The Story of Francis Ford Coppola’s Four-Decade-Struggle to Make Megalopolis

in Film | October 10th, 2024

This past sum­mer, out came a trail­er for Mega­lopo­lis, the movie Fran­cis Ford Cop­po­la has spent half of his life try­ing to make. It took the bold approach of open­ing with quotes from reviews of his pre­vi­ous pic­tures, and not pos­i­tive ones: when it was first released, Rex Reed called Apoc­a­lypse Now “an epic piece of trash,” and even The God­fa­ther was “dimin­ished by its artsi­ness,” at least accord­ing to Pauline Kael. But film-crit­i­cism enthu­si­asts smelled some­thing fishy right away, and it took only the barest degree of research to dis­cov­er that not only had Reed and Kael (who liked The God­fa­ther, as did most every­one else) nev­er used those phras­es, none of the quotes in the trail­er were real.

All this evi­dence of crit­ics per­pet­u­al­ly fail­ing to grasp Cop­po­la’s visions seems to have been fab­ri­cat­ed with an arti­fi­cial-intel­li­gence sys­tem. This was a piece of bad press Mega­lopo­lis could’ve done with­out, sto­ries of its trou­bled pro­duc­tion hav­ing been cir­cu­lat­ing for months. But then, Cop­po­la has endured much worse in his long film­mak­ing career, like the hell­ish, enor­mous­ly pro­longed shoot­ing of Apoc­a­lypse Now, or the fire-sale of Zoetrope, the stu­dio he found­ed, after the box-office dis­as­ter of One From the Heart. That he was able to get Mega­lopo­lis into pro­duc­tion, let alone com­plete it, counts as some­thing of a tri­umph in itself.

The Be Kind Rewind video above recounts the sto­ry behind Mega­lopo­lis, in essence “a sto­ry about Cop­po­la him­self, informed by his own ambi­tions, set­backs, times of for­tune, and times of loss.” When he com­plet­ed the first full draft of the script in 1984, he could have had no idea of what lay in store for the project in the decades ahead, not least its numer­ous derail­ments by his own per­son­al and pro­fes­sion­al crises as well as large-scale dis­as­ters like 9/11 and COVID-19. The result, at a cost of $120 mil­lion Cop­po­la raised by sell­ing off part of his win­ery, is a spec­ta­cle that med­i­tates on civ­i­liza­tion, moder­ni­ty, and utopia that, even this ear­ly in its release, has drawn reac­tions of aston­ish­ment, deri­sion, and — most com­mon­ly — flat-out mys­ti­fi­ca­tion.

The film “alter­nates grandiose rhetoric about gov­ern­ment and the mod­ern city with bor­der­line screw­ball com­e­dy, quotes Mar­cus Aure­lius and oth­er ancient thinkers, papers over sto­ry gaps with sonorous nar­ra­tion by cast mem­ber Lau­rence Fish­burne, and fills the screen with super­im­po­si­tions, split-screen mosaics, and images that aren’t meant to be tak­en lit­er­al­ly,” writes Rogerebert.com’s Matt Zoller-Seitz. “Movies like this only seem ‘indul­gent’ because we’re so deep into the era where every­thing has to be unmit­i­gat­ed fan ser­vice, the cin­e­mat­ic equiv­a­lent of cook­ing the Whop­per exact­ly how the cus­tomer dreamed about order­ing it.” Mega­lopo­lis is, in Be Kind Rewind’s final analy­sis, “the apoth­e­o­sis of auteurism, unre­strained spec­ta­cle that ampli­fies Cop­po­la’s best and worst instincts on a mas­sive scale.” Per­son­al­ly, I can’t wait to see it.

Relat­ed con­tent:

Fran­cis Ford Cop­po­la Breaks Down His Most Icon­ic Films: The God­fa­ther, Apoc­a­lypse Now & More

Fran­cis Ford Coppola’s Hand­writ­ten Cast­ing Notes for The God­fa­ther

George Lucas Shoots a Cin­e­ma Ver­ité-Style Doc­u­men­tary on Fran­cis Ford Cop­po­la (1969)

Demen­tia 13: The Film That Took Fran­cis Ford Cop­po­la From Schlock­ster to Auteur

Is Amer­i­ca Declin­ing Like Ancient Rome?

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

The Doctor Who Theme Reimagined as a Jacques Brel-esque Jazz Tune

in Comedy, Music | October 9th, 2024

Writ­ten by Ron Grain­er, and then famous­ly arranged and record­ed by Delia Der­byshire in 1963, the Doc­tor Who theme song has been adapt­ed and cov­ered many times, and even ref­er­enced by Pink Floyd. In the hands of come­di­an Bill Bai­ley, the song comes out a lit­tle differently–a lit­tle like a Bel­gian Jacques Brel-esque jazz cre­ation. This record­ing of “Doc­teur Qui” appar­ent­ly comes from the DVD Bill Bai­ley’s Remark­able Guide to the Orches­tra. Enjoy…

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 

The Fas­ci­nat­ing Sto­ry of How Delia Der­byshire Cre­at­ed the Orig­i­nal Doc­tor Who Theme

Two Doc­u­men­taries Intro­duce Delia Der­byshire, the Pio­neer in Elec­tron­ic Music

How Doc­tor Who First Start­ed as a Fam­i­ly Edu­ca­tion­al TV Pro­gram (1963)

A Detailed, Track-by-Track Analy­sis of the Doc­tor Who Theme Music

Twin Peaks Actually Explained: A 4‑Hour Video Essay Demystifies It All

in Film | October 8th, 2024

I don’t know about you, but my YouTube algo­rithms can act like a nag­ging friend, sug­gest­ing a video for days until I final­ly give in. Such was the case with this video essay with the tan­ta­liz­ing title: “Twin Peaks ACTUALLY EXPLAINED (No, Real­ly)”.

First of all, before, dur­ing, and after 2017’s Twin Peaks The Return, the­o­ries were as inescapable as the cat memes on the Twin Peaks Face­book groups. After the mind-blow­ing Episode 8, they went into over­drive, includ­ing the bonkers idea that the final two episodes were meant to be watched *over­laid* on each oth­er. And I high­light­ed one in-depth jour­ney through the entire three decades of the Lynch/Frost cul­tur­al event for this very site.

So when I final­ly clicked on the link I balked imme­di­ate­ly: Four and a half hours? Are you kid­ding me? (You might be say­ing the very thing to your­self now.) But just like the nar­ra­tor says, bear with me. Over the week, I watched the entire thing in 30-minute seg­ments, not because it was gru­el­ing, but because time is pre­cious and there is a lot to chew over. By the end, I was rec­om­mend­ing the video to friends only to find some of them were already deep inside Twin Perfect’s analy­sis.

So here we are, with me high­ly encour­ag­ing you to invest the time (pro­vid­ing you have watched all three sea­sons of Twin Peaks and Fire Walk With Me), but also not want­i­ng to ruin some of Twin Perfect’s the­o­ries, which he lays out like a pros­e­cu­tor, walk­ing us through a gen­er­al the­o­ry of Lynch.

How­ev­er, I will make a few points:

• In 2019, we post­ed a video in which Lynch explains both the Uni­fied Field The­o­ry and Tran­scen­den­tal Med­i­ta­tion. There are at least two major sequences that Twin Per­fect sug­gests reflect the Uni­fied Field.
• Lynch’s obses­sion with elec­tric­i­ty and fire is essen­tial to the the­o­ry.
• The One-Armed Man’s quote “I mean it as it is, as it sounds,” dou­bles as Lynch’s approach: Twin Per­fect does a mas­ter­ful job show­ing many, many exam­ples where Lynch is direct­ly explain­ing his use of metaphor and sym­bol to us. Some­times that is straight into the cam­era.
• We now know why Sea­son Three fea­tured a three-minute shot of a man sweep­ing up peanuts from a bar floor.
• I’ve always felt that The Return was an explo­ration of the dan­gers of nos­tal­gia, and this essay con­firmed it for me. There was some­thing miss­ing at the cen­ter of the Third Sea­son, indeed.
• Twin Per­fect reads all quotes from the direc­tor in a mock-Lynch voice. For some this will grate; for me it was A BEAUTIFUL THING (wig­gly fin­ger ges­ture).

Twin Per­fect puts much more effort into this than most grad­u­ate stu­dents:

I have been work­ing on this video for two years, writ­ing and research­ing and edit­ing. I’ve been read­ing and watch­ing and lis­ten­ing to every cre­ator inter­view and AMA, every DVD extra and fea­turette, every TV spe­cial, every fan the­o­ry, blog, and pod­cast — any and all Twin Peaks-relat­ed posts I could find — try­ing to hone and pol­ish my script to be the best I thought it could pos­si­bly be. I focus-grouped my video with peo­ple, chal­leng­ing them to poke as many holes in my argu­ments as they could so that I could bet­ter illus­trate my ideas. I tried my best to cre­ate some­thing oth­ers would find of val­ue, some­thing that would add to the ongo­ing mys­tery and spark new dis­cus­sions about my favorite series.

Are there some prob­lems with the the­o­ry? Sure. But for every “I don’t know, man,” I said to myself, he imme­di­ate­ly fol­lowed it up with some­thing spot on. I think he deserves that MFA in Twin Peaks Stud­ies.

So brew up some strong cof­fee and cut your­self a slice of cher­ry pie, and get stuck in.

Relat­ed Con­tent:

David Lynch Directs a Mini-Sea­son of Twin Peaks in the Form of Japan­ese Cof­fee Com­mer­cials

David Lynch Draws a Map of Twin Peaks (to Help Pitch the Show to ABC)

Three Days in Twin Peaks: An In-Depth Jour­ney Through the Evoca­tive Loca­tions of David Lynch’s TV Series

Watch an Epic, 4‑Hour Video Essay on the Mak­ing & Mythol­o­gy of David Lynch’s Twin Peaks

Ted Mills is a free­lance writer on the arts., You can also fol­low him on Twit­ter at @tedmills.

Do All Roads Lead to Philosophy on Wikipedia?: They Do About 97.3% of the Time

in Philosophy, Wikipedia | September 19th, 2024

Pull up the Wikipedia page for Mariya Takeuchi’s “Plas­tic Love,” the 1984 sin­gle now known for re-pop­u­lar­iz­ing the genre of Japan­ese “city pop.” Then click the first of its links (not relat­ed to the lan­guage of the arti­cle itself), which leads to Takeuchi’s own page. If you keep fol­low­ing that same pro­ce­dure, you’ll con­tin­ue on to City Pop, then Japan­ese Pop Music, then Pop­u­lar Music. Keep drilling down, and you’ll pass the very con­cepts of music and sound, then enter the realms of physics, the sci­en­tif­ic method, log­i­cal propo­si­tions, and the phi­los­o­phy of lan­guage. This is one exam­ple pro­vid­ed by the video above from YouTu­ber Not David, which inves­ti­gates whether all roads on Wikipedia even­tu­al­ly lead to phi­los­o­phy.

There is, of course, a Wikipedia page about this, called “Get­ting to Phi­los­o­phy.” “Fol­low­ing the first hyper­link in the main text of an Eng­lish Wikipedia arti­cle, and then repeat­ing the process for sub­se­quent arti­cles, usu­al­ly leads to the Phi­los­o­phy arti­cle,” it says. “In Feb­ru­ary 2016, this was true for 97% of all arti­cles on Wikipedia (includ­ing this one).” As for the rest, they “lead to an arti­cle with­out any out­go­ing wik­ilinks, to pages that do not exist, or get stuck in loops.” This is actu­al­ly the case with the path start­ing from “Plas­tic Love,” after Phi­los­o­phy of Lan­guage goes in cir­cles around con­cepts, abstrac­tion, and log­ic itself, nev­er quite reach­ing Phi­los­o­phy prop­er.

Or at least that’s what hap­pened for me today; it could go dif­fer­ent­ly tomor­row, or even a few sec­onds from now. Ever since Wikipedia went live in 2001, its main dif­fer­ence from oth­er ency­clo­pe­dias has been that it’s con­stant­ly chang­ing, and the rate of that change has only increased over time. The “phi­los­o­phy game,” as Not David calls it, is at all times sub­ject to break­age, but also to un-break­age. At nor­mal times, Orange Juice to Phi­los­o­phy takes thir­teen steps, Apple Juice to Phi­los­o­phy takes fif­teen steps; both the Cal­gary Flames and Edmon­ton Oil­ers lie six­teen steps from Phi­los­o­phy. But things go hay­wire if some­one goes and, say, re-orders the links on the Aware­ness arti­cle so Psy­chol­o­gy comes first.

These things hap­pen: Wikipedia is, after all, the ency­clo­pe­dia that any­one can edit. And as you can see (at least as of this writ­ing), Aware­ness now links first to Phi­los­o­phy again. These changes play hav­oc with the efforts of any­one try­ing to map out the con­nec­tions between one part of Wikipedia and anoth­er, as Not David does in this video. But they don’t alter the fun­da­men­tal prin­ci­ples of net­work design, which his analy­sis illu­mi­nates. As with the cor­pus cal­lo­sum, which con­nects the two hemi­spheres of the human brain, Phi­los­o­phy is less impor­tant for what direct­ly con­nects to it than for its own func­tion as a con­nec­tor. And indeed, haven’t philoso­phers always want­ed to know how every­thing fits togeth­er?

Relat­ed con­tent:

An Inter­ac­tive Visu­al­iza­tion of the Stan­ford Ency­clo­pe­dia of Phi­los­o­phy

A Data Visu­al­iza­tion of Mod­ern Phi­los­o­phy, 1950–2018

Lis­ten to Wikipedia: A Web Site That Turns Every Wikipedia Edit Into Ambi­ent Music in Real Time

Philo­graph­ics Presents a Visu­al Dic­tio­nary of Phi­los­o­phy: 95 Philo­soph­i­cal Con­cepts as Graph­ic Designs

Intro­duc­tion to Phi­los­o­phy: A Free Course

135 Free Phi­los­o­phy eBooks

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

Every Frame a Painting Returns to YouTube & Explores Why the Sustained Two-Shot Vanished from Movies

in Film | September 5th, 2024

Video essay­ists don’t nor­mal­ly retire; in most cas­es, they just drift into inac­tiv­i­ty. Hence the sur­prise and even dis­may of the inter­net’s cinephiles when Tony Zhou and Tay­lor Ramos declared the end of their respect­ed chan­nel Every Frame a Paint­ing in 2016. We here at Open Cul­ture had fea­tured their analy­ses of every­thing from the work of auteurs like Mar­tin Scors­ese, Jack­ie Chan, and Michael Bay to how clas­si­cal art inspired cel­e­brat­ed shots to the thoughts and feel­ings of edi­tors to the use of Van­cou­ver in film. Now, near­ly eight years after their last such video essay, Zhou and Ramos have returned to YouTube.

The new Every Frame a Paint­ing video explains the tech­nique of the sus­tained two-shot, and, as IndieWire’s Sarah Shachat writes, “charts — in under six min­utes — the tech­no­log­i­cal and indus­tri­al trends that have put it more or less in favor with film­mak­ers and its util­i­ty in con­tem­po­rary film­mak­ing as a show­case for two actors’ chem­istry. This is stan­dard. Zhou, who nar­rates the series, still can’t avoid feel­ing like an unseen char­ac­ter with­in the essay and also the film school TA we all wish we had.” What’s more, it incor­po­rates footage from Zhou and Ramos’ own short film “The Sec­ond” to more direct­ly approach the film­mak­ing chal­lenge of “need­ing to change cov­er­age plans for an out­door scene when you’re los­ing the light.”

As implied by its name, a two-shot con­tains two actors, and a sus­tained two-shot con­tin­ues unbro­ken for the length of a dia­logue between them. We don’t see so many of them in recent pic­tures, Zhou explains, because they were cre­at­ed in a time when “film was expen­sive, so it encour­aged film­mak­ers to rehearse more and con­serve their takes.” Now, “dig­i­tal is cheap­er, so peo­ple don’t real­ly pick one angle and shoot it; they cov­er a scene from as many angles as pos­si­ble,” recon­struct­ing it out of bits and pieces in the edit­ing room. Act­ing styles have also changed since the old-Hol­ly­wood days, with all their “ges­tur­ing and mov­ing around” that increased the two-shot’s visu­al inter­est.

Yet today’s film­mak­ers ignore the pow­er of this dis­used form at their per­il: “The sus­tained two-shot is the com­po­si­tion that best allows two per­form­ers to play off each oth­er, and try as you might, you can­not repli­cate this feel­ing with edit­ing.” And indeed, it’s only one of the effec­tive ele­ments of twen­ti­eth-cen­tu­ry film that have only become more dif­fi­cult to repli­cate amid the prac­ti­cal­ly end­less array of options afford­ed by dig­i­tal tools and media. One hopes that Zhou and Ramos will cov­er a vari­ety of them in Every Frame a Paint­ing’s lim­it­ed-run come­back — and even more so, that they’ll put them to good use in their own nar­ra­tive film­mak­ing careers.

Relat­ed con­tent:

Every Frame a Paint­ing Explains the Film­mak­ing Tech­niques of Mar­tin Scors­ese, Jack­ie Chan, and Even Michael Bay

The Alche­my of Film Edit­ing, Explored in a New Video Essay That Breaks Down Han­nah and Her Sis­ters, The Empire Strikes Back & Oth­er Films

How the Coen Broth­ers Put Their Remark­able Stamp on the “Shot Reverse Shot,” the Fun­da­men­tal Cin­e­mat­ic Tech­nique

The Most Beau­ti­ful Shots in Cin­e­ma His­to­ry: Scenes from 100+ Films

A Salute to Every Frame a Paint­ing: Watch All 28 Episodes of the Fine­ly Craft­ed (and Now Con­clud­ed) Video Essay Series on Cin­e­ma

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

A Digital Archive Features Hundreds of Audio Cassette Tape Designs, from the 1960s to the 1990s

in Archives, History, Music, Technology | September 4th, 2024

Audio cas­sette tapes first appeared on the mar­ket in the ear­ly nine­teen-six­ties, but it would take about a decade before they came to dom­i­nate it. And when they did, they’d changed the lives of many a music-lover by hav­ing made it pos­si­ble not just to lis­ten to their albums of choice on the go, but also to col­lect and trade their own cus­tom-assem­bled lis­ten­ing expe­ri­ences. By the eight­ies, blank tapes had become a house­hold neces­si­ty on the order of bat­ter­ies or toi­let paper for such con­sumers — and just as with those fre­quent­ly replen­ished prod­ucts, every­one seemed to have their favorite brand.

Some pre­ferred tapes from Philips, which devel­oped the for­mat of the Com­pact Cas­sette in the first place. Oth­ers had their pick from Fuji, BASF, Sony, Radio Shack, Scotch (which also made tape of the sticky vari­ety), and a host of oth­er brands besides.

Even some mem­bers of post-cas­sette gen­er­a­tions rec­og­nize the old tagline “Is it live or is it Mem­o­rex?” or Max­el­l’s “Blown Away Guy” in his scarf and LC2. If you’re old enough to have done tap­ing of your own, you don’t need a logo to rec­og­nize your brand; you’ll know it as soon as you spot the design of the cas­sette itself in the online archive at tapedeck.org.

“I built tapedeck.org to show­case the amaz­ing beau­ty and (some­times) weird­ness found in the designs of the com­mon audio tape cas­sette,” writes the site’s cre­ator Oliv­er Gel­brich. “There’s an amaz­ing range of designs, start­ing from the ear­ly 60’s func­tion­al cas­sette designs, mov­ing through the col­or­ful play­ful­ness of the 70’s audio tapes to amaz­ing shape vari­a­tions dur­ing the 80s and 90s.” You can browse the ever-expand­ing col­lec­tion by brand, run­ning time, col­or, and even tape coat­ing: chrome, fer­ro, fer­rochrome, and met­al, by whose dif­fer­ences audio­philes set great store.

Some­what improb­a­bly, in this age where even home CD-burn­ing has been dis­placed by near-instan­ta­neous stream­ing and down­load­ing of dig­i­tal music, the cas­sette tape has made some­thing of a come­back. The near-mytho­log­i­cal allure of the mix­tape has only grown in recent years, dur­ing which artists both minor and major have put out cas­sette releas­es — and in some cas­es, cas­sette-only releas­es. This seems to be hap­pen­ing around the world: a few weeks ago, while strolling an art-school neigh­bor­hood in Seoul, where I live, I passed a cof­fee shop that offered its young cus­tomers rentals of both tapes and Walk­man-style play­ers on which to lis­ten to them. As anoth­er gen­er­a­tion-tran­scend­ing slo­gan has it, every­thing old is new again.

via Colos­sal

Relat­ed con­tent:

Home Tap­ing Is Killing Music: When the Music Indus­try Waged War on the Cas­sette Tape Dur­ing the 1980s, and Punk Bands Fought Back

Lis­ten to Audio Arts: The 1970s Tape Cas­sette Arts Mag­a­zine Fea­tur­ing Andy Warhol, Mar­cel Duchamp & Many Oth­ers

The Beau­ty of Degrad­ed Art: Why We Like Scratchy Vinyl, Grainy Film, Wob­bly VHS & Oth­er Ana­log-Media Imper­fec­tion

Atten­tion K‑Mart Shop­pers: Hear 90 Hours of Back­ground Music & Ads from the Retail Giant’s 1980s and 90s Hey­day

A Free Dig­i­tal Archive of Graph­ic Design: A Curat­ed Col­lec­tion of Design Trea­sures from the Inter­net Archive

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

20 Mesmerizing Videos of Japanese Artisans Creating Traditional Handicrafts

in Art, Design | September 3rd, 2024

In Japan­ese “tewaza” means “hand tech­nique” or “hand­craft” and, in this YouTube playlist of 20 short films, var­i­ous arti­sanal tech­niques are explored and demon­strat­ed by Japan­ese mas­ters in the field. For those who are both obsessed with Japan­ese art and watch­ing things get made, these videos are cat­nip. There’s very lit­tle spo­ken, except a few quotes from the mak­ers them­selves, and gen­tle music plays over shots of del­i­cate, intri­cate, and con­fi­dent hand­i­work.

Watch the video up top, a look at how a small group of men forge a Sakai knife. (Yes, we keep expect­ing the music to turn into the Lau­ra Palmer’s Theme too.) No words are nec­es­sary in this exact­ing demon­stra­tion, and just check out the wood-like grain in the met­al.

And the names of these goods denote the towns of origin–Sakai is just out­side Osa­ka, and is one of Japan’s main sea­ports and, yes, known for its knives.

Oth­er videos show the mak­ing of hand­made washi paper from Mino; stun­ning gold leaf pro­duc­tion from Kanaza­wa; paper lantern making from Gifu; dec­o­rat­ed wall­pa­per from Ueno; a Kumano writ­ing brush, and very del­i­cate bam­boo weav­ing from Bep­pu that looks so pre­cise it’s like it’s made by machine, but no, this is all in the eye.

The YouTube chan­nel that has pro­duced these videos, Aoya­ma Square, is a lit­er­al one-stop shop in Tokyo for all the kinds of crafts seen in the videos, and is a mem­ber of the Japan­ese nation­al asso­ci­a­tion that pro­motes and keeps these skills and mini-indus­tries alive. So is this one long ad for a large crafts empo­ri­um? Well, could be. Do we still want to buy some of that beau­ti­ful lac­quer­ware from Echizen? Oh yes, very much so.

Relat­ed Con­tent:

How Japan­ese Things Are Made in 309 Videos: Bam­boo Tea Whisks, Hina Dolls, Steel Balls & More

The Beau­ti­ful Art of Mak­ing Japan­ese Cal­lig­ra­phy Ink Out of Soot & Glue

Watch a Japan­ese Crafts­man Lov­ing­ly Bring a Tat­tered Old Book Back to Near Mint Con­di­tion

Watch a Japan­ese Arti­san Make a Noh Mask, Cre­at­ing an Aston­ish­ing Char­ac­ter From a Sin­gle Block of Wood

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 is Electronic Music?: Pioneering Electronic Musician Daphne Oram Explains (1969)

in History, Music, Technology, Television | August 15th, 2024

Sur­vey the British pub­lic about the most impor­tant insti­tu­tion to arise in their coun­try after World War II, and a lot of respon­dents are going to say the Nation­al Health Ser­vice. But keep ask­ing around, and you’ll soon­er or lat­er encounter a few seri­ous elec­tron­ic-music enthu­si­asts who name the BBC Radio­phon­ic Work­shop. Estab­lished in 1958 to pro­vide music and sound effects for the Bee­b’s radio pro­duc­tions — not least the doc­u­men­taries and dra­mas of the artis­ti­cal­ly and intel­lec­tu­al­ly ambi­tious Third Pro­gramme — the unit’s work even­tu­al­ly expand­ed to work on tele­vi­sion shows as well. One could scarce­ly imag­ine Doc­tor Who, which debuted in 1963, with­out the Radio­phon­ic Work­shop’s son­ic aes­thet­ic.

By the end of the nine­teen-six­ties, the Radio­phon­ic Work­shop had been cre­at­ing elec­tron­ic music and inject­ing it into the lives of ordi­nary lis­ten­ers and view­ers for more than a decade. Even so, that same pub­lic did­n’t nec­es­sar­i­ly pos­sess a clear under­stand­ing of what, exact­ly, elec­tron­ic music was. Hence this explana­to­ry BBC tele­vi­sion clip from 1969, which brings on Radio­phon­ic Work­shop head Desmond Briscoe as well as com­posers John Bak­er, David Cain, and Daphne Oram (pre­vi­ous­ly fea­tured here on Open Cul­ture).

Hav­ing long since built her own stu­dio, Oram also demon­strates her own tech­niques for cre­at­ing and manip­u­lat­ing sound, few of which will look famil­iar to fans of elec­tron­ic music in our dig­i­tal cul­ture today.

Even in 1969, none of Oram’s tools were dig­i­tal in the way we now under­stand the term. In fact, the work­ing process shown in this clip was so thor­ough­ly ana­log as to involve paint­ing the forms of sound waves direct­ly onto slides and strips of film. She craft­ed sounds by hand in this way not pure­ly due to tech­ni­cal lim­i­ta­tion, but because exten­sive expe­ri­ence had shown her that it pro­duced more inter­est­ing results: “if one does it by pure­ly elec­tron­ic means, one tends to get fixed on one vibra­tion, one fre­quen­cy of vibra­to, which becomes dull.” Believ­ing that “music should be a pro­jec­tion of a thought process in the mind of a human being,” Oram expressed reser­va­tions about a future in which com­put­ers pump out “music by the yard”: a future that, these 55 years lat­er, seems to have arrived.

Relat­ed con­tent:

Daphne Oram Cre­at­ed the BBC’s First-Ever Piece of Elec­tron­ic Music (1957)

Meet Delia Der­byshire, the Dr. Who Com­pos­er Who Almost Turned The Bea­t­les’ “Yes­ter­day” Into Ear­ly Elec­tron­i­ca

Meet Four Women Who Pio­neered Elec­tron­ic Music: Daphne Oram, Lau­rie Spiegel, Éliane Radigue & Pauline Oliv­eros

Hear Elec­tron­ic Lady­land, a Mix­tape Fea­tur­ing 55 Tracks from 35 Pio­neer­ing Women in Elec­tron­ic Music

New Doc­u­men­tary Sis­ters with Tran­sis­tors Tells the Sto­ry of Elec­tron­ic Music’s Female Pio­neers

Hear Sev­en Hours of Women Mak­ing Elec­tron­ic Music (1938–2014)

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

Ray Bradbury Explains Why Literature is the Safety Valve of Civilization (in Which Case We Need More Literature!)

in Literature | August 14th, 2024

Ray Brad­bury had it all thought out. Behind his cap­ti­vat­ing works of sci­ence fic­tion, there were sub­tle the­o­ries about what lit­er­a­ture was meant to do. The retro clip above takes you back to the 1970s and it shows Brad­bury giv­ing a rather intrigu­ing take on the role of lit­er­a­ture and art. For the author of Fahren­heit 451 and The Mar­t­ian Chron­i­cles, lit­er­a­ture has more than an aes­thet­ic pur­pose. It has an impor­tant sociological/psychoanalytic role to play. Sto­ries are a safe­ty valve. They keep soci­ety col­lec­tive­ly, and us indi­vid­u­al­ly, from com­ing apart at the seams. Which is to say–if you’ve been fol­low­ing the news lately–we need a hel­lu­va lot more lit­er­a­ture these days. And a few new Ray Brad­burys.

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 New Edi­tion of Ray Bradbury’s Fahren­heit 451 That’s Only Read­able When You Apply Heat to Its Pages: Pre-Order It Today

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

Ray Brad­bury Wrote the First Draft of Fahren­heit 451 on Coin-Oper­at­ed Type­writ­ers, for a Total of $9.80

J. G. Ballard Demystifies Surrealist Paintings by Dalí, Magritte, de Chirico & More

in Art, Books, Literature | August 14th, 2024

Before his sig­na­ture works like The Atroc­i­ty Exhi­bi­tion, Crash, and High-Rise, J. G. Bal­lard pub­lished three apoc­a­lyp­tic nov­els, The Drowned World, The Burn­ing World, and The Crys­tal World. Each of those books offers a dif­fer­ent vision of large-scale envi­ron­men­tal dis­as­ter, and the last even pro­vides a clue as to its inspi­ra­tion. Or rather, its orig­i­nal cov­er does, by using a sec­tion of Max Ern­st’s paint­ing The Eye of Silence. “This spinal land­scape, with its fren­zied rocks tow­er­ing into the air above the silent swamp, has attained an organ­ic life more real than that of the soli­tary nymph sit­ting in the fore­ground,” Bal­lard writes in “The Com­ing of the Uncon­scious,” an arti­cle on sur­re­al­ism writ­ten short­ly after The Crys­tal World appeared in 1966.

First pub­lished in an issue of the mag­a­zine New Worlds (which also con­tains Bal­lard’s take on Chris Mark­er’s La Jetée), the piece is osten­si­bly a review of Patrick Wald­berg’s Sur­re­al­ism and Mar­cel Jean’s The His­to­ry of Sur­re­al­ist Paint­ing, but it ends up deliv­er­ing Bal­lard’s short analy­ses of a series of paint­ings by var­i­ous sur­re­al­ist mas­ters.

The Eye of Silence shows the land­scapes of our world “for what they are — the palaces of flesh and bone that are the liv­ing facades enclos­ing our own sub­lim­i­nal con­scious­ness.” The “ter­ri­fy­ing struc­ture” at the cen­ter of René Magritte’s The Annun­ci­a­tion is “a neu­ron­ic totem, its round­ed and con­nect­ed forms are a frag­ment of our own ner­vous sys­tems, per­haps an insol­u­ble code that con­tains the oper­at­ing for­mu­lae for our own pas­sage through time and space.”

In Gior­gio de Chiri­co’s The Dis­qui­et­ing Mus­es, “an unde­fined anx­i­ety has begun to spread across the desert­ed square. The sym­me­try and reg­u­lar­i­ty of the arcades con­ceals an intense inner vio­lence; this is the face of cata­ton­ic with­draw­al”; its fig­ures are “human beings from whom all tran­si­tion­al time has been erod­ed.” Anoth­er work depicts an emp­ty beach as “a sym­bol of utter psy­chic alien­ation, of a final sta­sis of the soul”; its dis­place­ment of beach and sea through time “and their mar­riage with our own four-dimen­sion­al con­tin­u­um, has warped them into the rigid and unyield­ing struc­tures of our own con­scious­ness.” There Bal­lard writes of no less famil­iar a can­vas than The Per­sis­tence of Mem­o­ry by Sal­vador Dalí, whom he called “the great­est painter of the twen­ti­eth cen­tu­ry” more than 40 years after “The Com­ing of the Uncon­scious” in the Guardian.

A decade there­after, that same pub­li­ca­tion’s Declan Lloyd the­o­rizes that the exper­i­men­tal bill­boards designed by Bal­lard in the fifties (pre­vi­ous­ly fea­tured here on Open Cul­ture) had been tex­tu­al rein­ter­pre­ta­tions of Dalí’s imagery. Until the late six­ties, Bal­lard says in a 1995 World Art inter­view, “the Sur­re­al­ists were very much looked down upon. This was part of their attrac­tion to me, because I cer­tain­ly did­n’t trust Eng­lish crit­ics, and any­thing they did­n’t like seemed to me prob­a­bly on the right track. I’m glad to say that my judg­ment has been seen to be right — and theirs wrong.” He under­stood the long-term val­ue of Sur­re­al­ist visions, which had seem­ing­ly been obso­lesced by World War II before, “all too soon, a new set of night­mares emerged.” We can only hope he won’t be proven as pre­scient about the long-term hab­it­abil­i­ty of the plan­et.

via Flash­bak

Relat­ed con­tent:

Sci-Fi Author J.G. Bal­lard Pre­dicts the Rise of Social Media (1977)

What Makes Sal­vador Dalí’s Icon­ic Sur­re­al­ist Paint­ing “The Per­sis­tence of Mem­o­ry” a Great Work of Art

An Intro­duc­tion to René Magritte, and How the Bel­gian Artist Used an Ordi­nary Style to Cre­ate Extra­or­di­nar­i­ly Sur­re­al Paint­ings

When Our World Became a de Chiri­co Paint­ing: How the Avant-Garde Painter Fore­saw the Emp­ty City Streets of 2020

J. G. Ballard’s Exper­i­men­tal Text Col­lages: His 1958 For­ay into Avant-Garde Lit­er­a­ture

An Intro­duc­tion to Sur­re­al­ism: The Big Aes­thet­ic Ideas Pre­sent­ed in Three Videos

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