When James Joyce Got Into a Bar Fight, He’d Yell: “Deal With Him, Hemingway!”

The nar­ra­tor of this rare clip describes James Joyce — arguably the great­est nov­el­ist of the 20th cen­tu­ry — as a “small, thin, unath­let­ic man with very bad eyes.” Ouch. And it gets worse. Accord­ing to the voiceover, when Joyce and drink­ing bud­dy Ernest Hem­ing­way faced a poten­tial brawl, Joyce would hide behind his more impos­ing com­rade and shout “Deal with him, Hem­ing­way, deal with him!!!’

But we bet they were both just hid­ing behind Gertrude Stein.

For more on Hem­ing­way’s adven­tures in fight­ing, see our post Ernest Hemingway’s Delu­sion­al Adven­tures in Box­ing: “My Writ­ing is Noth­ing, My Box­ing is Every­thing.”

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

James Joyce Read­ing from Finnegans Wake

Ernest Hem­ing­way Reads “In Harry’s Bar in Venice”

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

James Joyce’s Ulysses: Down­load the Free Audio Book

Sheer­ly Avni is a San Fran­cis­co-based arts and cul­ture writer. Her work has appeared in Salon, LA Week­ly, Moth­er Jones, and many oth­er pub­li­ca­tions. You can fol­low her on twit­ter at @sheerly.

Conan O’Brien Kills It at Dartmouth Graduation

The stars shined upon the Ivy League schools this grad­u­a­tion sea­son. Tom Han­ks at Yale, Amy Poehler at Har­vard, Den­zel Wash­ing­ton at U Penn. These kids have it good, but nowhere near as good as the Dart­mouth grads. This week­end, Conan O’Brien rolled into Hanover, New Hamp­shire and dished out plen­ty of jokes:

Par­ents, if your child majored in fine arts or phi­los­o­phy, you have good rea­son to be wor­ried. The only place where they are now real­ly qual­i­fied to get a job is ancient Greece. Good luck with that degree.

You know, New Hamp­shire is such a spe­cial place. When I arrived I took a deep breath of this crisp New Eng­land air and thought, “Wow, I’m in the state that’s next to the state where Ben and Jer­ry’s ice cream is made.”

To this day I can­not help but won­der: What if I had gone to Dart­mouth? If I had gone to Dart­mouth, I might have spent at least some of my col­lege years out­side and today I might not be aller­gic to all plant life, as well as most types of rock. If I had gone to Dart­mouth, right now I’d be wear­ing a fleece thong instead of a lace thong… If I had gone to Dart­mouth, I’d have a liv­er the size and con­sis­ten­cy of a bean bag chair. Final­ly, if I had gone to Dart­mouth, today I’d be get­ting an hon­orary degree at Har­vard. Imag­ine how awe­some that would be.

And a lit­tle wis­dom for life, which, hon­est­ly, holds entire­ly true.

For decades, in show busi­ness, the ulti­mate goal of every come­di­an was to host The Tonight Show. It was the Holy Grail, and like many peo­ple I thought that achiev­ing that goal would define me as suc­cess­ful. But that is not true. No spe­cif­ic job or career goal defines me, and it should not define you. In 2000—in 2000—I told grad­u­ates to not be afraid to fail, and I still believe that. But today I tell you that whether you fear it or not, dis­ap­point­ment will come. The beau­ty is that through dis­ap­point­ment you can gain clar­i­ty, and with clar­i­ty comes con­vic­tion and true orig­i­nal­i­ty.

Many of you here today are get­ting your diplo­ma at this Ivy League school because you have com­mit­ted your­self to a dream and worked hard to achieve it. And there is no greater cliché in a com­mence­ment address than “fol­low your dream.” Well I am here to tell you that what­ev­er you think your dream is now, it will prob­a­bly change. And that’s okay. Four years ago, many of you had a spe­cif­ic vision of what your col­lege expe­ri­ence was going to be and who you were going to become. And I bet, today, most of you would admit that your time here was very dif­fer­ent from what you imag­ined. Your room­mates changed, your major changed, for some of you your sex­u­al ori­en­ta­tion changed. I bet some of you have changed your sex­u­al ori­en­ta­tion since I began this speech. I know I have. But through the good and espe­cial­ly the bad, the per­son you are now is some­one you could nev­er have con­jured in the fall of 2007.

You can find the com­plete tran­script of the speech here. And don’t miss Conan’s vis­it to Google last sum­mer, which was full of good laughs…

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Guns N’ Roses Meet Two Cellos: Monday Mashup

You may rec­og­nize Luka Sulic and Stjepan Hauser, aka 2CELLOS, from their rock­ing arrange­ment of Michael Jack­son’s Smooth Crim­i­nal ear­li­er this year. This time, the clas­si­cal­ly-trained musi­cians have done them­selves one bet­ter, with a fre­net­ic, hard-hit­ting take on GNR’s “Wel­come To The Jun­gle” that would give Slash him­self a run for his hard­core cred.

2CELLOS are cur­rent­ly tour­ing with Elton John, and you can pre-order their debut CD, which includes cov­ers of Nir­vana’s “Smells Like Teen Spir­it” and U2’s “With or With­out You.”

Relat­ed Con­tent:

The Gui­tar Prodi­gy from Karachi

Col­lab­o­ra­tions: Spike Jonze, Yo-Yo Ma, and Lil Buck

Sheer­ly Avni is a San Fran­cis­co-based arts and cul­ture writer. Her work has appeared in Salon, LA Week­ly, Moth­er Jones, and many oth­er pub­li­ca­tions. You can fol­low her on twit­ter at @sheerly.

230 Cultural Icons: A New Collection


Time to roll out a new media col­lec­tion — a big col­lec­tion of Cul­tur­al Icons. Here you will find great writ­ers, daz­zling film­mak­ers and musi­cians, bril­liant philoso­phers and sci­en­tists — fig­ures who have changed our cul­tur­al land­scape through­out the years. You’ll see them in video, or hear their voic­es in audio.

The list cur­rent­ly fea­tures 230 icons, all speak­ing in their own words. The col­lec­tion will inevitably grow as we add more mate­r­i­al, or as you send sug­ges­tions our way. For now, how about we whet your appetite with 10 favorites? Then you can rum­mage through the full col­lec­tion of Cul­tur­al Icons here.

(Note: Down the road, you can access this col­lec­tion by click­ing “Cul­tur­al Icons” in the top nav­i­ga­tion bar.)

Sal­vador Dali Video – Sur­re­al­ist artist appears on â€śWhat’s My Line?” (1952)

John­ny Depp Video – The ver­sa­tile actor reads a let­ter from Gonzo jour­nal­ist Hunter S. Thomp­son.

Anne Frank Video – It is the only known footage of Anne Frank, author of the world’s most famous diary, and it’s now online.

Pat­ti Smith — Video — The â€śgod­moth­er of punk” recalls her friend­ship with artist Robert Map­plethor­pe.

Quentin Taran­ti­no Video – Pulp Fic­tion direc­tor lists his favorites films since 1992.

Leo Tol­stoy – Video – Great footage of the last days of the tow­er­ing Russ­ian nov­el­ist. 1910.

Mark Twain – Video – America’s fabled writer cap­tured on film by Thomas Edi­son in 1909.

Andy Warhol Video – In 1979, Warhol cre­at­ed pub­lic access tele­vi­sion pro­grams. In this episode, he chats with Bian­ca Jag­ger & Steven Spiel­berg.

Tom Waits Video – The raspy singer reads “The Laugh­ing Heart” by Charles Bukows­ki.

Vir­ginia Woolf — Audio — Record­ing comes from a 1937 BBC radio broad­cast. The talk, enti­tled “Crafts­man­ship,” was part of a series called “Words Fail Me.” The only known record­ing of her voice.

Get the rest here. Don’t miss us on Face­book and Twit­ter!

 

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Bohemian Rhapsody Played in a Rusty Old VW

A wit­ty ren­di­tion of Queen’s clas­sic played by the Finnish award win­ning street band Pork­ka Play­boys. More of their work appears on the band’s YouTube chan­nel. Enjoy…

FYI: It looks like “Inside Job,” the Oscar-Win­ning Doc­u­men­tary on the 2008 finan­cial melt­down, is back online, thanks to the Inter­net Archive.

via Alec Couros

A Video Illusion: Can You Spot the Change?

We’re a bit embar­rassed to admit that it took us three times to spot the change in this fas­ci­nat­ing video illu­sion at New Sci­en­tist, even after read­ing about the research behind the video. The test was devel­oped by Kevin O’Re­gan and his team at the Uni­ver­si­ty of Paris Descartes as part of their work on per­cep­tion. O’Re­gan is best known for his work on change blind­ness, our rel­a­tive inabil­i­ty to per­ceive grad­ual change, and our ten­den­cy to focus sole­ly on what we per­ceive to be the most dynam­ic or inter­est­ing ele­ment of a scene.

If this video isn’t enough to con­vince of you of O’Re­gan’s the­o­ries, he’s post­ed a whole slew of demon­stra­tions at his web­site. Bet­ter yet, you can dis­pel any remain­ing doubts (or self-esteem) by tak­ing this aware­ness test, which is even more dra­mat­ic. It bowled us over. Let us know in the com­ments if it did the same for you.

via Kirstin But­ler

Sheer­ly Avni is a San Fran­cis­co-based arts and cul­ture writer. Her work has appeared in Salon, LA Week­ly, Moth­er Jones, and many oth­er pub­li­ca­tions. You can fol­low her on twit­ter at @sheerly.

Walt Disney Presents the Super Cartoon Camera (1937)

In 1937, Walt Dis­ney Stu­dios shot Snow White and the Sev­en Dwarfs with a new-fan­gled cam­era, the mul­ti­plane cam­era, which allowed car­toon ani­ma­tion to take a quan­tum leap for­ward. Thanks to this new “super car­toon cam­era,” ani­mat­ed scenes sud­den­ly looked more real­is­tic and three-dimen­sion­al. You only need to watch this pre­sen­ta­tion by Walt Dis­ney him­self (record­ed in 1957) and you’ll see what I mean. Dis­ney shot many of its clas­sic fea­ture films – Pinoc­chioFan­ta­siaBam­bi, and Peter Pan – with the mul­ti­plane cam­era, and it remained in pro­duc­tion right through The Lit­tle Mer­maid, filmed in 1989. Today, only three orig­i­nal Dis­ney mul­ti­plane cam­eras sur­vive.

A big thanks to Sergey for send­ing this vin­tage clip our way. If you see a good piece of open cul­ture, don’t hes­i­tate to send it our way…

Relat­ed Con­tent:

How Walt Dis­ney Car­toons Are Made

Disney’s Oscar-Win­ning Adven­tures in Music

Don­ald Duck Wants You to Pay Your Tax­es (1943)

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Stairway to Heaven Played with Google Guitar Doodle

Google cel­e­brat­ed Les Pauls’ 96th birth­day today with a playable elec­tric gui­tar doo­dle. And, nat­u­ral­ly, some tried to make it sing. Above, we have a ver­sion of Led Zep­pelin’s Stair­way to Heav­en, while oth­ers strummed out ver­sions of The Bea­t­les’ Ob-la-di Ob-la-da, Michael Jack­son’s Bil­lie Jean, and Lady Gaga’s Paparazzi. By pop­u­lar demand, the doo­dle will stay live on Google’s home­page for an extra day.

via Chris­t­ian Sci­ence Mon­i­tor

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British Classics on the iPad App (Free… For Now)

We told you this was com­ing, and now it’s here. The British Library has start­ed to release 60,000+ texts from the 19th cen­tu­ry in dig­i­tal for­mat. And they’re get­ting rolled out with the release of a new iPad app. (If you have any prob­lems down­load­ing the app, try doing it direct­ly from the app store on your iPad.)

The upside: The new app cur­rent­ly fea­tures 1,000 works, includ­ing Mary Shel­ley’s Franken­stein, Charles Dick­ens’ Oliv­er Twist and oth­er British clas­sics. The col­lec­tion gives you scans of the orig­i­nal edi­tions. So you can read the works as they orig­i­nal­ly appeared.

The down­side: The app won’t be free for long. Even­tu­al­ly, you’ll have to pay. So get in while you can, or just skim through our col­lec­tion of Free eBooks and Audio Books. All clas­sics, all the time…

via BBC

Relat­ed Con­tent:

Snag­Films: Free Doc­u­men­taries on the iPad (and Web)

MoMA Puts Pol­lock, Rothko & de Koon­ing on Your iPad

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Samuel Beckett in 3‑D: The Making of Unmakeable Love

Samuel Beck­et­t’s haunt­ing short sto­ry “The Lost Ones,” which tells of a group of peo­ple doomed to wan­der for­ev­er inside a nar­row cylin­dri­cal prison, makes Wait­ing for Godot seem like Lit­tle Miss Sun­shine. It is also near­ly unadapt­able since a sto­ry dri­ven by the cer­tain­ty of damna­tion leaves lit­tle room for dra­mat­ic ten­sion … until now, per­haps.

This mon­th’s New Sci­en­tist has a nice piece up about Unmake­ablelove, a 3‑D inter­ac­tive sim­u­la­tion based on “The Lost Ones” in which vir­tu­al bod­ies (cre­at­ed with motion cap­ture, the same tech­nique James Cameron used in Avatar) beat them­selves, col­lide into each oth­er, and slouch eter­nal­ly towards nowhere, all dri­ven by a force even more implaca­ble than fate: the com­put­er algo­rithms with which the piece was pro­grammed.

And as with any good work of Exis­ten­tial­ist Despair That Dooms All of Human­i­ty to A Future With­out Mean­ing or Hope, this one impli­cates the audi­ence — spec­ta­tors can only see inside the exhib­it if they sta­tion them­selves by one of six torch­es sur­round­ing the 30-foot space.  And when they do so, infrared video cam­eras project their own like­ness­es into the cylin­der. There are no spec­ta­tors.

Unmake­ablelove was cre­at­ed by Sarah Kender­dine and Jef­frey Shaw, and pre­sent­ed at the Hong Kong Inter­na­tion­al Art Fair in May. You can read more about the fas­ci­nat­ing nuts and bolts of the project here.

via Maud New­ton and A Piece of Mono­logue

Sheer­ly Avni is a San Fran­cis­co-based arts and cul­ture writer. Her work has appeared in Salon, LA Week­ly, Moth­er Jones, and many oth­er pub­li­ca­tions. You can fol­low her on twit­ter at @sheerly.

Muddy Waters on The Blues and Gospel Train

One of the most unique con­certs from the British blues revival of the 1960s was the “Blues and Gospel Train,” filmed May 7, 1964 by Grana­da TV for the BBC. Fans who were lucky enough to get tickets–some 200 of them–were instruct­ed to gath­er at Man­ches­ter’s Cen­tral Sta­tion by 7:30 that evening for a short train ride to the aban­doned Wilbra­ham Road Sta­tion. When the train pulled in at Wilbra­ham Road, the audi­ence poured out and found seats on one plat­form. The oppo­site side, dec­o­rat­ed to look like an old rail­way sta­tion in the Amer­i­can South, served as a stage for Mud­dy Waters, Otis Spann, Sis­ter Roset­ta Tharpe, Son­ny Ter­ry, Brown­ie McGhee, Cousin Joe and Rev­erend Gary Davis. The per­for­mances are avail­able on DVD as part of Amer­i­can Folk-Blues Fes­ti­val: The British Tours 1963–1966. In the scene above, Mud­dy Waters sings, “You Can’t Lose What You Ain’t Nev­er Had.”

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

The Leg­end of Blues­man Robert John­son Ani­mat­ed


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