Carlos Santana & Tom Morello Launch Online Courses on How to Play the Guitar

in Music, Online Courses | December 14th, 2018

Thanks to two new cours­es from Mas­ter Class, you can now learn to play gui­tar from Car­los San­tana and Rage Against the Machine’s Tom Morel­lo. Launched yes­ter­day, Santana’s Mas­ter Class on the Art and Soul of Gui­tar “breaks down his cre­ative process and teach­es you his spir­i­tu­al take on mak­ing music,” cov­er­ing:

  • How to pull from mul­ti­ple musi­cal styles and influ­ences.
  • How to break down music you hear and use it to improve how you play.
  • Ideas for exer­cis­es in the styles of great blues musi­cians.
  • How he mar­ries har­monies with rhyth­mic accents.
  • His approach to writ­ing a melody for gui­tar.
  • How he cre­ates dia­logue between gui­tar parts when he writes songs.
  • Guid­ance for lead­ing a band and build­ing trust with band mem­bers.

For his part, Tom Morel­lo’s course on the elec­tric gui­tar will teach you, in 26 video lessons, the riffs, rhythms, and solos that launched his career. The course cov­ers every­thing from begin­ner music the­o­ry, to learn­ing how to impro­vise, solo and play with speed, to devel­op­ing an appre­ci­a­tion for lyrics and melody. Each course costs $90. For $180, you can get an annu­al pass to the 45 cours­es in Mas­ter­class’ course cat­a­logue.

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Relat­ed Con­tent:

Gui­tar Sto­ries: Mark Knopfler on the Six Gui­tars That Shaped His Career

David Gilmour Talks About the Mys­ter­ies of His Famous Gui­tar Tone

A Brief His­to­ry of Gui­tar Dis­tor­tion: From Ear­ly Exper­i­ments to Hap­py Acci­dents to Clas­sic Effects Ped­als

Two Gui­tar Effects That Rev­o­lu­tion­ized Rock: The Inven­tion of the Wah-Wah & Fuzz Ped­als

The Ency­clo­pe­dia Of Alter­nate Gui­tar Tun­ings

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The Evolution of The Great Wave off Kanagawa: See Four Versions That Hokusai Painted Over Nearly 40 Years

in Art, History | December 13th, 2018

Has any Japan­ese wood­block print — or for that mat­ter, any piece of Japan­ese art — endured as well across place and time as The Great Wave off Kana­gawa? Even those of us who have nev­er known its name, let alone those of us unsure of who made it and when, can bring it to mind it with some clar­i­ty, as sure a sign as any (along with the numer­ous par­o­dies) that it taps into some­thing deep with­in all of us. But though the artist behind it, 18th- and 19th-cen­tu­ry ukiyo‑e painter Kat­sushi­ka Hoku­sai, was undoubt­ed­ly a mas­ter of his tra­di­tion, even he did­n’t con­jure up The Great Wave off Kana­gawa in the form we know it on the first try.

In fact, he’d been pro­duc­ing dif­fer­ent ver­sions of it for near­ly forty years. On Twit­ter Tarin tkasasa­gi recent­ly post­ed four ver­sions of the Great Wave that Hoku­sai paint­ed over that peri­od. Here you see them arranged from top to bot­tom: the first from 1792, when he was 33; the sec­ond from 1803, when he was 44; the third from 1805, when he was 46; and the famous fourth from 1831, when he was 72.

Each time, Hoku­sai de-empha­sizes the human pres­ence and empha­sizes the nat­ur­al ele­ments, bring­ing out dra­ma from the water itself rather than from the peo­ple who regard or nav­i­gate it. In each ver­sion, too, the col­ors grow bold­er and the lines stronger.

The skill lev­el of a work­ing artist — espe­cial­ly an artist work­ing as hard as Hoku­sai — almost inevitably increas­es over time, and that must have some­thing to do with these changes, though it also looks like the process of an artis­tic per­son­al­i­ty set­tling into its sub­ject mat­ter. “From the time I was six, I was in the habit of sketch­ing things I saw around me,” says Hoku­sai him­self in a wide­ly cir­cu­lat­ed quo­ta­tion. “Around the age of 50, I began to work in earnest, pro­duc­ing numer­ous designs. It was not until my 70th year, how­ev­er, that I pro­duced any­thing of sig­nif­i­cance.”

In the artist’s telling, only at the age of 73, after the final Great Wave, did he begin to grasp “the under­ly­ing struc­ture of birds and ani­mals, insects and fish, and the way trees and plants grow. Thus if I keep up my efforts, I will have even a bet­ter under­stand­ing when I was 80 and by 90 will have pen­e­trat­ed to the heart of things. At 100, I may reach a lev­el of divine under­stand­ing, and if I live decades beyond that, every­thing I paint — dot and line — will be alive.” The fact that he did­n’t make it to 100 will for­ev­er keep enthu­si­asts won­der­ing what mag­nif­i­cence an even old­er Hoku­sai might have achieved, but even so, the body of work he man­aged to pro­duce in his 88 years con­tains works that, like the ulti­mate form of The Great Wave off Kana­gawa, out­lived him and will out­live all of us.

via Ted Gioia

Relat­ed Con­tent:

Get Free Draw­ing Lessons from Kat­sushi­ka Hoku­sai, Who Famous­ly Paint­ed The Great Wave off Kana­gawa: Read His How-To Book, Quick Lessons in Sim­pli­fied Draw­ings

Enter a Dig­i­tal Archive of 213,000+ Beau­ti­ful Japan­ese Wood­block Prints

Down­load 2,500 Beau­ti­ful Wood­block Prints and Draw­ings by Japan­ese Mas­ters (1600–1915)

Down­load Clas­sic Japan­ese Wave and Rip­ple Designs: A Go-to Guide for Japan­ese Artists from 1903

Down­load Hun­dreds of 19th-Cen­tu­ry Japan­ese Wood­block Prints by Mas­ters of the Tra­di­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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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David Byrne Curates a Playlist of Great Protest Songs Written Over the Past 60 Years: Stream Them Online

in Music | December 13th, 2018

When you hear the words “protest song,” what do you see? Is it a folkie like Bob Dylan or Joan Baez deliv­er­ing songs about injus­tice? Is it an earnest young thing with a gui­tar? Is it trapped in 1960s amber, while time has moved on to more ambi­gu­i­ty, more nihilism, more solip­sism?

British writers–and may we add ama­teur folksingers–Jonathan Lux­moore and Chris­tine Ellis made this lament over two years ago in the pages of The Guardian, in an opin­ion piece enti­tled, “Not talkin’ bout a rev­o­lu­tion: where are all the protest songs?” Here they blame the imme­di­a­cy of social media, the rise of aspi­ra­tional hip hop, and the decline of rad­i­cal pol­i­tics. They end, pre­scient­ly, with a Jere­my Cor­byn-shaped hope for change. Well, look where we are now. Things devel­oped rather quick­ly, did they not?

(And as a side note, I would sug­gest the 1980s as a way more protest-filled music decade than the 1960s. Because of the self-aggran­dize­ment of 1960s cura­tors, they claim more than they did. But near­ly every pop, rock, r’n’b, and hip hop act of the ‘80s has at least one polit­i­cal song in its discog­ra­phy.)

Enter David Byrne, whose mis­sion apart from his day job as a musi­cian is to bring hope to the mass­es with a deter­mined opti­mism. He’s here to say that the protest song nev­er went away, only our def­i­n­i­tion of it. And he’s brought the receipts, or rather the playlist above, to prove his point:

…in fact, they now come from all direc­tions in every pos­si­ble genre—country songs, giant pop hits, hip hop, clas­sic rock, indie and folk. Yes, maybe there weren’t many songs ques­tion­ing the wis­dom of invad­ing Iraq, but almost every oth­er issue has been addressed.

Stretch­ing over six decades, the playlist demon­strates the var­i­ous forms protest can take, from describ­ing racial vio­lence (Bil­lie Holiday’s “Strange Fruit” to Janelle Monae’s “Hell You Talm­bout”) to bemoan­ing eco­nom­ic injus­tice (The Spe­cials’ “Ghost Town”) and rail­ing against war and con­flict (U2’s “Sun­day Bloody Sun­day”, Edwin Starr’s “War”). Some­times declar­ing the pos­i­tive and gain­ing a voice is enough of a protest: you could argue that James Brown’s “Say It Loud (I’m Black and I’m Proud)” did more for equal­i­ty than any song about racism. Biki­ni Kills’ “Rebel Girl” does sim­i­lar things for third-wave fem­i­nism.

But Byrne wise­ly gives voice to those who feel they’re swim­ming against any resis­tance tide:

I’ve even includ­ed a few songs that “protest the protests.” Buck Owens, the clas­sic coun­try artist from Bak­ers­field, for exam­ple, has two songs here. “Red­necks, White Socks and Blue Rib­bon Beer,” is a cel­e­bra­tion of Amer­i­cans who feel they are unno­ticed, left behind. One might call it a pop­ulist anthem, but I think the ref­er­ence to white socks is inten­tion­al­ly meant to be funny—in effect, it says: “we know who we are, we know how uncool white socks are.”

Look, it’s easy to believe that songs “changed the world” when they are eas­i­ly acces­si­ble to hear decades lat­er but the boots-on-the-ground march­es and rev­o­lu­tion­ary acts from which they sprang are now just pho­tographs, film reels, and fog­gy mem­o­ries. But who can deny the gut punch of this year’s “This Is Amer­i­ca” from Child­ish Gam­bi­no, the con­tin­ued excel­lence of Killer Mike and/or Run the Jew­els, and any num­ber of songs that doc­u­ment our out­rage? The songs of protest con­tin­ue as long as there is injus­tice.

And in the case of David Byrne, cov­er­ing a mod­ern protest song and adding to its list of names, is what can keep an idea, a mem­o­ry, and a feel­ing alive for a new audi­ence. Here he is at the encore of his cur­rent tour, cov­er­ing Janelle Monae’s “Hell You Talm­bout,” a memo­r­i­al to all the black lives killed by law enforce­ment.

“Here was a protest song that doesn’t hec­tor or preach at us,” he said in an arti­cle for the Asso­ci­at­ed Press. “It sim­ply asks us to remem­ber and acknowl­edge these lives that have been lost, lives that were tak­en from us through injus­tice, though the song leaves that for the lis­ten­er to put togeth­er. I love a drum line, so that aspect of the song sucked me in imme­di­ate­ly as well. The song musi­cal­ly is a cel­e­bra­tion and lyri­cal­ly a eulo­gy. Beau­ti­ful.”

He also wise­ly asked per­mis­sion to cov­er such a recent song, espe­cial­ly when it’s an old­er white man lend­ing his voice to it. But Mon­ae gave her bless­ing:

“I thought that was so kind of him and of course I said yes. The song’s mes­sage and names men­tioned need to be heard by every audi­ence.”

Relat­ed Con­tent:

When South Africa Banned Pink Floyd’s The Wall After Stu­dents Chant­ed “We Don’t Need No Edu­ca­tion” to Protest the Apartheid School Sys­tem (1980)

Tom Waits Releas­es a Time­ly Cov­er of the Ital­ian Anti-Fas­cist Anthem “Bel­la Ciao,” His First New Song in Two Years

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Mar­ley, Pub­lic Ene­my, Bil­ly Bragg & More

David Byrne Cre­ates a Playlist of Eclec­tic Music for the Hol­i­days: Stream It Free Online

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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Take a Close Look at Basquiat’s Revolutionary Art in a New 500-Page, 14-Pound, Large Format Book by Taschen

in Art, Books | December 13th, 2018

At many a book­store and art gallery gift shop, you will find copies of writer and artist Java­ka Steptoe’s Radi­ant Child, a young person’s intro­duc­tion to Jean-Michel Basquiat. The book has deserved­ly won a Calde­cott Medal and the praise of adult read­ers who find as much or more to admire in it as their kids do. A sur­pris­ing­ly mov­ing short biog­ra­phy, it hits many of the major notes in Basquiat’s for­ma­tive years: His Brook­lyn child­hood and Hait­ian and Puer­to Rican her­itage; his love for his encour­ag­ing moth­er and heart­break at her insti­tu­tion­al­iza­tion in a men­tal hos­pi­tal; his child­hood spent in New York art gal­leries plan­ning to be a famous artist, and his keen inter­est in anato­my text­books, jazz, and black his­to­ry….

But for a seri­ous­ly deep immer­sion in the artist’s his­to­ry and devel­op­ment, you will want to con­sult a new 500-page book from TASCHEN, Jean-Michel Basquiat XXL. Writ­ten by cura­tor Eleanor Nairne and edit­ed by Hans Wern­er Holzwarth, the “over­sized hard­cov­er,” notes This is Colos­sal,” is filled with large-scale repro­duc­tions of the artist’s draw­ings, paint­ings, and note­book pages. Sev­er­al essays guide the read­er year-by-year through Basquiat’s artis­tic career, from 1978 to his untime­ly death in 1988.”

The ten years the book cov­ers pro­vide enough mate­r­i­al for two or three vol­umes, and also hap­pen to tell the sto­ry of a cul­tur­al rev­o­lu­tion in which Basquiat was at the cen­ter, as TASCHEN writes:

The leg­end of Jean-Michel Basquiat is as strong as ever. Syn­ony­mous with New York in the 1980s, the artist first appeared in the late 1970s under the tag SAMO, spray­ing caus­tic com­ments and frag­ment­ed poems on the walls of the city. He appeared as part of a thriv­ing under­ground scene of visu­al arts and graf­fi­ti, hip hop, post-punk, and DIY film­mak­ing, which met in a boom­ing art world. As a painter with a strong per­son­al voice, Basquiat soon broke into the estab­lished milieu, exhibit­ing in gal­leries around the world.

Basquiat is now rec­og­nized—art schol­ar and cura­tor Dieter Buch­hart argues—as an artist who “eter­nal­ized… the exhil­a­rat­ing pos­si­bil­i­ties for art, music, and social cri­tique in New York.” But for all the high praise he has gar­nered after his trag­ic over­dose at 27, in life his work was often “’explained away’ by his Afro-Hait­ian and Puer­to Rican her­itage,” writes Kris­ten Foland at Swamp. “Some art his­to­ri­ans and crit­ics, includ­ing Sharon F. Pat­ton, cat­e­go­rized his work as ‘prim­i­tive’ and called him a ‘black graf­fi­ti artist,’ a term he found inher­ent­ly racist.”

Basquiat recoiled at the idea of being seg­re­gat­ed and sin­gled out as a “black artist”; but he proud­ly cel­e­brat­ed black life and cul­tur­al forms in nar­ra­tive works rich with sym­bol­ism and poet­ry, mourn­ing and tri­umph. Asked about his sub­ject mat­ter, he once replied, “roy­al­ty, hero­ism and the streets.” Grand themes and set­tings were what he had in mind, and Nairne fit­ting­ly titles her essay in the TASCHEN book, “The Art of Sto­ry­telling.”

Per­haps the rea­son Basquiat’s life makes such a good sto­ry, for kids and grownups alike, is that he him­self was such a pow­er­ful sto­ry­teller. He weaved his per­son­al his­to­ry seam­less­ly into the social and polit­i­cal fab­ric that enmeshed him in the leg­endary late-sev­en­ties/ear­ly-eight­ies down­town New York scene. The new large for­mat TASCHEN book lets you get a close-up look at the fine details of his rev­o­lu­tion­ary can­vas­es, draw­ings, col­lages, wood pan­el paint­ings, and street poet­ry and paint­ing.

You can pur­chase the book through Ama­zon.

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

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

Relat­ed Con­tent:

The Odd Cou­ple: Jean-Michel Basquiat and Andy Warhol, 1986

130,000 Pho­tographs by Andy Warhol Are Now Avail­able Online, Cour­tesy of Stan­ford Uni­ver­si­ty

Down­load 50,000 Art Books & Cat­a­logs from the Met­ro­pol­i­tan Muse­um of Art’s Dig­i­tal Col­lec­tions

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

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Bertrand Russell’s Advice For How (Not) to Grow Old: “Make Your Interests Gradually Wider and More Impersonal”

in Life, Philosophy | December 12th, 2018

Advice on how to grow old fre­quent­ly comes from such banal or blood­less sources that we can be for­giv­en for ignor­ing it. Pub­lic health offi­cials who dis­pense wis­dom may have good inten­tions; phar­ma­ceu­ti­cal com­pa­nies who do the same may not. In either case, the mes­sages arrive in a form that can bring on the despair they seek to avert. Elder­ly peo­ple in well-lit pho­tographs stroll down gar­den paths, ball­room dance, do yoga. Bul­let­ed lists punc­tu­at­ed by dry cita­tions issue gen­tly-word­ed guide­lines for sen­si­ble liv­ing. Inof­fen­sive bland­ness as a pre­scrip­tion for liv­ing well.

At the oth­er extreme are pro­files of excep­tion­al cases—relatively spry indi­vid­u­als who have passed the cen­tu­ry mark. Rarely do their sto­ries con­form to the mod­el of abstemious­ness enjoined upon us by pro­fes­sion­als. But we know that grow­ing old with dig­ni­ty entails so much more than diet and exer­cise or mak­ing it to a hun­dred-and-two. It entails fac­ing death as square­ly as we face life. We need writ­ers with depth, sen­si­tiv­i­ty, and elo­quence to deliv­er this mes­sage. Bertrand Rus­sell does just that in his essay “How to Grow Old,” writ­ten when the philoso­pher was 81 (six­teen years before he even­tu­al­ly passed away, at age 97).

Rus­sell does not flat­ter his read­ers’ ratio­nal­ist con­ceits by cit­ing the lat­est sci­ence. “As regards health,” he writes, “I have noth­ing use­ful to say…. I eat and drink what­ev­er I like, and sleep when I can­not keep awake.” (We are inclined, per­haps, to trust him on these grounds alone.) He opens with a dri­ly humor­ous para­graph in which he rec­om­mends, “choose your ances­tors well,” then he issues advice on the order of not dwelling on the past or becom­ing a bur­den to your chil­dren.

But the true ker­nel of his short essay, “the prop­er recipe for remain­ing young,” he says, came to him from the exam­ple of a mater­nal grand­moth­er, who was so absorbed in her life, “I do not believe she ever had time to notice she was grow­ing old.” “If you have wide and keen inter­ests and activ­i­ties in which you can still be effec­tive,” Rus­sell writes. “you will have no rea­son to think about the mere­ly sta­tis­ti­cal fact of the num­ber of years you have already lived, still less of the prob­a­ble short­ness of your future.”

Such inter­ests, he argues, should be “imper­son­al,” and it is this qual­i­ty that loosens our grip. As Maria Popo­va puts it, “Rus­sell places at the heart of a ful­fill­ing life the dis­so­lu­tion of the per­son­al ego into some­thing larg­er.” The idea is famil­iar; in Russell’s hands it becomes a med­i­ta­tion on mor­tal­i­ty as ever-time­ly as the so-often-quot­ed pas­sages from Donne’s “Med­i­ta­tion XVII.” Philoso­pher and writer John G. Messer­ly calls Russell’s con­clud­ing pas­sage “one of the most beau­ti­ful reflec­tions on death I have found in all of world lit­er­a­ture.”

The best way to over­come it [the fear of death]—so at least it seems to me—is to make your inter­ests grad­u­al­ly wider and more imper­son­al, until bit by bit the walls of the ego recede, and your life becomes increas­ing­ly merged in the uni­ver­sal life. An indi­vid­ual human exis­tence should be like a riv­er: small at first, nar­row­ly con­tained with­in its banks, and rush­ing pas­sion­ate­ly past rocks and over water­falls. Grad­u­al­ly the riv­er grows wider, the banks recede, the waters flow more qui­et­ly, and in the end, with­out any vis­i­ble break, they become merged in the sea, and pain­less­ly lose their indi­vid­ual being. The man who, in old age, can see his life in this way, will not suf­fer from the fear of death, since the things he cares for will con­tin­ue. And if, with the decay of vital­i­ty, weari­ness increas­es, the thought of rest will not be unwel­come. I should wish to die while still at work, know­ing that oth­ers will car­ry on what I can no longer do and con­tent in the thought that what was pos­si­ble has been done.

Read Russell’s “How to Grow Old” in full here. And see many more elo­quent med­i­ta­tions on aging and death—from Hen­ry Miller, André Gide, Ursu­la K. Le Guin, and Grace Paley—at Brain Pick­ings.

Relat­ed Con­tent:  

Bertrand Russell’s Advice to Peo­ple Liv­ing 1,000 Years in the Future: “Love is Wise, Hatred is Fool­ish”

Bertrand Rus­sell: The Every­day Ben­e­fit of Phi­los­o­phy Is That It Helps You Live with Uncer­tain­ty

Bertrand Rus­sell Author­i­ty and the Indi­vid­ual (1948) 

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

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Watch Andy Warhol Eat an Entire Burger King Whopper–While Wishing the Burger Came from McDonald’s (1981)

in Art, Film, Food & Drink | December 12th, 2018

In the ear­ly 1980s, Dan­ish exper­i­men­tal film­mak­er Jør­gen Leth came to Amer­i­ca intent on cap­tur­ing it live as it was actu­al­ly lived across that vast, still-new, and often strange coun­try. The result, 66 Scenes from Amer­i­ca, offers images of road­side motels and din­ers, desert land­scapes, the Man­hat­tan sky­line, miles of lone­ly high­way, and stars and stripes aplen­ty. Halfway through it all comes the longest, and per­haps most Amer­i­can, scene of all: Andy Warhol eat­ing a fast-food ham­burg­er. A few moments after he accom­plish­es that task, he deliv­ers the film’s most mem­o­rable line by far: “My name is Andy Warhol, and I just fin­ished eat­ing a ham­burg­er.”

“Leth did not know Warhol, but he was a bit obsessed with him so he def­i­nite­ly want­ed to have him in his movie,” writes Dai­l­yArt’s Zuzan­na Stan­s­ka. And so when Leth came to New York, he sim­ply showed up at Warhol’s Fac­to­ry and pitched him the idea of con­sum­ing a “sym­bol­ic” burg­er on film. “Warhol imme­di­ate­ly liked the idea and agreed to the scene – he liked it because it was such a real scene, some­thing he would like to do.”

When Warhol showed up at the pho­to stu­dio Leth had set up to shoot the scene, com­plete with a vari­ety of fast-food ham­burg­ers from which he could choose, he had only one ques­tion: “Where is the McDon­ald’s?” Leth had­n’t thought to pick one up from the Gold­en Arch­es as well, not know­ing that Warhol con­sid­ered McDon­ald’s pack­ag­ing “the most beau­ti­ful.”

Warhol had a deep inter­est in Amer­i­can brands. “What’s great about this coun­try is that Amer­i­ca start­ed the tra­di­tion where the rich­est con­sumers buy essen­tial­ly the same things as the poor­est,” he wrote in The Phi­los­o­phy of Andy Warhol. “You can be watch­ing TV and see Coca-Cola, and you know that the Pres­i­dent drinks Coke, Liz Tay­lor drinks Coke, and just think, you can drink Coke, too. A Coke is a Coke and no amount of mon­ey can get you a bet­ter Coke than the one the bum on the cor­ner is drink­ing. All the Cokes are the same and all the Cokes are good.” Sure­ly the same could be said of any par­tic­u­lar fast-food burg­er, even if Warhol could­n’t have his pre­ferred brand on that par­tic­u­lar day in New York in 1981. In the event, he chose a Whop­per from Burg­er King, still a well-known brand if hard­ly as icon­ic as McDon­ald’s — or, for that mat­ter, as icon­ic as Warhol him­self.

Above, you can see Leth talk­ing years lat­er about his expe­ri­ence film­ing Warhol.

Relat­ed Con­tent:

130,000 Pho­tographs by Andy Warhol Are Now Avail­able Online, Cour­tesy of Stan­ford Uni­ver­si­ty

When Steve Jobs Taught Andy Warhol to Make Art on the Very First Mac­in­tosh (1984)

Andy Warhol Dig­i­tal­ly Paints Deb­bie Har­ry with the Ami­ga 1000 Com­put­er (1985)

Warhol’s Cin­e­ma: A Mir­ror for the Six­ties (1989)

The Case for Andy Warhol in Three Min­utes

Ernest Hemingway’s Favorite Ham­burg­er Recipe

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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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The Story of The Pogues’ “Fairytale of New York,” the Boozy Ballad That Has Become One of the Most Beloved Christmas Songs of All Time

in Music | December 12th, 2018

Drug­store Cow­boy, Barfly, Leav­ing Las Vegas, even Bon­nie and Clyde… we love a good sto­ry about doomed, down-and-out lovers. What­ev­er emo­tion­al reser­voir they tap into, when writ­ten well and hon­est­ly, such sto­ries have broad cul­tur­al appeal. Which in part explains the over­whelm­ing pop­u­lar­i­ty of The Pogues’ 1987 clas­sic “Fairy­tale of New York,” the kind of “anti-Christ­mas song,” writes Dori­an Lyn­sky at The Guardian, “that end­ed up being, for a gen­er­a­tion, the Christ­mas song.”

Many hol­i­day sto­ries cyn­i­cal­ly trade on the fact that, for a great many peo­ple, the hol­i­days are filled with pain and loss. But “Fairy­tale of New York” doesn’t play this for laughs, nor does it pull the old trick of cheap last-minute redemp­tion.

Sung as a duet by Shane Mac­Gowan and Kirsty Mac­Coll to the boozy tune of an Irish folk bal­lad, the song “is loved because it feels more emo­tion­al­ly ‘real’ than the home­sick sen­ti­men­tal­i­ty of ‘White Christ­mas.’ ” Even if we can’t iden­ti­fy with the plight of a burned-out Irish dream­er spend­ing Christ­mas in a New York drunk tank, we can feel the ache of bro­ken dreams set in high relief against hol­i­day lights.

The song’s his­to­ry itself makes for a com­pelling tale, whether we believe the ori­gin sto­ry in accor­dion play­er James Fearnley’s mem­oir Here Comes Every­body: The Sto­ry of the Pogues or that told by Mac­Gowan, who main­tains that Elvis Costel­lo, the band’s pro­duc­er, bet the singer that he couldn’t write a Christ­mas duet. (Fearn­ley writes that they were try­ing to top The Band’s 1977 “Christ­mas Must Be Tonight.”)

Either way, a Christ­mas song was a good idea. “For a band like the Pogues, very strong­ly root­ed in all kinds of tra­di­tions rather than the present, it was a no-brain­er,” says ban­jo-play­er and co-writer Jem Fin­er. Not to men­tion the fact that Mac­Gowan was born on Christ­mas Day 1957.

Fin­er began the song as a tale about a sailor miss­ing his wife on Christ­mas, but after the ban­jo play­er’s wife called it “corny” he took her sug­ges­tion to adapt the “true sto­ry of some mutu­al friends liv­ing in New York.” Mac­Gowan took the title from J.P. Donleavy’s 1973 nov­el A Fairy Tale of New York, which hap­pened to be lying around the record­ing stu­dio. After a promis­ing start, the song then went through two years of revi­sions and re-record­ings before the band final­ly set­tled on the ver­sion mil­lions know and love, pro­duced by Steve Lil­ly­white and released on the 1988 album If I Should Fall From Grace with God.

Orig­i­nal­ly intend­ed as a duet between Mac­Gowan and bass play­er Cait O’Riordan, a ver­sion record­ed with her was “not quite there,” gui­tarist Philip Chevron has said. Soon after, O’Riordan left the band, and Mac­Gowan record­ed the song again at Abbey Road in 1987, singing both the male and female vocal parts him­self. Even­tu­al­ly Lil­ly­white took the track home to have his wife, Eng­lish singer Kirsty Mac­Coll, record a tem­po­rary guide vocal for the female parts. When Mac­Gowan heard it, he knew he had found the right foil for the char­ac­ter he plays in the song.

“Kirsty knew exact­ly the right mea­sure of vicious­ness and fem­i­nin­i­ty and romance to put into it and she had a very strong char­ac­ter and it came across in a big way,” Mac­Gowan lat­er remarked in an inter­view. “In operas, if you have a dou­ble aria, it’s what the woman does that real­ly mat­ters. the man lies, the woman tells the truth.” As part of her character’s “vicious­ness”, she hurls the slur “f*ggot” at Mac­Gowan, who calls her a “slut.” The offen­sive words have been cen­sored on radio sta­tions, then uncen­sored, and good cas­es have been made for bleep­ing them out (most recent­ly by Irish DJ Eoghan McDer­mott on Twit­ter).

Mac­Gowan him­self has issued a state­ment defend­ing the lyrics as in keep­ing with the char­ac­ters. “Some­times char­ac­ters in songs and sto­ries have to be evil or nasty in order to tell the sto­ry effec­tive­ly,” he writes, adding, “If peo­ple don’t under­stand that I was try­ing to accu­rate­ly por­tray the char­ac­ter as authen­ti­cal­ly as pos­si­ble then I am absolute­ly fine with them bleep­ing the word but I don’t want to get into an argu­ment.” What­ev­er posi­tion one takes on this, it’s hard to deny that Mac­Gowan, co-writer Fin­er, and Mac­Coll total­ly hit the mark when it comes to authen­tic­i­ty.

The gen­uine emo­tions “Fairy­tale of New York” taps into has made it the most beloved Christ­mas song of all time in TV, radio, and mag­a­zine polls in the UK and Ire­land. It has become “far big­ger than the peo­ple who made it,” writes Lynskey. Or, as Fearn­ley puts it, “It’s like ‘Fairy­tale of New York’ went off and inhab­it­ed its own plan­et.” An artist can’t ask for more. See mak­ing-of videos by the BBC and Poly­phon­ic at the top. Watch the band slop­pi­ly mime the song with Mac­Coll on Top of the Pops fur­ther up (Mac­Gowan can­not actu­al­ly play the piano). And just above, see the offi­cial video, star­ring Drug­store Cow­boy’s Matt Dillon—filmed inside a real police sta­tion on the Low­er East Side dur­ing a freez­ing Thanks­giv­ing week in 1987, for max­i­mum hol­i­day vérité.

Relat­ed Con­tent:

David Bowie & Bing Cros­by Sing “The Lit­tle Drum­mer Boy”: A Won­der­ful Christ­mas Chest­nut from 1977

Stream 22 Hours of Funky, Rock­ing & Swing­ing Christ­mas Albums: From James Brown and John­ny Cash to Christo­pher Lee & The Ven­tures

Stream a Playlist of 68 Punk Rock Christ­mas Songs: The Ramones, The Damned, Bad Reli­gion & More

Hear Paul McCartney’s Exper­i­men­tal Christ­mas Mix­tape: A Rare & For­got­ten Record­ing from 1965

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

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In Bill Gates Office, There’s a Wall with the Entire Periodic Table with Samples of Each Element

in Science | December 11th, 2018

Just a fun fact…

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via Ed Yong/Red­dit

Relat­ed Con­tent:

Inter­ac­tive Peri­od­ic Table of Ele­ments Shows How the Ele­ments Actu­al­ly Get Used in Mak­ing Every­day Things

The Peri­od­ic Table of Ele­ments Scaled to Show The Ele­ments’ Actu­al Abun­dance on Earth

Peri­od­ic Table Bat­tle­ship!: A Fun Way To Learn the Ele­ments

“The Peri­od­ic Table Table” — All The Ele­ments in Hand-Carved Wood

World’s Small­est Peri­od­ic Table on a Human Hair

“The Peri­od­ic Table of Sto­ry­telling” Reveals the Ele­ments of Telling a Good Sto­ry

Chem­istry on YouTube: “Peri­od­ic Table of Videos” Wins SPORE Prize

Free Online Chem­istry Cours­es

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Wes Anderson’s Breakthrough Film, Rushmore, Revisited in Five Video Essays: It Came Out 20 Years Ago Today

in Film | December 11th, 2018

“I gen­uine­ly don’t know what to make of this movie.” So said emi­nent New York­er film crit­ic Pauline Kael about Rush­more, Wes Ander­son­’s sec­ond film. But hav­ing spent the bet­ter part of a decade in retire­ment by that point, she did­n’t pub­lish that judg­ment; rather, she spoke it straight to Ander­son him­self, who had rent­ed out a the­ater to give her a per­son­al screen­ing. “I was a lit­tle dis­ap­point­ed by Ms. Kael’s reac­tion to the movie,” Ander­son writes in his rec­ol­lec­tion of the event. Upon its release on Decem­ber 11, 1998 — twen­ty years ago today — a fair few of its view­ers would echo Kael’s bewil­der­ment. But just as many would feel they’d seen the ear­ly work of a mas­ter, and time would soon vin­di­cate that feel­ing: whether you love his movies or can’t stand them, Wes Ander­son became Wes Ander­son because of Rush­more.

“There are few per­fect movies,” says crit­ic and Wes Ander­son spe­cial­ist Matt Zoller-Seitz. “This is one of them.” His video essay on Rush­more, part of a series adapt­ed from his book The Wes Ander­son Col­lec­tion, breaks down just a few of the ele­ments that have made the film so beloved. “At once arch and earnest, know­ing and inno­cent,” Ander­son­’s sto­ry of a flak­i­ly ambi­tious teenage prep-school boy Max Fis­cher’s friend­ship with a mid­dle-aged steel mag­nate Her­man Blume — and the affec­tions for a wid­owed first-grade teacher that turn that friend­ship into a rival­ry — “feels unique and furi­ous­ly alive.”

Draw­ing deeply from the per­son­al­i­ty and expe­ri­ence of Ander­son him­self (and those of his co-writer and fre­quent col­lab­o­ra­tor Owen Wil­son) as well as The 400 Blows, The Grad­u­ate, and oth­er clas­sic pic­tures, it nev­er does so in an obvi­ous or pre­dictable man­ner.

Of all the strokes of luck required for the then-twen­tysome­thing Ander­son even to get the chance to make a movie like Rush­more (espe­cial­ly after his debut fea­ture Bot­tle Rock­et seemed to have van­ished with­out a trace), no coup was greater than the cast­ing of Bill Mur­ray as Blume. It “res­onates back­ward through film his­to­ry,” says Zoller-Seitz, “because Max is a geeky teenage ver­sion of a cer­tain kind of 80s and 90s hero. Rush­more’s mas­ter­stroke is how it takes the piss out of those char­ac­ters: it implies that maybe the brava­do that those 80s and 90s char­ac­ters had was just a cov­er for fear and depres­sion.” Quite a depth of insight for a young film­mak­er to pos­sess — but then, many once under­es­ti­mat­ed the young Ander­son, whose sen­si­bil­i­ties get fur­ther exam­ined in the Screen­Prism video essay “Rush­more: Por­trait of Wes Ander­son as a Young Man,” and they did so at their per­il.

“The charms of this movie are abun­dant,” says the New York Times’ A.O. Scott in his Crit­ic’s Pick video on Rush­more. “It has whim­si­cal pro­duc­tion design; clever and sharp writ­ing; ten­der, com­i­cal per­for­mances; a bril­liant use of pop music to under­score and slight­ly ironize the emo­tions being expressed on the screen.” Scott sin­gles out the strength of its visu­al com­po­si­tions, which Ander­son uses to, for exam­ple, “arrange peo­ple in the frame in such a way as to show every­thing about their rela­tion­ship — a kind of psy­cho­log­i­cal dimen­sion to the space that almost makes the dia­logue sec­ondary.” It all comes in ser­vice of telling two sto­ries in coun­ter­point, one “about an ado­les­cent com­ing to terms with his lim­i­ta­tions” and anoth­er about “an artist com­ing into pos­ses­sion of his pow­ers.”

Over the past twen­ty years, the crit­i­cal con­sen­sus on Rush­more has shift­ed almost uni­ver­sal­ly away from assess­ments like Kael’s and toward those like Scot­t’s. In the video above, a more mature Ander­son reflects on mak­ing the movie — and mak­ing it, in fact, at the very same high school he went to him­self. “The strongest asso­ci­a­tion for me is being back in class,” he says. “In the end, the thing that strikes me most force­ful­ly when I think back on it is just that I went home.” He also adds that “I don’t even know how we man­aged to get Rush­more made, or why,” giv­en the appar­ent fail­ure of Bot­tle Rock­et, a pic­ture on which he and Wil­son had labored for years. “Rush­more was more expen­sive, maybe even a bit stranger, and yet it seemed just to hap­pen. I think it was just lucky.” Espe­cial­ly lucky for us view­ers over the past two decades, as well as the gen­er­a­tions of Rush­more fans still to come.

Relat­ed Con­tent:

A Com­plete Col­lec­tion of Wes Ander­son Video Essays

What’s the Big Deal About Wes Anderson’s The Grand Budapest Hotel? Matt Zoller Seitz’s Video Essay Explains

A Glimpse Into How Wes Ander­son Cre­ative­ly Remixes/Recycles Scenes in His Dif­fer­ent Films

Wes Anderson’s Cin­e­mat­ic Debt to Stan­ley Kubrick Revealed in a Side-By-Side Com­par­i­son

Wes Ander­son Names 12 of His Favorite Art Films

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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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Take Animated Virtual Reality Tours of Ancient Rome at Its Architectural Peak (Circa 320 AD)

in Architecture, History | December 11th, 2018

Maybe you, too, were a Latin geek who loved sword and san­dal flicks from the gold­en age of the Hol­ly­wood epic? Quo Vadis, The Fall of the Roman Empire, The Robe, Demetrius and the Glad­i­a­tors, and, of course, Spar­ta­cus…. Nev­er mind all the heavy reli­gious pre­text, con­text, sub­text, or ham­mer over the head that suf­fused these films, or any pre­tense toward his­tor­i­cal accu­ra­cy. What thrilled me was see­ing ancient Rome come alive, bustling with togas and tunics, cen­tu­ri­ons and char­i­ots. The cen­ter of the ancient world for hun­dreds of years, the city, nat­u­ral­ly, retains only traces of what it once was—enormous mon­u­ments that might as well be tombs.

The incred­i­bly detailed 3D ani­ma­tions here don’t quite have the same rous­ing effect, grant­ed, as the “I am Spar­ta­cus!” scene. They don’t star Charl­ton Hes­ton, Sophia Loren, or Kirk Dou­glas. They appeal to dif­fer­ent sen­si­bil­i­ties, it’s true. But if you love the idea of vis­it­ing Rome dur­ing one of its peak peri­ods, you might find them as sat­is­fy­ing, in their way, as Peter Ustinov’s Nero speech­es.

Dat­ing not from the time of Mark Antony or even Jesus, the painstak­ing­ly-ren­dered tours of ancient Rome depict the city as it would have looked—sans humans and their activity—during its “archi­tec­tur­al peak,” as Realm of His­to­ry notes, under Con­stan­tine, “cir­ca 320 AD.”

The VR trail­er at the top from His­to­ry in 3D, devel­oped by Dani­la Logi­nov and Lasha Tskhon­dia, depicts, in Loginov’s words, “the Forums area, and also Pala­tine and Capi­toli­um hills.” The two addi­tion­al trail­ers for the project show the “baths of Tra­jan and Titus, the stat­ue of Colos­sus Solis, arch­es of Titus and Con­stan­tine, Ludus Mag­nus, the tem­ple of Divine Claudius. Our team spent some time and recre­at­ed this area along with all minor build­ings as a com­plex and added it to the mod­el which has been already done.” This means, he says, “we have now almost the entire cen­ter of ancient impe­r­i­al Rome already recre­at­ed!”

We glide gen­tly over the city with a low-flying-bird’s eye view, tak­ing in its real­is­tic sky­line, tree-lined streets, and gur­gling foun­tains. The lack of any human pres­ence makes the expe­ri­ence a lit­tle chilly, but if you’re moved by clas­si­cal archi­tec­ture, it also presents a refresh­ing lack of distraction—an impos­si­ble request in a vis­it to mod­ern Rome. Anoth­er project, Rome Reborn, which we’ve pre­vi­ous­ly fea­tured here, takes a dif­fer­ent approach to the same impe­r­i­al city of 320 AD. The trail­ers for their VR app don’t pro­vide the seam­less flight expe­ri­ence, but they do con­tain equal­ly epic music. (They also have a few peo­ple in them, block­i­ly-ren­dered gawk­ing tourists rather than ancient Romans.)

Instead, these clips give us fas­ci­nat­ing glimpses of the inte­ri­ors of such splen­did struc­tures as the Basil­i­ca of Maxentius—tiled floors, domed ceil­ings, columned walls—from a num­ber of dif­fer­ent per­spec­tives. We also get to fly above the city, drone-style, or hot air bal­loon-style, as it were. In the clip below, we cruise over Rome in that vehi­cle, with ****************@***il.com”>Bernard Frisch­er, pro­fes­sor emer­i­tus at the Uni­ver­si­ty of Vir­ginia, serv­ing as the app’s “vir­tu­al archae­ol­o­gist” in an audio tour.

“The ambi­tious under­tak­ing,” of the Rome Reborn app, writes Meilan Sol­ly at Smith­son­ian, “painstak­ing­ly built by a team of 50 aca­d­e­mics and com­put­er experts over a 22-year peri­od, recre­ates 7,000 build­ings and mon­u­ments scat­tered across a 5.5 square mile stretch of the famed Ital­ian city.” The three mod­ules of the Rome Reborn app demoed here are all avail­able at their web­site. Geeks—and his­to­ri­ans of ancient Roman archi­tec­ture and city planning—rejoice.

via Smith­son­ian

Relat­ed Con­tent:

A Huge Scale Mod­el Show­ing Ancient Rome at Its Archi­tec­tur­al Peak (Built Between 1933 and 1937)

An Inter­ac­tive Map Shows Just How Many Roads Actu­al­ly Lead to Rome

The Ups & Downs of Ancient Rome’s Economy–All 1,900 Years of It–Get Doc­u­ment­ed by Pol­lu­tion Traces Found in Greenland’s Ice

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

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Historic Console Used to Record “Stairway to Heaven” and Other Rock Classics Goes Up for Auction Today

in Music, Technology | December 11th, 2018

The amount of mon­ey one is will­ing to spend—should one have amounts of money—for a vin­tage record­ing con­sole will vary great­ly depend­ing on who one is. The aver­age per­son will see an enor­mous, heavy, wonky, wood and met­al space hog with no appar­ent pur­pose. The musi­cian, engi­neer, pro­duc­er, or stu­dio own­er, on the oth­er hand, will see a fine­ly-tuned instru­ment, whose pre­amps, EQs, com­pres­sors, meters, and cir­cuit­ry promise worlds of son­ic warmth and depth.

In the case of one par­tic­u­lar record­ing con­sole, the so-called “Helio­cen­tric Helios Con­sole,” every­one will see a piece of music his­to­ry, one that right­ly belongs in a muse­um on pub­lic view. Such a fate is unlike­ly for this arti­fact, which goes on sale today at auc­tion house Bon­hams in Lon­don. It will end up in some well-heeled pri­vate hands, fetch­ing a hefty sum for rea­sons far beyond its clas­sic engi­neer­ing.

“Songs and albums record­ed on this bespoke con­sole and its orig­i­nal parts rank among some of the most rec­og­niz­able and best-loved pieces of music in exis­tence, and have result­ed in Gram­mys, Brit Awards and mul­ti­ple num­ber one spots,” says Bonham’s Claire Tole-Mole. “This con­sole is a piece of Britain’s mod­ern cul­tur­al his­to­ry.” Actu­al­ly an amal­gam of two dif­fer­ent his­toric con­soles, com­bined in 1996, the Island Record sec­tion of the mix­ing desk was used by Led Zep­pelin to record IV, the album fea­tur­ing their most famous song, “Stair­way to Heav­en.”

This tan­ta­liz­ing bit is only a taste of the HeliosCen­tric console’s exten­sive prove­nance. Bob Mar­ley record­ed Catch a Fire and Burnin’ on the machine, Jim­my Cliff record­ed “Many Rivers to Cross”; Eric Clapton’s “After Mid­night” emerged from the con­sole, as did songs and albums made by George Har­ri­son, Steve Win­wood, Mick Fleet­wood, Steven Stills, Jimi Hen­drix, Ron­nie Wood, David Bowie, Free, The Rolling Stones, Sly Stone, Har­ry Nils­son, Cat Stevens, Jeff Beck, Mott the Hoople, Hum­ble Pie, Paul Weller, Super­grass, Sia, KT Tun­stall, Squeeze, the Pet Shop Boys, Keane, and Dido… among many more.

The num­ber of top-notch artists who have used one or both parts of the con­sole is aston­ish­ing, and its com­bin­ing also pro­vides devo­tees of rock his­to­ry with a great sto­ry: the founder of Helios Elec­tron­ics him­self, Dick Swet­ten­ham, who for­mer­ly worked at Abbey Road, per­son­al­ly con­sult­ed on the con­struc­tion of the new con­sole, which was put togeth­er by Elvis Costel­lo and Squeeze’s Chris Dif­ford. You can read the machine’s full his­to­ry at Bon­hams, as great a sto­ry as you’re ever like­ly to hear about a piece of spe­cial­ized stu­dio equip­ment the size of a small car. The Helio­Cen­tric Con­sole is expect­ed to fetch six fig­ures, but as Rolling Stone points out, the auc­tion house recent­ly sold the con­sole used to record Pink Floyd’s Dark Side of the Moon for $1.8 mil­lion. What’s anoth­er few dozen clas­sic albums and sin­gles worth?

via Dan­ger­ous Minds

Relat­ed Con­tent:

Jim­my Page Tells the Sto­ry of “Stair­way to Heav­en”: How the Most Played Rock Song Came To Be

Pro­duc­er Tony Vis­con­ti Breaks Down the Mak­ing of David Bowie’s Clas­sic “Heroes,” Track by Track

Bri­an Eno Presents a Crash Course on How the Record­ing Stu­dio Rad­i­cal­ly Changed Music: Hear His Influ­en­tial Lec­ture “The Record­ing Stu­dio as a Com­po­si­tion­al Tool” (1979)

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

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