New Web Site, “The Opera Platform,” Lets You Watch La Traviata and Other First-Class Operas Free Online

la traviata
Click the image above to watch Verdi’s La Travi­a­ta.

Opera has always had its appre­ci­a­tors, and fer­vent ones at that, but in recent decades the form has had to extend its appeal beyond its inner cir­cle of die-hard fans. Some of these efforts, such as the Met­ro­pol­i­tan Oper­a’s high-def­i­n­i­tion broad­casts to movie the­aters around the world, have proven sur­pris­ing­ly suc­cess­ful, encour­ag­ing the low­er­ing of oper­a’s bar­ri­er to entry. Now, thanks to a site called The Opera Plat­form, you don’t have to go to a the­ater of any kind; you can watch full-length per­for­mances any­where with an inter­net con­nec­tion.

In order to pro­mote itself as “the online des­ti­na­tion for the pro­mo­tion and enjoy­ment of opera” designed to “appeal equal­ly to those who already love opera and to those who may be tempt­ed to try it for the first time,” The Opera Plat­form offers one “show­case opera” per month, view­able free, in full, with sub­ti­tles avail­able in six dif­fer­ent lan­guages. It also pro­vides a host of sup­ple­men­tary mate­ri­als, includ­ing doc­u­men­tary and his­tor­i­cal mate­ri­als that put the mon­th’s fea­tured opera in con­text.

The Opera Plat­form is a part­ner­ship between Opera Europa, which rep­re­sents opera com­pa­nies and fes­ti­vals; Arte, the Fran­co-Ger­man cul­tur­al broad­cast­ing chan­nel, and the par­tic­i­pat­ing opera com­pa­nies,” writes the New York Times’ Michael Coop­er. “It has a $4.5 mil­lion bud­get,” Reuters report­ed, “with about half com­ing from the Euro­pean Union’s cul­tur­al bud­get.” So the site cer­tain­ly has its resources in order, but what of its con­tent?

The Opera Plat­form has come strong out of that par­tic­u­lar gate with Verdi’s La Travi­a­ta, pro­duced at Madrid’s Teatro Real, which you can watch for free until August 11. This tale of “the short and hec­tic life and trag­ic death of a high-soci­ety cour­te­san in 19th cen­tu­ry Paris,” as the site’s notes put it, comes told through Verdi’s “music of pro­found human­i­ty” and the stag­ing of famed Scot­tish opera direc­tor David McVicar, “who, with his usu­al ele­gance, sets the dra­ma in a world of roman­tic ref­er­ences while retain­ing an up-to-date per­spec­tive.”

Opera-lovers of pre­vi­ous gen­er­a­tions could scarce­ly have imag­ined that tech­nol­o­gy would bring this degree of view­ing con­ve­nience to their art form of choice. And now that The Opera Plat­form has got up and run­ning, would-be opera-lovers have no excuse not to get into it, in the com­fort of their own homes or any­where else. And if you want to have some pop­corn while you watch, go for it — nobody’s going to shake their opera glass­es at you.

Relat­ed Con­tent:

Stephen Fry Hosts “The Sci­ence of Opera,” a Dis­cus­sion of How Music Moves Us Phys­i­cal­ly to Tears

J.S. Bach’s Com­ic Opera, “The Cof­fee Can­ta­ta,” Sings the Prais­es of the Great Stim­u­lat­ing Drink (1735)

Lud­wig Wittgenstein’s Trac­ta­tus Gets Adapt­ed Into an Avant-Garde Com­ic Opera

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­maFol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Twin Beaks, Sesame Street’s Parody of David Lynch’s Iconic TV Show (1990)

Who killed Lau­ra Palmer?

If the answer comes unbid­den to your lips, you’re no doubt old enough to have spent much of 1990 glued to Twin Peaks, cult direc­tor David Lynch’s supreme­ly creepy series. (Note: US-based view­ers can watch the show for free on Hulu.)

The name prob­a­bly won’t mean much to those who entered the noughties with a wob­bly tod­dle, and why would it?  Mur­der vic­tim Palmer may have dri­ven the orig­i­nal series, but she did­n’t rank so much as a men­tion in Sesame Street’s 1991 par­o­dy, Twin Beaks, above.

The Mup­pets also steered clear of Sher­i­lyn Fenn’s teen vix­en cher­ry stem trick

No Lynchi­an dream sequences

No one armed men

No scary owls

What teth­ers this G‑rated kid­die ver­sion to the orig­i­nal, you may ask?

Hint: it car­ries a log.

Of course! The log lady is a sta­ple of Twin Peaks par­o­dies, show­ing up every­where from a Sat­ur­day Night Live skit star­ring Twin Peaks’ Spe­cial Agent Dale Coop­er (Kyle MacLach­lan) to a 2.5 minute Lego homage that man­ages to pre­serve the sex, the vio­lence, and seem­ing­ly all of the char­ac­ters.

The Cook­ie Monster’s Spe­cial Agent Cook­ie does eat some “darn” fine pie, but ulti­mate­ly, his fix­a­tion on why the town was named “Twin Beaks” is far less com­pelling than his take on Mon­ster­piece Theatre’s host Alis­tair Cooke.

Mas­ter­piece Theatre’s icon­ic pre­sen­ter has proved even more irre­sistible to par­o­dists than the Log Lady.

(In Sesame Street’s case, it worked. There are 35 more Mon­ster­pieces, includ­ing num­ber-cen­tric spoofs of The 400 Blows and (gulp) The Post­man Always Rings Twice.)

Relat­ed Con­tent:

Mon­ster­piece The­ater Presents Wait­ing for Elmo, Calls BS on Samuel Beck­ett

Watch Jazzy Spies: 1969 Psy­che­del­ic Sesame Street Ani­ma­tion, Fea­tur­ing Grace Slick, Teach­es Kids to Count

Watch The Sur­re­al 1960s Films and Com­mer­cials of Jim Hen­son

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

A Vintage Wine Course (UC Davis, 1973)

Rum­mage through our col­lec­tion of 1700 Free Online Cours­es, and you’ll find many recent­ly-record­ed cours­es from great uni­ver­si­ties, cov­er­ing top­ics like “How Han­ni­bal Crossed the Alps,” “Exis­ten­tial­ism in Lit­er­a­ture & Film,” and “Intro­duc­tion to Com­put­er Cod­ing.” But you’ll also find on our list of Free Online Cours­es some vin­tage lec­tures record­ed dur­ing gen­er­a­tions past.

Take for exam­ple Wal­ter Kauf­man­n’s Clas­sic Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960), which sit nice­ly along­side Michel Fou­cault’s UC Berke­ley Lec­tures on Truth, Dis­course & The Self (cir­ca 1980). Or per­haps even Leo Strauss’ numer­ous polit­i­cal phi­los­o­phy cours­es record­ed at The Uni­ver­si­ty of Chica­go between 1959 and 1973. You can also dig into “Quan­tum Physics Made Rel­a­tive­ly Sim­ple,” a Mini Course from Nobel Prize-Win­ning Physi­cist Hans Bethe. Endear­ing­ly, Bethe pre­sent­ed the course at a retire­ment home in 1999 when he, him­self, was pret­ty long in the tooth.

Then, above, you can watch, UC Davis Pro­fes­sor May­nard Amer­ine present a course on Wine (YouTubeiTunes). It’s a vin­tage 1973.

Cal­i­for­nia is wine coun­try, and the place to study wine there is UC Davis. As for Pro­fes­sor Amer­ine, he was wide­ly con­sid­ered “the father of Amer­i­can wine,” an influ­en­tial sci­en­tist who taught gen­er­a­tions of wine­mak­ers and stu­dents how to eval­u­ate wine accord­ing to appear­ance, fla­vor and aro­ma. As he lec­tures on Cal­i­forn­ian, Ital­ian, and French wines, you can almost see the US com­ing into its own as a respectable wine-drink­ing, wine-pro­duc­ing nation.

Find Pro­fes­sor Amer­ine’s “Wine” course in our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

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:

Harvard’s Free Com­put­er Sci­ence Course Teach­es You to Code in 12 Weeks

Take First-Class Phi­los­o­phy Cours­es Any­where with Free Oxford Pod­casts

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

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Charles Mingus’ Sigmund Freud-Inspired Song Dedicated to Mothers Everywhere (1961)

“All the Things You Could Be by Now If Sig­mund Freud’s Wife Was Your Moth­er” appeared on Charles Min­gus Presents Charles Min­gus (1961). And it begins with this cryp­tic, hard-to-deci­pher ded­i­ca­tion to moth­ers every­where:

And now, ladies and gen­tle­man, you have been such a won­der­ful audi­ence. We have a spe­cial treat in store for you. This is a com­po­si­tion ded­i­cat­ed to all moth­ers. And it’s titled “All The Things You Could Be By Now If Sig­mund Freud’s Wife Was Your Moth­er.” Which means if Sig­mund Freud’s wife was your moth­er, all the things you could be by now. Which means noth­ing, you got it? Thank you.

Or was that a cryp­tic, hard-to-deci­pher non-ded­i­ca­tion to moth­ers every­where? With Min­gus, you nev­er can tell.

Round­ing out Min­gus’ quar­tet is Ted Cur­son on trum­pet, Eric Dol­phy on alto sax­o­phone and bass clar­inet, and Dan­nie Rich­mond on drums.

h/t Peter Kauf­man

Relat­ed Con­tent:

Charles Min­gus’ Instruc­tions For Toi­let Train­ing Your Cat, Read by The Wire’s Reg E. Cathey

Charles Min­gus Explains in His Gram­my-Win­ning Essay “What is a Jazz Com­pos­er?”

Charles Min­gus and His Evic­tion From His New York City Loft, Cap­tured in Mov­ing 1968 Film

Clas­sic Charles Min­gus Per­for­mance on Bel­gian Tele­vi­sion, 1964

Prince’s New Protest Song “Baltimore” Now Streaming Online

As the protests in Bal­ti­more unfold­ed, Prince sat at his key­board at Pais­ley Park’s sound­stage in Min­neso­ta and start­ed pen­ning a peace­ful protest song, which just hit the web this morn­ing. Click play and pon­der the lyrics below. Then get the back­sto­ry on the writ­ing of “Bal­ti­more” at MyFox­TwinCi­ties.

BALTIMORE
lyrics by Prince
NPG RECORDS, copy­right 2015

NOBODY GOT IN NOBODY’S WAY
SO EYE GUESS U COULD SAY
IT WAS A GOOD DAY
AT LEAST A LITTLE BETTER THAN THE DAY IN BALTIMORE

DOES ANYBODY HEAR US PRAY?
4 MICHAEL BROWN OR FREDDIE GRAY PEACE IS MORE THAN THE ABSENCE OF WAR
ABSENCE OF WAR

R WE GONNA C ANOTHER BLOODY DAY?
WE’RE TIRED OF CRYIN’ & PEOPLE DYIN’
LET’S TAKE ALL THE GUNS AWAY

ABSENCE OF WAR- U AND ME
MAYBE WE CAN FINALLY SAY
ENUFF IS ENUFF IT’S TIME 4 LOVE

IT’S TIME 2 HEAR,
IT’S TIME 2 HEAR

THE GUITAR PLAY! (gui­tar solo)

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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Music for a String Quartet Made from Global Warming Data: Hear “Planetary Bands, Warming World”

In 2013, we fea­tured Daniel Craw­ford, an under­grad at the Uni­ver­si­ty of Min­neso­ta, play­ing “A Song of Our Warm­ing Plan­et” on his cel­lo. The song, pro­duced in col­lab­o­ra­tion with geog­ra­phy pro­fes­sor Scott St. George, was cre­at­ed using a method called “data soni­fi­ca­tion,” which con­verts glob­al tem­per­a­ture records into a series of musi­cal notes. (More on that here.)

Now, two years lat­er, we have a brand new video by Craw­ford and St. George. This one is a com­po­si­tion for a string quar­tet called “Plan­e­tary Bands, Warm­ing World,” and it’s based on tem­per­a­ture data gath­ered over time by NASA’s God­dard Insti­tute for Space Stud­ies. As Craw­ford explains in the video, “Each instru­ment rep­re­sents a spe­cif­ic part of the North­ern Hemi­sphere. The cel­lo match­es the tem­per­a­ture of the equa­to­r­i­al zone. The vio­la tracks the mid lat­i­tudes. The two vio­lins sep­a­rate­ly fol­low tem­per­a­tures in the high lat­i­tudes and in the arc­tic.” Each note’s pitch “is tuned to the aver­age annu­al tem­per­a­ture in each region, so low notes rep­re­sent cold years and high notes rep­re­sent warm years.” As you lis­ten, keep in mind one obser­va­tion made by Prof. St. George says. “Lis­ten­ing to the vio­lin climb almost the entire range of the instru­ment is incred­i­bly effec­tive at illus­trat­ing the mag­ni­tude of change — par­tic­u­lar­ly in the Arc­tic which has warmed more than any oth­er part of the plan­et.” The time peri­od cov­ered here moves from 1880 to present.

Relat­ed Con­tent:

A Song of Our Warm­ing Plan­et: Cel­list Turns 130 Years of Cli­mate Change Data into Music

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

132 Years of Glob­al Warm­ing Visu­al­ized in 26 Dra­mat­i­cal­ly Ani­mat­ed Sec­onds

How Cli­mate Change Is Threat­en­ing Your Dai­ly Cup of Cof­fee

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Learn to Play Guitar for Free: Intro Courses Take You From The Very Basics to Playing Songs In No Time

Like many peo­ple of my gen­er­a­tion, I got my first elec­tric gui­tar as a teenage birth­day gift, took a few lessons and learned a few chords, and imme­di­ate­ly start­ed a band that bashed out angry punk rock at break­neck speeds. Some of my favorite bands made it seem acces­si­ble, and I didn’t have much patience for real musi­cal train­ing on the instru­ment any­way. Though I’d played brass and strings in school, the gui­tar had an entire­ly dif­fer­ent mojo. It stood alone, even in a group—primal, wild, and uncom­pli­cat­ed; as Radio­head once observed, any­one can play it.

Well, any­one can play it bad­ly. There wasn’t nec­es­sar­i­ly any­thing wrong with the way I learned—it was great fun. But as my musi­cal tastes broad­ened, so did my desire to play dif­fer­ent styles, and years of play­ing with lit­tle for­mal train­ing meant I had to un- and re-learn a lot of tech­nique, no easy feat with­out access to a good teacher. Pri­vate instruc­tion, how­ev­er, can be cost­ly and good teach­ers dif­fi­cult to come by. Pre-Youtube, that is. These days, any­one can learn to play gui­tar, from scratch, the right (fun) way, and the wrong (also fun) way, with great teach­ers, innu­mer­able online mini-tuto­ri­als, and some very thor­ough begin­ner lessons.

We’ve high­light­ed a few celebri­ty lessons here and there, and as far as they go, they’re great ways to pick up some tricks from your favorite musi­cians. But while peo­ple like Paul McCart­ney and Bri­an May don’t have a whole lot of time on their hands to make free gui­tar videos, a num­ber of high qual­i­ty teach­ers do, at least as pro­mo­tion­al tools for pay­ing gigs. At the top of the post, an instruc­tor named Ravi presents the first ten lessons of his 21-day begin­ner course, offered on True­fire, an online gui­tar course ser­vice fea­tur­ing for-pay lessons from such greats as Frank Vig­no­la, David Gris­som, and Dweezil Zap­pa.

This hour-long video func­tions in and of itself as a com­plete intro­duc­to­ry course that’ll def­i­nite­ly get you start­ed on the instru­ment. To fur­ther help you get the basics down, you can spend hours work­ing through the oth­er free videos here, a “quick start” series offered by Guitarlessons.com and taught by an instruc­tor named Nate Sav­age. These short videos take you from rudi­ments like “How to Strum on a Gui­tar” and “8 Gui­tar Chords You Must Know” to the slight­ly more sophis­ti­cat­ed but still begin­ner-wor­thy “Dom­i­nant 7th Blues Chords.” You’ll learn scales and pow­er chords, the bricks and mor­tar of lead and rhythm play­ing. You’ll even get a cor­rec­tive like “7 Mis­takes Gui­tar Play­ers Make,” if, like me, you learned a few things the wrong way, on pur­pose or oth­er­wise.

Of course mis­takes are a nec­es­sary part of learn­ing, and often the keys to inno­va­tion, so don’t be afraid to make ‘em. But with so much qual­i­ty, free gui­tar instruc­tion online, you can also learn tech­niques that will set you up for suc­cess in a vari­ety of dif­fer­ent styles. Above, you can watch Justin­Gui­tar’s much-praised videos, which will give you a mul­ti­part intro­duc­tion to play­ing blues gui­tar. The key, as with any skill, is prac­tice.

And per the sug­ges­tion of our edi­tor, we’re also giv­ing a men­tion to Gui­tar Jamz, which fea­tures tons of instruc­tion­al videos that will show you how to play clas­sic songs. In fact, you can find a playlist of 182 easy acoustic songs for begin­ners right above.

As anoth­er, very patient instructor—the host of series “Met­al Method”—explains, “learn­ing gui­tar doesn’t need to be com­pli­cat­ed. You don’t need to under­stand how an inter­nal com­bus­tion engine works to dri­ve a car, and you don’t need to under­stand com­plex music the­o­ry to become an incred­i­ble gui­tarist.” So get to work, gui­tarists out there, begin­ners and life­long stu­dents. And please share with us your favorite free online gui­tar resources in the com­ments.

Relat­ed Con­tent:

The Sto­ry of the Gui­tar: The Com­plete Three-Part Doc­u­men­tary

Oxford Sci­en­tist Explains the Physics of Play­ing Elec­tric Gui­tar Solos

The Evo­lu­tion of the Rock Gui­tar Solo: 28 Solos, Span­ning 50 Years, Played in 6 Fun Min­utes

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

Hear Thomas Edison’s Creepy Talking Dolls: An Invention That Scared Kids & Flopped on the Market

Edison doll

When study­ing his­to­ry’s most famous cre­ators, we must nev­er for­get that they always pro­duced fail­ures as well as suc­cess­es, and often fail­ures as impres­sive as their suc­cess­es. Take Thomas Edi­son, wide­ly regard­ed as the great Amer­i­can inven­tor for his work on the light bulb, the movie cam­era, and the phono­graph. We all know about those achieve­ments, all of which shaped tech­nolo­gies which went on to near-uni­ver­sal use, but have you heard of Edis­on’s still-pio­neer­ing but rather less well-known work in the field of talk­ing dolls?

Many of us in the past few gen­er­a­tions grew up with talk­ing dolls of one kind or anoth­er. But had we been chil­dren in 1890, we might have grown up with the very first talk­ing dolls, for which Edi­son designed an inter­nal mech­a­nism that played one of sev­er­al wax cylin­ders pre-record­ed with var­i­ous child-ori­ent­ed songs, prayers, and nurs­ery rhymes. Or rather, we might have grown up with them if we came from wealthy fam­i­lies: they cost between $10 and $20 in 1890 dol­lars, or up to $526 in today’s dol­lars.

And even at that price, Edis­on’s talk­ing dolls pro­vid­ed not just the low­est of lo-fi lis­ten­ing expe­ri­ences, but resound­ing­ly creepy ones at that. “The pub­lic react­ed as one does when con­front­ed with a grandmother’s mas­sive doll col­lec­tion: You avert­ed your eyes in fear,” writes PBS’ Joshua Bara­jas. “After six weeks into pro­duc­tion, the dolls were deemed too scary and pulled from the mar­ket, the New York Times report­ed.”

Edison dollad

But now, thanks to opti­cal audio-scan­ning tech­nol­o­gy unimag­in­able in Edis­on’s day, we can hear the dolls’ ren­di­tions of “Twin­kle, Twin­kle, Lit­tle Star,” “Hick­o­ry, Dick­o­ry, Dock,” and — most eeri­ly of all — “Now I Lay Me Down to Sleep” just as the chil­dren of 1890 would have heard them. But even this seri­ous­ly wrong­head­ed-seem­ing prod­uct paved the way for not just the less dis­turb­ing Fur­bys and Ted­dy Rux­pins of more recent child­hoods, but, giv­en its unprece­dent­ed use of auto record­ings made for enter­tain­ment pur­pos­es, the entire record indus­try — and, of course, the minor but robust sub­genre of talk­ing-doll hor­ror movies.

via PBS News Hour

Relat­ed Con­tent:

Thomas Edi­son and Niko­la Tes­la Face Off in “Epic Rap Bat­tles of His­to­ry”

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

Thomas Edi­son & His Trusty Kine­to­scope Cre­ate the First Movie Filmed In The US (c. 1889)

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­maFol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch the Pilot of Orson Welles’ Never-Aired Talk Show, Starring the Muppets (1979)

The Hen­son Rar­i­ties site on YouTube keeps giv­ing and giv­ing. Not only has it giv­en us access to some of Jim Henson’s ear­li­est (and delight­ful­ly vio­lent) com­mer­cials, but it has dis­cov­ered this: a pilot of The Orson Welles Show from 1979. The show was nev­er aired, and you might be able to dis­cern why from check­ing it out.

It’s the height of ‘70s excess with wide col­lars, poly­ester shirts, var­i­ous forms of pre-show indul­gences, and it’s all under­lit like a night­club, not a talk show set. Orson Welles doesn’t inter­view his first guest Burt Reynolds, but instead imme­di­ate­ly throws the ques­tions to the audi­ence, turn­ing the first half of the show into an ur-Actors Stu­dio episode. (An eagle eyed YouTube com­men­ta­tor points out a young–but unver­i­fied–Joe Dante in the audi­ence.) And the entire show has the feel­ing of very, very rough footage saved by edit­ing and heap­ing on table­spoons of canned laugh­ter.

Even­tu­al­ly Welles intro­duces “a lit­tle com­pa­ny of cloth head­ed come­di­ans” that was already in its third sea­son of the Mup­pet Show and about to pre­miere its first movie. (That first Mup­pet Movie, by the way, fea­tures Welles near the end as a movie exec­u­tive.)

Welles, who calls him­self a magi­cian more often than a direc­tor in this episode, no doubt loves the mag­ic behind the Mup­pets. Even when the lights are ful­ly upon Hen­son and his frog pup­pet, we nev­er ques­tion that Ker­mit is not real. In the 50th minute, Welles intro­duces both Hen­son (“pic­ture Rasputin as an Eagle Scout” says the direc­tor) and Frank Oz (“A man who tru­ly fits his name.”)

The show peters out with a mag­ic trick, an appear­ance by Ang­ie Dick­in­son (more tricks!) and a final Welles monolog, who reads Jen­ny Kissed Me by James Leigh Hunt. Like the poem, there’s a shad­ow of maudlin mor­tal­i­ty hang­ing over all of Welles’ lines through­out the show. Six years lat­er Welles would pass away with his final movie unfin­ished, still wait­ing for the cash that he hoped pro­grams like The Orson Welles Show would bring.

via @KirstinButler

Relat­ed Con­tent:

Hear Orson Welles Read Edgar Allan Poe on a Cult Clas­sic Album by The Alan Par­sons Project

Future Shock: Orson Welles Nar­rates a 1972 Film About the Per­ils of Tech­no­log­i­cal Change

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

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

What’s It Like to Fight in 15th Century Armor?: A Surprising Demonstration

Above, Le Musée Nation­al du Moyen-Âge (oth­er­wise known as The Nation­al Muse­um of the Mid­dle Ages) and The Uni­ver­si­ty of Gene­va recre­ate fight scenes from the 15th cen­tu­ry, demon­strat­ing the move­ments and tech­niques of com­bat­ants who clanked around in full suits of armor. If you’re like me, you’re watch­ing with sur­prise — sur­prised by their agili­ty and dex­ter­i­ty. Was­n’t quite expect­ing that!

If you don’t read French, it’s worth not­ing that the video starts with a demon­stra­tion of mobil­i­ty, then explores medieval fight­ing tech­niques, from stab­bing an oppo­nent right between the eyes, to strik­ing a mor­tal blow on the ground.  The video was brought to the web by Le Figaro.

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Relat­ed Con­tent:

Dante’s Divine Com­e­dy Illus­trat­ed in a Remark­able Illu­mi­nat­ed Medieval Man­u­script (c. 1450)

Yoda’s Long Lost Twin Found in a 14th Cen­tu­ry Illu­mi­nat­ed Man­u­script

Won­der­ful­ly Weird & Inge­nious Medieval Books

See The Guidon­ian Hand, the Medieval Sys­tem for Read­ing Music, Get Brought Back to Life

140 Free Online His­to­ry Cours­es

Hear James Joyce’s Finnegans Wake Read Aloud & Set to Music: 31 Hours of Free Unabridged Audio

Wake-Berry
James Joyce’s final and most dif­fi­cult nov­el Finnegans Wake unlocks a lot of its secrets when read aloud, prefer­ably in an Irish accent. In this way, Joyce’s mul­ti­lay­ered word­play makes sense aural­ly even if all the mean­ing might not be appar­ent on paper. (His broth­er, Stanis­laus, called it “the work of a psy­chopath.”)

An audio­book ver­sion would be good—-and there is one by Patrick Healy from 1992 (lis­ten online) —but one with music would be much bet­ter. This month, Way­words and Mean­signs, a project co-found­ed by Derek Pyle, has released its ver­sion of the nov­el with each of its 17 chap­ters per­formed by a dif­fer­ent group of musi­cians and read­ers. The full text is rep­re­sent­ed here in a stag­ger­ing 30+ hours. (You can read along here.)

“Our hope was to cre­ate a ver­sion of Joyce’s book that would be acces­si­ble to new­com­ers, but still feel fresh and excit­ing for devot­ed stu­dents and schol­ars,” says Pyle.

As with all com­pi­la­tion albums, some tracks are bet­ter than oth­ers. Mar­i­ana Lanari & Sjo­erd Leijten’s open­ing chap­ter chops and cuts var­i­ous voic­es togeth­er with a hyp­not­ic elec­tron­ic back­ing, recre­at­ing the con­fu­sion of those open­ing pages and the bar­rage of influ­ences and voic­es. They also per­form the final chap­ter. (Lanari is part of the Rong­Wrong Finnegans Wake Read­ing Group in Ams­ter­dam.) Peter Quadri­no, Jake Read­ing & Evan James take on Book 3, Chap­ter 3, with a mix of faux-Tom Waits and Mar­tin Den­ny pro­vid­ing the back­drop. (Quadri­no is leader of the Finnegans Wake Read­ing Group of Austin, Texas) The jazz­i­er the back­drop, by the by, does reveal Joyce’s con­nec­tion to the Beat poets. Oth­er tracks are dry and more straight-for­ward: face it, not every­body has the most beau­ti­ful read­ing voice. It is def­i­nite­ly a labor of love, and reveals how many FW read­ing groups there are around the globe.

Oth­er artists involved in the project include sax­o­phon­ist Hay­den Chisholm, and painter Robert Amos, whose work you can find at the James Joyce Bistro in Vic­to­ria, British Colum­bia.

Way­words and Mean­signs have released the full project on Archive.org under a Cre­ative Com­mons license. (Stream above or down­load all of the files here.) Those who read this and feel they’ve missed out on the cre­ativ­i­ty of tack­ling Finnegans Wake, don’t wor­ry. The web­site is tak­ing sub­mis­sions for a sec­ond edi­tion.

Relat­ed con­tent:

James Joyce, With His Eye­sight Fail­ing, Draws a Sketch of Leopold Bloom (1926)

F. Scott Fitzger­ald Has a Strange Din­ner with James Joyce & Draws a Cute Sketch of It (1928)

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

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.


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