The Only Drawing from Maurice Sendak’s Short-Lived Attempt to Illustrate The Hobbit
I envy nobody the clearly torturous task of interpreting the works of J.R.R. Tolkien, from Peter Jackson on down. With his three Lord of the Rings films in the early 2000s, New Zealand’s cinematic native son actually did an admirable job of deflecting much of the inevitable wrath of Tolkien’s enormous, highly detail-oriented, easily angered international fan base. One senses, however, that he stands on slightly less firm ground with his newer adaptation, and indeed expansion, of The Hobbit. The novel, which Tolkien wrote for children in 1937 and whose success led him to go the full distance with the Lord of the Rings books, now finds itself turning into its own trio of film spectacles, each installment of which gets the strongest possible marketing push (up to and including Middle-Earth-themed dishes at Denny’s) upon its theatrical release. It can seem an awfully grand treatment for a humble (if enduringly adventurous) book. To grant The Hobbit a separate visual dimension, then, wouldn’t we want a talent which, though formidable, tended toward subtlety and understatement — and, lest we forget the novel’s target audience, one who understands children?
We nearly had one in Maurice Sendak, he of Where the Wild Things Are, who in the mid-1960s created sample artwork for The Hobbit’s proposed 30th-anniversary deluxe illustrated edition. For a variety of reasons, from Sendak’s reluctance to Tolkien’s crankiness to a labeling snafu by the publisher to a heart attack that took Sendak out of commission for a while, the promising concept never came to fruition. Specifics of the accounts conflict, though you can find one from Tony DiTerlizzi at the Los Angeles Times and another, proposing corrections to the former, at Too Many Books and Never Enough. Whatever the ultimate obstacle, Sendak completed just two drawings for the book; the only one that survives appears at the top of this post, showing us how he envisioned the hobbit hero Bilbo Baggins and the wizard Gandalf. Just above, we have Tolkien’s own drawing of Bilbo at home, proving him none too shabby an illustrator in his own right, and one who by definition gets the details right. Still, I grieve for never having seen the directions in which Sendak could have taken this bit of material from the beloved Tolkien canon — and, better yet, what minor heresies the irreverent artist could have slyly inflicted upon it.
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Download Eight Free Lectures on The Hobbit by “The Tolkien Professor,” Corey Olsen
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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...Download Over 22,000 Golden & Silver Age Comic Books from the Comic Book Plus Archive
The decade beginning with the late 1930s is known as the Golden Age of comic books. Many of the superheroes from today’s blockbuster franchises, including Batman, Superman, and Captain America, emerged during this period, and the industry grew into a commercial powerhouse. Following a sales dip during the early 1950s that marked the end of the Golden Age, the Silver Age began (circa 1956) and lasted for some fifteen years.
During this era, superhero comic books initially lost steam — letting stories of horror, romance, and crime grow in popularity — before emerging triumphantly once more with characters like Spider-Man and The Flash. While copyright remains very much in effect for such titles, a slew of comic books from the same period, many of which have narrowly missed attaining such iconic status, are available online at Comic Book Plus.
Similar to the Digital Comic Museum, which we wrote about last week, Comic Book Plus contains a near inexhaustible quantity of Golden and Silver Age comic books. The collection’s timespan ranges from the late 1930s through to the early 1960s, and includes many thousands of comic books in the Superhero, Sci-Fi, and Horror genres.
Those hankering for something a little more unusual will also be in luck. Desperate to read about a hospital romance? Why not give Linda Lark Student Nurse a read in the Medical Love category? Sick of landlubbers hogging all the attention in comic books? Head to the Water/Boats section, where you can read all about Davy Jones, the navy lieutenant who lives in Atlantis and does battle with the evil Dr. Fang, in Undersea Agent.
Comic Book Plus also has a terrific selection of foreign comic books, including impressive collections in German, Hindi, Italian, Portuguese, and Spanish. You can see Super Hombre here.
Finally, the site contains a number of U.S. government educational pamphlets, including Bert The Turtle Says Duck And Cover, a guide to surviving atomic bomb blasts.
For further reading, head on over to Comic Book Plus. You can preview all materials without registration. But you will need to register (for free) if you want to download the various comic books.
H/T to Yocitrus for making us aware of this archive.
Ilia Blinderman is a Montreal-based culture and science writer. Follow him at @iliablinderman, or read more of his writing at the Huffington Post.
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Read More...Martin Scorsese, Sonic Youth, Guillermo del Toro, Wes Anderson & Other Icons List Their Top 10 Art Films
If you are a movie maven, you know about the Criterion Collection. Since the days of Laserdiscs, Criterion has made a name for itself by amassing a vast and thorough catalog of indie films, art house flicks and the occasional blockbuster. They distribute DVDs of directors as diverse as Akira Kurosawa, Jane Campion, and Stan Brakhage.
For their website, Criterion has asked a number of filmmakers, writers and other cultural figures to come up with their Top 10 Criterion movies ever. They are fascinating, illuminating and often surprising.
The late, great band Sonic Youth – which made a name for itself for its loud, growling guitars and endless layers of noisy feedback — picked some remarkably quiet, meditative movies: Yasujiro Ozu’s contemplative late masterpiece Floating Weeds tops the list and Chantal Akerman’s three-hour long minimalist masterpiece Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles comes in at number two.
Likewise, low-budget horror legend Roger Corman picked Michelangelo Antonioni’s high art masterpiece L’avventura as his top pick. “Never has ‘waiting around’ been so glorious,” he writes.
Less surprising are Martin Scorsese’s picks. He puts Roberto Rossellini’s Paisan at number one and Michael Powell and Emeric Pressburger’s Technicolor marvel The Red Shoes at number two. Scorsese has on multiple occasions declared his love of the former and was central to getting the latter restored.
Edgar Wright – director of Scott Pilgrim vs. the World and last summer’s apocalyptic comedy The World’s End – proudly picked Brian DePalma’s Blow Out as his top movie. “I have heard people call themselves Brian De Palma apologists,” he writes. “I am proud to say that I am a huge fan without any caveats.”
And The Exorcist director William Friedkin reveals himself to be a fan of Alain Resnais, placing both Night and Fog and The Last Year at Marienbad high on his list. His praise of the recently departed French New Wave icon’s most famous movie is also an eloquent defense of any challenging movie.
I’ve seen Marienbad at least twenty times over the past fifty years, and I don’t understand one scene of it, but what a fantastic experience. I don’t understand the Grand Canyon or Schoenberg’s Transfigured Night, either, but they continue to move me.
You can see all of the Criterion top ten lists here. Other figures on the list include Jonathan Lethem, the Beastie Boys’ Adam Yauch, James Franco, Lena Dunham, Guillermo del Toro, Wes Anderson, John Lurie, Brie Larson, Donald Fagen & More.
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Jonathan Crow is a Los Angeles-based writer and filmmaker whose work has appeared in Yahoo!, The Hollywood Reporter, and other publications. You can follow him at @jonccrow.
Read More...200 Free Documentaries: A Super Rich List of Finely-Crafted Documentaries on the Web
I’ve often called documentary my favorite kind of film, knowing full well that the label designates less a defined genre than a usefully malleable description. What does a documentary have? An unscripted, nonfictional story; interviews; footage candidly shot — maybe. It may also include scripted, staged, fictional material, and may treat real events in a fictionalized manner or search for the reality in events clouded by fiction. For fine examples of the last, see the works of Errol Morris, four of which — A Brief History of Time on Stephen Hawking (above), November 22, 1963 on JFK, They Were There on IBM, and Werner Herzog Eats His Shoe on, well, subject obvious – you can see right here in our collection of 200 free documentaries online. And speaking of Herzog, the other living filmmaker doing the most to push outward the boundaries of documentary, we have From One Second to the Next, on the dangers of texting while driving, and Portrait Werner Herzog, on his own life and work.
But cinema had the documentary long before it had the likes of Morris and Herzog, and our collection includes a diversity of such pictures from all over the past century. 1958’s Ansel Adams: Photographer, for instance, profiles in motion the practice of the man whose work in still imagery anticipated, in many ways, the modern nature documentary. Documentary films have arguably provided the richest means of viewing every kind of creative mind at work, from Alfred Hitchcock (The Men Who Made the Movies: Hitchcock, Dial H for Hitchcock) to James Joyce (The Trials of Ulysses) to Joni Mitchell (Woman of Heart and Mind) to Charles Bukowski (Born Into This). Some of them even came as early entries from not-yet famous directors, including Stanley Kubrick (Day of the Flight, Flying Padre, The Seafarers), Jean-Luc Godard (Operation Concrete), and Kevin Smith (Mae Day: The Crumbling of a Documentary). Nobody can ever say where the documentary form will go next, but watch these 200 and you’ll have a pretty fair idea of all the exciting places — geographical, intellectual, personal, and artistic — it’s gone already.
See our collection of 200 free documentaries online, part of our larger collection of 635 Free Movies Online.
Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...William S. Burroughs Reads From Naked Lunch, His Controversial 1959 Novel
Published in 1959, Williams S. Burroughs’ Naked Lunch ranks with other mid-twentieth century books like Henry Miller’s Tropic of Cancer and the works of Jean Genet as literature that sharply divided both critical and legal opinion in arguments over style and in questions of obscenity. Among its disturbing and subversive characters is the sociopathic surgeon Dr. Benway, who inspired the medical horrors of J.G. Ballard and was inspired in turn by Aldous Huxley’s Brave New World. Benway provides some of the more satirical moments in the book, as you can hear in the section below, which Burroughs reads straight with his distinctive nasally Midwestern twang. A short film of the scene (sadly unembeddable), called “Dr. Benway Operates,” has Burroughs himself playing the doctor, in a dramatization that looks like low rent farce as directed by John Waters.
A series of loosely connected chapters that Burroughs said could be read in any order, Naked Lunch seems both fascinated and repelled by the grisly medicalized violence in scenes like those above (one vignette, for example, presents “a tract against capital punishment”). This ambivalence was not lost on writers like Norman Mailer. The highest praise of the novel probably came from Mailer during the novel’s 1966 obscenity trial before the Massachusetts Supreme Court. In one among a handful of literary depositions, including one from Allen Ginsberg, Mailer described Burroughs’ “extraordinary style,” and “exquisite poetic sense.” Despite the fact that its images were “often disgusting,” Mailer called the book “a deep work, a calculated work” that “captures that speech [‘gutter talk’] like no American writer I know.”
Perhaps one of the work’s most damning pieces of criticism comes from the Judicial Officer for the U.S. Postal Service, who called for the book’s banning, appraising the writing as “undisciplined prose, far more akin to the early work of experimental adolescents than to anything of literary merit.” Mailer, Ginsberg, and the book’s other supporters won out, a fact beat essayist Jed Birmingham laments, for a surprising reason: The unbanning of Naked Lunch led to the book’s taming, its gentrification, as it were: “The wild, exuberant offensiveness of the novel fades,” he writes, “in the face of all the legal arguments and the process of canonization.” In fact, the full novel may never have been published at all had it not been for the Post Office in Chicago seizing several hundred copies of The Chicago Review, which contained some few Naked Lunch sections. Hearing of the controversy, French publisher Maurice Girodias hastily threw together a manuscript of the first 1959 text.
And yet, prior to the mid-sixties, the decision to ban Naked Lunch, “even before it was published in book form,” meant “that questions of obscenity and censorship dictated the academic and public reception” of the book. Burroughs commented on the effects of such censorship—using an analogy to “the junk virus”—in part of a new preface to the 50th edition called “Afterthoughts on a Deposition.” The heath risks of opiates “in controlled doses,” he writes,“maybe be minimal,” yet the effects of criminalization are outsized “anti-drug hysteria,” which “poses a threat to personal freedoms and due-process protections of the law everywhere.”
Since the novel’s vindication, critical consensus has centered around sober, reverent judgments like Mailer’s—and to some lesser extent Ginsberg’s terse, irritable testimony. While there are still those who despise the book, it’s significant that Burroughs’ work—which the Washington Post called the first of his “homosexual planet-operas”—has achieved such widespread admiration amidst the notoriety. The novel deals in themes we’re still adjudicating daily in courts legal and public some 55 years later, pointing perhaps to the continued gulf between the thoughts and aims of the reading public and those of hysterical authoritarians and “the media and narcotics officials,” as Burroughs has it. After all, at its 50th anniversary in 2009, Naked Lunch was pronounced “still fresh” by such mainstream outlets as NPR and The Guardian, evidence of its persistent power, and maybe also of its domestication.
Clips of Burroughs reading Naked Lunch can also be found on this Columbia University site.
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...Andy Warhol’s 1965 Film, Vinyl, Adapted from Anthony Burgess’ A Clockwork Orange
Surely you’ve seen Stanley Kubrick’s version of A Clockwork Orange. But have you seen Andy Warhol’s? Anthony Burgess’ 1962 novel of the robust culture of teenage violence in our freakish dystopian future caught the eye of not just the man who had previously made 2001: A Space Odyssey, but that of the man who had previously made the eight-hour still shot Empire as well. Warhol and Kubrick’s sensibilities differed, you might say, as did the means of production to which they had access, and a comparison of their Clockwork Orange adaptations highlights both. Using three shots in this 70-minute film instead of Empire’s one, Warhol creates, in the words of Ed Howard at Only the Cinema, “a strange and intriguing film which, like most of Warhol’s movies, often toes the line between slow and downright boring, a piece of “alienating, attitude-based cinema” that “provides no easy pleasures,” “replacing the conventional narrative drive with a cluttered mise-en-scene of bodies.” For all its cheapness, Warhol’s lo-fi cinematic rendition did at least come first, in 1965 to Kubrick’s 1971 — plus, you can watch it free on Youtube above.
“Vinyl is such a loose adaptation of the source novel that even people who have seen it should be forgiven for not realising that it is built on Burgess’s literary scaffold,” says the web site of the International Anthony Burgess Foundation. “The film is presented as a series of images of brutality, beatings, torture and masochism all performed by a group of men under the gaze of a glamorous woman. In its preoccupations with pornography and violence, it bears many of the oblique hallmarks of Warhol’s work, along with a familiar cast of Factory regulars such as Gerard Malanga, Edie Sedgwick and Ondine. The finished film is disturbing, contains unsimulated violent acts and is not very audience-friendly.” Either a strong disrecommendation or a strong recommendation, depending on your proclivities. And if none of that draws you, maybe the soundtrack including Martha and the Vandellas, The Kinks, The Rolling Stones, and the The Isley Brothers will. Did Warhol pay to license their songs? Given that he certainly didn’t look into obtaining the rights even to A Clockwork Orange, something inside me doubts it.
You can watch Three More 1960s “Anti-Films” by Andy Warhol — Sleep, Eat & Kiss — in our 2011 post. They are otherwise listed in our collection of 635 Free Movies Online.
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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.
Read More...The Last Time Lennon & McCartney Played Together Captured in A Toot And a Snore in ’74
The number of Beatles bootlegs—in every possible medium and state of quality—must approach infinity. A person could spend a lifetime acquiring, cataloguing, scrutinizing, and discussing the relative merits of various outtakes, live recordings, demos, and studio goof-offs from the band and its individual members. It should go without saying that a great many of these artifacts have more historical than musical interest, given their fragmentary and unserious nature—and the simple barriers posed by bad recording. But while I imagine some angry antiquarian or zealous devotee interjecting here to tell me that absolutely everything the fab four touched turned directly to gold, I remain unsold on this article of faith.
So where are we average fans to place A Toot and a Snore in ’74, the bootleg album (above) recorded at Burbank Studios and featuring musical contributions from Stevie Wonder, Harry Nilsson, Jesse Ed Davis, and Bobby Keys? Well, its historical value is beyond question, since it represents the only known record of John Lennon and Paul McCartney playing together after the Beatles’ breakup. Though their mutual dislike at this time was well-established and they hadn’t seen each other in three years, the tapes document a very laid-back session with the two legends—John on lead vocal and guitar, Paul singing harmonies and playing Ringo’s drumkit—letting go of the past and having some fun again. Lennon first mentioned the recording while discussing the possibility of reunion in the 1975 interview below (he’s surprisingly warm to the idea). At 1:45, he says, “I jammed with Paul. We did a lot of stuff in LA. There was 50 other people playing, but they were all just watching me and Paul.”
How does McCartney remember the session? “Hazy,” he said in a 1997 interview, “for a number of reasons.” The drugs were surely one of them. The title refers to Lennon offering Stevie Wonder coke in the opening track: “do you want a snort Steve? A toot? It’s going round….” The impromptu gathering convened on March 28 during the recording of Harry Nilsson’s Pussy Cats, which Lennon was producing. This was during Lennon’s so-called “lost weekend,” the year and a half during which he separated from Yoko, lived with their assistant May Pang, and did some serious drinking and drugs (as well as recording three albums).
Pang, who was present and plays tambourine, recalls it as a night of “joyous music” in her 1983 book Loving John, but you probably had to be there to fully appreciate it. As Richard Metzger at Dangerous Minds notes, “it’s basically just a drunk, coked-up jam session.” But, he adds, “a drunk, coked-up jam session of great historical significance.” And for that reason alone, it’s worth a listen. Or, if you like, you can read a transcript of the ramble and banter over at Bootleg Zone. Consisting of lots of studio crosstalk, noodling improv, and a few attempted covers, the session was released by Germany’s Mistral Music in 1992, credited simply to “John and Paul.”
via Dangerous Minds
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness
Read More...Getty Images Makes 35 Million Photos Free to Use Online
Founded in 1997, Getty Images has made a business out of licensing stock photography to web sites. But, in recent years, the company has struggled, facing stiffer competition from other companies .… and from online piracy. Quoted in the British Journal of Photography, Craig Peters, a Senior VP at Getty Images, observes that Getty is “really starting to see the extent of online infringement. In essence, everybody today is a publisher thanks to social media and self-publishing platforms. And it’s incredibly easy to find content online and simply right-click to utilise it.” All of this becomes a problem, for Getty, when cash-strapped “self publishers, who typically don’t know anything about copyright and licensing,” start right clicking and using the company’s images without attribution or payment.
Fighting a losing battle against infringers, Getty Images surprised consumers and competitors yesterday when it announced that it would make 35 million images free for publishers to use, with a few strings attached. Publishers, broadly defined, are now allowed to add certain Getty images to their sites, on the condition that they use embed code provided by the company. That embed code (find instructions here) will ensure that “there will be attribution around that image,” that “images will link back to [Getty’s] site and directly to the image’s details page,” and that Getty will receive information on how the images are being used and viewed.
Not every Getty image can be embedded — only 35,000,000 of the 80,000,000 images in Getty’s archive. And, to be sure, many of those 35 million Getty images are stock photos that will leave you uninspired. But if you’re willing to sift patiently through the collection, you can find some gems, like the shots featured above of some great jazz legends — Miles Davis, Billie Holiday and John Coltrane.
If you’re interested in rummaging through free images from museums and libraries, don’t miss our recent post: Where to Find Free Art Images & Books from Great Museums, and Free Books from University Presses.
via BJP
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Read More...Listen to Tree Rings Getting Played on a Turntable and Turned into Music
There’s something oddly soothing about listening to music on vinyl. Regardless of what digital music lovers say, and irrespective of the fact that the same sound may be produced digitally, die-hard vinyl fans will tell you that nothing compares to the warm scratchiness of a needle on a record. I don’t have a horse in the race, but having grown up with a record player in my bedroom, I can’t help but slip into a brief reverie whenever I hear an old Satchmo record spinning on a turntable.
In an elegant twist on the digital/analog battle, German-born Bartholomäus Traubeck has created Years, a “record player that plays slices of wood,” using a process that translates the data from the tree’s year rings into music. This process is, however, completely digital. Instead of using a needle to pick up the sound from the record’s grooves, Traubeck used a tiny camera to capture the image of the wood, and digitally transformed this data into piano tones. More than merely a clever contraption, however, Years is also an intriguing interaction between the physical and the temporal. As Traubeck notes,
“On regular vinyl, there is this groove that represents however long the track is. There’s a physical representation of the length of the audio track that’s imprinted on the record. The year rings are very similar because it takes a very long time to actually grow this structure because it depends on which record you put on of those I made. It’s usually 30 to 60 or 70 years in that amount of space. It was really interesting for me to have this visual representation of time and then translate it back into a song which it wouldn’t originally be.”
A little convoluted? Don’t worry. Play the video above, and enjoy the eerie melody.
via LiveScience
Ilia Blinderman is a Montreal-based culture and science writer. Follow him at @iliablinderman, or read more of his writing at the Huffington Post.
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Read More...
Buckminster Fuller Gives a Lecture About Semantics at San Quentin State Prison (1959)
San Quentin State Prison, California’s only male-inmate death row, has a reputation for having contained some of the most fearsome murderers to make headlines, up to and including Charles Manson. But some non-serial-killing cultural figures have also passed through it gates: country singer-songwriter Merle Haggard, for car theft and armed robbery in his youth; actor Danny Trejo, who did a few years in the sixties; jazz saxophonist Art Pepper, who served two sentences there in that decade; and Neal Cassady, the inspiration for Dean Moriarty in Jack Kerouac’s On the Road, locked up for marijuana possession in 1958. The following year would see the construction, up north at the University of Oregon, of the very first full-sphere “continuous tension-discontinuous compression” geodesic dome. What on Earth could link these these two structures, one brutally utilitarian with a name that spooks even hardened outlaws, and the other a technologically forward-thinking, utopian attempt at architecturally bringing about a better world?
The connection comes in the form of Buckminster Fuller himself, the architect, inventor, writer, and much else besides responsible for the design of the geodesic dome. (He also invented the Dymaxion Car, Dymaxion House, Dymaxion Map… and the list goes on.) He came to San Quentin that same year, not as an inmate — one imagines him as far too busy spinning off new theories or keeping the Dymaxion Chronofile to so much as consider committing a crime — but as a lecturer. Described as “a talk given to inmates on general semantics,” Fuller’s address, which you can hear above, starting around the 20:30 minute mark, takes on an even more general breadth of subjects than that, including his own biography and the experiences that originated the ideas that drove him to live his life as “an experiment to find what a single individual can contribute to changing the world and benefiting all humanity.” Through that concern with humanity, he could relate to prisoners just as well as he could to anyone else. “There are no throw-away resources,” he says at one point, “and no throw-away people.” At over three hours long, the lecture gets into some detail, but if you want a still more thorough look into Fuller’s mind, consider following it up with the 42-hour Everything I Know.
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Colin Marshall hosts and produces Notebook on Cities and Culture and writes essays on cities, language, Asia, and men’s style. He’s at work on a book about Los Angeles, A Los Angeles Primer. Follow him on Twitter at @colinmarshall or on Facebook.
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