­cal quo­ta­tion. For what­ev­er rea­son, and your guess is as good as mine, “The Lick” has become a gen­uine musi­cal meme, a “unit of imi­ta­tion” that prop­a­gates musi­cal cul­ture wher­ev­er it lands.

via Twist­ed Sifter

Relat­ed Con­tent:

The “Amen Break”: The Most Famous 6‑Second Drum Loop & How It Spawned a Sam­pling Rev­o­lu­tion

A His­to­ry of Rock ‘n’ Roll in 100 Riffs

Cab Calloway’s “Hep­ster Dic­tio­nary,” A 1939 Glos­sary of the Lin­go (the “Jive”) of the Harlem Renais­sance

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

18-Year-Old James Joyce Writes a Fan Letter to His Hero Henrik Ibsen (1901)

JamesJoyce1902

When it comes to the­o­ries of artis­tic lin­eage, few have been as influ­en­tial as Harold Bloom’s The Anx­i­ety of Influ­ence, in which the august lit­er­ary crit­ic argues, “Poet­ic Influence—when it involves two strong, authen­tic poets—always pro­ceeds by a mis­read­ing of the pri­or poet, an act of cre­ative cor­rec­tion that is actu­al­ly and nec­es­sar­i­ly a mis­in­ter­pre­ta­tion.” This kind of misreading—what Bloom calls “mis­pri­sion”—often takes place between two artists sep­a­rat­ed by vast gulfs of time and space: the influ­ence of Dante on T.S. Eliot, for exam­ple, or of Shake­speare on Her­man Melville.

When we come to a study of James Joyce (1882–1941), how­ev­er, we find the ground­break­ing mod­ernist cor­re­spond­ing direct­ly with one of his fore­most lit­er­ary heroes, Nor­we­gian play­wright Hen­rik Ibsen (1828–1906), whom Maria Popo­va calls Joyce’s “spir­i­tu­al and men­tal ances­tor.” As Bloom points out, Joyce described Ibsen’s work as being “of uni­ver­sal import.” He  extolled and defend­ed Ibsen’s then-con­tro­ver­sial work in his stu­dent days, both in a 1900 lec­ture he deliv­ered at Uni­ver­si­ty Col­lege, Dublin, and in an essay he pub­lished that same year in the Lon­don jour­nal Fort­night­ly Review. (See the young Joyce above in 1902, at 20 years of age.)

Joyce’s arti­cle, “Ibsen’s New Dra­ma,” focused on the play­wright’s lat­est, When We Dead Awak­en, and was warm­ly received by Ibsen him­self, who—through his Eng­lish trans­la­tor William Archer—described the essay as “velvil­lig,” or “benev­o­lent.” Archer con­veyed Ibsen’s sen­ti­ments in a let­ter soon after the essay’s pub­li­ca­tion, and there­after, Joyce’s essay—writes the James Joyce Cen­tre—was “no longer just a review but a review that Ibsen had read and praised.”

Thus began a three-year cor­re­spon­dence between Joyce and Archer, and a friend­ly relationship—at some remove—between Joyce and Ibsen. In 1901, on the play­wright’s 73rd birth­day, Joyce wrote a let­ter to Ibsen direct­ly. He men­tions the cir­cum­stances of the review and express­es much youth­ful admi­ra­tion, self-con­fi­dence, and grat­i­tude for Ibsen’s response. The young Joyce laments that his “imma­ture and hasty arti­cle” came to Ibsen’s atten­tion first, “rather than some­thing bet­ter,” and boasts, “I have claimed for you your right­ful place in the his­to­ry of dra­ma.”

Read the let­ter in full below, in all its exu­ber­ant ego­tism. Accord­ing to James Joyce A to Z: The Essen­tial Ref­er­ence to the Life and Work, as he matured, the nov­el­ist “drew upon Ibsen less for cre­ative encour­age­ment than for psy­cho­log­i­cal inspi­ra­tion. In Joyce’s mind, Ibsen remained the mod­el of the artist who defies con­ven­tion­al cre­ative approach­es and who remains true to the demands of an indi­vid­ual aes­thet­ic.” Whether Joyce “mis­read” and “cre­ative­ly cor­rect­ed” Ibsen is a ques­tion I leave for oth­ers. You can read many more “fan let­ters” writ­ten by oth­er famous authors to their lit­er­ary heroes—including George R.R. Mar­tin to Stan Lee, Charles Dick­ens to George Eliot, and Ray Brad­bury to Robert Heinlein—at Fla­vor­wire.

Hon­oured Sir,

I write to you to give you greet­ing on your sev­en­ty-third birth­day and to join my voice to those of your well-wish­ers in all lands. You may remem­ber that short­ly after the pub­li­ca­tion of your lat­est play ‘When We Dead Awak­en’, an appre­ci­a­tion of it appeared in one of the Eng­lish reviews — The Fort­night­ly Review — over my name. I know that you have seen it because some short time after­wards Mr. William Archer wrote to me and told me that in a let­ter he had from you some days before, you had writ­ten, ‘I have read or rather spelled out a review in the Fort­night­ly Review by Mr. James Joyce which is very benev­o­lent and for which I should great­ly like to thank the author if only I had suf­fi­cient knowl­edge of the lan­guage.’ (My own knowl­edge of your lan­guage is not, as you see, great but I trust you will be able to deci­pher my mean­ing.) I can hard­ly tell you how moved I was by your mes­sage. I am a young, a very young man, and per­haps the telling of such tricks of the nerves will make you smile. But I am sure if you go back along your own life to the time when you were an under­grad­u­ate at the Uni­ver­si­ty as I am, and if you think what it would have meant to you to have earned a word from one who held so high a place in your esteem as you hold in mine, you will under­stand my feel­ing. One thing only I regret, name­ly, that an imma­ture and hasty arti­cle should have met your eye, rather than some­thing bet­ter and wor­thi­er of your praise. There may not have been any will­ful stu­pid­i­ty in it, but tru­ly I can say no more. It may annoy you to have your work at the mer­cy of striplings but I am sure you would pre­fer even hot­head­ed­ness to nerve­less and ‘cul­tured’ para­dox­es.

What shall I say more? I have sound­ed your name defi­ant­ly through a col­lege where it was either unknown or known faint­ly and dark­ly. I have claimed for you your right­ful place in the his­to­ry of the dra­ma. I have shown what, as it seemed to me, was your high­est excel­lence — your lofty imper­son­al pow­er. Your minor claims — your satire, your tech­nique and orches­tral har­mo­ny — these, too, I advanced. Do not think me a hero-wor­ship­per. I am not so. And when I spoke of you, in debat­ing-soci­eties, and so forth, I enforced atten­tion by no futile rant­i­ng.

But we always keep the dear­est things to our­selves. I did not tell them what bound me clos­est to you. I did not say how what I could dis­cern dim­ly of your life was my pride to see, how your bat­tles inspired me — not the obvi­ous mate­r­i­al bat­tles but those that were fought and won behind your fore­head — how your will­ful res­o­lu­tion to wrest the secret from life gave me heart, and how in your absolute indif­fer­ence to pub­lic canons of art, friends and shib­bo­leths you walked in the light of inward hero­ism. And this is what I write to you of now.

Your work on earth draws to a close and you are near the silence. It is grow­ing dark for you. Many write of such things, but they do not know. You have only opened the way — though you have gone as far as you could upon it — to the end of ‘John Gabriel Bork­man’ and its spir­i­tu­al truth — for your last play stands, I take it, apart. But I am sure that high­er and holi­er enlight­en­ment lies — onward.

As one of the young gen­er­a­tion for whom you have spo­ken I give you greet­ing — not humbly, because I am obscure and you in the glare, not sad­ly because you are an old man and I a young man, not pre­sump­tu­ous­ly, nor sen­ti­men­tal­ly — but joy­ful­ly, with hope and with love, I give you greet­ing.

Faith­ful­ly yours,

James A. Joyce

via Fla­vor­wire

Relat­ed Con­tent:

James Joyce Reads From Ulysses and Finnegans Wake In His Only Two Record­ings (1924/1929)

James Joyce’s “Dirty Let­ters” to His Wife (1909)

The Very First Reviews of James Joyce’s Ulysses: “A Work of High Genius” (1922)

Vir­ginia Woolf Writes About Joyce’s Ulysses, “Nev­er Did Any Book So Bore Me,” and Quits at Page 200

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

Columbia U. Launches a Free Multimedia Glossary for Studying Cinema & Filmmaking

Columbia Film Language Glossary

You can find no short­age of clas­sic films to watch on Open Cul­ture. (See our col­lec­tion: 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.) But what we haven’t giv­en you is a toolk­it for engag­ing in a more for­mal study of these films. Enter The Colum­bia Film Lan­guage Glos­sary, devel­oped at the Cen­ter for New Media Teach­ing and Learn­ing at Colum­bia Uni­ver­si­ty.

The free/open resource uses a com­bi­na­tion of text, film clips, and audio com­men­tary to explain terms essen­tial to the study of film — words like Cin­e­ma Ver­itéMon­tage, and Mise-en-Scène. And it also defines a lot of nuts-and-bolts con­cepts like Aspect RatioHigh-Angle Shot and Long Take.

The Colum­bia Film Lan­guage Glos­sary “is avail­able to any stu­dent of film. Def­i­n­i­tions and audio com­men­tary are writ­ten and nar­rat­ed by fac­ul­ty at Colum­bia Uni­ver­si­ty.” You can dive in right now, right here.

h/t Peter Kauf­man

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:

A Visu­al Intro­duc­tion to Sovi­et Mon­tage The­o­ry: A Rev­o­lu­tion in Film­mak­ing

Hitch­cock on the Filmmaker’s Essen­tial Tool: The Kuleshov Effect

Alfred Hitchcock’s Sev­en-Minute Edit­ing Mas­ter Class

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The Solar System Drawn Amazingly to Scale Across 7 Miles of Nevada’s Black Rock Desert


Wylie Over­street and Alex Gorosh set out to cre­ate some­thing you’ve nev­er seen before — our solar sys­tem drawn to actu­al scale. For­get what you’ve seen in books, or on web sites. To depict things accu­rate­ly, you need a big­ger sur­face. A real­ly large can­vas. Like a sev­en-mile expanse in Nevada’s Black Rock Desert (which oth­er­wise hosts The Burn­ing Man Fes­ti­val). It’s on this dry lakebed that Over­street and Gorosh built “the first scale mod­el of the solar sys­tem with com­plete plan­e­tary orbits” and it’s a sight to behold. Cre­ative, indus­tri­ous, and hum­bling. Enjoy.

Fol­low us on Face­book, Twit­ter, Google Plus and LinkedIn and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly emailAnd if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Relat­ed Con­tent:

Free Online Astron­o­my Cours­es

Mag­ni­fy­ing the Uni­verse: Move From Atoms to Galax­ies in HD

Carl Sagan, Stephen Hawk­ing & Arthur C. Clarke Dis­cuss God, the Uni­verse, and Every­thing Else

Lawrence Krauss Explains How You Get ‘A Uni­verse From Noth­ing’

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