Mudlarking on the Thames: A Treasure Trove of History Washes Ashore Every Low Tide

If you’re look­ing for free out­door activ­i­ties to pull you from the dig­i­tal realm, may we rec­om­mend mud­lark­ing?

Lara Maik­lem, author of Mud­lark­ing: Lost and Found on the Riv­er Thames and A Field Guide to Lark­ing, has devel­oped a keen eye in the 20 years she’s been scav­eng­ing his­toric detri­tus from the fore­shore of the Thames at low tide.

 I nev­er use a met­al detec­tor and I often walk lit­tle more than a mile in 5 hours, yet I can trav­el 2,000 years back in time through the objects that are revealed by the tide. Pre­his­toric flint tools, medieval pil­grim badges, Tudor shoes, Geor­gian wig curlers and Vic­to­ri­an pot­tery, ordi­nary objects left behind by the ordi­nary peo­ple who made Lon­don what it is today. 

As she says in the short film above, her first find has become one of her most com­mon — a clay pipe frag­ment.

The term mud­lark was invent­ed to describe the pover­ty strick­en Vic­to­ri­ans who scoured the fore­shore for cop­per, wire, and oth­er items with resale val­ue, as well as things they could clean off and use them­selves.

Today’s mud­larks are pri­mar­i­ly his­to­ry buffs and ama­teur arche­ol­o­gists.

The hob­by has become so pop­u­lar that The Port of Lon­don Author­i­ty, which con­trols the Thames water­way along with the Crown Estate, has start­ed to require fore­shore per­mits of all prospec­tive debris hunters.

Per­mit­ted mud­larks can claim as sou­venirs how­ev­er many Vic­to­ri­an clay pipes and blue and white pot­tery shards they dig up, but are legal­ly oblig­ed by the Portable Antiq­ui­ties Scheme to report items of poten­tial­ly greater his­toric and mon­e­tary val­ue — i.e. Trea­sure — to a muse­um-trained Finds Lia­son Offi­cer:

  • Any metal­lic object, oth­er than a coin, pro­vid­ed that at least 10 per cent by weight of met­al is pre­cious met­al (that is, gold or sil­ver) and that it is at least 300 years old when found. If the object is of pre­his­toric date it will be Trea­sure pro­vid­ed any part of it is pre­cious met­al.
  • Any group of two or more metal­lic objects of any com­po­si­tion of pre­his­toric date that come from the same find (see note below).
  • Two or more coins from the same find pro­vid­ed they are at least 300 years old when found and con­tain 10 per cent gold or sil­ver (if the coins con­tain less than 10 per cent of gold or sil­ver there must be at least ten of them). Only the fol­low­ing groups of coins will nor­mal­ly be regard­ed as com­ing from the same find: Hoards that have been delib­er­ate­ly hid­den; Small­er groups of coins, such as the con­tents of purs­es, that may been dropped or lost; Votive or rit­u­al deposits.
  • Any object, what­ev­er it is made of, that is found in the same place as, or had pre­vi­ous­ly been togeth­er with, anoth­er object that is Trea­sure.

How did all this his­toric refuse come to be in the Thames? Maik­lem told Col­lec­tors Week­ly that there are many rea­sons:

Obvi­ous­ly, it’s been used as a rub­bish dump. It was a use­ful place to chuck your house­hold waste. It was essen­tial­ly a busy high­way, so peo­ple acci­den­tal­ly dropped things and lost things as they trav­eled on it. Of course, peo­ple also lived right up against it. Lon­don was cen­tered on the Thames so hous­es were all along it, and there was all this stuff com­ing out of the hous­es and off the bridges. It was the biggest port in the world in the 18th cen­tu­ry, so there was all the ship­build­ing and indus­try going on.

And then of course, there’s the rub­bish that was used to build up the fore­shore and cre­ate barge beds. The riverbed in its nat­ur­al state is a V shape, so they had to build up the sides next to the riv­er wall to make them flat­ter so the flat-bot­tom barges could rest there at low tide. They did that by pour­ing rub­bish and build­ing spoil and kiln waste, any­thing they could find—industrial waste, domes­tic waste. When they dug into the ground fur­ther up, they’d bring the spoil down and use it to build up the fore­shore, and cap it off with a lay­er of chalk, which was soft and didn’t dam­age the bot­tom of the barges.

One of the rea­sons we’re find­ing so much in the riv­er now is because there’s so much ero­sion. While it was a “work­ing riv­er,” these barge beds were patched up and the revet­ments, or the wood­en walls that held them in, were repaired when they broke. But now, they’re being left to fall apart, and these barge beds are erod­ing as the riv­er is get­ting busier with riv­er traf­fic.

There are numer­ous social media groups where mod­ern mud­larks can proud­ly share their finds, and seek assis­tance in iden­ti­fy­ing strange or frag­ment­ed objects.

Maiklem’s Lon­don Mud­lark Face­book page is an edu­ca­tion in and of itself, a reflec­tion of her abid­ing inter­est in the his­toric sig­nif­i­cance of the items she truf­fles up.

Wit­ness the pewter buck­le plate dat­ing to the 14th or 15th-cen­tu­ry that she spot­ted on the fore­shore in late Novem­ber, turned over to her Finds Liai­son Offi­cer and researched with the help of his­toric pewter crafts­man Col­in Torode:

Pri­or to c.1350 pewter belt fit­tings seem to have been rather rare, although a Lon­don Girdlers’ Guild Char­ter of 1321 which banned the use of pewter belt fit­tings does show that the met­al was cer­tain­ly in use. In 1344 the Girdlers’ guild again reit­er­at­ed the ban on what they felt were infe­ri­or met­als such as pewter, tin and lead. In 1391 how­ev­er, a statute rec­og­nized that these met­als had been in use for some time and that their use could con­tin­ue with­out restric­tion

This ornate plate would have had a sep­a­rate buck­le frame attached to it and is prob­a­bly a cheap­er copy of the more upmar­ket cop­per alloy or sil­ver ver­sions that were pro­duced at the time.  Although the the open­work design is sim­i­lar to those found in in fur­ni­ture or church screens, it’s not reli­gious or pil­grim relat­ed.

Maik­lem also chal­lenges fans to play along from home with “spot the find” videos for such items as a Tudor clothes hook, Geor­gian cuf­flink, and a Ger­man salt glazed, stoneware bottle’s neck embossed with a human face.

She also reminds would be mud­larks to always wear gloves as it’s not all medieval thim­bles, WWI medals and 16th-cen­tu­ry box­wood combs, beau­ti­ful­ly pre­served by the Thames’ anaer­o­bic mud.

The riv­er also spews up plen­ty of drowned rats, flush­ing them out with the sewage after a heavy rain. Oth­er poten­tial haz­ards include hypo­der­mic nee­dles and bro­ken glass.

In addi­tion to such safe­ty pre­cau­tions as gloves, stur­dy footwear, and remain­ing mind­ful of incom­ing tides, Maik­lem advis­es novice mud­larks to look for straight lines and per­fect cir­cles — “the things that nature doesn’t make.”

It takes prac­tice and patience to devel­op a skilled eye, but don’t get dis­cour­aged if your first out­ings don’t yield the sort of jaw drop­ping dis­cov­er­ies Maik­lem has made — an intact glass Vic­to­ri­an sug­ar crush­er, a 16th-cen­tu­ry child’s leather shoe and Roman era pot­tery shards galore.

Some­times even plas­tic comes with a com­pelling sto­ry.

I’m still feel­ing quite gid­dy over this bit of plas­tic. I came to Corn­wall this week to write and to beach­comb. I hoped I might find a small piece of Lost Lego, but I wasn’t hold­ing out much hope. Calm weath­er means less plas­tic: good for the beach, bad for the Lego look­er. Then I found this wedged between two boul­ders. It’s one of the black octo­pus­es from the Lego spill of 1997 when, 20 miles from Land’s End, a huge wave hit the car­go ship Tokio Express. It tilt­ed 45 degrees and 62 con­tain­ers slid into the water. One con­tain­er was filled with near­ly 5 mil­lion pieces of Lego, much of which was sea themed. Lit­tle scu­ba tanks, flip­pers, octo­pus­es, cut­lass­es, life rafts, spear guns, drag­ons and octo­pus­es like this still wash up on the beach­es of Corn­wall and fur­ther afield.

Stay abreast of Lara Maiklem’s mud­lark­ing finds here.

Try your hand at mud­lark­ing the Thames in per­son, dur­ing a guid­ed tour with the Thames Explor­er Trust.

Relat­ed Con­tent 

Prize-Win­ning Ani­ma­tion Lets You Fly Through 17th Cen­tu­ry Lon­don

The Growth of Lon­don, from the Romans to the 21st Cen­tu­ry, Visu­al­ized in a Time-Lapse Ani­mat­ed Map

Watch the Sex Pis­tols Play a Gig on a Thames Riv­er Barge Dur­ing the Queen’s Sil­ver Jubilee, and Get Shut Down by the Cops (1977)

- Ayun Hal­l­i­day is a mud­lark­ing new­bie, the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Bruce Thomas, Bassist for The Attractions, Discusses the Art of the Bassline on Nakedly Examined Music

Bruce is best known as Elvis Costello’s bassist on about a dozen albums as The Attrac­tions, but Bruce has been in bands since 1970 and has done numer­ous ses­sion gigs, most notably for Al Stewart’s ear­ly albums, plus The Pre­tenders, John Wes­ley Hard­ing, Bil­ly Bragg, and many more.

Your Naked­ly Exam­ined Music host Mark Lin­sen­may­er inter­views Bruce  to dis­cuss his work on “Blood Makes Noise” by Susanne Vega from 99.9 Degrees (1992), play clips from sev­er­al of the most famous Attrac­tions tunes (using when pos­si­ble the 1978 Live at the El Mocam­bo album) plus “La La La La Loved You” by The Attrac­tions (w/o Elvis) from Mad About the Wrong Boy (1980), the first half of the title track of Quiver’s Gone in the Morn­ing (1972), and we con­clude by lis­ten­ing to a cov­er of The Bea­t­les “There’s a Place” by Spencer Brown and Bruce Thomas from Back to the Start (2018). Intro: “Radio Radio” by The Attrac­tions feat. Fito Paez from Span­ish Mod­el (2021). For more about Bruce’s musi­cal and lit­er­ary projects, see brucethomas.co.uk.

Hear all of “Radio Radio” in Span­ish plus the orig­i­nal. Hear the full ver­sions of the Attrac­tions clips: “Chelsea,” “Pump It Up,” “Club­land,” and “Every­day I Write the Book.” Hear all of “Gone in the Morn­ing” plus “Killer Man,” whose bass solo is at 4min in. Here’s Bruce demo­ing some of his partsWatch the video for “There’s Is a Place.” Here’s one of the Al Stew­art albums that Bruce plays onHere he is live just pre-Attrac­tions with The Sun­der­land Broth­ers and Quiver.

Naked­ly Exam­ined Music is a pod­cast host­ed by Mark Lin­sen­may­er, who also hosts The Par­tial­ly Exam­ined Life Phi­los­o­phy Pod­cast, Pret­ty Much Pop: A Cul­ture Pod­cast, and Phi­los­o­phy vs. Improv. He releas­es music under the name Mark Lint.

The Roman Roads and Bridges You Can Still Travel Today

Rare indeed is the ancient-his­to­ry buff who has nev­er dreamed of walk­ing the roads of the Roman Empire. But unlike many long­ings stoked by inter­est in the dis­tant past, that one can actu­al­ly be ful­filled. As explained in the video above from Youtube chan­nel Intrigued Mind, a fair few Roman roads remain in exis­tence today, albeit only in sec­tions, and most­ly ruined ones at that. “Like oth­er incred­i­ble mon­u­ments that still stand, as if to prove the pow­er of the Roman Empire, there are a sur­pris­ing num­ber of Roman roads still in use today,” some con­vert­ed into mod­ern high­ways, but “many still paved with their orig­i­nal cob­ble­stones.”

Of all such roads, none has more impor­tance than the Via Appia, or Appi­an Way, whose con­struc­tion began back in 312 BC. “The first long road out­side of the greater city of Rome that was­n’t Etr­uscan,” it “allowed Romans to make their first major con­quest” and begin their mighty empire’s “con­quest of the world.” With­out under­stand­ing the sto­ried Via Appia, none of us can tru­ly under­stand Roman his­to­ry. But to grasp the con­text of the Roman Empire, we can hard­ly ignore the even old­er roads like the Via Domi­tia, which was “the road Han­ni­bal used to invade Italy, 100 years before the Romans claimed it” — not to men­tion an impor­tant set­ting in the Greek myth of Her­a­cles.

You can still cross one of the Via Domi­ti­a’s bridges, the Pont Julien in the south of France. In that same coun­try stand the more-or-less intact Pont Fla­vian, orig­i­nal­ly built along the Via Julia Augus­ta, and the Pont du Gard, the most famous and ele­gant Roman aque­duct of them all. Nor should enthu­si­asts of Roman infra­struc­ture miss the Alcan­tara Bridge in Spain, the Man­fred Bridge in Ger­many, or the ruins of Tra­jan’s Bridge — made into ruins delib­er­ate­ly, by Tra­jan’s suc­ces­sor Hadri­an — in Roma­nia. The most seri­ous among them will also want to go as far as the Mid­dle East and trav­el the Via Maris, which con­nect­ed Egypt to Syr­ia, and the remains of the bridge across Cae­sar’s Dam in Iran.

Iran belonged, of course, not to the Roman Empire but the Per­sian one. But “leg­end has it that the Per­sian emper­or cap­tured the Roman emper­or and forced him to use his army to build the dam and the beau­ti­ful bridge to cross it.” All was fair, it seems, in the expan­sion and con­flict of ancient empires, and the ruins scat­tered across their vast for­mer ter­ri­to­ries tes­ti­fy to that. Though much less tech­no­log­i­cal­ly advanced than, say, mod­ern free­way sys­tems, the Roman roads that sur­vive have proven sur­pris­ing­ly robust, a phe­nom­e­non exam­ined in the video just above by his­to­ry Youtu­ber Told in Stone — a Chicagoan, inci­den­tal­ly, who acknowl­edges that the Via Appia has nev­er had to take a Windy City win­ter.

Relat­ed con­tent:

The First Tran­sit Map: a Close Look at the Sub­way-Style Tab­u­la Peutin­ge­ri­ana of the 5th-Cen­tu­ry Roman Empire

How Did the Romans Make Con­crete That Lasts Longer Than Mod­ern Con­crete? The Mys­tery Final­ly Solved

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The Roads of Ancient Rome Visu­al­ized in the Style of Mod­ern Sub­way Maps

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch Björk, Age 11, Read a Christmas Nativity Story on an Icelandic TV Special (1976)

The hol­i­days can be hard, start­ing in Octo­ber when the red and green dec­o­ra­tions begin muscling in on the Hal­loween aisle.

Most Won­der­ful Time of the Year, you say? Oh, go stuff a stock­ing in it, Andy Williams!

The major­i­ty of us have more in com­mon with the Grinch, Scrooge, and/or the Lit­tle Match Girl.

Still, it’s hard to resist the preter­nat­u­ral­ly mature 11-year-old Björk read­ing the nativ­i­ty sto­ry in her native Ice­landic, backed by unsmil­ing old­er kids from the Children’s Music School in Reyk­javík.

Par­tic­u­lar­ly since I myself do not speak Ice­landic.

The fact that it’s in black and white is mere­ly the blue­ber­ries on the spiced cab­bage.

It speaks high­ly of the Ice­landic approach to edu­ca­tion that a prin­ci­pal’s office reg­u­lar who report­ed­ly chafed at her school’s “retro, con­stant Beethoven and Bach bol­locks” cur­ricu­lum was award­ed the plum part in this 1976 Christ­mas spe­cial for the Nation­al Broad­cast­ing Ser­vice.

It would also appear that lit­tle Björk, the fierce­ly self-reliant latchkey kid of a Bohemi­an sin­gle moth­er, was far and away the most charis­mat­ic kid enrolled in the Bar­namúsik­skóli.

(Less than a year lat­er her self-titled first album sold 7000 copies in Iceland—a mod­est amount com­pared to Adele’s debut, maybe, but c’mon, the kid was 11! And Ice­land’s pop­u­la­tion at the time was a cou­ple hun­dred thou­sand and change.)

As to the above per­for­mance’s reli­gious slant, it wasn’t a reflec­tion of her per­son­al beliefs. As she told the UK music webzine Drowned in Sound in 2011:

…nature is my reli­gion, in a way… I think every­body has their own pri­vate reli­gion. I guess what both­ers me is when mil­lions have the same one. It just can’t be true. It’s just…what?

Still, it prob­a­bly was­n’t too con­tro­ver­sial that the pro­gram­mers elect­ed to cleave to the rea­son in the sea­son. Ice­landic church atten­dance may be low-key, but the over­whelm­ing major­i­ty of its cit­i­zens iden­ti­fy as Luther­an, or some oth­er Chris­t­ian denom­i­na­tion.

(They also believe in elves and 13 for­mer­ly fear­some Yule Lads, descen­dants of the ogres Grýla and Lep­palúði. By the time Björk appeared on earth, they had long since evolved, through a com­bi­na­tion of for­eign influ­ence and pub­lic decree, into the kinder, gen­tler, not quite San­ta-esque ver­sion, address­ing the stu­dio audi­ence at the top of the act.)

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

Hear the Album Björk Record­ed as an 11-Year-Old: Fea­tures Cov­er Art Pro­vid­ed By Her Mom (1977)

A Young Björk Decon­structs (Phys­i­cal­ly & The­o­ret­i­cal­ly) a Tele­vi­sion in a Delight­ful Retro Video

Björk Presents Ground­break­ing Exper­i­men­tal Musi­cians on the BBC’s Mod­ern Min­i­mal­ists (1997)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She is proud to orig­i­nat­ed the role of Santa’s mor­tal con­sort, Mary, in her Jew­ish hus­band Greg Kotis’ Nordic-themed hol­i­day fan­ta­sia, The Truth About San­ta. Fol­low her @AyunHalliday

The History of Western Art in 23 Minutes: From the Prehistoric to the Contemporary

Among the ranks of Open Cul­ture read­ers, there are no doubt more than a few art-his­to­ry majors. Per­haps you’ve stud­ied the sub­ject your­self, at one time or anoth­er — and per­haps you find that by now, you remem­ber only cer­tain scat­tered artists, works, and move­ments. What you need is a grand nar­ra­tive, a broad sto­ry of art itself, and that’s just what you’ll find in the video above from Youtube chan­nel Behind the Mas­ter­piece. True to its title, “A Brief His­to­ry of Art Move­ments” briefly describes, and pro­vides a host of visu­al exam­ples to illus­trate, 22 phas­es in the devel­op­ment of art in just 23 min­utes.

The jour­ney begins in pre­his­to­ry, with cave paint­ings from 40,000 years ago appar­ent­ly cre­at­ed “as a way to share infor­ma­tion.” Then comes the art of antiq­ui­ty, when increas­ing­ly lit­er­ate soci­eties “start­ed cre­at­ing the ear­li­est nat­u­ral­is­tic images of human beings,” not least to enforce “reli­gious and polit­i­cal ide­olo­gies.” The reli­gios­i­ty inten­si­fied in the Mid­dle Ages, when artists “depict­ed clear, icon­ic images of reli­gious fig­ures” — as well as their odd­ly aged-look­ing babies — “and dec­o­rat­ed them with exten­sive use of gold and jew­els as a way to attract more peo­ple to the church.”

When many us think of art his­to­ry — whether we stud­ied it or not — our minds go straight to the sub­se­quent peri­od, the Renais­sance, dur­ing which “artists start­ed to appre­ci­ate cul­tur­al sub­jects like art, music, and the­ater” as well. They cre­at­ed “por­trait paint­ings, anatom­i­cal­ly cor­rect sculp­tures, and sym­met­ri­cal archi­tec­ture,” and the inven­tion of the print­ing press great­ly expand­ed the pool of poten­tial appre­ci­a­tors. Then, in the Baroque move­ment, enor­mous­ly skilled artists like Berni­ni and Car­avag­gio “empha­sized extrav­a­gance and emo­tion,” and oth­er forms fol­lowed suit with more intense embell­ish­ments of their own.

From eigh­teenth-cen­tu­ry France emerged the “play­ful and utopi­an” Roco­co peri­od, which was fol­lowed by the back­ward-look­ing “inter­est in renewed sim­plic­i­ty” that char­ac­ter­ized Neo­clas­si­cism, which was fol­lowed by Roman­ti­cism, a move­ment whose artists “looked with­in and found inspi­ra­tion in their own imag­i­na­tions, and the nature around them.” It was the lev­el­ing French Rev­o­lu­tion that brought about the con­di­tions for the rise of Real­ism, with its focus on “depict­ing real peo­ple in every­day life,” the kind of sub­jects to that point over­looked in major works of art.

In the sec­ond half of the nine­teenth cen­tu­ry the devel­op­ment of art hit the gas, bring­ing on the imper­fect vital­i­ty of Impres­sion­ism, the dar­ing sub­jec­tiv­i­ty of Post-Impres­sion­ism, the extreme sub­jec­tiv­i­ty of Expres­sion­ism, and the sin­u­ous lux­u­ry of Art Nou­veau. Tech­nol­o­gy had always been a fac­tor in how art changes, but in the twen­ti­eth cen­tu­ry — as Cubism gave way to Futur­ism, Dadaism, Sur­re­al­ism, and the Bauhaus — it came to the fore. This brings us up to liv­ing mem­o­ry: move­ments like Abstract Expres­sion­ism, Pop Art, Min­i­mal­ism, and the incli­na­tion of today’s artists to deal in “ideas rather than aes­thet­ics,” all on dis­play in most any muse­um you care to vis­it. Or at least they are in the muse­ums of the West, there being, after all, a whole world of oth­er art his­to­ries out there to under­stand besides.

Relat­ed con­tent:

Free Art & Art His­to­ry Cours­es

An Online Guide to 350 Inter­na­tion­al Art Styles & Move­ments: An Invalu­able Resource for Stu­dents & Enthu­si­asts of Art His­to­ry

100,000 Free Art His­to­ry Texts Now Avail­able Online Thanks to the Get­ty Research Por­tal

An Intro­duc­tion to 100 Impor­tant Paint­ings with Videos Cre­at­ed by Smarthis­to­ry

One Minute Art His­to­ry: Cen­turies of Artis­tic Styles Get Packed Into a Short Exper­i­men­tal Ani­ma­tion

Tate Kids Presents Intro­duc­tions to Art Move­ments: Cubism, Impres­sion­ism, Sur­re­al­ism & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The Junky’s Christmas: William S. Burrough’s Dark Claymation Christmas Film Produced by Francis Ford Coppola (1993)

Back in 1993, the Beat writer William S. Bur­roughs wrote and nar­rat­ed a 21 minute clay­ma­tion Christ­mas film. And, as you can well imag­ine, it’s not your nor­mal hap­py Christ­mas flick. Nope, this film – The Junky’s Christ­mas – is all about Dan­ny the Car­wiper, a junkie, who spends Christ­mas Day try­ing to score a fix. Even­tu­al­ly he finds the Christ­mas spir­it when he shares some mor­phine with a young man suf­fer­ing from kid­ney stones, giv­ing him the “immac­u­late fix.” There you have it. And, oh, did we men­tion that the film was pro­duced by Fran­cis Ford Cop­po­la?

Relat­ed Con­tent:

William S. Bur­roughs’ Scathing “Thanks­giv­ing Prayer,” Shot by Gus Van Sant

Andy Warhol’s Christ­mas Art

Demen­tia 13: The Film That Took Fran­cis Ford Cop­po­la From Schlock­ster to Auteur

NYC’s Iconic Punk Club CBGBs Comes Alive in a Brilliant Short Animation, Using David Godlis’ Photos of Patti Smith, The Ramones & More

Atten­tion young artists: don’t let your day job kill your dream.

In the mid-70s, David Godlis kept body and soul togeth­er by work­ing as an assis­tant in a pho­tog­ra­phy stu­dio, but his ambi­tion was to join the ranks of his street pho­tog­ra­ph­er idols — Robert Frank, Diane Arbus, Gar­ry Wino­grand, and Lee Fried­lan­der, to name a few.

As Godlis told Ser­gio Burns of Street Pho­tog­ra­phy, “the 60’s and 70’s were great for pho­tog­ra­phers:”

The 35mm cam­era was kind of like the new afford­able tech­nol­o­gy of the day. Like hav­ing an iPhone you couldn’t talk on. Cool to look at, fun to use. Pho­tog­ra­phy was only just begin­ning to be con­sid­ered an art form. Which left plen­ty of room for invent­ing your­self. The movie Blow-Up showed off the kind of cool lifestyle that could be had. Pho­tog­ra­phy seemed both adven­tur­ous and artis­tic. There were obvi­ous­ly a mil­lion career paths for pho­tog­ra­phers back then. From the sub­lime to the ridicu­lous. But plen­ty of oppor­tu­ni­ties to exper­i­ment and find your own way.

Still, it’s a tough propo­si­tion, being a street pho­tog­ra­ph­er whose day job gob­bles all avail­able light.

Or rather, it was until Godlis blun­dered into New York’s late, great punk club, CBGB’s, and resolved to “take street pic­tures at night with­out a flash, and make all these peo­ple look as inter­est­ing as a Ramones’ song sounds.”

In broth­ers Lewie and Noah Klosters’ won­der­ful hybrid ani­ma­tion, Shots in the Dark with David Godlis, we see things fall into place as Godlis exper­i­ments with expo­sure times, dark­room chem­i­cal ratios, paper grade, and the street­lights lin­ing the Bow­ery.

He wound up with a brac­ing per­son­al style…and some of the most icon­ic shots in rock his­to­ry.

The Klosters, who were grant­ed full access to Godlis’ dig­i­tal archive (a request Lewie Klosters likened to “ask­ing the pres­i­dent for the nuke codes”), breathe extra life into this bygone scene by hand-cut­ting and pup­peteer­ing images of such stal­warts as The Ramones, Pat­ti Smith, Tele­vi­sion, Richard Hell, Talk­ing Heads, Alex Chilton, and Blondie.

Those who inhab­it­ed the scene in an off­stage capac­i­ty are also giv­en their due, from the door atten­dant and the bar­tender with the Dee Dee Ramone hair­cut to own­er Hilly Kristal, his dog, and the cool kid patrons pack­ing the leg­en­dar­i­ly filthy estab­lish­ment.

This seems to be a reflec­tion of the irre­press­ible, and end­less­ly curi­ous Godlis’ world view. As Lewie, who had 16 hours of audio inter­view to draw from, told the Vimeo blog’s Ina Pira:

Ken Burns could make his next 20 hour doc­u­men­tary on Godlis alone. If you ever bump into him, and you will — he’s every­where all at once in the Vil­lage, ask him about some of our favorite sto­ries that hit the cut­ting room floor: Jager at the Revlon Bar, the bum piss­ing out the win­dow, when he was held at gun­point in Boston, about Merv and the Heinekens, and see­ing Bob Dylan win­dow shop­ping. Just to name a few.

The final moments of Shots in the Dark with David Godlis are bit­ter­sweet. The film­mak­ers’ sub­ject sums it up best:

 Noth­ing lasts for­ev­er, but you also have to know what will be of inter­est when it’s gone.

Relat­ed Con­tent 

CBGB’s Hey­day: Watch The Ramones, The Dead Boys, Bad Brains, Talk­ing Heads & Blondie Per­form Live (1974–1982)

Pat­ti Smith Plays Songs by The Ramones, Rolling Stones, Lou Reed & More on CBGB’s Clos­ing Night (2006)

AC/DC Plays a Short Gig at CBGB in 1977: Hear Met­al Being Played on Punk’s Hal­lowed Grounds

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

The Avant-Garde Animated Films of Walter Ruttmann, Still Strikingly Fresh a Century Later (1921–1925)

Though regard­ed by many as near-impos­si­bly dif­fi­cult to judge, avant-garde art can be put to its own test of time: does it still feel new ten, twen­ty, fifty, a hun­dred years lat­er? Now that most of Wal­ter Ruttman­n’s short ani­mat­ed films have passed the cen­tu­ry mark, we can with some con­fi­dence say they pass that test. A few years ago, we fea­tured here on Open Cul­ture his Licht­spiel Opus 1, the first avant-garde ani­ma­tion ever made. Now, with this playlist, you can watch it and sev­er­al of its suc­ces­sors, which togeth­er date from the years 1921 through 1925.

“A trained archi­tect and painter,” writes Car­toon Brew’s Amid Ami­di, Ruttmann “worked as a graph­ic design­er pri­or to becom­ing involved with film. He fought in WWI, suf­fered a ner­vous break­down and spent time recov­er­ing in a sana­to­ri­um.”

It was after that har­row­ing expe­ri­ence that he plunged into the still-new medi­um of ani­ma­tion, and he evi­dent­ly brought the com­bined aes­thet­ic refine­ment of archi­tec­ture, paint­ing, and graph­ic design with him. His four-part Opus series (top) shows us “how abstract ani­ma­tion doesn’t become dat­ed as quick­ly as rep­re­sen­ta­tion­al ani­ma­tion because its cre­ation is not pred­i­cat­ed upon the styl­is­tic trap­pings of its era.”

This also holds true for Ruttman­n’s adver­tis­ing work, includ­ing the three-minute Der Sieger just above. Por­tray­ing “the strug­gles of a durable Excel­sior tire that climbs entire build­ings and wraps itself around the sun to pro­tect it from tri­an­gu­lar shapes with mean-look­ing faces,” as this sum­ma­ry of a talk by film schol­ar Michael Cow­an puts it, the short “is a per­fect exam­ple tes­ti­fy­ing to how a lot of avant-garde artists — con­trary to pop­u­lar belief — nev­er lost sight for a cer­tain applic­a­bil­i­ty of their art in that their con­cepts of form also implied a cer­tain idea of ‘form­ing’: the poten­tial to take dif­fer­ent shapes through mor­ph­ing, to find order­ing prin­ci­ples, or even to com­mu­ni­cate the ide­o­log­i­cal impe­tus of form­ing a nation­al body.”

That last holds espe­cial­ly true for Ruttman­n’s “lat­er work with­in the con­text of Nation­al Social­ism”: an unfor­tu­nate-sound­ing con­text, though it must be not­ed that he dis­pleased Adolf Hitler enough to be per­son­al­ly removed by the dic­ta­tor from the project that would become Leni Riefen­stahl’s Tri­umph of the Will. His artis­tic phi­los­o­phy may have been com­pat­i­ble with sell­ing tires, but it seems not to have served the much more bom­bas­tic and lit­er­al form of Nazi pro­pa­gan­da. That is, of course, to Ruttman’s cred­it, as is the fresh­ness his ear­ly ani­ma­tions still exude these hun­dred or so years lat­er. As Amid writes, “the graph­ic forms used in his film are the same build­ing blocks — raw and unadorned — used by artists today.” But how many artists today use them with such ele­gance?

Relat­ed con­tent:

The First Avant-Garde Ani­ma­tion: Watch Wal­ter Ruttmann’s Licht­spiel Opus 1 (1921)

The First Mas­ter­pieces of Abstract Film: Hans Richter’s Rhyth­mus 21 (1921) & Viking Eggeling’s Sym­phonie Diag­o­nale (1924)

Opti­cal Poems by Oskar Fischinger, the Avant-Garde Ani­ma­tor Despised by Hitler, Dissed by Dis­ney

The Exper­i­men­tal Abstract Films of Pio­neer­ing Amer­i­can Ani­ma­tor Mary Ellen Bute (1930s-1950s)

Spheres Dance to the Music of Bach, Per­formed by Glenn Gould: An Ani­ma­tion from 1969

The Gold­en Age of Berlin Comes to Life in the Clas­sic, Avant-Garde Film, Berlin: Sym­pho­ny of a Metrop­o­lis (1927)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Behold Beautiful Original Movie Posters for Metropolis from France, Sweden, Germany, Japan & Beyond

Of Fritz Lang’s Metrop­o­lis, the crit­ic Siegfried Kra­cauer wrote that “the Amer­i­cans rel­ished its tech­ni­cal excel­lence; the Eng­lish remained aloof; the French were stirred by a film which seemed to them a blend of Wag­n­er and Krupp, and on the whole an alarm­ing sign of Ger­many’s vital­i­ty.” By Wag­n­er, Kra­cauer of course meant the com­pos­er; Krupp referred to the arms man­u­fac­tur­er Friedrich Krupp AG. We must remem­ber that Metrop­o­lis first came out in the Ger­many of 1927, and thus into a sociopo­lit­i­cal con­text grow­ing more volatile by the moment.

But the film also came out in the gold­en age of silent cin­e­ma, and every seri­ous movie­go­er in the world must have been enor­mous­ly eager for a glimpse of the spec­ta­cle of the elab­o­rate dystopi­an future Lang and his col­lab­o­ra­tors had put onscreen.

And screen around the world that spec­ta­cle did, albeit in a ver­sion cen­sored and oth­er­wise cut in a vari­ety of ways that Lang found ter­ri­bly dis­pleas­ing. How­ev­er bowd­ler­ized the Metrop­o­lis seen by so many back then, it proved to be so much of an attrac­tion that its adver­tis­ing mate­ri­als became near­ly as artis­tic as the film itself.

At Stephen O’Don­nel­l’s blog Gods and Fool­ish Grandeur, you can see a selec­tion of the posters for Metrop­o­lis put up dur­ing the late nine­teen-twen­ties and ear­ly nine­teen-thir­ties in the movie the­aters of var­i­ous coun­tries, includ­ing Swe­den, France, Japan, and Aus­tralia.

All are visu­al­ly strik­ing, but it prob­a­bly comes as no sur­prise that the Amer­i­can ones — prod­ucts, after all, of the cul­ture that gave rise to Hol­ly­wood — get espe­cial­ly breath­less with the accom­pa­ny­ing text.

“FANTASTIC FUTURISTIC FATALISTIC,” promis­es one poster, but not with­out adding “IMAGINARY IMPRESSIVE IMPOSSIBLE” and “EROTIC EXOTIC ERRATIC.” Anoth­er sheet holds out to view­ers a flight “HIGH INTO THE AIR!” Lest they sus­pect that would­n’t give them their quar­ter’s worth of fan­ta­sy, it also promis­es them a plunge “DEEP IN THE EARTH!” A dif­fer­ent tagline, also used in oth­er Eng­lish-speak­ing coun­tries, declares of the film that “Every­one is talk­ing about it, yet no one can describe it!”

That’s not for lack of try­ing, least of all by the dis­trib­u­tor’s pub­lic­i­ty depart­ment: anoth­er poster’s detailed para­graph boasts of a “mighty, surg­ing love dra­ma of the two worlds that work out their moil­ing des­tinies with­in the con­fines of a great city.” But over the gen­er­a­tions — and after restora­tions — Metrop­o­lis has sur­passed these claims with its val­ue as a work of cin­e­mat­ic art, and indeed become as time­less as a ques­tion once used to pro­mote it: “What’s the world com­ing to?”

via Messy­Nessy

Relat­ed con­tent:

Metrop­o­lis: Watch Fritz Lang’s 1927 Mas­ter­piece

Read the Orig­i­nal 32-Page Pro­gram for Fritz Lang’s Metrop­o­lis (1927)

H. G. Wells Pans Fritz Lang’s Metrop­o­lis in a 1927 Movie Review: It’s “the Sil­li­est Film”

Gaze at Glob­al Movie Posters for Hitchcock’s Ver­ti­go: U.S., Japan, Italy, Poland & Beyond

10,000 Clas­sic Movie Posters Get­ting Dig­i­tized & Put Online by the Har­ry Ran­som Cen­ter at UT-Austin: Free to Browse & Down­load

40,000 Film Posters in a Won­der­ful­ly Eclec­tic Archive: Ital­ian Tarkovsky Posters, Japan­ese Orson Welles, Czech Woody Allen & Much More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch 80 Free Documentaries from Kino Lorber

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NOTE: Some of the doc­u­men­taries men­tioned below are no longer being streamed online. To find Kino Lor­ber’s cur­rent list of free doc­u­men­taries, please vis­it this list.

M. C. Esch­er, Han­nah Arendt, Hierony­mus Bosch, Hilma af Kint, Stan­ley Kubrick: if you’re a reg­u­lar read­er of Open Cul­ture, you’re no doubt fas­ci­nat­ed some or all of these fig­ures. Now, thanks to film dis­trib­u­tor Kino Lor­ber, you can watch entire films about them on Youtube. Hav­ing evi­dent­ly put a good deal of ener­gy toward expand­ing their Youtube chan­nel in recent months, Kino Lor­ber has uploaded such doc­u­men­taries as M. C. Esch­er: Jour­ney to Infin­i­ty, Vita Acti­va: The Spir­it of Han­nah Arendt, Hierony­mous Bosch: Touched by the Dev­il, Beyond the Vis­i­ble: Hilma af Kint, and Film­work­er (about Kubrick­’s right-hand man, the late Leon Vitali) — all of them free to watch.

So far, Kino Lor­ber’s playlist of free doc­u­men­taries con­tains 80 films, a num­ber that may vary depend­ing on your loca­tion. Some pop­u­lar selec­tions focus on music: that of Elvis Pres­ley, that of Lev­on Helm and The Band, that of Green­wich Vil­lage in the nine­teen-six­ties and sev­en­ties.

But the doc­u­men­tary is a ver­sa­tile form, able in the right direc­to­r­i­al hands to con­tain a wide range of real-life sub­jects, from art (Louise Bour­geois: The Spi­der the Mis­tress and the Tan­ger­ine, The Jeff Koons Show) to food (Sushi: Glob­al Catch, El Bul­li: Cook­ing in Progress) to nature (More than Hon­ey, The Woman Who Loves Giraffes) to reli­gion (Bril­liant Moon: Glimpses of Dil­go Khyentse Rin­poche, The Last Dalai Lama?), to cin­e­ma itself (Cap­tured on Films: The True Sto­ry of Mar­i­on Davies, Blank City).

All this gives only a hint of the sheer aes­thet­ic, intel­lec­tu­al, and cul­tur­al vari­ety of Kino Lor­ber-dis­trib­uted doc­u­men­taries. To get a fuller sense, you’ll have to explore the playlist itself, down to its most recent addi­tions like Find­ing Fela, Nol­ly­wood Baby­lon, and Lina Wert­müller: Behind the White Glass­es. Like all doc­u­men­taries worth watch­ing, these don’t just address sub­jects of inter­est, but leave their view­ers with new­ly open avenues of curios­i­ty to fol­low. Your jour­ney may begin with films about Glenn Gould, Char­lotte Ram­pling, John­ny Cash, or Maya Deren, but to what realm it will take you — that of the Bal­lets Russ­es, of Mex­i­can lucha libre wrestling, of the female Bud­dhists of the Kath­man­du Val­ley — can­not be fore­told.

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:

285 Free Doc­u­men­taries Online

Watch Free Cult Films by Stan­ley Kubrick, Fritz Lang, Boris Karloff, Bela Lugosi & More on the New Kino Cult Stream­ing Ser­vice

The 10 Great­est Doc­u­men­taries of All Time Accord­ing to 340 Film­mak­ers and Crit­ics

50 Must-See Doc­u­men­taries, Select­ed by 10 Influ­en­tial Doc­u­men­tary Film­mak­ers

The Atom­ic Café: The Cult Clas­sic Doc­u­men­tary Made Entire­ly Out of Nuclear Weapons Pro­pa­gan­da from the Cold War (1982)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear the Best of Angelo Badalamenti (RIP) from 1986–2017: Features Music from David Lynch’s Blue Velvet, Twin Peaks & More

The late Ange­lo Badala­men­ti com­posed music for singers like Mar­i­anne Faith­full and Nina Simone, for movies like The City of Lost Chil­dren and Nation­al Lam­poon’s Christ­mas Vaca­tion, and even for the 1992 Olympics in Barcelona. But of all his musi­cal work, no piece is more like­ly to begin play­ing in our minds at the men­tion of his name than the theme from Twin Peaks, the ABC series that both mys­ti­fied and enrap­tured audi­ences in the ear­ly nine­teen-nineties. Look­ing back, one would expect any­thing less from a prime-time show co-cre­at­ed by David Lynch. And though Twin Peaks’ ini­tial run would come to only three sea­sons, Lynch and Badala­men­ti’s col­lab­o­ra­tion would con­tin­ue for decades there­after.

It was with his work for Lynch, in fact, that Badala­men­ti first broke through as a film com­pos­er: 1986’s Blue Vel­vet may have estab­lished Lynch as Amer­i­ca’s fore­most pop­u­lar “art house” auteur, but it also intro­duced its view­ers the world over to the seduc­tive and unset­tling beau­ty of Badala­men­ti’s music.

That film’s song “Mys­ter­ies of Love” (with its Lynch-penned lyrics sung by Julee Cruise, who also died this year) comes ear­ly in the chrono­log­i­cal best-of-Badala­men­ti Youtube playlist embed­ded above. Span­ning the years 1986 through 2017, it also includes music from such motion pic­tures as Cousins, Holy Smoke!, The Beach, Cet amour-là, and The Edge of Love.

The bulk of the playlist’s selec­tions, how­ev­er, were com­posed for Lynch. You’ll hear music from Wild at Heart, The Straight Sto­ry, Mul­hol­land Dr. (a film fea­tur­ing a brief but mem­o­rable appear­ance by Badala­men­ti him­self), and of course, Twin Peaks — not just the orig­i­nal series and the 1992 movie Fire Walk with Me, but also the 2017 con­tin­u­a­tion Twin Peaks: The Return, for which Badala­men­ti returned as com­pos­er. In all these eras, his work sound­ed dis­tinc­tive, some­how tra­di­tion­al, uncon­ven­tion­al, earnest, and iron­ic all at once — a mix­ture that could hard­ly have been bet­ter suit­ed to the Lynchi­an sen­si­bil­i­ty. And so it is with a thor­ough­ly Lynchi­an salute, in the mid­dle of one of his dai­ly weath­er reports, that the man him­self sends Badala­men­ti off.

Relat­ed Con­tent:

Ange­lo Badala­men­ti Reveals How He and David Lynch Com­posed the Twin Peaks‘ “Love Theme”

Get a First Lis­ten to David Lynch & Ange­lo Badalamenti’s Long-Lost Album, Thought Gang

Hear the Music of David Lynch’s Twin Peaks Played by the Dan­ish Nation­al Sym­pho­ny Orches­tra

Hear the Music of David Lynch’s Twin Peaks Played by the Exper­i­men­tal Band, Xiu Xiu: A Free Stream of Their New Album

David Lynch Cre­ates Dai­ly Weath­er Reports for Los Ange­les: How the Film­mak­er Pass­es Time in Quar­an­tine

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.


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