How Henri Matisse Scandalized the Art Establishment with His Daring Use of Color

in Art, History | October 1st, 2024

Even those of us not par­tic­u­lar­ly well-versed in art his­to­ry have heard of a paint­ing style called fau­vism — and prob­a­bly have nev­er con­sid­ered what it has to do with fauve, the French word for a wild beast. In fact, the two have every­thing to do with one anoth­er, at least in the sense of how cer­tain crit­ics regard­ed cer­tain artists in the ear­ly twen­ti­eth cen­tu­ry. One of the most notable of those artists was Hen­ri Matisse, who since the end of the nine­teenth cen­tu­ry had been explor­ing the pos­si­bil­i­ties of his deci­sion to “lean into the dra­mat­ic pow­er of col­or,” as Evan “Nerd­writer” Puschak puts it in the new video above.

It was Matis­se’s uncon­ven­tion­al use of col­or, emo­tion­al­ly pow­er­ful but not strict­ly real­is­tic, that even­tu­al­ly got him labeled a wild beast. Even before that, in his famous 1904 Luxe, Calme et Volup­té, which has its ori­gins in a stay in St. Tropez, you can “feel Matisse forg­ing his own path. His col­ors are rebelling against their sub­jects. The paint­ing is anar­chic, fan­tas­ti­cal. It’s puls­ing with wild ener­gy.” He con­tin­ued this work on a trip to the south­ern fish­ing vil­lage of Col­lioure, “and even after more than a cen­tu­ry, the paint­ings that result­ed “still retain their defi­ant pow­er; the col­ors still sing with the dar­ing, the cre­ative reck­less­ness of that sum­mer.”

In essence, what shocked about Matisse and the oth­er fau­vists’ art was its sub­sti­tu­tion of objec­tiv­i­ty with sub­jec­tiv­i­ty, most notice­ably in its col­ors, but in sub­tler ele­ments as well. As the years went on — with sup­port com­ing from not the estab­lish­ment but far-sight­ed col­lec­tors — Matisse “learned how to use col­or to define form itself,” cre­at­ing paint­ings that “expressed deep, pri­mal feel­ings and rhythms.”  This evo­lu­tion cul­mi­nat­ed in La Danse, whose “shock­ing scar­let” used to ren­der “naked, danc­ing, leap­ing, spin­ning fig­ures who are less like peo­ple than mytho­log­i­cal satyrs” drew harsh­er oppro­bri­um than any­thing he’d shown before.

But then, “you can’t expect the instan­ta­neous accep­tance of some­thing rad­i­cal­ly new. If it was accept­ed, it would­n’t be rad­i­cal.” Today, “know­ing the direc­tions that mod­ern art went in, we now can appre­ci­ate the full sig­nif­i­cance of Matis­se’s work. We can be shocked at it with­out being scan­dal­ized.” And we can rec­og­nize that he dis­cov­ered a uni­ver­sal­ly res­o­nant aes­thet­ic that most of his con­tem­po­raries did­n’t under­stand —  or at least it seems that way to me, more than a cen­tu­ry lat­er and on the oth­er side of the world, where his art now enjoys such a wide appeal that it adorns the iced-cof­fee bot­tles at con­ve­nience stores.

Relat­ed con­tent:

Hen­ri Matisse Illus­trates Baudelaire’s Cen­sored Poet­ry Col­lec­tion, Les Fleurs du Mal

Hear Gertrude Stein Read Works Inspired by Matisse, Picas­so, and T.S. Eliot (1934)

Hen­ri Matisse Illus­trates James Joyce’s Ulysses (1935)

Why Georges Seurat’s Pointil­list Paint­ing A Sun­day After­noon on the Island of La Grande Jat­te Is a Mas­ter­piece

When Hen­ri Matisse Was 83 Years Old, He Couldn’t Go to His Favorite Swim­ming Pool, So He Cre­at­ed a Swim­ming Pool as a Work of Art

Watch Icon­ic Artists at Work: Rare Videos of Picas­so, Matisse, Kandin­sky, Renoir, Mon­et, Pol­lock & More

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.

Revisit Episodes of Liquid Television, MTV’s 90s Showcase of Funny, Irreverent & Bizarre Animation

in Animation, Television | October 1st, 2024

MTV stands for Music Tele­vi­sion, and when the net­work launched in 1981, its almost entire­ly music video-based pro­gram­ming was true to its name. With­in a decade, how­ev­er, its man­date had widened to the point that it had become the nat­ur­al home for prac­ti­cal­ly any excit­ing devel­op­ment in Amer­i­can youth cul­ture. And for many MTV view­ers in the ear­ly nine­teen-nineties, youth­ful or oth­er­wise, noth­ing was quite so excit­ing as Liq­uid Tele­vi­sion, whose every broad­cast con­sti­tut­ed a ver­i­ta­ble fes­ti­val of ani­ma­tion that pushed the medi­um’s bound­aries of pos­si­bil­i­ty — as well, every so often, as its bound­aries of taste.

Liq­uid Tele­vi­sion’s orig­i­nal three-sea­son run began in the sum­mer of 1991 and end­ed in ear­ly 1995. All through­out, its for­mat remained con­sis­tent, round­ing up ten or so shorts, each cre­at­ed by dif­fer­ent artists. Their themes could vary wild­ly, and so could their aes­thet­ics: any giv­en broad­cast might con­tain more or less con­ven­tion­al-look­ing car­toons, but also stick­men, pup­pets, ear­ly com­put­er graph­ics, sub­vert­ed nine­teen-fifties imagery (that main­stay of the Gen‑X sen­si­bil­i­ty), Japan­ese ani­me, and even live action, as in the recur­ring drag-show sit­com “Art School Girls of Doom” or the mul­ti-part adap­ta­tion of Charles Burns’ Dog­boy.

Burns’ is hard­ly the the only name asso­ci­at­ed with Liq­uid Tele­vi­sion that comics and ani­ma­tion fans will rec­og­nize. Oth­ers who gained expo­sure through it include Bill Plymp­ton, John R. Dil­worth, Richard Sala, and Mike Judge, whose series Beav­is and Butthead and fea­ture film Office Space both began as shorts seen on Liq­uid Tele­vi­sion.

But no dis­cus­sion of the show can exclude Peter Chung’s futur­is­tic, qua­si-mys­ti­cal, dia­logue-free Æon Flux, whose epony­mous acro­bat­ic assas­sin became a cul­tur­al phe­nom­e­non unto her­self. The Æon Flux episodes have been cut out of this 22-video Liq­uid Tele­vi­sion playlist, but you can also find a col­lec­tion of uncut broad­casts at the Inter­net Archive.

The Ton­gal video above cred­its the show’s influ­ence to the insight of the show’s cre­ator Japhet Ash­er, who saw that “the atten­tion span of your aver­age TV view­er, par­tic­u­lar­ly young peo­ple, was get­ting short­er and short­er.” Hence Liq­uid Tele­vi­sion’s mod­el: “If you did­n’t like the cur­rent short, anoth­er one, which would be total­ly dif­fer­ent, would be along in a few min­utes. Fur­ther­more, if a seg­ment was so inex­plic­a­bly bizarre and brain-tick­ling, per­haps an even more com­pelling one would come next.” At the time, this would have been tak­en by some observers — much like MTV itself — as a dis­turb­ing reflec­tion of an addled, over-stim­u­lat­ed younger gen­er­a­tion. But with Youtube still about a decade and a half away, it’s fair to say they had­n’t seen any­thing yet.

Relat­ed con­tent:

Watch the First Two Hours of MTV’s Inau­gur­al Broad­cast (August 1, 1981)

All the Music Played on MTV’s 120 Min­utes: A 2,500-Video Youtube Playlist

Andy Warhol’s 15 Min­utes: Dis­cov­er the Post­mod­ern MTV Vari­ety Show That Made Warhol a Star in the Tele­vi­sion Age (1985–87)

When a Young Sofia Cop­po­la & Zoe Cas­savetes Made Their Own TV Show: Revis­it Hi-Octane (1994)

The Beau­ti­ful Anar­chy of the Ear­li­est Ani­mat­ed Car­toons: Explore an Archive with 200+ Ear­ly Ani­ma­tions

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.

Free: Download Over 33,000 Sounds from the BBC Sound Effects Archive

in Archives | September 30th, 2024

There may be a few young peo­ple in Britain today who rec­og­nize the name Lud­wig Koch, but in the nine­teen-for­ties, he con­sti­tut­ed some­thing of a cul­tur­al phe­nom­e­non unto him­self. He “start­ed record­ing sounds and voic­es in the 1880s when he was still a child” in his native Ger­many, says the web­site of the BBC. After flee­ing from the Nazis, he set­tled in Eng­land, which cre­at­ed the oppor­tu­ni­ty for the Beeb to acquire his col­lec­tion of field record­ings, using it to start build­ing its own library of nature sounds. Soon, Koch “became a house­hold name as a nature broad­cast­er,” and his “dis­tinct Ger­man accent and eccen­tric loca­tion record­ings became so well known that he was par­o­died by Peter Sell­ers.”

You can hear 168 of Koch’s field record­ings at the online archive of BBC Sound Effects, whose dig­i­tal hold­ings have in recent years grown to include over 33,000 dif­fer­ent sounds from var­i­ous sources, span­ning more than a cen­tu­ry.

“These include clips made by the BBC Radio­phon­ic work­shop, record­ings from the Blitz in Lon­don, spe­cial effects made for BBC TV and Radio pro­duc­tions, as well as 15,000 record­ings from the Nat­ur­al His­to­ry Unit archive,” says its About page. “You can explore sounds from every con­ti­nent — from the col­lege bells ring­ing in Oxford to a Patag­on­ian water­fall — or lis­ten to a sub­ma­rine klax­on or the sound of a 1969 Ford Corti­na door slam­ming shut.”

The BBC has made all these record­ings free for your own non-com­mer­cial use, as long as you cred­it where they came from. To put them into a com­mer­cial project, you can license them by click­ing “Show details,” and then the “Buy sound” but­ton that appears right below. The archive also offers a “mix­er mode,” which lets you “lay­er, edit and re-order clips from the archive to cre­ate your own sounds,” poten­tial­ly mash­ing up a wide vari­ety of times and places into a sin­gle sound­scape. A chac­ma baboon wield­ing a laser in a Bel­gian café, for instance, or a laugh­ing woman brew­ing a ket­tle of water at a bull­fight in Spain: hard­ly the sort of aur­al scenes that would be intro­duced by Lud­wig Koch, grant­ed, but here in the twen­ty-first cen­tu­ry, the only lim­it is your imag­i­na­tion. Enter the BBC Sound Effects Archive here.

Relat­ed con­tent:

NASA Puts Online a Big Col­lec­tion of Space Sounds, and They’re Free to Down­load and Use

How the Sound Effects on 1930s Radio Shows Were Made: An Inside Look

Down­load 1,000+ Dig­i­tized Tapes of Sounds from Clas­sic Hol­ly­wood Films & TV, Cour­tesy of the Inter­net Archive

How the Sounds You Hear in Movies Are Real­ly Made: Dis­cov­er the Mag­ic of “Foley Artists”

Michael Winslow, the “Man of 10,000 Sound Effects”, Imper­son­ates the Sounds of Jimi Hendrix’s and Led Zeppelin’s Elec­tric Gui­tars with His Voice

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.

David Bowie’s Fashionable Mug Shot From His 1976 Marijuana Bust

in Music | September 30th, 2024

David Bowie always man­aged to look cool, even when he was being booked for a felony.

In ear­ly 1976, Bowie was on his “Iso­lar” tour, per­form­ing as the Thin White Duke, a per­sona he would describe as “a very Aryan fas­cist type — a would-be roman­tic with no emo­tions at all.” Bowie invit­ed his friend and some­time cre­ative col­lab­o­ra­tor Iggy Pop to trav­el with him.

In the ear­ly morn­ing hours of March 21, after a con­cert at the Com­mu­ni­ty War Memo­r­i­al are­na in Rochester, New York, four local vice squad detec­tives and a state police inves­ti­ga­tor searched Bowie’s three-room suite at the Amer­i­cana Rochester Hotel. Accord­ing to reports in the Rochester Demo­c­rat and Chron­i­cle, the cops found 182 grams (a lit­tle over 6.4 ounces) of mar­i­jua­na there. Bowie and three oth­ers — Pop, a body­guard named Dwain Voughns, and a young Rochester woman named Chi­wah Soo — were charged with fifth-degree crim­i­nal pos­ses­sion of mar­i­jua­na, a class C felony, pun­ish­able by up to 15 years in prison.

Bowie and Pop were booked under their real names, David Jones and James Oster­berg Jr. The group spent the rest of the night in the Mon­roe Coun­ty Jail and were released at about 7 a.m. on $2,000 bond each. They were sup­posed to be arraigned the next day, but Bowie left town to go to his next con­cert in Spring­field, Mass­a­chu­setts. His lawyer appeared and asked for the court’s indul­gence, explain­ing the heavy penal­ties for break­ing con­cert engage­ments. He promised the judge that Bowie would appear the fol­low­ing morn­ing, March 23.

Bowie showed up for his arraign­ment look­ing dap­per in his Thin White Duke cloth­ing. It was then that his mug shot was tak­en — so we’ll nev­er actu­al­ly know what Bowie looked like when he was unex­pect­ed­ly dragged into jail at 3 a.m. The police escort­ed the rock star in and out of the court­room most­ly through back cor­ri­dors, shield­ing him from a crowd of fans who showed up at the cour­t­house. Reporter John Stew­art describes the scene in the next day’s Demo­c­rat and Chron­i­cle:

Bowie and his group ignored reporters’ shout­ed ques­tions and fans’ yells as he walked in — except for one teenag­er who got his auto­graph as he stepped off the esca­la­tor.

His biggest greet­ing was the screams of about a half-dozen sus­pect­ed pros­ti­tutes await­ing arraign­ment in the rear of the cor­ri­dor out­side the court­room.

Asked for a plea by City Court Judge Alphonse Cas­set­ti to the charge of fifth-degree crim­i­nal pos­ses­sion of a con­trolled sub­stance, Bowie said, “not guilty, sir.” The court used his real name — David Jones.

He stood demure­ly in front of the bench with his attor­neys. He wore a gray three-piece leisure suit and a pale brown shirt. He was hold­ing a match­ing hat. His two com­pan­ions were arraigned on the same charge.

The defense lawyer told the judge that Bowie and the oth­ers had nev­er been arrest­ed before. The judge allowed them to remain free on bond until a grand jury con­vened. Bowie and his entourage went on with their tour, and the grand jury even­tu­al­ly decid­ed not to indict any­one. The inci­dent was large­ly for­got­ten until an auc­tion house employ­ee named Gary Hess stum­bled on Bowie’s mug shot while sort­ing through the estate of a retired Rochester police offi­cer. Hess res­cued the pho­to from the trash bin, accord­ing to an arti­cle in Rochester Sub­way, and in late 2007 his broth­er sold it on eBay for $2,700.

Relat­ed Con­tent:

The Thin White Duke: A Close Study of David Bowie’s Dark­est Char­ac­ter

John Coltrane’s Naval Reserve Enlist­ment Mugshot (1945)

David Bowie Pre­dicts the Good & Bad of the Inter­net in 1999: “We’re on the Cusp of Some­thing Exhil­a­rat­ing and Ter­ri­fy­ing”

Watch David Bowie Per­form “Star­man” on Top of the Pops: Vot­ed the Great­est Music Per­for­mance Ever on the BBC (1972)

Watch the First Performance of a Mozart Composition That Had Been Lost for Centuries

in History, Music | September 25th, 2024

For most musi­cians, a long-lost song writ­ten in their teenage years would be of inter­est only to seri­ous fans — and even then, prob­a­bly more for bio­graph­i­cal rea­sons than as a stand­alone piece of work. But that’s hard­ly the case for Wolf­gang Amadeus Mozart, who was com­pos­ing advanced music at the age of five, and indeed com­plet­ed the first act of his short life by ado­les­cence. Hence the guar­an­teed appre­cia­tive audi­ence for Ser­e­nade in C, a hith­er­to unknown piece recent­ly dis­cov­ered in the hold­ings of Germany’s Leipzig Munic­i­pal Libraries and first per­formed for the pub­lic just last week.

“Library researchers were com­pil­ing an edi­tion of the Köchel cat­a­log, a com­pre­hen­sive archive of Mozart’s work, when they stum­bled across a mys­te­ri­ous bound man­u­script con­tain­ing a hand­writ­ten com­po­si­tion in brown ink,” writes Smithsonian.com’s Son­ja Ander­son.

Com­posed in the mid-to-late 1760s, Ser­e­nade in C “con­sists of sev­en minia­ture move­ments for a string trio (two vio­lins and a bass).” Accord­ing to researchers, it “fits styl­is­ti­cal­ly” the work of that peri­od, “when Mozart was between the ages of 10 and 13”; a few years lat­er, he’d out­grown (or tran­scend­ed) this style of cham­ber music entire­ly.

You can see and hear Ser­e­nade in C in the video at the top of the post, per­formed ear­li­er this month, not long after its pre­miere, on the steps of the Leipzig Opera by Vin­cent Geer, David Geer, and Elis­a­beth Zim­mer­mann of the Leipzig School of Music’s youth sym­pho­ny orches­tra. Renamed Ganz kleine Nacht­musik, this “new” Mozart piece has been includ­ed in the lat­est Köchel cat­a­log with the num­ber K. 648. If you lis­ten to it in the con­text of Mozart’s artis­tic evo­lu­tion, you’ll also notice the ways in which it stands out in a peri­od when he wrote main­ly arias, sym­phonies, and piano music. As for the extent to which it pre­fig­ures things to come, it’s ear­ly enough that we should prob­a­bly leave that ques­tion to the Mozartol­o­gists.

via Smithsonian.com

Relat­ed con­tent:

Hear the Evo­lu­tion of Mozart’s Music, Com­posed from Ages 5 to 35

New­ly Dis­cov­ered Piece by Mozart Per­formed on His Own Fortepi­ano

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.

Hear Moby Dick Read in Its Entirety by Benedict Cumberbatch, Tilda Swinton, John Waters, Stephen Fry & More

in Audio Books, Literature | September 24th, 2024

Image of Moby Dick by David Austen.

In 2013, Ply­mouth Uni­ver­si­ty kicked off Moby Dick The Big Read, promis­ing a full audio­book of Her­man Melville’s influ­en­tial nov­el, with famous (and not so famous) voic­es tak­ing on a chap­ter each. When we first wrote about it here, only six chap­ters had been unveiled, but boast­ed actors like Til­da Swin­ton (read­ing chap­ter one below), author Nigel Williams, and poet and jour­nal­ist Musa Okwon­ga.

We’re glad to say the project reached its suc­cess­ful con­clu­sion. And they cer­tain­ly called on an impres­sive ros­ter of celebri­ty read­ers: Stephen Fry, Neil Ten­nant, Fiona Shaw, Will Self, Bene­dict Cum­ber­batch, Chi­na Miéville, Tony Kush­n­er, John Waters, Simon Cal­low, Sir David Atten­bor­ough, even for­mer Prime Min­is­ter David Cameron. Pulitzer Prize win­ning poet Mary Oliv­er fin­ish­es off the whole project, read­ing the Epi­logue.

All 135 chap­ters are avail­able to be lis­tened to in your brows­er, down­loaded on iTunes, or streamed on Sound­Cloud. How­ev­er, do check them out online, as each chap­ter comes with a work of art each cre­at­ed by 135 con­tem­po­rary artists such as Matthew Bar­ney, Oliv­er Clegg, and Matthew Bene­dict. (See David Austen’s work above.) The project is a mam­moth under­tak­ing befit­ting such a mon­u­men­tal book, and if you’ve nev­er read it this just might be the way to go.

Copies of Moby Dick can be found in our col­lec­tion of Free eBooks. Mean­while, this big read­ing will be added to our col­lec­tion of Free Audio Books.

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:

Why Should We Read Melville’s Moby-Dick? A TED-Ed Ani­ma­tion Makes the Case

How to Mem­o­rize an Entire Chap­ter from “Moby Dick”: The Art and Sci­ence of Remem­ber­ing Every­thing

An Illus­tra­tion of Every Page of Her­man Melville’s Moby Dick

How Ray Brad­bury Wrote the Script for John Huston’s Moby Dick (1956)

Orson Welles Reads From Moby-Dick: The Great Amer­i­can Direc­tor Takes on the Great Amer­i­can Nov­el

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based 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.

Orson Welles Narrates Coleridge’s Rime of the Ancient Mariner in an Experimental Film Featuring the Art of Gustave Doré

in Film, Literature | September 23rd, 2024

Around here we sub­scribe to the the­o­ry that there’s no such thing as too much Orson Welles. In years past, we gave you Welles nar­rat­ing Pla­to’s Cave Alle­go­ry and Kafka’s “Before the Law,” and, before that, the Welles-nar­rat­ed para­ble Free­dom Riv­er, and the list goes on.

Now, we present The Rime of the Ancient Mariner, a 1977 exper­i­men­tal film cre­at­ed by Lar­ry Jor­dan, an inde­pen­dent film­mak­er who tried to mar­ry “the clas­sic engrav­ings of Gus­tave Doré to the clas­sic poem by Samuel Tay­lor Coleridge through a clas­sic nar­ra­tor: Orson Welles.” As Jor­dan describes it, the film is “a long opi­um dream of the old Mariner (Welles) who wan­ton­ly killed the alba­tross and suf­fered the pains of the damned for it.” You can watch above.

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:

Orson Welles Nar­rates Ani­ma­tions of Plato’s Cave and Kafka’s “Before the Law,” Two Para­bles of the Human Con­di­tion

Hear Orson Welles’ Icon­ic War of the Worlds Broad­cast (1938)

Orson Welles Nar­rates an Ani­mat­ed Para­ble About How Xeno­pho­bia & Greed Will Put Amer­i­ca Into Decline (1971)

Who’s Out There?: Orson Welles Nar­rates a Doc­u­men­tary Ask­ing Whether There’s Extrater­res­tri­al Life in the Uni­verse (1975)

Watch James Earl Jones Read Kurt Vonnegut’s Letter Urging High-School Students to Create Art & “Make Your Soul Grow”

in Art, Education, Letters | September 23rd, 2024

As cul­tur­al fig­ures, the late James Earl Jones and Kurt Von­negut would seem to have had lit­tle in com­mon, but each could eas­i­ly be rec­og­nized by his voice. Jones’ will come to mind as soon as you think of Darth Vad­er, Sim­ba’s father, or “This is CNN.” Von­negut’s dis­tinc­tion was the voice evi­dent on any giv­en page of nov­els like Cat’s Cra­dle, Break­fast of Cham­pi­ons, and of course Slaugh­ter­house-Five — a voice many of us have known since ado­les­cence. They come togeth­er in the Let­ters Live video above with Jones read­ing a Von­negut let­ter to the stu­dents of Ms. Lock­wood’s Eng­lish class at New York’s Xavier High School in 2006.

Von­negut was writ­ing in response to five such stu­dents, who’d cho­sen him when assigned to write to their favorite author. We’ve pre­vi­ous­ly fea­tured his let­ter here on Open Cul­ture as read aloud by Sir Ian McK­ellen, but its mes­sage bears repeat­ing by any­one who will speak it, beloved actor or oth­er­wise. “Prac­tice any art, music, singing, danc­ing, act­ing, draw­ing, paint­ing, sculpt­ing, poet­ry, fic­tion, essays, reportage, no mat­ter how well or bad­ly,” he writes. The idea is “not to get mon­ey and fame, but to expe­ri­ence becom­ing, to find out what’s inside you, to make your soul grow.”

The cel­e­brat­ed nov­el­ist even hands down an assign­ment to his teenage fans: “Write a six line poem, about any­thing, but rhymed. No fair ten­nis with­out a net. Make it as good as you pos­si­bly can. But don’t tell any­body what you’re doing. Don’t show it or recite it to any­body, not even your girl­friend or par­ents or what­ev­er, or Ms. Lock­wood.” After thor­ough­ly dis­pos­ing of this entire­ly pri­vate piece of art, know that “you have expe­ri­enced becom­ing, learned a lot more about what’s inside you, and you have made your soul grow.”

None of this con­flicts with the stan­dard advice about writ­ing, which tends to empha­size just get­ting start­ed, work­ing under restric­tions, and not mak­ing an undue rush to pub­li­ca­tion. But they make a dif­fer­ent kind of impact when rec­om­mend­ed by Von­negut in what would turn out to be the last year of life, and with his char­ac­ter­is­tic ten­den­cy to reach for the heav­ens while nev­er depart­ing from the mun­dane, even sil­ly things of this earth. “Dance home after school, and sing in the show­er and on and on,” he sug­gests. “Make a face in your mashed pota­toes. Pre­tend you’re Count Drac­u­la.” There writes a grand old man of Amer­i­can let­ters who knew how com­mu­ni­cate across a dis­tance of gen­er­a­tions.

Relat­ed con­tent:

James Earl Jones (RIP) Reads Edgar Allan Poe’s “The Raven” and Walt Whitman’s “Song of Myself”

James Earl Jones Reads Oth­el­lo at White House Poet­ry Jam

Fred­er­ick Douglass’s Fiery 1852 Speech, “The Mean­ing of July 4th for the Negro,” Read by James Earl Jones

Darth Vader’s Voice: The Orig­i­nal Voice Ver­sus the Vocals of James Earl Jones

Kurt Von­negut Urges Young Peo­ple to Make Art and “Make Your Soul Grow”

Sir Ian McK­ellen Reads Kurt Vonnegut’s Let­ter to High School Stu­dents: Make Art and “Make Your Soul Grow”

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.

David Bowie’s 100 Must Read Books

in Books, Music | September 23rd, 2024

Image by Avro, via Wiki­me­dia Com­mons

In 2013, the cura­tors of the tour­ing muse­um exhib­it “David Bowie Is” released a list of David Bowie’s 100 favorite reads, pro­vid­ing us with deep­er insights into his lit­er­ary tastes. Cov­er­ing fic­tion and non-fic­tion, the list spans six decades, mov­ing from Richard Wright’s mem­oir Black Boy (1945) to Susan Jacoby’s The Age of Amer­i­can Unrea­son (2008). As we once not­ed in anoth­er post, “his list shows a lot of love to Amer­i­can writ­ers, from … Tru­man Capote to … Hubert Sel­by, Jr., Saul Bel­low, Junot Díaz, Jack Ker­ouac and many more. He’s also very fond of fel­low Brits George Orwell, Ian McE­wan, and Julian Barnes and loves Mishi­ma and Bul­gakov.”  You can read the full list below, and, if you choose, also explore a relat­ed book from 2019–Bowie’s Book­shelf: The Hun­dred Books That Changed David Bowie’s Life.

1. Inter­views With Fran­cis Bacon by David Sylvester
2. Bil­ly Liar by Kei­th Water­house
3. Room At The Top by John Braine
4. On Hav­ing No Head by Dou­glass Hard­ing
5. Kaf­ka Was The Rage by Ana­tole Bro­yard
6. A Clock­work Orange by Antho­ny Burgess
7. City Of Night by John Rechy
8. The Brief Won­drous Life Of Oscar Wao by Junot Diaz
9. Madame Bovary by Gus­tave Flaubert
10. Ili­ad by Homer
11. As I Lay Dying by William Faulkn­er
12. Tadanori Yokoo by Tadanori Yokoo
13. Berlin Alexan­der­platz by Alfred Döblin
14. Inside The Whale And Oth­er Essays by George Orwell
15. Mr. Nor­ris Changes Trains by Christo­pher Ish­er­wood
16. Halls Dic­tio­nary Of Sub­jects And Sym­bols In Art by James A. Hall
17. David Bomberg by Richard Cork
18. Blast by Wyn­d­ham Lewis
19. Pass­ing by Nel­la Lar­son
20. Beyond The Bril­lo Box by Arthur C. Dan­to
21. The Ori­gin Of Con­scious­ness In The Break­down Of The Bicam­er­al Mind by Julian Jaynes
22. In Bluebeard’s Cas­tle by George Stein­er
23. Hawksmoor by Peter Ack­royd
24. The Divid­ed Self by R. D. Laing
25. The Stranger by Albert Camus
26. Infants Of The Spring by Wal­lace Thur­man
27. The Quest For Christa T by Christa Wolf
28. The Song­lines by Bruce Chatwin
29. Nights At The Cir­cus by Angela Carter
30. The Mas­ter And Mar­gari­ta by Mikhail Bul­gakov
31. The Prime Of Miss Jean Brodie by Muriel Spark
32. Loli­ta by Vladimir Nabokov
33. Her­zog by Saul Bel­low
34. Puck­oon by Spike Mil­li­gan
35. Black Boy by Richard Wright
36. The Great Gats­by by F. Scott Fitzger­ald
37. The Sailor Who Fell From Grace With The Sea by Yukio Mishi­ma
38. Dark­ness At Noon by Arthur Koestler
39. The Waste Land by T.S. Elliot
40. McTeague by Frank Nor­ris
41. Mon­ey by Mar­tin Amis
42. The Out­sider by Col­in Wil­son
43. Strange Peo­ple by Frank Edwards
44. Eng­lish Jour­ney by J.B. Priest­ley
45. A Con­fed­er­a­cy Of Dunces by John Kennedy Toole
46. The Day Of The Locust by Nathanael West
47. 1984 by George Orwell
48. The Life And Times Of Lit­tle Richard by Charles White
49. Awop­bopaloobop Alop­bam­boom: The Gold­en Age of Rock by Nik Cohn
50. Mys­tery Train by Greil Mar­cus
51. Beano (com­ic, ’50s)
52. Raw (com­ic, ’80s)
53. White Noise by Don DeLil­lo
54. Sweet Soul Music: Rhythm And Blues And The South­ern Dream Of Free­dom by Peter Gural­nick
55. Silence: Lec­tures And Writ­ing by John Cage
56. Writ­ers At Work: The Paris Review Inter­views edit­ed by Mal­colm Cow­ley
57. The Sound Of The City: The Rise Of Rock And Roll by Char­lie Gillette
58. Octo­bri­ana And The Russ­ian Under­ground by Peter Sadecky
59. The Street by Ann Petry
60. Won­der Boys by Michael Chabon
61. Last Exit To Brook­lyn By Hubert Sel­by, Jr.
62. A People’s His­to­ry Of The Unit­ed States by Howard Zinn
63. The Age Of Amer­i­can Unrea­son by Susan Jaco­by
64. Met­ro­pol­i­tan Life by Fran Lebowitz
65. The Coast Of Utopia by Tom Stop­pard
66. The Bridge by Hart Crane
67. All The Emperor’s Hors­es by David Kidd
68. Fin­ger­smith by Sarah Waters
69. Earth­ly Pow­ers by Antho­ny Burgess
70. The 42nd Par­al­lel by John Dos Pas­sos
71. Tales Of Beat­nik Glo­ry by Ed Saun­ders
72. The Bird Artist by Howard Nor­man
73. Nowhere To Run The Sto­ry Of Soul Music by Ger­ri Hir­shey
74. Before The Del­uge by Otto Friedrich
75. Sex­u­al Per­son­ae: Art And Deca­dence From Nefer­ti­ti To Emi­ly Dick­in­son by Camille Paglia
76. The Amer­i­can Way Of Death by Jes­si­ca Mit­ford
77. In Cold Blood by Tru­man Capote
78. Lady Chatterly’s Lover by D.H. Lawrence
79. Teenage by Jon Sav­age
80. Vile Bod­ies by Eve­lyn Waugh
81. The Hid­den Per­suaders by Vance Packard
82. The Fire Next Time by James Bald­win
83. Viz (com­ic, ear­ly ’80s)
84. Pri­vate Eye (satir­i­cal mag­a­zine, ’60s – ’80s)
85. Select­ed Poems by Frank O’Hara
86. The Tri­al Of Hen­ry Kissinger by Christo­pher Hitchens
87. Flaubert’s Par­rot by Julian Barnes
88. Mal­doror by Comte de Lautréa­mont
89. On The Road by Jack Ker­ouac
90. Mr. Wilson’s Cab­i­net of Won­der by Lawrence Weschler
91. Zanoni by Edward Bul­w­er-Lyt­ton
92. Tran­scen­den­tal Mag­ic, Its Doc­trine and Rit­u­al by Eliphas Lévi
93. The Gnos­tic Gospels by Elaine Pagels
94. The Leop­ard by Giuseppe Di Lampe­dusa
95. Infer­no by Dante Alighieri
96. A Grave For A Dol­phin by Alber­to Den­ti di Pira­jno
97. The Insult by Rupert Thom­son
98. In Between The Sheets by Ian McE­wan
99. A People’s Tragedy by Orlan­do Figes
100. Jour­ney Into The Whirl­wind by Euge­nia Ginzburg

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:

Bowie’s Book­shelf: A New Essay Col­lec­tion on The 100 Books That Changed David Bowie’s Life

Bri­an Eno Cre­ates a List of 20 Books That Could Rebuild Civ­i­liza­tion

David Bowie Songs Reimag­ined as Pulp Fic­tion Book Cov­ers: Space Odd­i­ty, Heroes, Life on Mars & More

Hayao Miyaza­ki Selects His 50 Favorite Children’s Books

Behold a Creative Animation of the Bayeux Tapestry

in Animation, Art, History | September 19th, 2024

In pre­vi­ous cen­turies, unless you were a mem­ber of the nobil­i­ty, a wealthy reli­gious order, or a mer­chant guild, your chances of spend­ing any sig­nif­i­cant amount of time with a Medieval tapes­try were slim. Though “much pro­duc­tion was rel­a­tive­ly coarse, intend­ed for dec­o­ra­tive pur­pos­es,” writes the Met­ro­pol­i­tan Muse­um of Art, the tapes­try still com­mand­ed high prices, just as it com­mand­ed respect for its own­er. And as oth­er dec­o­ra­tive arts of the time pre­served his­tor­i­cal memory—or cer­tain polit­i­cal ver­sions of it, at least—tapestry designs might embody “cel­e­bra­to­ry or pro­pa­gan­dis­tic themes” in their weft and warp.

“Enriched with silk and gilt metal­lic thread,” writes the Met, “such tapes­tries were a cen­tral com­po­nent of the osten­ta­tious mag­nif­i­cence used by pow­er­ful sec­u­lar and reli­gious rulers to broad­cast their wealth and might.” Such is one of the most famous of these works, the Bayeux Tapes­try, which com­mem­o­rates the 1066 vic­to­ry of William the Con­queror at the Bat­tle of Hast­ings. The famous wall hang­ing, housed at the Bayeux Muse­um in Nor­mandy, was “prob­a­bly com­mis­sioned in the 1070s” by Bish­op Odo of Bayeux, William’s half-broth­er, mak­ing it a very ear­ly exam­ple of the form. So the site of a Vic­to­ri­an-era repli­ca writes, and yet “noth­ing known is cer­tain about the tapestry’s ori­gins.” (The first writ­ten record of it dates from 1476.)

While the Bayeux Tapes­try may have been inac­ces­si­ble to most peo­ple for how­ev­er many cen­turies it has exist­ed, you can now stand before it in its home of Bayeux, or see the very con­vinc­ing repli­ca at Britain’s Read­ing Muse­um. (You’ll note in both cas­es that the Bayeux tapes­try is not, in fact, a tapes­try, woven on a loom, but a painstak­ing, hand-stitched embroi­dery.) Or, rather than trav­el­ing, you can watch the video above, an ani­mat­ed ren­di­tion of the tapestry’s sto­ry by film­mak­er David New­ton and sound design­er Marc Syl­van.

Dur­ing the years 1064 to the fate­ful 1066, a fierce rival­ry took shape as the ail­ing King Edward the Con­fes­sor’s advi­sor Harold God­win­son and William the Con­queror vied for the crown. Once Edward died in 1066, Harold seized the throne, prompt­ing William to invade and defeat him at the Bat­tle of Hast­ings. The Tapes­try gives us a graph­ic his­to­ry of this bloody con­test, “a sto­ry,” writes the Bayeux Muse­um, “broad­ly in keep­ing with the accounts of authors of the 11th cen­tu­ry.” “The Tapes­try’s depic­tion of the Bat­tle of Hast­ings,” his­to­ri­an Robert Bartlett tells us, “is the fullest pic­to­r­i­al record of a medieval bat­tle in existence”—and the ani­ma­tion above makes it come alive with sound and move­ment.

Note: The Ani­mat­ed Bayeux Tapes­try above was orig­i­nal­ly cre­at­ed as a stu­dent project. David New­ton pro­vid­ed the ani­ma­tion, and Marc Syl­van cre­at­ed the orig­i­nal music and sound effects. Enjoy!

Relat­ed Con­tent:

The Bayeux Tapes­try Gets Dig­i­tized: View the Medieval Tapes­try in High Res­o­lu­tion, Down to the Indi­vid­ual Thread

Con­struct Your Own Bayeux Tapes­try with This Free Online App

How the Ornate Tapes­tries from the Age of Louis XIV Were Made (and Are Still Made Today)

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