Photos of Jean-Paul Sartre & Simone de Beauvoir Hanging with Che Guevara in Cuba (1960)

sartre che smoke

In 1960, Jean-Paul Sartre and Simone de Beau­voir ven­tured to Cuba dur­ing, as he wrote, the “hon­ey­moon of the rev­o­lu­tion.” Mil­i­tary strong­man Ful­gen­cio Batista’s regime had fall­en to Fidel Cas­tro’s gueril­la army and the whole coun­try was alight with rev­o­lu­tion­ary zeal. As Beau­voir wrote, “after Paris, the gai­ety of the place explod­ed like a mir­a­cle under the blue sky.”

At the time, Sartre and de Beau­voir were inter­na­tion­al­ly renown, the intel­lec­tu­al pow­er cou­ple of the 20th cen­tu­ry. Beauvoir’s book, The Sec­ond Sex (1949), laid the ground­work for the fem­i­nism move­ment, and her book The Man­darins won France’s high­est lit­er­ary award in 1954. Sartre’s name had become a house­hold word. The phi­los­o­phy he cham­pi­oned – Exis­ten­tial­ism – was being read and debat­ed around the world. And his polit­i­cal activism — loud­ly con­demn­ing France’s war in Alge­ria, for instance — had giv­en him real moral author­i­ty. When Sartre was arrest­ed in 1968 for civ­il dis­obe­di­ence, Charles de Gaulle par­doned him, not­ing, “You don’t arrest Voltaire.” As Deirdre Bair notes in her biog­ra­phy of Beau­voir, “Sartre became the one intel­lec­tu­al whose pres­ence and com­men­tary emerg­ing gov­ern­ments clam­ored for, as if he alone could val­i­date their rev­o­lu­tions.” So it’s not ter­ri­bly sur­pris­ing that Fidel Cas­tro wined and dined the two dur­ing their month in Cuba.

sartre-beauvoir-and-che-in-cuba

Cuban pho­tog­ra­ph­er Alber­to Kor­da cap­tured the cou­ple as they met with Cas­tro, Che Gue­vara and oth­er lead­ers of the rev­o­lu­tion. One pic­ture (above) is of Gue­vara in his com­bat boots and trade­mark beret, light­ing a cig­ar for the French philoso­pher. Sartre looks small and unhealthy com­pared to the strap­ping, mag­net­ic rev­o­lu­tion­ary. Sartre was appar­ent­ly impressed by the time he spent with the gueril­la leader. When Che died in Bolivia sev­en years lat­er, Sartre famous­ly wrote that Gue­vara was “not only an intel­lec­tu­al but also the most com­plete human being of our age.”

Lat­er, Kor­da caught them as they were guid­ed through the streets of Havana. And as you can see (below), that icon­ic image of Gue­vara, lat­er plas­tered on T‑shirts and Rage Against the Machine album cov­ers, is on that same role of film.

When the cou­ple returned to Paris, Sartre wrote arti­cle after arti­cle extolling the rev­o­lu­tion. Beau­voir, who was equal­ly impressed, wrote, “For the first time in our lives, we were wit­ness­ing hap­pi­ness that had been attained by vio­lence.”

KordaFilmRollChe

Yet their enthu­si­asm for the regime cooled when they returned to Cuba a year lat­er. The streets of Havana had lit­tle of the joy as the pre­vi­ous year. When they talked to fac­to­ry work­ers, they heard lit­tle but par­rot­ing of the offi­cial par­ty line. Beau­voir and Sartre ulti­mate­ly denounced Cas­tro (along with a bunch of oth­er intel­lec­tu­al lumi­nar­ies like Gabriel Gar­cia Mar­quez and Octavio Paz) in an open let­ter that crit­i­cized him for the arrest of Cuban poet Her­ber­to Padil­lo.

You can read more about the life and pho­tog­ra­phy of Alber­to Kor­da in the 2006 book, Cuba: by Kor­da.

Pho­tos above by Alber­to Kor­da.

via Crit­i­cal The­o­ry

Relat­ed Con­tent: 

Philosophy’s Pow­er Cou­ple, Jean-Paul Sartre and Simone de Beau­voir, Fea­tured in 1967 TV Inter­view

Jean-Paul Sartre Breaks Down the Bad Faith of Intel­lec­tu­als

Wal­ter Kaufmann’s Clas­sic Lec­tures on Niet­zsche, Kierkegaard and Sartre (1960)

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 @jonccrowAnd check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

Watch Frank Zappa Play Michael Nesmith on The Monkees (1967)


In Decem­ber 1967, The Mon­kees blew their audi­ence’s minds by host­ing Frank Zap­pa, “par­tic­i­pant in and per­haps even leader of” the Moth­ers Of Inven­tion.

Or did they?

The tidal wave of affec­tion that com­pris­es twen­ty-first cen­tu­ry Mon­kees mania makes us for­get that chil­dren were the pri­ma­ry audi­ence for The Mon­kees’ tit­u­lar sit­com. (One might also say that The Mon­kees were the sitcom’s tit­u­lar band.)

But even if the kids at home weren’t suf­fi­cient­ly con­ver­sant in the musi­cal under­ground to iden­ti­fy the spe­cial guest star of the episode, “The Mon­kees Blow Their Minds,” we are.

It’s a joy to see Zap­pa and The Mon­kees’ supreme­ly laid back Michael Nesmith (he audi­tioned for the show with his laun­dry bag in tow) imper­son­at­ing each oth­er.

Zappa’s idea, appar­ent­ly. He’s in com­plete con­trol of the gim­mick from the get go, where­as Nesmith strug­gles to keep their names straight and his pros­thet­ic nose in place before get­ting up to speed.

It’s impor­tant to remem­ber that it’s not Frank, but Nesmith play­ing Frank who accus­es The Mon­kees’ music of being banal and insipid.

Zap­pa him­self was a great sup­port­er of The Mon­kees. “When peo­ple hat­ed us more than any­thing, he said kind things about us,” Nesmith recalled in Bar­ry Miles’ Zap­pa biog­ra­phy. Zap­pa attempt­ed to teach Nesmith how to play lead gui­tar, and offered drum­mer Micky Dolenz a post-Mon­kees gig with The Moth­ers of Inven­tion.

Their mutu­al warmth makes lines like “You’re the pop­u­lar musi­cian! I’m dirty gross and ugly” palat­able. It put me in mind of come­di­an Zach Gal­i­fi­anakis’ Between Two Ferns, and count­less oth­er loose­ly rehearsed web series.

After a cou­ple of min­utes, Nesmith gets his hat back to con­duct as Zap­pa smash­es up a car to the tune of the Moth­er’s Of Inven­tion’s “Moth­er Peo­ple.”

Watch the full episode here, or if pressed for time, per­haps just Zappa’s cameo in the Mon­kees’ movie Head, as a stu­dio lot bull wran­gler who coun­sels lead singer Davy Jones on his career.

Relat­ed Con­tent:

A Young Frank Zap­pa Turns the Bicy­cle into a Musi­cal Instru­ment on The Steve Allen Show (1963)

In One of his Final Inter­views, Frank Zap­pa Pro­nounces Him­self “Total­ly Unre­pen­tant”

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

 

Allen Ginsberg Talks About Coming Out to His Family & Fellow Poets on 1978 Radio Show (NSFW)

Allen_ginsberg_erads howl

Image by Michiel Hendryckx, via Wiki­me­dia Com­mons

Recent MacArthur Fel­low and poet Ter­rence Hayes appeared on NPR yes­ter­day to read and dis­cuss his work; he was asked if he found “being defined as an African-Amer­i­can poet” to be lim­it­ing in some way. Hayes replied,

I think it’s a bonus. It’s a thing that makes me addi­tion­al­ly inter­est­ing, is what I would say. So, black poet, South­ern poet, male poet — many of those iden­ti­ties I try to fold into the poems and hope that they enrich them.

It seemed to me an odd ques­tion to ask a MacArthur-win­ning Amer­i­can poet. Issues of both per­son­al and nation­al iden­ti­ty have been cen­tral to Amer­i­can poet­ry at least since Walt Whit­man or Langston Hugh­es, but espe­cial­ly since the 1950s with the emer­gence of con­fes­sion­al and beat poets like Allen Gins­berg. With­out the cel­e­bra­tion of per­son­al iden­ti­ty, one might say that it’s hard to imag­ine Amer­i­can poet­ry.

Like Hayes, Gins­berg enfold­ed his var­i­ous identities—Jew, Bud­dhist, gay man—into his poet­ry in enrich­ing ways. Thir­ty-six years ago, he gave a radio inter­view to “Stonewall Nation,” one of a hand­ful of specif­i­cal­ly gay radio pro­grams broad­cast in 1970s West­ern New York. In an occa­sion­al­ly NSFW con­ver­sa­tion, he dis­cussed the expe­ri­ence of com­ing out to his fel­low Beats and to his fam­i­ly.

  1. Intro­duc­tion (5:21): MP3
  2. On being clos­et­ed (2:09): MP3
  3. Excerpts from “Don’t Grow Old” (2:32): MP3
  4. On com­ing out to his fam­i­ly (3:01): MP3
  5. On desire and com­pas­sion (1:41): MP3
  6. On the Brig­gs amend­ment (8:54): MP3
  7. On the Beats and nature (3:24): MP3
  8. On Rocky Flats (2:19): MP3
  9. Gins­berg sings “Every­body Sing” (2:37): MP3

Dur­ing the inter­view Gins­berg talks about being clos­et­ed and hav­ing a crush on Jack Ker­ouac, who was “very tol­er­ant, friend­ly,” after Gins­berg con­fessed it. Above he tells a fun­ny sto­ry about com­ing out to his father, then reads a mov­ing unti­tled poem about his father’s even­tu­al accep­tance after their mutu­al “timid­i­ty and fear.” He also recalls how the rest of his fam­i­ly, par­tic­u­lar­ly his broth­er, react­ed.

The inter­view moves to broad­er top­ics. Gins­berg dis­cuss­es his views on desire and com­pas­sion, defin­ing the lat­ter as “benev­o­lent and indif­fer­ent atten­tive­ness,” rather than “heart-love.” Bud­dhism per­vades Gins­berg’s con­ver­sa­tion as does a rogu­ish vaude­vil­lian sen­si­bil­i­ty mixed with sober reflec­tion. He opens with a long, boozy sing-along whose first four lines con­cise­ly sum up core Bud­dhist doc­trines; he ends with a fun­ny, bawdy song that then becomes a dark explo­ration of homo­pho­bic and misog­y­nis­tic vio­lence.

Gins­berg and host also dis­cuss the Brig­gs Ini­tia­tive (above) a piece of leg­is­la­tion that would have been an effec­tive purge in the Cal­i­for­nia school sys­tem of gay teach­ers, their sup­port­ers, even those who might “take a neu­tral atti­tude which could be inter­pret­ed as approval.” This would pre­clude even the teach­ing of Whitman’s “Song of Myself” (or one par­tic­u­lar sec­tion of it), which, Gins­berg says, “would make the teacher liable for encour­ag­ing homo­sex­u­al activ­i­ty.” The amendment—one that, appar­ent­ly, for­mer gov­er­nor Ronald Rea­gan strong­ly opposed—failed to pass. These days such pro­pos­als tar­get Ginsberg’s poet­ry as well, and we still have con­ver­sa­tions about the val­ue of things like “benev­o­lent and indif­fer­ent atten­tive­ness” in the class­room, or whether poets should feel lim­it­ed by being who they are.

In the pho­to above, tak­en by Her­bert Rusche in 1978, you can see Gins­berg (left) with his long-time part­ner, the poet Peter Orlovsky (right).

via PennSound

Relat­ed Con­tent:

The First Record­ing of Allen Gins­berg Read­ing “Howl” (1956)

Jack Ker­ouac, Allen Gins­berg & Mar­garet Mead Explain the Mean­ing of “Beat” in Rare 1950s Audio Clips

“Expan­sive Poet­ics” by Allen Gins­berg: A Free Course from 1981

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

A Crash Course on Psychology: A 30-Part Video Series from Hank Green

Nov­el­ist, edu­ca­tor, and vlog­ger John Green has drawn a lot of press late­ly, includ­ing but not lim­it­ed to New York­er pro­file by Mar­garet Tal­bot, in the wake of the film ver­sion of his pop­u­lar young-adult nov­el The Fault in Our Stars. But we here at Open Cul­ture can say we fea­tured him before that mag­a­zine of cul­tur­al record did: in 2012 we post­ed his Crash Course in World His­to­ry, and last Octo­ber, his Crash Course on Lit­er­a­ture. If you keep up with this site, you prob­a­bly know Green less as a com­ing-of-age-tragedy-writ­ing “teen whis­per­er” (in the words of the New York­er) than as the mile-a-minute, con­stant­ly wise­crack­ing, but nev­er­the­less whole­some teacher you nev­er had. You may not know that he has an equal­ly edu­ca­tion­al broth­er named Hank, who first came to inter­net promi­nence in a back-and-forth video series of John’s devis­ing called Vlog­broth­ers, which Tal­bot describes as “less a con­ver­sa­tion than an extend­ed form of par­al­lel play.”

Now you can find Hank, pos­sessed of a sim­i­lar­ly fast and fun­ny deliv­ery style, pre­pared to inform you on a whole range of oth­er sub­jects, teach­ing crash cours­es just like John does. At the top of the post, we have his 30-part Crash Course in Psy­chol­o­gy, in which he cov­ers every­thing about the study of the human mind from sen­sa­tion and per­cep­tion to the the­o­ry of the homuncu­lus to remem­ber­ing and for­get­ting to lan­guage to depres­sion. (You can watch the series from start to fin­ish above.) Psy­chol­o­gy has long ranked among the most pop­u­lar under­grad­u­ate majors in Amer­i­can uni­ver­si­ties, and giv­en human­i­ty’s ever-increas­ing curios­i­ty (and grad­u­al­ly accu­mu­lat­ing knowl­edge) about the work­ings of its brains, that should­n’t come as a sur­prise. But those of us who felt com­pelled to pick a more “prac­ti­cal” course of study back in col­lege, can now turn to Hank Green, who offers us a sur­pris­ing­ly thor­ough psy­cho­log­i­cal ground­ing with only about five hours of “lec­tur­ing” — much less than the major would have tak­en us, and with many more corny jokes. Per­haps the course will help you under­stand why we laugh at them any­way.

via Devour

Relat­ed Con­tent:

Free Online Psy­chol­o­gy Cours­es

A Crash Course in World His­to­ry

Crash Course on Lit­er­a­ture: Watch John Green’s Fun Intro­duc­tions to Gats­by, Catch­er in the Rye & Oth­er Clas­sics

How To Think Like a Psy­chol­o­gist: A Free Online Course from Stan­ford

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.

The Last Saturday: A New Graphic Novel by Chris Ware Now Being Serialized at The Guardian (Free)

ware graphic novelThought you might like a heads up that The Guardian has start­ed pub­lish­ing on its web site The Last Sat­ur­day, “a brand new graph­ic novel­la by the award-win­ning car­toon­ist Chris Ware, trac­ing the lives of six indi­vid­u­als from Sandy Port, Michi­gan.” It will be pub­lished in week­ly episodes, with a new install­ment appear­ing on this page every Sat­ur­day.  The inno­v­a­tive com­ic book artist, known for his graph­ic nov­els Jim­my Cor­ri­g­an, the Smartest Kid on Earth and Build­ing Sto­ries, will be get­ting some good sup­port from the , which should make it quite the visu­al expe­ri­ence.

via Kot­tke

Relat­ed Con­tent:

Read Ulysses Seen, A Graph­ic Nov­el Adap­ta­tion of James Joyce’s Clas­sic

Greek Myth Comix Presents Homer’s Ili­ad & Odyssey Using Stick-Man Draw­ings

The His­to­ry of Eco­nom­ics & Eco­nom­ic The­o­ry Explained with Comics, Start­ing with Adam Smith

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

Hear Bob Dylan’s Unedited & Bewildering Interview With Nat Hentoff for Playboy Magazine (1965)

In the fall of 1965, six months after Bob Dylan freaked out the folkies at New­port, he sat down with Vil­lage Voice music crit­ic and colum­nist Nat Hentoff for an inter­view for Play­boy. Like Dylan him­self, the result­ing con­ver­sa­tion, as pub­lished in Feb­ru­ary, 1966, is by turns illu­mi­nat­ing and com­plete­ly con­found­ing. Top­ics shift abrupt­ly, words take on unfa­mil­iar mean­ings, and for all of the many strong opin­ions Dylan seems to express, it’s remark­able how lit­tle he actu­al­ly seems to say, since he takes back almost every­thing as soon as he says it.

The ver­bal tan­gles of his answers take many philo­soph­i­cal turns. Dylan defines the con­tem­po­rary art scene, say­ing “Art, if there is such a thing, is in the bath­rooms; every­body knows that. […] I spend a lot of time in the bath­room. I think muse­ums are vul­gar. They’re all against sex.” Asked “why rock ‘n’ roll has become such an inter­na­tion­al phe­nom­e­non,” Dylan wax­es onto­log­i­cal: “I can’t real­ly think that there is any rock ’n’ roll. Actu­al­ly, when you think about it, any­thing that has no real exis­tence is bound to become an inter­na­tion­al phe­nom­e­non.”

The bizarre nature of the pub­lished exchange is clas­sic, com­i­cal­ly aloof, mid-six­ties Dylan—so much in char­ac­ter we can imag­ine Cate Blanchett’s ser­pen­tine Dylan in I’m Not There say­ing the lines. But the print ver­sion of the con­ver­sa­tion is stream­lined and lucid com­pared to the unedit­ed, taped con­ver­sa­tion Dylan and Hentoff had the year pri­or before an edi­tor pared it down. As music site All Dylan has it, “to call them ver­sions ignores the fact that they are total­ly dif­fer­ent inter­views.”

The orig­i­nal take, which you can hear above in two parts, was much messier, and stranger.  Dylan often sounds like he’s not answer­ing ques­tions so much as putting words togeth­er in sen­tence-like forms. His speech takes on the qual­i­ties of abstract expressionism—recursive, and point­ed­ly vague. We might assume he’s real­ly stoned, except for a long-wind­ed speech about how passé it is to smoke pot.

Well, I nev­er felt as if there’s an answer through pot. I don’t want to make this, kind of, a drug inter­view or any­thing, like. LSD like… once you take LSD a few times… I mean, LSD is a med­i­cine. You know, you take it and you know… you don’t real­ly have to keep tak­ing it all the time. It’s noth­ing like that. It’s not that kind of thing, you know, where­as pot, you know, nobody’s got any answers through pot. Pot’s, you know, not that kind of thing. I’m sure that the peo­ple that say that the peo­ple who fig­ure they got their answers through pot, first of all, those peo­ple who say that, they’re just invent­ing some­thing. And the peo­ple that real­ly actu­al­ly think that they got their answers through pot, prob­a­bly nev­er even smoked pot, you know. I mean, it’s like… pot is, you know…who smokes pot any more, you know, any­way? 

Ever non­com­mit­tal, Dylan deflects a ques­tion about his rela­tion­ship with John­ny Cash, say­ing “I can’t real­ly talk about it too much,” but assur­ing Hentoff that he likes Cash “a lot. I like every­thing he does real­ly.” If Dylan gives as much as he takes away in the pub­lished inter­view, he does so dou­bly in this unedit­ed ver­sion, and it’s odd­ly fas­ci­nat­ing, even—and especially—when he decides to stop mak­ing words make sense. The taped inter­view was, in fact, the sec­ond inter­view Hentoff con­duct­ed with Dylan. After see­ing an edit­ed tran­script of the first attempt, Dylan insist­ed that Hentoff inter­view him again over the phone. Hentoff turned on his tape recorder and imme­di­ate­ly “real­ized I was going to be the straight guy,” he tells John White­head, “Dylan was impro­vis­ing sur­re­al­is­ti­cal­ly and very fun­ny.”

Vul­ture ranks the Play­boy inter­view at num­ber one in their list of “The 10 Most Incom­pre­hen­si­ble Bob Dylan Inter­views of All Time.” It must have been a tough call. At num­ber 10, they have the Time mag­a­zine inter­view from that same year, which you can see in the clip above from 1967’s Don’t Look Back. Dylan is con­fronta­tion­al, almost the­atri­cal­ly angry, but he is most­ly clear on the details. He ends the inter­view with a cryp­tic joke, com­par­ing him­self to opera singer Enri­co Caru­so: “I hap­pen to be just as good as him—a good singer. You have to lis­ten close­ly, but I hit all those notes.”

via All Dylan

Relat­ed Con­tent:

Bob Dylan Reads From T.S. Eliot’s Great Mod­ernist Poem The Waste Land

Two Leg­ends Togeth­er: A Young Bob Dylan Talks and Plays on The Studs Terkel Pro­gram, 1963

Bob Dylan Final­ly Makes a Video for His 1965 Hit, “Like a Rolling Stone”

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

Drunk Shakespeare: The Trendy Way to Stage the Bard’s Plays in the US & the UK

You might be famil­iar with Drunk His­to­ry, the web series turned Com­e­dy Cen­tral show that reen­acts the ram­blings of ine­bri­at­ed hip­sters try­ing to recount events like the Water­gate scan­dal or the Burr-Hamil­ton duel. Well, appar­ent­ly, a grow­ing num­ber of the­ater troupes have decid­ed that the best way to stage Shake­speare in this age of social media and short­en­ing atten­tion spans is to get every­one involved drunk. The audi­ence and the actors. One such group is called, apt­ly, Drunk Shake­speare, which describes itself as “a com­pa­ny of pro­fes­sion­al drinkers with a seri­ous Shake­speare prob­lem.” Each audi­ence mem­ber is giv­en a shot of whiskey at the begin­ning of each per­for­mance. The actors report­ed­ly drink much more and actu­al­ly have to get breath­a­lyzed before the show. You wouldn’t want Hen­ry V to pass out before the Bat­tle of Agin­court, would you? The Wall Street Jour­nal did a short video piece about the group. You can watch it above.

Anoth­er group, the New York Shake­speare Exchange, dis­pens­es with the stage alto­geth­er. Instead, they host a reg­u­lar pub crawl/ the­atri­cal per­for­mance called Shakes­BEER. In one of the many drink­ing estab­lish­ments in New York, actors in con­tem­po­rary dress do scenes from Ham­let and Oth­el­lo amid patrons clutch­ing pints of lager. You can watch some of their shows above.

Anoth­er exam­ple is The Inis Nua Com­pa­ny, which took the basic idea of Drunk His­to­ry and swapped out the his­to­ry with Romeo and Juli­et. Check out below. Or, maybe if you’re across the pond, you will want to check out Sh*t- Faced Shake­speare at the Edin­burgh Fes­ti­val Fringe. It fea­tures “An entire­ly seri­ous Shake­speare play… with an entire­ly shit-faced actor.”

But the real ques­tion is where will all this crazed mix­ing of high cul­ture and mind alter­ing sub­stances end? Will some­one do Ine­bri­at­ed Ibsen? Stoned Chekhov? Moliere on Mol­ly? Trip­ping balls Beck­ett? It’s a slip­pery slope.

via The Wall Street Jour­nal

Relat­ed Con­tent:

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Take a Vir­tu­al Tour of Shakespeare’s Globe The­atre

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 @jonccrowAnd check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

The Avant-Garde Project: An Archive of Music by 200 Cutting-Edge Composers, Including Stravinsky, Schoenberg, Cage & More

avant gardeEvery sphere of record­ed music, from late-1960s folk to Philadel­phia hip-hop to Japan­ese jazz (a per­son­al pur­suit of mine), has its crate-dig­gers, those hap­py to flip through hun­dreds — nay, hun­dreds of thou­sands — of obscure, for­got­ten vinyl albums in search of their sub­gen­re’s even obscur­er, more for­got­ten gems. This holds espe­cial­ly true, if not in num­ber than in avid­i­ty, for enthu­si­asts of the 20th-cen­tu­ry clas­si­cal-exper­i­men­tal-elec­troa­coustic tra­di­tion that The Avant-Garde Project takes as its preser­va­tion man­date. The site offers mate­r­i­al “dig­i­tized from LPs whose music has in most cas­es nev­er been released on CD, and so is effec­tive­ly inac­ces­si­ble to the vast major­i­ty of music lis­ten­ers today.” To the best of the Archive’s knowl­edge, the LPs are all cur­rent­ly out of print, and all the music is extract­ed with an ana­log rig that ranks as “near state-of-the-art, pro­duc­ing almost none of the track­ing dis­tor­tion or sur­face noise nor­mal­ly asso­ci­at­ed with LPs.”

The Avant-Garde Pro­jec­t’s efforts, the archive of which you can browse here (or alpha­bet­i­cal­ly by com­pos­er, or through choice sam­plers, or through the “AGP top twen­ty,” or through the founder’s per­son­al favorites), has borne a great deal of fruit so far, espe­cial­ly from such music-his­to­ry class favorites as Arnold Schoen­berg, whose String Trio per­formed by the Los Ange­les String Trio you can hear above, and Igor Stravin­sky, whose Sym­pho­ny of Psalms you’ll find below. Every­thing in the Avant-Garde Pro­jec­t’s archive comes down­load­able as tor­rents of Free Loss­less Audio Codec (FLAC) files. This audio­phile’s com­pres­sion for­mat of choice requires a bit of spe­cial but eas­i­ly obtained soft­ware to play or burn to CDs, all of which you can get explained here (with even more infor­ma­tion here). Those who’d like to keep it sim­ple (if not quite as aural­ly pris­tine) can lis­ten through a small­er ver­sion of the archive at Ubuweb. Either way, you’ll enjoy all the artis­tic rich­ness of rare 20th-cen­tu­ry clas­si­cal-exper­i­men­tal-elec­troa­coustic music with none of the dig­ging.

Relat­ed Con­tent:

Exten­sive Archive of Avant-Garde & Mod­ernist Mag­a­zines (1890–1939) Now Avail­able Online

Vi Hart Uses Her Video Mag­ic to Demys­ti­fy Stravin­sky and Schoenberg’s 12-Tone Com­po­si­tions

Stravinsky’s The Rite of Spring, Visu­al­ized in a Com­put­er Ani­ma­tion for Its 100th Anniver­sary

Inter­views with Schoen­berg and Bartók

Hear Theodor Adorno’s Avant-Garde Musi­cal Com­po­si­tions

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.

Literary Critic Northrop Frye Teaches “The Bible and English Literature”: All 25 Lectures Free Online

norhtrop fry free course

Image by Har­ry Palmer, via Wiki­me­dia Com­mons

One rea­son I’m glad for hav­ing had a child­hood reli­gious edu­ca­tion: it has made me con­ver­sant in even some of the most obscure sto­ries and ideas in the Chris­t­ian Bible, which is every­where in Eng­lish lit­er­a­ture. Not only was the King James trans­la­tion for­ma­tive for ear­ly mod­ern Eng­lish, but sto­ries like that of King David and his son Absa­lom have fur­nished mate­r­i­al for great works from John Dry­den’s dense polit­i­cal alle­go­ry “Absa­lom and Achi­tophel” to William Faulkner’s dense mod­ernist fable Absa­lom, Absa­lom!  Then, of course, there’s so much of the work of Blake, Shake­speare, and Mil­ton to account for. With­out a fair­ly sol­id ground­ing in Bib­li­cal lit­er­a­ture, it can be dou­bly dif­fi­cult to make head­way in a study of the sec­u­lar vari­ety.

The stu­dents of high­ly regard­ed Cana­di­an lit­er­ary crit­ic Northrop Frye found this to be true. As a junior instruc­tor, Frye had dif­fi­cul­ty get­ting his class to under­stand what was going on in John Milton’s Par­adise Lost because so many of the Bib­li­cal allu­sions were lost on them. (It’s a hard enough poem to grasp when you get the ref­er­ences.) “How do you expect to teach Par­adise Lost,” said the chair of Frye’s depart­ment, “to peo­ple who don’t know the dif­fer­ence between a Philis­tine and a Phar­isee?” Respond­ing to this gap in cul­tur­al lit­er­a­cy, Frye designed and taught “The Bible and Eng­lish Lit­er­a­ture.” The entire, video­taped course from a 1981 ses­sion at the Uni­ver­si­ty of Toron­to is avail­able online in 25 lec­tures.

It’s very much a treat to sit in on these lec­tures. Frye’s work on myth and folk­tale in Eng­lish lit­er­a­ture is still near­ly defin­i­tive; his 1957 Anato­my of Crit­i­cism, though picked apart many times over through the decades, retains an author­i­ta­tive place in stud­ies of lit­er­ary arche­types and rhetoric. Frye’s lec­tures on the Bible focus on what he sees as its “nar­ra­tive uni­ty,” due in part to “a num­ber of recur­ring images: moun­tain, sheep, riv­er, hill, pas­ture, bride, bread, wine and so on.” He also spends a good deal of time, at least in his first lec­ture above, dis­cussing church his­to­ry, the­o­log­i­cal and crit­i­cal con­flicts, and the his­to­ry of var­i­ous trans­la­tions. The UToron­to site includes full tran­scripts of each lec­ture, and the entire course promis­es to be enlight­en­ing for stu­dents of lit­er­a­ture, of the Bible and church his­to­ry, or both.

The Bible and Eng­lish Lit­er­a­ture will be added to our list of Free Online Lit­er­a­ture Cours­es and Free Online Reli­gion Cours­es, part of our larg­er col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Har­vard Presents Two Free Online Cours­es on the Old Tes­ta­ment

Oxford Uni­ver­si­ty Presents the 550-Year-Old Guten­berg Bible in Spec­tac­u­lar, High-Res Detail

Dis­cov­er Thomas Jefferson’s Cut-and-Paste Ver­sion of the Bible, and Read the Curi­ous Edi­tion Online

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

Why We Love Repetition in Music: Explained in a New TED-Ed Animation

Our favorite pop songs have a repeat­ing cho­rus. You can pret­ty much bank on that. But, as it turns out, rep­e­ti­tion isn’t just a phe­nom­e­non in West­ern music. You’ll find it in many forms of music across the globe. Why is this the case? What makes rep­e­ti­tion a fair­ly uni­ver­sal fea­ture in music? In a new TED-Ed video, Eliz­a­beth Hell­muth Mar­gulis, Pro­fes­sor and Direc­tor of the Music Cog­ni­tion Lab at the Uni­ver­si­ty of Arkansas, “walks us through the basic prin­ci­ples of the ‘expo­sure effect,’ detail­ing how rep­e­ti­tion invites us into music as active par­tic­i­pants, rather than [as] pas­sive lis­ten­ers.” The ani­ma­tion was done by Andrew Zim­bel­man.

Don’t for­get to sign up for our dai­ly email. Once a day, we bun­dle all of our dai­ly posts and drop them in your inbox, in an easy-to-read for­mat.

via Laugh­ing Squid

Relat­ed Con­tent:

Her­bie Han­cock Presents the Pres­ti­gious Nor­ton Lec­tures at Har­vard Uni­ver­si­ty: Watch Online

Leonard Bernstein’s Mas­ter­ful Lec­tures on Music (11+ Hours of Video Record­ed in 1973)

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

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“The Civil War and Reconstruction,” a New MOOC by Pulitzer-Prize Winning Historian Eric Foner

It end­ed in ear­ly April 149 years ago. But it begins again on Wednes­day. Colum­bia University’s “The Civ­il War and Recon­struc­tion,” the lat­est sal­vo in the MOOC wars, opens Wednes­day, Sep­tem­ber 17, for free to the world – a 27-week series of three cours­es on the non­prof­it edX plat­form taught by Eric Fon­er, the university’s Pulitzer-Prize win­ning his­to­ry pro­fes­sor and one of the world’s lead­ing experts on 19th-cen­tu­ry Amer­i­ca. You can enroll for free here.

“If you want to know where the world you’re liv­ing in today comes from,” Fon­er says in the series pro­mo­tion­al trail­er,  “you need to know about the Civ­il War era.“  Head­line issues of the moment – black-white race rela­tions first among them, but also more gen­er­al issues of equal jus­tice under law, the pow­er and prop­er role of gov­ern­ment, and how law­mak­ers should deal with extrem­ism, ter­ror, and vio­lence – all find roots in this con­flict and its after­math, a four-year war that saw approx­i­mate­ly 700,000 Amer­i­cans killed, and scores more injured, at the hands of their coun­try­men.

Foner’s gen­er­al his­to­ry books on the sub­ject have sold thou­sands of copies – his new work on the under­ground rail­road pub­lish­es in Jan­u­ary – and he’s the author of the lead­ing Amer­i­can his­to­ry text­book taught in U.S. high schools.  He’s crossed over from acad­eme into main­stream media in oth­er ways – with appear­ances on The Dai­ly Show with John Stew­art, The Col­bert Report, The Char­lie Rose Show, Bill Moyers’s Jour­nal, and more.

Columbia’s effort in free his­to­ry edu­ca­tion on screen dates back decades – as Fon­er makes clear in the pro­mo video. Columbia’s his­to­ry pro­fes­sors Richard Hof­s­tadter and James Patrick Shen­ton reached thou­sands of peo­ple in their books and lec­tures, with Shen­ton even teach­ing a 76-part sur­vey course on WNET Pub­lic Tele­vi­sion called “The Rise of the Amer­i­can Nation” – which pre­miered in 1963!  But many of the great lec­tur­ers from this uni­ver­si­ty – lit­er­ary crit­ics and schol­ars Jacques Barzun and Lionel Trilling, art his­to­ri­an Mey­er Shapiro, and oth­ers – were nev­er filmed sys­tem­at­i­cal­ly, and Fon­er, who will for­mal­ly retire from teach­ing in a few years, was deter­mined to ensure his cours­es were record­ed, well-pro­duced, and pre­served for pos­ter­i­ty – and avail­able as edu­ca­tion­al resources to all.

The series, gen­er­ous­ly sup­port­ed by Columbia’s provost, his­to­ri­an John Coatsworth, is pro­duced by the Colum­bia Cen­ter for New Media Teach­ing and Learn­ing (CCNMTL), coin­ci­den­tal­ly cel­e­brat­ing its 15th anniver­sary this year. It’s the university’s first set of online cours­es on edX, after more than a dozen MOOCs on Cours­era – and with more to come on both.  The course promis­es some tan­ta­liz­ing new per­spec­tives on the world then and now – as the two high­lights reels show above.

Come & enlist – oops! — that is, enroll – today!

Peter B. Kauf­man works at the Colum­bia Cen­ter for New Media Teach­ing and Learn­ing and is Exec­u­tive Pro­duc­er of Intel­li­gent Tele­vi­sion and YouTube’s Intel­li­gent Chan­nel

Relat­ed Con­tent:

The His­to­ry of the World in 46 Lec­tures From Colum­bia Uni­ver­si­ty

Down­load 78 Free Online His­to­ry Cours­es: From Ancient Greece to The Mod­ern World

What Books Do Writ­ers Teach?: Zadie Smith and Gary Shteyngart’s Syl­labi from Colum­bia Uni­ver­si­ty

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