Great 19 Century Poems Read in French: Baudelaire, Rimbaud, Verlaine & More

baudelaire

Here’s how Smith­son­ian Folk­ways describes this 1961 album now made avail­able by Spo­ti­fy. (If you need their free soft­ware, down­load it here):

Paul A. Mankin recites the most famous French poet­ry from the 19th Cen­tu­ry. Gérard de Ner­val, Vic­tor Hugo and Alphonse de Lamar­tine, the main poets from the roman­tic peri­od are rep­re­sent­ed, as well as pre­cur­sors of Sym­bol­ism, Paul Ver­laine and Stéphane Mal­lar­mé. In addi­tion, the album includes poems writ­ten by the tor­tured Charles Baude­laire and the unclas­si­fi­able Arthur Rim­baud.

Note: The image above is of Charles Baude­laire.  This album will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free. Oth­er albums fea­tur­ing Mank­in’s read­ings can also be found there, includ­ing:

  • Mul­ti­ple Authors — 20th Cen­tu­ry French Poet­ry, Nar­rat­ed by Paul Mankin — Spo­ti­fy
  • Mul­ti­ple Authors — French African Poet­ry, Read in French by Paul Mankin — Spo­ti­fy

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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:

Free French Lessons

13 Lec­tures from Allen Ginsberg’s “His­to­ry of Poet­ry” Course (1975)

Hear Bill Murray’s Favorite Poems Read Aloud by Mur­ray Him­self & Their Authors

 

Watch Animations of Two Italo Calvino Stories: “The False Grandmother” and “The Distance from the Moon”

There are those books we go to not to escape this world, but to expe­ri­ence the truth of a mys­te­ri­ous­ly attrib­uted quote, “There is anoth­er world, and it is this one.” That is to say that the worlds we find in cer­tain nov­els are no less filled with dread, ambi­gu­i­ty, and moral freight than our own. But these sorts of sto­ries offer new maps for real­i­ty. They may at first be those of the Protes­tant the­ol­o­gy and Vic­to­ri­an moral­i­ty of C.S. Lewis, whose Nar­nia books (avail­able in a free audio for­mat here) rather lit­er­al­ly give us anoth­er world in this one.

But we may soon find our­selves cat­a­pult­ed into the neu­rot­ic night­mares of Kaf­ka, the sci-fi para­noia of Philip K. Dick, the postin­dus­tri­al ennui of J.G. Bal­lard, the scholas­tic labyrinths of Borges, and.… Well, what are we to call the work of Invis­i­ble Cities and If on a Winter’s Night a Trav­el­er author Ita­lo Calvi­no? Jonathan Galas­si iden­ti­fies Calvi­no as a post­mod­ern folk­lorist, drawn into the mature idiom of his best-known books by his sus­tained engage­ment in “the mag­is­te­r­i­al anthol­o­gy Ital­ian Folk­tales” in 1956, a task that made him into “a mod­ern-day Grimm.”

Calvino’s facil­i­ty with the light mag­ic of folk­lore infus­es his work with a fleet-foot­ed­ness and brevi­ty that can mask its high seri­ous­ness. Two years after com­pil­ing his anthol­o­gy, he wrote that his “true direc­tion” was “the cri­sis of the bour­geois intel­lec­tu­al seen crit­i­cal­ly from the inside.” This accounts both for the the­o­ret­i­cal sophis­ti­ca­tion of his prose and the exper­i­men­tal form. Calvi­no bests even Borges as an exper­i­men­tal­ist, writ­ing large parts of If on a Winter’s Night a Trav­el­er in the impe­ri­ous sec­ond per­son, and pulling it off bril­liant­ly.

How­ev­er, Calvi­no will often break into the nov­el to remind us of the arti­fice, and at one point declare his desire “to fol­low the men­tal mod­els through which we live our human events.” Those mod­els, Calvi­no sug­gests, are not orga­nized and sys­tem­at­ic. They are as mean­der­ing and episod­ic as fairy tales, filled with irrel­e­vant detail that we pick up in fas­ci­na­tion then quick­ly for­get. It’s a dis­com­fit­ing idea for ratio­nal­ists. But for those who know that life is lived in sto­ries, it rings per­fect­ly true.

In the two ani­mat­ed videos here, we see Calvino’s genius for con­jur­ing irra­tional fables. At the top John Tur­tur­ro reads Calvino’s “The False Grand­moth­er” from his folk­lore anthol­o­gy, a ver­sion of the “Lit­tle Red Rid­ing Hood” sto­ry. And in the (sub­ti­tled) Hebrew-lan­guage ani­ma­tion above (per­fect­ly scored by Erik Satie), we see an adap­ta­tion of Calvino’s “The Dis­tance from the Moon” from Cos­mi­comics, a col­lec­tion whose fic­tions, writes Ted Gioia, “are absurd and inco­her­ent, yet the plot lines are filled with romance, dra­ma, and con­flicts that draw the read­ers deep­er and deep­er into the text.”

They are also filled with sci­en­tif­ic ideas: “Each sto­ry in Cos­mi­comics begins with a sci­en­tif­ic premise.” Like many a crit­i­cal human­ist before him, from Michel de Mon­taigne to Jonathan Swift, Calvi­no seems to won­der if our best intel­lec­tu­al efforts, even the sci­ences, fall sub­ject to “the foibles and fan­cies of humans,” and to the askew nar­ra­tive log­ic of folk­lore.

Relat­ed Con­tent:

Ita­lo Calvi­no Offers 14 Rea­sons We Should Read the Clas­sics

Hear Ita­lo Calvi­no Read Selec­tions From Invis­i­ble Cities, Mr. Palo­mar & Oth­er Enchant­i­ng Fic­tions

Invis­i­ble Cities Illus­trat­ed: Three Artists Paint Every City in Ita­lo Calvino’s Clas­sic Nov­el

Expe­ri­ence Invis­i­ble Cities, an Inno­v­a­tive, Ita­lo Calvi­no-Inspired Opera Staged in LA’s Union Sta­tion

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

The Only Surviving Behind-the-Scenes Footage of I Love Lucy, and It’s in Color! (1951)


The endur­ing pop­u­lar­i­ty of come­di­an Lucille Ball’s 6‑season sit­com, I Love Lucy, has result­ed in so many full-col­or col­lectibles, occa­sion­al view­ers may for­get that the show was filmed in black and white.

More ardent fans may have tuned in for the spe­cial col­orized episodes CBS aired a cou­ple of years ago, but the only exist­ing col­or footage of Lucy and her hus­band and co-star, Desi Arnaz, was cap­tured by a stealthy stu­dio audi­ence mem­ber.

The ubiq­ui­ty of smart phones have made unau­tho­rized celebri­ty shots com­mon­place, but con­sid­er that this reg­u­lar Joe man­aged to smug­gle a 16mm movie cam­era into the bleach­ers of pro­duc­er Jess Oppen­heimer’s tight­ly con­trolled set. This covert oper­a­tion on Octo­ber 12, 1951 shed light on the true col­ors of both the Trop­i­cana night­club and Ricar­do apart­ment sets.

Oppenheimer’s son, Jess, even­tu­al­ly obtained the footage, insert­ing it into the appro­pri­ate scenes from “The Audi­tion,” the episode from which they were snagged.

The Har­po Marx-esque Pro­fes­sor char­ac­ter Lucy plays is a holdover from both the pilot and the vaude­ville show she and Arnaz cre­at­ed and toured nation­al­ly in 1950, in an attempt to con­vince CBS that audi­ences were ready for a com­e­dy based on a “mixed mar­riage” such as their own.

In addi­tion to Arnaz’ unbri­dled con­ga play­ing, the home movie, above, con­tains a love­ly, unguard­ed moment at the 2:40 mark, of the stars calm­ly await­ing slat­ing, side by side on the sound­stage.

Relat­ed Con­tent:

Bat­girl Fights for Equal Pay in a 1960s Tele­vi­sion Ad Sup­port­ing The Equal Pay Act

Watch the First Com­mer­cial Ever Shown on Amer­i­can TV, 1941

Watch Dragnet’s 1967 LSD Episode: #85 on TV Guide’s List of the Great­est Episodes of All Time

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

1905 Fairground Organ Plays Queen’s “Bohemian Rhapsody,” and It Works Like a Charm

First built in Paris by Charles Marenghi in 1905, the organ above quick­ly found a home in a Bel­gian restau­rant. And there it remained for many years … until 1967, when it trav­eled abroad, to a Texas fair­ground. Imag­ine the cul­ture shock it must have felt. But that’s not where it ends.

Nowa­days, you can watch the 81-key organ play Queen’s 1975 hit “Bohemi­an Rhap­sody,” quite dif­fer­ent than what­ev­er it was play­ing in Antwerp a cen­tu­ry ago. Alex­ey Rom wrote the arrange­ment for the song, and pro­grammed it using the strip of cards being fed through the instru­ment. Hope­ful­ly this isn’t the last stop on this organ’s grand jour­ney.

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:

Expe­ri­ence Queen’s “Bohemi­an Rhap­sody” in Vir­tu­al Real­i­ty: Down­load the Free App Cre­at­ed by Queen & Google

Inside the Rhap­sody: A Short Doc­u­men­tary on the Mak­ing of Queen’s Clas­sic Song, ‘Bohemi­an Rhap­sody’ (2002)

Gui­tarist Bri­an May Explains the Mak­ing of Queen’s Clas­sic Song, ‘Bohemi­an Rhap­sody’

Queen Doc­u­men­tary Pays Trib­ute to the Rock Band That Con­quered the World

The Music of Queen Re-Imag­ined by “Extra­or­di­nary” Clas­si­cal Pianist, Natalia Pos­no­va

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The Physics of Playing a Guitar Visualized: Metallica’s “Nothing Else Matters” Viewed from Inside the Guitar

Give it a chance, you won’t be dis­ap­point­ed. While the first 30 sec­onds of the video above may resem­ble an ama­teur iPhone prank, it soon becomes some­thing unex­pect­ed­ly enchanting—a visu­al­iza­tion of the physics of music in real-time. The Youtu­ber places his phone inside an acoustic gui­tar, then plays Metallica’s “Noth­ing Else Mat­ters” against a back­drop of clouds and blue sky. Due to what Twist­ed Sifter iden­ti­fies as the phone camera’s rolling shut­ter effect, the actu­al waves of the vibrat­ing gui­tar strings are as clear­ly vis­i­ble as if they were on an oscil­lo­scope.

The com­par­i­son is an apt one, since we might use exact­ly such a device to mea­sure and visu­al­ize the acoustic prop­er­ties of stringed instru­ments. “A gui­tar string”—writes physi­cist and musi­cian Sam Hokin in his short explanation—is a com­mon exam­ple of a string fixed at both ends which is elas­tic and can vibrate.

The vibra­tions of such a string are called stand­ing waves, and they sat­is­fy the rela­tion­ship between wave­length and fre­quen­cy that comes from the def­i­n­i­tion of waves.”

Those with a physics back­ground might appre­ci­ate The Physics Class­room’s tech­ni­cal descrip­tion of gui­tar string vibra­tion, with sev­er­al tech­ni­cal dia­grams. For oth­ers, the video above by Youtube physics teacher Doc Shus­ter may be a bet­ter for­mat. Shus­ter explains such enti­ties as nodes and antin­odes (you’ll have to tell me if you get any of his jokes). And at about 2:25, he digress­es from his mus­ings on these phe­nom­e­na to talk about gui­tar strings specif­i­cal­ly, which “make one note for a giv­en tight­ness of the string, a giv­en weight of the string, and a giv­en length of the string.”

This is, of course, why chang­ing the length of the string by press­ing down on it changes the note the string pro­duces, and it applies to all stringed instru­ments and the piano. Oth­er fac­tors, says Shus­ter, like the body of the gui­tar, use of pick­ups, etc., have a much small­er effect on the fre­quen­cy of a gui­tar string than tight­ness, weight, and length. We see how the com­plex­i­ty of dif­fer­ent stand­ing wave forms relates to har­mon­ics (or over­tones). And when we return to the Metal­li­ca video at the top, we’ll have a bet­ter under­stand­ing of how the strings vibrate dif­fer­ent­ly as they pro­duce dif­fer­ent fre­quen­cies at dif­fer­ent har­mon­ics.

Shuster’s video quick­ly laps­es into cal­cu­lus, and you may or may not be lost by his expla­na­tions. The Physics Class­room has some excel­lent, free tuto­ri­als on var­i­ous types of waves, pitch fre­quen­cy, vibra­tion, and res­o­nance. Per­haps all we need to keep in mind to under­stand the very basics of the sci­ence is this, from their intro­duc­tion: “As a gui­tar string vibrates, it sets sur­round­ing air mol­e­cules into vibra­tional motion. The fre­quen­cy at which these air mol­e­cules vibrate is equal to the fre­quen­cy of vibra­tion of the gui­tar string.” The action of the string pro­duces an equal and oppo­site reac­tion in the air, which then cre­ates “a pres­sure wave which trav­els out­ward from its source.” The pres­sure waves strike our eardrums, our brains inter­pret sound, and there you have it.

via Twist­ed Sifter

Relat­ed Con­tent:

Free Online Physics Cours­es

Oxford Sci­en­tist Explains the Physics of Play­ing Elec­tric Gui­tar Solos

The Secret Link Between Jazz and Physics: How Ein­stein & Coltrane Shared Impro­vi­sa­tion and Intu­ition in Com­mon

The Math Behind Beethoven’s Music

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

J.M. Coetzee on the Pleasures of Writing: Total Engagement, Hard Thought & Productiveness

Mar­tin Amis once crit­i­cized his fel­low nov­el­ist J.M. Coet­zee for writ­ing in a style “pred­i­cat­ed on trans­mit­ting absolute­ly no plea­sure.” This con­fused those of us read­ers who enjoy both men’s books, but then British tra­di­tion, of which Amis has been an inher­i­tor as well as a crit­ic, says that if some­one gets put on a pedestal, you must at least try to knock them down. The South African Coet­zee, win­ner of one Nobel Prize and two Book­ers, does­n’t exact­ly want for acclaim, but his stark prose and ascetic, ultra-seri­ous images hard­ly make him seem like an author drunk on his own lit­er­ary pow­er.

In a con­tro­ver­sial pro­file, Coet­zee’s coun­try­man Rian Malan wrote that “a col­league who has worked with him for more than a decade claims to have seen him laugh just once.” We might expect the author of books like Wait­ing for the Bar­bar­iansDis­grace, and Eliz­a­beth Costel­lo to declare what he declares in the inter­view clip above: “Writ­ing, in itself, as an activ­i­ty, is nei­ther beau­ti­ful nor con­sol­ing. It’s indus­try.” Yet he does cred­it it with cer­tain plea­sures, “the plea­sures of total engage­ment, hard thought, ver­i­fi­able activ­i­ty, ver­i­fi­able results. Pro­duc­tive­ness.”

“Hav­ing writ­ten the book, being able to look back on hav­ing com­plet­ed the book, may or may not be con­sol­ing, but writ­ing a book is quite dif­fer­ent.” Work, asks the inter­view­er? “Yes. It’s good work.” And why do this work in the first place? Coet­zee would advise against the mis­sion of “trans­form­ing the world into the world as it should be. That would be too much of a task if one under­took it every time.” He finds “grasp­ing the world as it is, putting it with­in a cer­tain frame, tam­ing it to a cer­tain extent” — tam­ing “its wild­ness, its dis­or­der, its chaos” — “quite enough of an ambi­tion.”

These words come from an episode of the Dutch doc­u­men­tary series Of Beau­ty and Con­so­la­tion on Coet­zee which aired in 2000, after the pub­li­ca­tion of Boy­hood but before that of Youth and Sum­mer­time, the books of his tril­o­gy of par­tial­ly fic­tion­al­ized “autre­bi­og­ra­phy” in which he grasps frames, and tames the events of his own expe­ri­ence. “I haven’t for­got­ten the mis­eries of my child­hood,” he says, going on to insist that mis­ery has no beau­ty in itself. “I have plen­ty of hap­py moments in my child­hood, many of which are in the book. The rich­ness of those moments depends very heav­i­ly on their being embed­ded in a cer­tain life. A book is a way to bring that life to life,” in its plea­sures and sor­rows alike.

Relat­ed Con­tent:

Read and Hear Famous Writ­ers (and Arm­chair Sports­men) J.M. Coet­zee and Paul Auster’s Cor­re­spon­dence

Lists of the Best Sen­tences — Open­ing, Clos­ing, and Oth­er­wise — in Eng­lish-Lan­guage Nov­els

The Read­er: A Touch­ing South African TV Com­mer­cial Cel­e­brates Lit­er­a­cy and Scotch

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Leonard Cohen’s “Hallelujah” Played on Korean Instrument Dating Back to 6th Century

Gayageum play­er Luna Lee has been on a bit of a viral video roll recent­ly. First it was her cov­er of “Space Odd­i­ty” by David Bowie that earned her 110,000 plus views, and just two days ago we fea­tured her cov­ers of Pink Floyd’s “Anoth­er Brick in the Wall,” “Great Gig in the Sky,” and “Com­fort­ably Numb.” Back in her archives from a year ago, we’ve also found the above video of her cov­er of Leonard Cohen’s “Hal­lelu­jah.”

Although Lee’s rock cov­ers add bass and drums to keep the ener­gy up, this ver­sion just fea­tures three over­dubbed gayageums and a very sub­tle synth string line, leav­ing the bit­ter­sweet melody to come to the fore. No pyrotech­nics here.

The best known of Cohen’s songs and the most cov­ered, thanks most­ly to Jeff Buckley’s ver­sion, “Hal­lelu­jah” was not con­sid­ered a clas­sic orig­i­nal­ly. In this fine sto­ry of the song told by Mal­colm Glad­well on his Revi­sion­ist His­to­ry pod­cast (stream it below), it took 15 years for its genius to be unveiled, by which time it just seemed obvi­ous, like we had known it all along.

Glad­well inter­views Alan Light, who wrote an entire book on the evo­lu­tion of the song, the com­po­si­tion of which “bedev­iled” Cohen the most, result­ing in 80 or so vers­es that Cohen wrote and reject­ed until he found the per­fect com­bo. The song took years to com­plete. (This seg­ment of the pod­cast starts at 18:54 in, but you should real­ly lis­ten to the whole thing as it also explores Cezan­ne’s art and Elvis Costello’s writ­ing meth­ods.) The sto­ry also involves Bob Dylan, a failed orig­i­nal record­ing described as “turgid”, and the end­less tin­ker­ing in Cohen’s live con­certs. The twists and turns that fol­low are both coin­ci­den­tal and trag­ic, and we will let you dis­cov­er all of them by lis­ten­ing to the pod­cast.

Alan Light also spoke to NPR about the song fol­low­ing Cohen’s death ear­li­er this month.

“Sep­tem­ber 11 comes,” he says, “and Jeff Buck­ley’s record­ing of “Hal­lelu­jah” real­ly became sort of an anthem in the after­math, emo­tion­al short­hand for melan­choly and for sad­ness.”

Sounds like that time of dark­ness has come around again, and we still have “Hal­lelu­jah,” need­ed more than ever.

Relat­ed Con­tent:

A‑ha’s “Take On Me” Per­formed by North Kore­an Kids with Accor­dions

Pak­istani Musi­cians Play a Delight­ful Ver­sion of Dave Brubeck’s Jazz Clas­sic, “Take Five”

With Medieval Instru­ments, Band Per­forms Clas­sic Songs by The Bea­t­les, Red Hot Chili Pep­pers, Metal­li­ca & Deep Pur­ple

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

Alice’s Restaurant: An Illustrated Version of Arlo Guthrie’s Thanksgiving Counterculture Classic

Alice’s Restau­rant. It’s now a Thanks­giv­ing clas­sic, and some­thing of a tra­di­tion around here. Record­ed in 1967, the 18+ minute coun­ter­cul­ture song recounts Arlo Guthrie’s real encounter with the law, start­ing on Thanks­giv­ing Day 1965. As the long song unfolds, we hear all about how a hip­pie-bat­ing police offi­cer, by the name of William “Obie” Oban­hein, arrest­ed Arlo for lit­ter­ing. (Cul­tur­al foot­note: Obie pre­vi­ous­ly posed for sev­er­al Nor­man Rock­well paint­ings, includ­ing the well-known paint­ing, “The Run­away,” that graced a 1958 cov­er of The Sat­ur­day Evening Post.) In fair­ly short order, Arlo pleads guilty to a mis­de­meanor charge, pays a $25 fine, and cleans up the thrash. But the sto­ry isn’t over. Not by a long shot. Lat­er, when Arlo (son of Woody Guthrie) gets called up for the draft, the pet­ty crime iron­i­cal­ly becomes a basis for dis­qual­i­fy­ing him from mil­i­tary ser­vice in the Viet­nam War. Guthrie recounts this with some bit­ter­ness as the song builds into a satir­i­cal protest against the war: “I’m sit­tin’ here on the Group W bench ’cause you want to know if I’m moral enough to join the Army, burn women, kids, hous­es and vil­lages after bein’ a lit­ter­bug.” And then we’re back to the cheery cho­rus again: “You can get any­thing you want, at Alice’s Restau­rant.”

We have fea­tured Guthrie’s clas­sic dur­ing past years. But, for this Thanks­giv­ing, we give you the illus­trat­ed ver­sion. Hap­py Thanks­giv­ing to every­one who plans to cel­e­brate the hol­i­day today.

Fol­low Open Cul­ture on Face­book and Twit­ter and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox. And if you want to make sure that our posts def­i­nite­ly appear in your Face­book news­feed, just fol­low these sim­ple steps.

Relat­ed Con­tent:

Bed Peace Revis­its John Lennon & Yoko Ono’s Famous Anti-Viet­nam War Protest

Willie Nel­son, Pete Seeger, and Arlo Guthrie at Occu­py Wall Street

The Alan Lomax Sound Archive Now Online: Fea­tures 17,000 Record­ings

Hear a 9‑Hour Tribute to John Peel: A Collection of His Best “Peel Sessions”

If you took a job as a radio DJ at the BBC pri­or to 1988, you had to labor under some­thing called “nee­dle time,” a law pro­mot­ed by the Musi­cians’ Union and Phono­graph­ic Per­for­mance Lim­it­ed (and ulti­mate­ly the major record labels) that put a cap on the amount of record­ed music trans­mis­si­ble over the air­waves. Before 1967, the BBC could legal­ly drop the nee­dles of their turnta­bles onto record albums for a mere five hours per day. This may sound pos­i­tive­ly dra­con­ian in our time when music flows freely from all direc­tions, but it did cre­ate jobs for in-house radio-sta­tion musi­cians who could cov­er the hits of the day — and, more impor­tant­ly, gave rise to DJ John Peel’s leg­endary Peel Ses­sions.

“A lot of the things that I lis­tened to and that had a big influ­ence on me I first heard on John Peel,” said artist and music pro­duc­er Bri­an Eno, who describes Peel’s first play­ing of a Vel­vet Under­ground record near­ly fifty years ago as “like a light­ning bolt for me.” In an inter­view we fea­tured a few years back, Eno named the “two things that real­ly make for good records: dead­lines and small bud­gets,” one of his many elo­quent state­ments on not just the impor­tance but the neces­si­ty of lim­i­ta­tions to art. The lim­i­ta­tion of nee­dle time made Peel get cre­ative as well, over­com­ing his inabil­i­ty to spin all the records he want­ed by invit­ing the musi­cians he’d dis­cov­ered into the radio sta­tion to lay down tracks right there in its stu­dios.

The fruits of these Peel Ses­sions often came out with an ener­gy alto­geth­er dif­fer­ent than that of the orig­i­nal album, and dur­ing Peel’s 37 years on BBC Radio 1, he over­saw the record­ing of over 4000 of them. They and oth­er efforts at the inno­v­a­tive edges of pop­u­lar music made Peel a cul­tur­al force, and indeed one of British music’s most influ­en­tial fig­ures, whose broad­casts gave thou­sands of lis­ten­ers their first taste of the likes of David Bowie, Joy Divi­sion, Bob Mar­ley, and Nir­vana. Peel died in 2004, but his lega­cy has lived on in sev­er­al forms, includ­ing the John Peel Cen­ter for Cre­ative Arts and the annu­al John Peel Lec­ture, deliv­ered last year by Eno him­self.

Lon­don-based online radio sta­tion NTS, in its own way very much a con­tin­u­a­tion of Peel’s project, has put togeth­er a trib­ute to Britain’s most astute DJ in the form of a nine-hour broad­cast of some of the best Peel Ses­sions. Bro­ken into four parts, it gath­ers per­for­mances cap­tured at the BBC from artists like Gang of Four, The Fall, My Bloody Valen­tine, The Pix­ies, Aphex Twin, Cabaret Voltaire, and many oth­ers. “Blimey, he was real­ly at the cen­ter of every­thing,” says Eno. “He was putting so many things togeth­er. He was the first per­son who real­ized pop music was seri­ous, and that it was a place peo­ple could real­ly meet and talk to each oth­er. It became the cen­ter of a con­ver­sa­tion.” A dozen years after Peel’s pass­ing, the con­ver­sa­tion con­tin­ues.

via Elec­tron­ic Beats

Relat­ed Con­tent:

Stream 15 Hours of the John Peel Ses­sions: 255 Tracks by Syd Bar­rett, David Bowie, Siouxsie and the Ban­shees & Oth­er Artists

Revis­it the Radio Ses­sions and Record Col­lec­tion of Ground­break­ing BBC DJ John Peel

Bri­an Eno on Why Do We Make Art & What’s It Good For?: Down­load His 2015 John Peel Lec­ture

Prof. Iggy Pop Deliv­ers the BBC’s 2014 John Peel Lec­ture on “Free Music in a Cap­i­tal­ist Soci­ety”

The His­to­ry of Spir­i­tu­al Jazz: Hear a Tran­scen­dent 12-Hour Mix Fea­tur­ing John Coltrane, Sun Ra, Her­bie Han­cock & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How Can You Tell a Good Drummer from a Bad Drummer?: Ringo Starr as Case Study

Yes­ter­day Josh Jones made the case for appre­ci­at­ing the sub­tle genius of Ringo Starr. And as if to sec­ond that, Dirk K. sent this video (above) our way.

Asked what sep­a­rate good drum­mers from bad, drum­mer Bran­don Khoo gives a short demon­stra­tion that puts Ringo’s tal­ents in the right light. It’s not about the flash, the shock-and-awe dis­play of tech­nique. It’s about his ability–as Dave Grohl echoes below–to “sit in the song” and “find the right feel,” true to the phi­los­o­phy that some­times less is more.


Thanks Dirk for send­ing this our way. And thanks Ringo for putting on a great show in Marin on Sat­ur­day night.

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Relat­ed Con­tent:

John Cleese, Ringo Starr and Peter Sell­ers Trash Price­less Art (1969)

Watch the Evo­lu­tion of Ringo Starr, Dave Grohl, Tré Cool & 19 Oth­er Drum­mers in Short 5‑Minute Videos

Hear the Bea­t­les Play Their Final Con­cert (August 29, 1966)

The Neu­ro­science of Drum­ming: Researchers Dis­cov­er the Secrets of Drum­ming & The Human Brain

Iso­lat­ed Drum Tracks From Six of Rock’s Great­est: Bon­ham, Moon, Peart, Copeland, Grohl & Starr

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How to Know if Your Country Is Heading Toward Despotism: An Educational Film from 1946

Nobody likes a despot — even despots know it. But actu­al­ly iden­ti­fy­ing despo­tism can pose a cer­tain dif­fi­cul­ty — which despots also know, and they’d sure­ly like to keep it that way. Hence Ency­clo­pe­dia Bri­tan­ni­ca’s Despo­tism, a ten-minute Erpi Class­room Film on how a coun­try slides into that epony­mous state. It uses the exam­ple of Nazi Ger­many (which might strike us today as the most obvi­ous one but back in 1946 must have felt almost too fresh), but gen­er­al­izes the con­cept by look­ing back into more dis­tant his­to­ry, as far as Louis XIV’s immor­tal remark, “L’é­tat, c’est moi.”

“You can rough­ly locate any com­mu­ni­ty in the world some­where along a scale run­ning all the way from democ­ra­cy to despo­tism,” says Despo­tism’s stan­dard-issue man­nered nar­ra­tor before turn­ing it over to a stan­dard-issue sack-suit­ed and Bryl­creemed expert. And how can we know where our own soci­ety places on that scale? “Well, for one,” says the expert, “avoid the com­fort­able idea that the mere form of gov­ern­ment can of itself safe­guard a nation against despo­tism.” The film intro­duces a series of sub-scales usable to gauge a com­mu­ni­ty’s despot­ic poten­tial: the respect scale, the pow­er scale, the eco­nom­ic dis­tri­b­u­tion scale, and the infor­ma­tion scale.

The respect scale mea­sures “how many cit­i­zens get an even break,” and on the despot­ic end, “com­mon cour­tesy is with­held from large groups of peo­ple on account of their polit­i­cal atti­tudes; if peo­ple are rude to oth­ers because they think their wealth and posi­tion gives them that right, or because they don’t like a man’s race or his reli­gion.” The pow­er scale  “gauges the cit­i­zen’s share in mak­ing the com­mu­ni­ty’s deci­sions. Com­mu­ni­ties which con­cen­trate deci­sion mak­ing in a few hands rate low on a pow­er scale and are mov­ing towards despo­tism,” and even “today democ­ra­cy can ebb away in com­mu­ni­ties whose cit­i­zens allow pow­er to become con­cen­trat­ed in the hands of boss­es.”

The eco­nom­ic dis­tri­b­u­tion scale turns into a warn­ing sign when a soci­ety’s “eco­nom­ic dis­tri­b­u­tion becomes slant­ed, its mid­dle income groups grow small­er and despo­tism stands a bet­ter chance to gain a foothold.” If “the con­cen­tra­tion of land own­er­ship in the hands of a very small num­ber of peo­ple” and “con­trol of jobs and busi­ness oppor­tu­ni­ties is in a few hands, despo­tism stands a good chance.” So it also does in a soci­ety which rates low on the infor­ma­tion scale, where “the press, radio, and oth­er chan­nels of com­mu­ni­ca­tion are con­trolled by only a few peo­ple and when cit­i­zens have to accept what they are told,” a process that ren­ders its cit­i­zens ulti­mate­ly unable to eval­u­ate claims and ideas for them­selves.

The oppo­site of despo­tism, so Despo­tism pro­pos­es, is democ­ra­cy, a type of gov­ern­ment explained in the pre­vi­ous year’s Erpi Class­room Film of that name. Ger­many, a repub­lic where once “an aggres­sive despo­tism took root and flour­ished under Adolf Hitler,” now per­forms admirably on the respect, pow­er, eco­nom­ic dis­tri­b­u­tion, and infor­ma­tion scales — not per­fect­ly, of course, but no coun­try can ever com­plete­ly escape the threat of despo­tism. Much about the econ­o­my and the nature of infor­ma­tion may have changed over the past 70 years, but noth­ing about respect and pow­er have. Whichev­er soci­ety we live in, and wher­ev­er on the spec­trum between democ­ra­cy and despo­tism it now stands, we’ll do well to keep an eye on the scales. Both films were made by Ency­clo­pe­dia Bri­tan­ni­ca, in con­junc­tion with Yale Uni­ver­si­ty’s then promi­nent polit­i­cal sci­en­tist Harold Lass­well.

via Boing­Bo­ing

Relat­ed Con­tent:

How to Spot a Com­mu­nist Using Lit­er­ary Crit­i­cism: A 1955 Man­u­al from the U.S. Mil­i­tary

Rare 1940 Audio: Thomas Mann Explains the Nazis’ Ulte­ri­or Motive for Spread­ing Anti-Semi­tism

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

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

Slavoj Žižek Calls Polit­i­cal Cor­rect­ness a Form of “Mod­ern Total­i­tar­i­an­ism”

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.


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