Live: Watch NASA’s Coverage of Asteroid As It Buzzes By Earth

Writes NASA:

NASA Tele­vi­sion will pro­vide com­men­tary start­ing at 11 a.m. PST (2 p.m. EST) on Fri­day, Feb. 15, dur­ing the close, but safe, fly­by of a small near-Earth aster­oid named 2012 DA14. NASA places a high pri­or­i­ty on track­ing aster­oids and pro­tect­ing our home plan­et from them. This fly­by will pro­vide a unique oppor­tu­ni­ty for researchers to study a near-Earth object up close.

The half-hour broad­cast from NASA’s Jet Propul­sion Lab­o­ra­to­ry in Pasade­na, Calif., will incor­po­rate real-time ani­ma­tion to show the loca­tion of the aster­oid in rela­tion to Earth, along with live or near real-time views of the aster­oid from obser­va­to­ries in Aus­tralia, weath­er per­mit­ting.

At the time of its clos­est approach to Earth at approx­i­mate­ly 11:25 a.m. PST (2:25 p.m. EST / 19:25 UTC), the aster­oid will be about 17,150 miles (27,600 kilo­me­ters) above Earth­’s sur­face.

The com­men­tary will be avail­able via NASA TV and streamed live online at: http://www.nasa.gov/ntv and http://www.ustream.tv/nasajpl2

Or you can just watch above.…

Note: You can also watch footage of the mete­orite hit­ting Siberia this morn­ing here.

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David Lynch Talks About His 99 Favorite Photographs at Paris Photo 2012

We don’t need to tell you, an Open Cul­ture read­er, about the rich­ness of David Lynch’s con­tri­bu­tion to motion pic­tures. But the auteur also has an ongo­ing rela­tion­ship with still pho­tog­ra­phy which the past decade has seen emerge into pub­lic light. Years ago, I attend­ed an open­ing in Los Angeles—the city so thor­ough­ly cap­tured by Lynch’s surrealism—of an exhi­bi­tion of his own shots. Now, the Los Ange­les Review of Books presents Lynch’s com­men­tary, in the video above, on 99 pic­tures tak­en by oth­ers. Lis­ten to him describe his view­ing approach—that of a voyeuris­tic, all-feel­ing detective—and you’ll nev­er look the same way at cur­tains, wom­en’s shoes, stone Bud­dhas, and fes­ter­ing sores again.

Lynch select­ed these favorite 99 pho­tos from the thou­sand pre­sent­ed at 2012’s Paris Pho­to, the inter­na­tion­al pho­tog­ra­phy fair that hap­pens each Novem­ber dur­ing the Euro­pean Month of Pho­tog­ra­phy. He arrived as the inau­gur­al selec­tion of “Paris Pho­to vu par…,” a new tra­di­tion that will each year com­pile a book of images, their selec­tion “entrust­ed to a dif­fer­ent per­son­al­i­ty each year.” Die-hard fans will sure­ly need to own their idol­’s edi­tion, and in late April they can make a pil­grim­age to Lynch’s town for the launch of Paris Pho­to Los Ange­les. Its loca­tion? The lot of Para­mount Pic­tures, dis­trib­u­tor of Lynch’s pho­to­graph­i­cal­ly strik­ing The Ele­phant Man.

Relat­ed con­tent:

David Lynch’s Sur­re­al Com­mer­cials

What David Lynch Can Do With a 100-Year-Old Cam­era and 52 Sec­onds of Film

David Lynch Teach­es Louis C.K. How to Host The David Let­ter­man Show

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

Beat Writer William S. Burroughs Spreads Counterculture Cool on Nike Sneakers, 1994

Nike footwear and celebri­ty ath­letes usu­al­ly go hand-in-hand. When you think Nike, you think of Michael Jor­dan, Bo Jack­son and Mia Hamm. And let’s not for­get the now trou­bled duo of Tiger Woods and Lance Arm­strong too. Fit, lithe bod­ies gen­er­al­ly sell sneak­ers, we know that.

But then there’s the bizarre, odd excep­tion. Let’s rewind the video­tape to 1994, when Nike enlist­ed William S. Bur­roughs to sell its Air Max shoes. That’s right a decrepit 79-year-old Beat writer, known for his hero­in addic­tionmanslaugh­ter con­vic­tion and cut up writ­ing. William S. Bur­roughs is pret­ty much the anti-Mia Hamm. And yet the ad works in its own way. Just like the Gap could use Jack Ker­ouac to lend hip­ster cred to its stodgy khakis, so Bur­roughs could bring a main­streamed coun­ter­cul­ture cool to Nike shoes as his head, appear­ing in a TV set pro­claims, “The pur­pose of tech­nol­o­gy is not to con­fuse the brain, but to serve the body, to make life eas­i­er, to make any­thing pos­si­ble. It’s the com­ing of the new tech­nol­o­gy.” That new tech­nol­o­gy being, I guess, the cut­ting edge cush­ions in Nike’s shoes?

Relat­ed Con­tent:

William S. Bur­roughs on Sat­ur­day Night Live, 1981

How Spike Lee Got His First Big Break: From She’s Got­ta Have It to That Icon­ic Air Jor­dan Ad

William S. Bur­roughs Reads His First Nov­el, Junky (find it also in our col­lec­tion of Free Audio Books)

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“PoemTalk” Podcast, Where Impresario Al Filreis Hosts Lively Chats on Modern Poetry

William-Carlos-Williams-001

 

Want to know what’s going on the poet­ry world? Ask Uni­ver­si­ty of Penn­syl­va­nia pro­fes­sor Al Fil­reis. A nation­al trea­sure for mod­ern Amer­i­can poet­ry, Fil­reis serves as Fac­ul­ty Direc­tor of the Kel­ly Writ­ers House, Direc­tor of UPenn’s Cen­ter for Pro­grams in Con­tem­po­rary Writ­ing, and Co-Direc­tor of the excel­lent poet­ry record­ing series and archive PennSound. He also teach­es a Cours­era mas­sive open online course, “Mod­Po,” which has reached over 36,000 stu­dents, bring­ing his thir­ty years of sem­i­nar-style teach­ing expe­ri­ence to the mass­es. On top of all that, Fil­reis is the pub­lish­er of con­tem­po­rary poet­ry webzine Jack­et 2, which hosts a pod­cast called “PoemTalk.”

“PoemTalk” brings togeth­er poets, writ­ers, and teach­ers to infor­mal­ly dis­cuss a sin­gle poem. Like Fil­reis’ classes—in which he prefers live­ly dis­cus­sions over long lectures—these sem­i­nar-like ses­sions involve a lot of friend­ly dis­agree­ment and serendip­i­tous insights, with many pearls of poet­ic wis­dom scat­tered through­out. The first episode of “PoemTalk” (above), from Decem­ber 2007, took on William Car­los Williams’ frag­men­tary mod­ernist provo­ca­tion “Between Walls”:

Between Walls

the back wings
of the

hos­pi­tal where
noth­ing

will grow lie
cin­ders

in which shine
the bro­ken

pieces of a green
bot­tle

If you don’t see much in this lit­tle imag­ist exer­cise, you might just want to read it again, sev­er­al times, after lis­ten­ing to Fil­reis, Saigon-born poet Linh Dinh, teacher and poet Ran­dall Couch, and poet Jes­si­ca Lowen­thal unpack the poem’s many res­o­nances and reflec­tions. (Or you might have had your fill by then). Williams’ approach was com­plete­ly inno­v­a­tive, strip­ping all of the rhetor­i­cal excess­es from Amer­i­can poet­ry, which suf­fered from a kind of Vic­to­ri­an hang­over into the first decades of the twen­ti­eth cen­tu­ry until those nasty mod­ernists fin­ished rough­ing it up. As the episode’s page points out, “‘Between Walls’ has had a huge influ­ence on poet­ry and pho­tog­ra­phy since its first pub­li­ca­tion in 1934.” Lis­ten to the dis­cus­sion above to find out why such a seem­ing­ly straight­for­ward­ly unsen­ti­men­tal, un-“poetic” piece of writ­ing had such an impact.

Since this inau­gur­al episode, “PoemTalk” has cov­ered sev­er­al dozen con­tem­po­rary, liv­ing poets, as well as such nota­bles as Ezra Pound, John Ash­bery, Adri­enne Rich, Allen Gins­berg, and Wal­lace Stevens. By the way, as an added bonus, all of the poems dis­cussed on “PoemTalk” are avail­able as audio record­ings on PennSound, read by the poets them­selves. Here’s Williams read­ing “Between Walls.”

“PoemTalk”’s most recent episode takes as its text Charles Alexander’s “Near or Ran­dom Acts.” You can lis­ten through the web­site or sub­scribe on iTunes.

Relat­ed Con­tent:

William Car­los Williams Reads His Poet­ry (1954)

Lis­ten­ing to Poet­ry Online

Lis­ten­ing to Famous Poets Read­ing Their Own Work

Josh Jones is a writer, edi­tor, and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

Tom Waits Shows Us How Not to Get a Date on Valentine’s Day

It’s Valen­tine’s Day and love is in the air. Or at least some­thing is in the air in this delet­ed scene from the 1999 cult film Mys­tery Men. We’re not sure exact­ly what. In the film, Tom Waits plays the mad sci­en­tist Dr. Heller, inven­tor of “Fog-in-a-Tube” and “Truth­paste,” among oth­er things. For anoth­er strange scene of cupid’s arrow gone bad­ly astray, see our post from last year, David Lynch Falls in Love: A Clas­sic Scene From Twin Peaks.

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:

Tom Waits’ Clas­sic Appear­ance on Aus­tralian TV, 1979

Tom Waits Makes Com­ic Appear­ance on Fer­n­wood Tonight, 1977

Tom Waits and Kei­th Richards Sing Sea Song “Shenan­doah” for New Pirate-Themed CD: Lis­ten Online

Watch Lambeth Walk—Nazi Style: The Early Propaganda Mash Up That Enraged Joseph Goebbels

In a ter­rif­ic his­tor­i­cal prank that sent Nazi Pro­pa­gan­da Min­is­ter Joseph Goebbels storm­ing out of the screen­ing room, British min­is­ter Charles A. Rid­ley edit­ed togeth­er scenes from the film Tri­umph of the Will with the music from the musi­cal Me and My Girl to cre­ate a spoof that infu­ri­at­ed lead­ers of the Third Reich.

Lam­beth Walk—Nazi Style was released in 1941 to news­reel com­pa­nies. It was billed as “Schich­le­gru­ber Doing the Lam­beth Walk, Assist­ed by the Gestapo Hep Cats,” and lays the catchy tune against images of Hitler and Nazi sol­diers from Leni Riefenstahl’s sem­i­nal pro­pa­gan­da film.

The sto­ry goes that the par­o­dy enraged Goebbels to such an extent that he ran out of the screen­ing room, kick­ing at chairs and scream­ing obscen­i­ties.

“The Lam­beth Walk” tune was writ­ten for the 1937 musi­cal, about a Cock­ney boy who inher­its a for­tune and must leave behind his work­ing-class ways to become a gen­tle­man. Nazi par­ty offi­cials called the tune “Jew­ish mis­chief and ani­mal­is­tic hop­ping,” mak­ing it even fun­nier as the back­ground music for Nazi sol­diers parad­ing.

The name “Schich­le­gru­ber,” by the way, was also a dig at Hitler. It was the name of his mater­nal grand­moth­er, whose son Alois (Hitler’s father) was an ille­git­i­mate child. Oops!

via Slate

Relat­ed Con­tent:

Don­ald Duck’s Bad Nazi Dream and Four Oth­er Dis­ney Pro­pa­gan­da Car­toons from World War II

“The Duck­ta­tors”: Loony Tunes Turns Ani­ma­tion into Wartime Pro­pa­gan­da (1942)

Hitler Reacts to Take­down of Hitler Par­o­dies

Kate Rix writes about dig­i­tal media and edu­ca­tion. Read more of her work at .

From the Annals of Optimism: The Newspaper Industry in 1981 Imagines its Digital Future

“Imag­ine, if you will, sit­ting down to your morn­ing cof­fee, turn­ing on your home com­put­er to read the day’s news­pa­per.” A flam­boy­ant­ly spec­u­la­tive-sound­ing notion, no doubt, were you watch­ing this tele­vi­sion news broad­cast back when it aired in 1981. A pro­duc­tion of San Fran­cis­co’s KRON, the seg­ment takes a look at how the city’s news­pa­pers, dis­play­ing admirable far­sight­ed­ness, were then “invest­ing a lot of mon­ey to try and get a ser­vice just like that start­ed.” We see North Beach res­i­dent Richard Hal­lo­ran (he of  the immor­tal­ly meme-wor­thy onscreen iden­ti­fi­er, “Owns Home Com­put­er”) dial­ing, on his rotary tele­phone, “a local num­ber that will con­nect him with a com­put­er in Colum­bus, Ohio.” We also see the edi­tors of the San Fran­cis­co Exam­in­er “pro­gram­ming today’s copy of the paper into that same Ohio com­put­er.” Hal­lo­ran plops the phone’s receiv­er into his modem’s acoustic cou­pler, pre­sum­ably pours his morn­ing cof­fee, and down­loads the day’s paper — which takes two hours, at a cost of five dol­lars an hour.

“This is only the first step in news­pa­pers by com­put­er,” says KRON sci­ence reporter Steve New­man. “Engi­neers now pre­dict the day will come when we get all out news­pa­pers and mag­a­zines by home com­put­er.” We see footage of a tra­di­tion­al news­pa­per ven­dor: “But that’s a few years off, so for the moment, at least, this fel­low isn’t wor­ried about being out of a job.” That day came over a decade ago, and that fel­low sure­ly wor­ries now, as do the pub­lish­ers of his wares. We who start each day read­ing the news on our “home com­put­ers” laugh at the news­pa­per indus­try’s evi­dent hubris­tic self-destruc­tion by its fail­ure to under­stand the inter­net, much less engage with it. But this report shows us that cer­tain papers — the eight that Hal­lo­ran’s menu offered him, at least — seem­ing­ly had their eyes on the ball long before we did. Do we see here an indus­try sow­ing the seeds of its own inevitable destruc­tion, or evi­dence that things could have turned out dif­fer­ent­ly?

Relat­ed con­tent:

Clay Shirky on the Demise of the News­pa­per

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

The Inter­net Imag­ined in 1969

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.

How a Baltimore Hairdresser Became a World-Renowned “Hair Archaeologist” of Ancient Rome

Julia_Domna

In 2001, Janet Stephens, a Bal­ti­more hair­dress­er, caught sight of a bust of Roman empress Julia Dom­na at the Wal­ters Art Muse­um (the image above is of a bust in the Lou­vre). Cap­ti­vat­ed by the philoso­pher empress’s hair­do, she thought “holy cow, that is so cool… like a loaf of bread sit­ting on her head.” Thus began Stephens’ quest to recre­ate the coif­fures of ladies of antiq­ui­ty.

Stephens first set about try­ing the empress’s hair­style on a man­nequin, with no suc­cess. She under­took some research and found that schol­ars gen­er­al­ly assumed that the elab­o­rate, sculpt­ed hair­styles of Roman ladies could only be wigs. This set off Stephens’ skep­tic detec­tor, and—armed with no more than her free time, some dogged research meth­ods, and a few vol­un­teer models—she ven­tured to dis­prove the schol­ar­ly con­sen­sus. As The Wall Street Jour­nal tells it:

In 2005, she had a break­through. Study­ing trans­la­tions of Roman lit­er­a­ture, Ms. Stephens says, she real­ized the Latin term “acus” was prob­a­bly being mis­un­der­stood in the con­text of hair­dress­ing. Acus has sev­er­al mean­ings includ­ing a “sin­gle-prong hair­pin” or “nee­dle and thread,” she says. Trans­la­tors gen­er­al­ly went with “hair­pin.”

The sin­gle-prong pins could­n’t have held the intri­cate styles in place. But a nee­dle and thread could. It backed up her hair hypoth­e­sis.

Her per­sis­tence paid off. In 2008, she pub­lished an arti­cle in the Jour­nal of Roman Archae­ol­o­gy detail­ing her find­ings on Roman hair. Stephens is now a rec­og­nized author­i­ty on ancient hair­styles and a “hair archae­ol­o­gist.”

See Stephens at work and hear WSJ reporter Abi­gail Pes­ta tell the sto­ry in the video below.

Josh Jones is a writer, edi­tor, and musi­cian based in Wash­ing­ton, DC. Fol­low him @jdmagness

Listen to ‘Why I Am Not a Christian,’ Bertrand Russell’s Powerful Critique of Religion (1927)

The Eng­lish logi­cian and philoso­pher Bertrand Rus­sell was con­vinced that the reli­gions of the world are not mere­ly untrue, but that they do griev­ous harm to peo­ple. That con­vic­tion is very much in evi­dence in his 1927 speech, “Why I Am Not a Chris­t­ian,” read here in its com­plete form by the British actor Ter­rence Hardi­man.

Rus­sell begins by estab­lish­ing a very gen­er­al and inclu­sive def­i­n­i­tion of the term “Chris­t­ian.” A Chris­t­ian, for the pur­pos­es of Rus­sel­l’s argu­ment, is one who believes in God and immor­tal­i­ty and also in Christ. “I think you must have at the very low­est a belief that Christ was, if not divine, at least the best and wis­est of men,” says Rus­sell. “If you are not going to believe that much about Christ, I do not believe you have any right to call your­self a Chris­t­ian.”

Begin­ning with the belief in God, Rus­sell points out the log­i­cal fal­lac­i­es in sev­er­al of the most pop­u­lar argu­ments for the exis­tence of God, start­ing with the ear­ly ratio­nal argu­ments and mov­ing along what he sees as the “intel­lec­tu­al descent” of Chris­t­ian apolo­get­ics to some of the more recent argu­ments that have “become less respectable intel­lec­tu­al­ly and more and more affect­ed by a kind of mor­al­iz­ing vague­ness.” Rus­sell then goes on to explain why Jesus, as depict­ed in the Gospels, has nei­ther superla­tive wis­dom nor superla­tive good­ness. Although Rus­sell grants Christ “a very high degree of moral good­ness,” he asserts that there have been wis­er and bet­ter men.

The speech was pub­lished in 1957 in the book Why I am Not a Chris­t­ian and Oth­er Essays on Reli­gion and Relat­ed Sub­jects. The text is avail­able online, and you can click here to open it in a new win­dow. This record­ing will be added to our Free Audio Books col­lec­tion. Although Rus­sell is address­ing the major­i­ty reli­gion of his own coun­try, he is equal­ly crit­i­cal of all reli­gions. He leaves off with these words:

The whole con­cep­tion of God is a con­cep­tion derived from the ancient Ori­en­tal despo­tisms. It is a con­cep­tion quite unwor­thy of free men. When you hear peo­ple in church debas­ing them­selves and say­ing that they are mis­er­able sin­ners, and all the rest of it, it seems con­temptible and not wor­thy of self-respect­ing human beings. We ought to stand up and look the world frankly in the face. We ought to make the best we can of the world, and if it is not so good as we wish, after all it will still be bet­ter than what these oth­ers have made of it in all these ages. A good world needs knowl­edge, kind­li­ness, and courage; it does not need a regret­ful han­ker­ing after the past or a fet­ter­ing of the free intel­li­gence by the words uttered long ago by igno­rant men. It needs a fear­less out­look and free intel­li­gence. It needs hope for the future, not look­ing back all the time toward a past that is dead, which we trust will be far sur­passed by the future that our intel­li­gence can cre­ate.

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:

Face to Face with Bertrand Rus­sell: ‘Love is Wise, Hatred is Fool­ish’

Bertrand Rus­sell and F.C. Cople­ston Debate the Exis­tence of God, 1948

Bertrand Rus­sel­l’s ABC of Rel­a­tiv­i­ty: The Clas­sic Intro­duc­tion to Ein­stein

Watch the New Pirate Bay Documentary Free Online

Last Fri­day night, TPB AFK: The Pirate Bay Away From Key­board pre­miered at the Berlin Film Fes­ti­val. Moments lat­er, the indie doc­u­men­tary became freely avail­able online, which left the film’s direc­tor, Simon Klose, grin­ning, not grum­bling. It makes sense when you con­sid­er the premise of the film. Pirate Bay is, of course, the web site that allows users to share media (music, movies, games, soft­ware) through a peer-to-peer file shar­ing pro­to­col, some of it copy­right­ed, some of it not. And the new film, writes Wired, doc­u­ments “the hec­tic tri­al of Pirate Bay admin­is­tra­tors Fredrik Neij, Got­tfrid Svartholm Warg, and Peter Sunde, who were even­tu­al­ly con­vict­ed in a civ­il and crim­i­nal copy­right case in Swe­den in 2009 that pit­ted them against the gov­ern­ment and the enter­tain­ment indus­try.”

TPB AFK is avail­able on YouTube and Pirate Bay too. It’s also list­ed in our col­lec­tion of Free Doc­u­men­taries, part of our col­lec­tion of 635 Free Movies Online.

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When Orson Welles Met H.G. Wells in 1940: Hear the Legends Discuss War of the Worlds, Citizen Kane, and WWII

What con­nects Orson Welles, that quin­tes­sen­tial Amer­i­can auteur of radio and film, to H.G. Wells, the far-see­ing Eng­lish pro­to-sci­ence fic­tion nov­el­ist? You’ve got the near-iden­ti­cal sur­names, for one, but even more obvi­ous­ly, Welles adapt­ed The War of the Worlds, Wells’ sem­i­nal tale of alien inva­sion, into a famous­ly coun­try-spook­ing 1938 radio pro­duc­tion of the same name. You can hear it below. Thanks to KTSA in San Anto­nio, these two lumi­nar­ies were able to make a direct con­nec­tion on the radio two years after that broad­cast, and you can hear a clip of this Wells/Welles con­ver­sa­tion with the video above. On the coun­try-wide freak­out Welles caused with Wells’ source mate­r­i­al, the writer has this to say: “We [in Eng­land] had arti­cles about it, and peo­ple said, ‘Have you nev­er heard of Hal­loween in Amer­i­ca, when every­body pre­tends to see ghosts?’ ”

Though this record­ing runs for only sev­en and a half min­utes, it makes clear that Wells has plen­ty to say to the man he calls “my lit­tle name­sake, Orson.” The enthu­si­asm goes both ways; they trade remarks on Welles’ broad­casts, Wells’ ideas, Hitler, and the war in Europe. Wells won­ders aloud if Amer­i­cans can only still enjoy a thrill at War of the Worlds-style ter­ror because — the year was 1940 — “You haven’t got the war right under your chins.” When he asks after Welles’ next project, the direc­tor describes it as “a new sort of motion pic­ture, with a new method of pre­sen­ta­tion, and a few new tech­ni­cal exper­i­ments.” He refers, of course, to a cer­tain upcom­ing enter­tain­ment by the name of Cit­i­zen Kane. This lit­tle dia­logue reveals one skill Orson Welles and H.G. Wells, for all the dif­fer­ences between their areas of mas­tery, have in com­mon: under­state­ment.

Relat­ed con­tent: 

The War of the Worlds on Pod­cast: How H.G. Wells and Orson Welles Riv­et­ed A Nation

Orson Welles Explains Why Igno­rance Was the Genius Behind Cit­i­zen Kane

The Dead Authors Pod­cast: H.G. Wells Com­i­cal­ly Revives Lit­er­ary Greats with His Time Machine

Ray­mond Chan­dler & Ian Flem­ing in Con­ver­sa­tion (1958)

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on lit­er­a­ture, film, cities, Asia, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall.


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