Open Culture Picks Our 10 Avant-Garde Favorites on Ubuweb: Joyce, Borges, Sontag, Wittgenstein & More

samuelbeckett-ubuweb

If you know about Open Cul­ture, sure­ly you know about Ubuweb. If you don’t, its slo­gan says almost every­thing you need to know about it: “All Avant-Garde. All the Time.” This vast online repos­i­to­ry of cut­ting-edge cul­tur­al arti­facts from a vari­ety of eras also adheres stead­fast­ly to the prin­ci­ple of keep­ing all of its mate­r­i­al free: free in the sense of charg­ing you noth­ing to read, hear or view it, and free in the sense that you can do what­ev­er you want with it. Need­less to say, the site, found­ed by poet Ken­neth Gold­smith in 1996, has made many fans, and Ubuweb itself has tapped quite a few of the high­er-pro­file ones to curate top ten lists. Assem­bled by peo­ple like New York­er music crit­ic Alex Ross, nov­el­ists Hari Kun­zru and Rick Moodyalter­na-pop star Nick “Momus” Cur­rie, these help the poten­tial­ly (and under­stand­ably) bewil­dered find their way through the trove of Ubuwe­b’s media, which is uni­ver­sal­ly influ­en­tial and van­ish­ing­ly obscure, vis­cer­al­ly trans­gres­sive and ver­tig­i­nous­ly intel­lec­tu­al, eter­nal­ly excit­ing and delib­er­ate­ly bor­ing.

This month, Ubuweb called upon our fear­less edi­tor here at Open Cul­ture for a top ten list. Most of the picks have been pre­vi­ous­ly fea­tured on OC. The list runs as fol­lows:

1. Finnegans Wake (1939), Read by Patrick Healy
Open Cul­ture: Hear All of Finnegans Wake Read Aloud: A 35 Hour Read­ing

“The sheer plea­sure one can derive — con­ven­tion­al expec­ta­tions duly set aside — from the almost tac­tile qual­i­ty of Joyce’s prose, its earthy, ancient, elven sounds, seems more to the point of appre­ci­at­ing this odd, frus­trat­ing work. Per­haps, like any well-writ­ten poem, one sim­ply needs to hear it read aloud. Joyce him­self said so, and so you can.”

2. The Craft of Verse: Jorge Luis Borges’ Nor­ton Lec­tures, 1967–68
Open Cul­ture: Jorge Luis Borges’ 1967–8 Nor­ton Lec­tures On Poet­ry (And Every­thing Else Lit­er­ary)

“Near­ing both 70 years of age and total blind­ness, Borges nonethe­less gives a vir­tu­osi­cal­ly wide-rang­ing series of talks, freely reach­ing across forms, coun­tries, eras, and lan­guages with­out the aid of notes. Enti­tled ‘This Craft of Verse,’ these lec­tures osten­si­bly deal with poet­ry. Alas, like many lit­er­ary geeks, I know too lit­tle of poet­ry, but if Borges can’t moti­vate you to learn more, who can?”

3. Three Rare Films by Susan Son­tag
Open Cul­ture: The Film­mak­ing of Susan Son­tag & Her 50 Favorite Films (1977)

“Son­tag, they say, ‘sought to lib­er­ate art from inter­pre­ta­tion (which is a bit iron­ic, of course, for some­one who was essen­tial­ly an exalt­ed crit­ic). When it came to her own film, she made some­thing that intend­ed to delib­er­ate­ly con­found the notion that there was any sort of under­ly­ing mean­ing beyond exact­ly what the audi­ence was see­ing on the screen direct­ly in front of them.’ ”

4.  M.A. Num­mi­nen Sings Wittgen­stein (1983 / 1989)
Open Cul­ture: Lud­wig Wittgenstein’s Trac­ta­tus Gets Adapt­ed Into an Avant-Garde Com­ic Opera

“Giv­en the Trac­ta­tus’s fire­bomb­ing of an entire area of human endeav­or, it’s no sur­prise it hasn’t fared well in many tra­di­tion­al depart­ments, but that hasn’t stopped Wittgenstein’s work from find­ing pur­chase else­where, influ­enc­ing mod­ern artists like Jasper Johns, the Coen Broth­ers, and, not least sure­ly, Finnish avant garde com­pos­er and musi­cian M.A. Num­mi­nen. This odd char­ac­ter, who caused a stir in the 60s by set­ting sex guides to music, took it upon him­self to do the same for many of the Trac­ta­tus’s propo­si­tions, and the results are, well…. Lis­ten for your­self.”

5. Aldous Huxley’s Vision­ary Expe­ri­ence
Open Cul­ture: Aldous Hux­ley, Psy­che­delics Enthu­si­ast, Lec­tures About “the Vision­ary Expe­ri­ence” at MIT (1962)

“Hux­ley had already gained world­wide fame for his views on bet­ter liv­ing, which was some­times achieved, he believed, through psy­che­del­ic drugs. This might have already sound­ed like old hat in, say, the San Fran­cis­co of the late 1960s, let alone the 70s and onward, but in these record­ings Hux­ley says his piece in — I still can’t quite believe it — the MIT of the ear­ly 1960s. But diag­nosed a cou­ple years before with the can­cer that would claim his life the next, he had noth­ing to lose by spread­ing the word of his sub­stance-induced dis­cov­er­ies.”

6. Jacques Derrida’s Inter­view with Ornette Cole­man [PDF]
Open Cul­ture: Philoso­pher Jacques Der­ri­da Inter­views Jazz Leg­end Ornette Cole­man: Talk Impro­vi­sa­tion, Lan­guage & Racism (1997)

“Trans­lat­ing Coleman’s tech­nique into ‘a domain that I know bet­ter, that of writ­ten lan­guage,’ Der­ri­da ven­tures to com­pare impro­vi­sa­tion to read­ing, since it ‘doesn’t exclude the pre-writ­ten frame­work that makes it pos­si­ble.’ For him, the exis­tence of a framework—a writ­ten composition—even if only loose­ly ref­er­enced in a jazz per­for­mance, ‘com­pro­mis­es or com­pli­cates the con­cept of impro­vi­sa­tion.’ ”

7. Joey Ramone Sings a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake: “The Won­der­ful Wid­ow of Eigh­teen Springs,”
Open Cul­ture: Hear Joey Ramone Sing a Piece by John Cage Adapt­ed from James Joyce’s Finnegans Wake

“Ramone’s inter­pre­ta­tion of the piece is enthralling sim­ply as a piece of record­ed music.  But it’s also a fas­ci­nat­ing piece of cul­tur­al his­to­ry, rep­re­sent­ing a con­flu­ence of the fore­most fig­ures in ear­ly twen­ti­eth cen­tu­ry mod­ernist lit­er­a­ture, mid-cen­tu­ry avant-garde music, and late cen­tu­ry punk rock.”

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

“Every sphere of record­ed music has its crate-dig­gers, those hap­py to flip through hun­dreds — nay, hun­dreds of thou­sands — of obscure, for­got­ten vinyl albums in search of their subgenre’s even obscur­er, more for­got­ten gems. This holds espe­cial­ly true, if not in num­ber than in avid­i­ty, for enthu­si­asts of the 20th-cen­tu­ry clas­si­cal-exper­i­men­tal-elec­troa­coustic tra­di­tion that The Avant-Garde Project takes as its preser­va­tion man­date.”

9. Alice Tok­las Reads Her Hashish Fudge Recipe
Open Cul­ture: Alice B. Tok­las Reads Her Famous Recipe for Hashish Fudge (1963)

“In this 1963 record­ing from Paci­fi­ca Radio, Tok­las reads her noto­ri­ous recipe. The snack ‘might pro­vide an enter­tain­ing refresh­ment for a Ladies’ Bridge Club or a chap­ter meet­ing of the DAR,’ Tok­las notes in her reedy, dig­ni­fied voice.”

10. Jean Bau­drillard Sings!
Open Cul­ture: Jean Bau­drillard Reads His Poet­ry, Backed By All-Star Arts Band (1996)

“Known to hip aca­d­e­m­ic types and avant-garde-ists, Bau­drillard’s maybe the kind of thinker who gets name-dropped more than read (and he’s no easy read). But in the audio clip above, he reads to us, from his poet­ry no less, while backed by the swirling abstract sounds of The Chance Band. It’s an odd, one-time, assem­blage of artists and thinkers Ubuweb describes as ‘unbe­liev­able but true!’ ”

If you’ve already seen every­thing on it, con­grat­u­la­tions: you can con­sid­er your­self a true, shall we say, OC OG.

Relat­ed Con­tent:

Avant-Garde Media: The UbuWeb Col­lec­tion

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

Take a Vir­tu­al Tour of the 1913 Exhi­bi­tion That Intro­duced Avant-Garde Art to Amer­i­ca

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

A Free Cartoon Biography of Ayn Rand: Her Life & Thought

rand cartoon bio

Ayn Rand is one of the most divi­sive fig­ures in 20th Cen­tu­ry Amer­i­can thought. In some cir­cles, par­tic­u­lar­ly on Wall Street and in Wash­ing­ton DC think tanks, she’s seen as a patron saint of lais­sez faire cap­i­tal­ism. She preached the virtues of indi­vid­u­al­ism and decried gov­ern­ment hand­outs and tax­es before it was cool, after all. In oth­er cir­cles, her best­selling books are thought to be lit­tle more than jus­ti­fi­ca­tions of socio­path­ic behav­ior couched in stilt­ed, preachy prose. Whit­tak­er Cham­bers famous­ly dis­missed her final book, Atlas Shrugged, in a review for William F. Buck­ley’s Nation­al Review: “Out of a life­time of read­ing, I can recall no oth­er book in which a tone of over­rid­ing arro­gance was so implaca­bly sus­tained. Its shrill­ness is with­out reprieve. Its dog­ma­tism is with­out appeal.”

Yet Rand’s thought found a great deal of appeal among Amer­i­can con­ser­v­a­tives. Alan Greenspan, the for­mer head of the Fed­er­al Reserve, was a mem­ber of Rand’s inner cir­cle. For­mer vice pres­i­den­tial can­di­date Paul Ryan and like­ly pres­i­den­tial con­tender Rand Paul are both not­ed fol­low­ers. Whether you agree with her or not, Rand is some­one you need to under­stand if you want to get a sense of what’s going on with Amer­i­can pol­i­tics. So for those of you who might blanche at the thought of wad­ing through one of her phone­book-sized tomes, check out Dar­ryl Cunningham’s car­toon biog­ra­phy of Rand.

Cun­ning­ham traces her life — her family’s loss of wealth and prop­er­ty at the hands of the Bol­she­viks dur­ing the Russ­ian Rev­o­lu­tion, her immi­gra­tion to Amer­i­ca at age 21, and her even­tu­al rise in fame and for­tune. Ele­gant­ly and con­cise­ly, Cun­ning­ham not only lays out Rand’s phi­los­o­phy but also paints a com­plex por­trait of a deeply con­tra­dic­to­ry per­son. All with the help of car­toons.

Rand preached the virtue of indi­vid­u­al­i­ty but she ruth­less­ly excom­mu­ni­cat­ed any­one in her cult-like inner cir­cle who devi­at­ed from her ide­ol­o­gy. She praised rea­son over emo­tion but her spec­tac­u­lar­ly com­pli­cat­ed per­son­al life was rid­dled with pet­ty jeal­ousies and long sim­mer­ing feuds. She abhorred gov­ern­ment aid for the poor but she lived on Social Secu­ri­ty at the end of her life. And per­haps strangest of all, con­sid­er­ing the cur­rent Amer­i­can polit­i­cal cli­mate, Rand vocal­ly sup­port­ed both athe­ism and abor­tion rights, but she has been utter­ly embraced by the Amer­i­can right.

You can see a page of Cunningham’s work above, or you can read his entire work, 66 pages of com­ic good­ness, at ACT-I-VATE.

via io9

Relat­ed Con­tent:

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

William F. Buck­ley Flogged Him­self to Get Through Atlas Shrugged

Ayn Rand Talks Athe­ism with Phil Don­ahue

Great Shake­speare Plays Retold with Stick Fig­ures in Three Sim­ple Draw­ings

Free Online Phi­los­o­phy Cours­es

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

1000 Digits of Pi, Recited by Jane Barbe, Famous Voice of Telephone Company Recordings

If you came of age dur­ing the 1960s and 1970s, you knew the voice of Jane Barbe, aka “The Tele­phone Lady.” Her voice appeared on tele­phone com­pa­ny record­ings and voice­mail sys­tems across the US. Just lis­ten to this clip, and you will imme­di­ate­ly know who I’m talk­ing about.

Any­way, Ms. Barbe appar­ent­ly had more in her reper­toire than “If you’d like to make a call, please hang up.” A lot more.

Above, we have her recit­ing the first 1,000 dig­its of Pi. The back­sto­ry remains unknown to us. We did some research and came up bone dry. If you know some­thing about the cir­cum­stances behind the record­ing, please let us know in the com­ments sec­tion below. To read along with a tran­script of the record­ing, just click here.

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!

via Laugh­ing Squid

Relat­ed Con­tent:

Hunter S. Thomp­son Calls Tech Sup­port, Unleash­es a Tirade Full of Fear and Loathing (NSFW)

Saul Bass Gives Ma Bell a Com­plete Makeover, 1969

The World’s First Mobile Phone Shown on 1922 Vin­tage Film

How Pi Was Near­ly Changed to 3.2 … and Copy­right­ed!

by | Permalink | Make a Comment ( 3 ) |

Peter Thiel’s Stanford Course on Startups: Read the Lecture Notes Free Online

peter thiel

Peter Thiel has many claims to fame in Sil­i­con Val­ley. He co-found­ed Pay­Pal in 1998, before sell­ing it to eBay for $1.5 bil­lion in 2002. He lat­er launched var­i­ous hedge funds, and made ear­ly invest­ments in Face­book. He’s an unabashed lib­er­tar­i­an, a pro­po­nent of Seast­eading and Sin­gu­lar­i­ty, a crit­ic of the Amer­i­can uni­ver­si­ty sys­tem, and the cre­ator of the annu­al Thiel Fel­low­ship, which pays promis­ing col­lege-age stu­dents to “stop out” of school for two years and launch busi­ness ven­tures instead.

Final­ly, Thiel is also now the best­selling author of Zero to One: Notes on Star­tups, or How to Build the FuturePub­lished in mid-Sep­tem­ber, the book received a pret­ty rave review in The Atlantic, where Derek John­son calls it “a lucid trea­tise on cap­i­tal­ism and entre­pre­neur­ship” and per­haps “the best busi­ness book I’ve read.”

The book itself is actu­al­ly a dis­til­la­tion of thoughts Thiel pre­sent­ed in a course he taught at Stan­ford in 2012. And it just so hap­pens that the notes from that course — CS138 Star­tups — are freely avail­able online. They come cour­tesy of Blake Mas­ters, a stu­dent in Thiel’s class, who lat­er helped the entre­pre­neur write Zero to One.

Below, you can find the lec­ture notes for 19 class­es, which, when orig­i­nal­ly pub­lished on Mas­ters’ site, became pret­ty pop­u­lar in the tech com­mu­ni­ty.  Links to these lec­tures will be per­ma­nent­ly housed in our col­lec­tions of Free Online Busi­ness Cours­es and Free Online Com­put­er Sci­ence Cours­es. Oth­er Stan­ford cours­es on entre­pre­neur­ship can be found here: Start Your Start­up with Free Stan­ford Cours­es and Lec­tures.

Lec­tures Notes: CS138 Star­tups

Class 1: The Chal­lenge of the Future

Class 2: Par­ty Like it’s 1999?

Class 3: Val­ue Sys­tems

Class 4: The Last Mover Advan­tage

Class 5: The Mechan­ics of Mafia

Class 6: Thiel’s Law

Class 7: Fol­low The Mon­ey

Class 8: The Pitch

Class 9: If You Build It, Will They Come?

Class 10: After Web 2.0

Class 11: Secrets

Class 12: War and Peace

Class 13: You Are Not A Lot­tery Tick­et

Class 14: See­ing Green

Class 15: Back to the Future

Class 16: Decod­ing Our­selves

Class 17: Deep Thought

Class 18: Founder as Vic­tim, Founder as God

Class 19: Stag­na­tion or Sin­gu­lar­i­ty?

For a huge col­lec­tion of free cours­es, please see our large and ever-expand­ing col­lec­tion: 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

by | Permalink | Make a Comment ( 1 ) |

Django Reinhardt Demonstrates His Guitar Genius in Rare Footage From the 1930s, 40s & 50s

In one of my favorite Woody Allen films, Sweet and Low­down, Sean Penn plays Emmett Ray, a fic­tion­al jazz gui­tarist who embod­ies the tit­u­lar qual­i­ties in equal­ly great mea­sure. “Already con­sid­ered peer­less among Amer­i­can jazz gui­tarists,” Ray admits of only one rival—Parisian gyp­sy gui­tarist Djan­go Rein­hardt, whom Emmett wor­ships, obvi­ous­ly pat­terns him­self after, and can’t stand to see in per­son with­out faint­ing dead away. Where Ray is a tremen­dous­ly con­vinc­ing cre­ation of Allen and Penn, Rein­hardt was very much a real musi­cian, and was indeed the reign­ing king of jazz gui­tar from the 1930s to the 50s. Reinhardt’s incred­i­ble skill is all the more impres­sive con­sid­er­ing he only had use of three fin­gers on his left hand due to injuries sus­tained in a car­a­van fire in 1928.

Rein­hardt and jazz vio­lin­ist Stéphane Grap­pel­li found­ed the Quin­tette du Hot Club de France in 1934, and in the for­ties, Rein­hardt began com­pos­ing, and toured Eng­land, Switzer­land, and the U.S. as a soloist with Duke Ellington’s band. He record­ed his final album, Djan­gol­o­gy in 1949, retired in 51, and died in 53, already a leg­end, “one of the few Euro­pean musi­cians to exert a seri­ous influ­ence on the Amer­i­can art form of jazz,” writes an NPR “Week­end Edi­tion” pro­file. Django’s play­ing, “at times joy­ous, fierce and lyri­cal,” draws heav­i­ly on his Roma roots while mas­ter­ing the vocab­u­lary of swing—a lan­guage, it seems, still new to many audi­ences in 1938, when the film at the top of the post, Jazz “Hot,” was made.

In a pre­vi­ous post, Mike Springer points out the “didac­tic tone” of the first cou­ple min­utes of the doc­u­men­tary, cre­at­ed by Reinhardt’s man­ag­er Lew Grade in order to famil­iar­ize the British pub­lic with jazz in advance of the quintet’s first UK tour. The film “real­ly comes alive when Djan­go arrives on the screen,” play­ing an arrange­ment of the pop­u­lar French song “J’attendrai.” Pri­or to the UK tour, the Quin­tet du Hot Club trav­eled to the Nether­lands and played The Hague. See them in the Dutch film clip above, begin­ning at 0:34. Grap­pel­li solos while Djan­go holds down the rhythm.

By 1944, Rein­hardt was well known to jazz lovers and musi­cians alike, appear­ing at the upscale Paris cabaret Bal Tabarin in the footage above at 2:54, fol­low­ing a clip of Mar­lene Diet­rich look­ing on from the audi­ence.

In 1952, the year before his death, Rein­hardt was famous enough to be cast along­side Louis Arm­strong and Sid­ney Bechet in the French-Ital­ian film La Route de Bon­heur (titled Salu­ti e baci in Italy). In this clip, Rein­hardt enter­tains a packed train car. The song dubbed over the footage is Nuits de St. Ger­main des Pres.

See much more film and pho­tog­ra­phy of Djan­go Rein­hardt and his famous quin­tet in this bio­graph­i­cal doc­u­men­tary, The Genius of Djan­go Rein­hardt. Described as an unsta­ble and child­like man capa­ble of the most unusu­al whims, the por­trait of Rein­hardt, prac­ti­cal­ly the inven­tor of jazz gui­tar, traces his life from birth in a Roma encamp­ment in Bel­gium to his final years in semi-retire­ment. And for even more Djan­go, don’t miss this French doc­u­men­tary film, Trois doigts de genie.

Relat­ed Con­tent:

Jazz ‘Hot’: The Rare 1938 Short Film With Jazz Leg­end Djan­go Rein­hardt

Djan­go Rein­hardt and the Inspir­ing Sto­ry Behind His Gui­tar Tech­nique

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

Swedish Scientists Sneak Bob Dylan Lyrics Into Their Academic Publications For Last 17 Years

Sci­en­tists who study and write about intesti­nal gases—just like the rest of us, I guess—find it hard to resist the occa­sion­al fart joke. And when they’re John Jund­berg and Eddie Weitzberg, two pro­fes­sors at the Karolin­s­ka Insti­tute in Stock­holm, they can’t resist couch­ing their occa­sion­al fart joke in a Bob Dylan lyric, part of a now sev­en­teen-year tra­di­tion among five Swedish sci­en­tists who’ve been slip­ping Dylan lyrics into their pub­li­ca­tions, wager­ing on who can fit the most in before retire­ment.

It all began with Jund­berg and Weitzberg’s “Nitric oxide and inflam­ma­tion: the answer is blow­ing in the wind,” pub­lished in the jour­nal Nature Med­i­cine in 1997. (See Dylan play the paper’s inspi­ra­tion above in 1963.) Next came arti­cles like “Blood on the tracks: a sim­ple twist of fate” by Kon­stan­ti­nos Meletis and Jonas Frisen and “Tan­gled up in blue: Mol­e­c­u­lar car­di­ol­o­gy in the post­mol­e­c­u­lar era” by Ken­neth Chien.

The five aren’t the only sci­en­tists who try to spice up dry research pub­li­ca­tions with word­play. “If you read oth­er sci­en­tif­ic arti­cles,” ways Weitzberg, “you’ll find peo­ple try­ing to be clever in dif­fer­ent ways.” But they don’t do so at the expense of the sci­ence, or their careers: “We’re not talk­ing about sci­en­tif­ic papers—we could have got in trou­ble for that-but rather arti­cles we have writ­ten about research by oth­ers, book intro­duc­tions, edi­to­ri­als and things like that.”

The writer with the most Dylan ref­er­ences gets lunch in a restau­rant in Sol­na, a town north of Stock­holm. But thanks to inter­est from out­lets like the Wash­ing­ton Post, he may also get a few extra min­utes of fame. Weitzberg’s response? “I would much rather become famous for my sci­en­tif­ic work than for my Bob Dylan quotes, but yes, I am enjoy­ing this!”

via The Local

Relat­ed Con­tent:

Phys­i­cal Attrac­tion: Mar­riage Pro­pos­al Comes in the Form of a Physics Paper

Fake Bob Dylan Sings Real Dr. Seuss

Stu­dent Rick­rolls Teacher By Sneak­ing Rick Ast­ley Lyrics into Quan­tum Physics Paper

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

A Secret Bookstore in a New York City Apartment: The Last of a Dying Breed

Even in our era of dig­i­tal media — and even as a cre­ator of dig­i­tal media myself — I can’t help but eval­u­ate each new city I vis­it, or the state of each old city I vis­it, in part by the qual­i­ty and quan­ti­ty of its book­stores. Toron­to, where I’ve spent the past week or so, does sur­pris­ing­ly well on this count, though I hear from long­time locals that recent cir­cum­stances have forced a few beloved spots to shut down, relo­cate or down­size. A sim­i­lar fate may loom over New York City’s Brazen­head Books, the by-appoint­ment-only under­ground Upper East Side book­store we fea­tured back in 2011. New York still does pret­ty well in terms of book­stores, of course, but here we have a rare spec­i­men in any city: a book­store run almost in secret, a place where, accord­ing to Fodor’s, you’ll find three rooms of an apart­ment “crammed floor to ceil­ing with books, both new and used, includ­ing some rare titles,” where, “on Sat­ur­day nights, the city’s intel­lec­tu­als can be found sip­ping whiskey and dis­cussing clas­sic and con­tem­po­rary lit­er­a­ture.”

If that sounds like an evening to you, you might want to pay a vis­it soon­er than lat­er. Accord­ing to the web­site DNAIn­fo, Brazen­head­’s own­er, Michael Sei­den­berg, wrote on his Face­book page this sum­mer,  “Brazen­head Books turns its last page on Octo­ber 31st.” “Lost our lease…lots of things must go.” If you can’t make it to New York before then, at least have a look at the video tour of Brazen­head at the top of the post.

As the book­selling indus­try has shift­ed over the past few decades, those omnipresent, large, order­ly, util­i­tar­i­an chain spaces meant for cus­tomers in search of a spe­cif­ic title — remem­ber those? — have giv­en way to small­er, more idio­syn­crat­ic book­stores, each of which pro­vides a dif­fer­ent set of tex­tu­al and social expe­ri­ences. Far at the lat­ter end of the spec­trum, we have Brazen­head, a one-man cen­ter of lit­er­ary cul­ture that you’ve got to know about just to enter. Hope­ful­ly it will sur­vive, in some form, beyond Octo­ber. But no mat­ter what, the short video just above reminds us that what holds true about your favorite book­store — whichev­er book­store you call your favorite — holds espe­cial­ly for this one: you won’t find anoth­er place like it.

Relat­ed Con­tent:

Remem­ber­ing George Whit­man, Own­er of Famed Book­store, Shake­speare & Com­pa­ny

World’s Most Inter­est­ing Book­stores

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

The Eyes of Hitchcock: A Mesmerizing Video Essay on the Expressive Power of Eyes in Hitchcock’s Films

Kog­o­na­da has made a career of pro­duc­ing ele­gant­ly con­ceived video essays that dis­sect the styl­is­tic eccen­tric­i­ties of cinema’s great­est for­mal­ists. In one video, he neat­ly illus­trat­ed Wes Anderson’s love of sym­met­ri­cal com­po­si­tions. In anoth­er, he observed how fre­quent­ly Japan­ese mas­ter Yasu­jiro Ozu, a direc­tor with more styl­is­tic quirks than just about any­one else, pop­u­lat­ed his movies with shots of cor­ri­dors and door­ways. And, in per­haps his best, Kog­o­na­da shows just how often Stan­ley Kubrick relies on one-point per­spec­tive. Kogonada’s lat­est video, called The Eyes of Hitch­cock, explores how the direc­tor used facial expres­sions to con­vey sus­pense and fear. You can watch it above.

Alfred Hitch­cock once said, “There is no ter­ror in the bang, only in the antic­i­pa­tion of it.” This is a guy who direct­ed the great­est slash­er scene in movie his­to­ry – the show­er scene in Psy­cho — but famous­ly nev­er showed Nor­man Bates’s knife actu­al­ly stab­bing his vic­tim, Mar­i­on Crane. The hor­ror of the scene was con­veyed through actress Janet Leigh’s shocked expres­sion. Though direc­tors have always under­stood the pow­er of the face, Hitch­cock con­sis­tent­ly used facial expres­sions to car­ry a movie’s sus­pense. A person’s face relates pri­mal emo­tions much more effi­cient­ly than shots just of knives, guns or explo­sions. (Michael Bay, take note.)

For this video, Kog­o­na­da strings togeth­er expres­sions from Hitchcock’s vast oeu­vre, from Jim­my Stewart’s wild-eyed baby blues wak­ing up from a night­mare in Ver­ti­go, to Ingrid Bergman’s tear­ful, anx­ious look in Noto­ri­ous, to Nor­man Bates’s bat shit crazy death stare in Psy­cho. Hitch tend­ed to frame these moments in extreme close up with the eyes right in the mid­dle of the frame. Kog­o­na­da rolls back and forth on a cou­ple frames of these moments, giv­ing the video an oth­er­world­ly shim­mer, timed per­fect­ly with the music. It’s com­plete­ly mes­mer­iz­ing.

If you have a han­ker­ing to watch com­plete movies by the mas­ter, check out Open Culture’s list of 23 Hitch­cock Films. You can watch them right now, online, for free.

Relat­ed Con­tent:

Alfred Hitchcock’s Sev­en-Minute Edit­ing Mas­ter Class

Lis­ten to François Truffaut’s Big, 12-Hour Inter­view with Alfred Hitch­cock (1962)

The Per­fect Sym­me­try of Wes Anderson’s Movies

Sig­na­ture Shots from the Films of Stan­ley Kubrick: One-Point Per­spec­tive

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

1797 Temperance Thermometer Measures the Moral & Physical Impact of Your Drinking Habits

temperance2

Ques­tion for the drinkers out there:

Does strong beer tak­en in mod­er­ate quan­ti­ties at meal­times make you cheer­ful?

Yeah, me too!

That gives us a tem­per­a­ture of 10 accord­ing to 18th-cen­tu­ry physi­cian John Coak­ley Lett­som’s “moral and phys­i­cal ther­mome­ter,” one of his Hints Designed to Pro­mote Benef­i­cence, Tem­per­ance, and Med­ical Sci­ence (1797).

It’s noth­ing to be ashamed of—anything above zero con­sti­tutes a pass­ing score. The founder of the Med­ical Soci­ety of Lon­don, Lett­som was a pro­po­nent of true tem­per­ance, not total absti­nence. Accord­ing to his rubric, a “small beer” has all the virtues of milk and water.

Dip below a zero, though, and you’re in for a bumpy night.

Punch is appar­ent­ly the gate­way to such demon influ­ences as flip, shrub, whiskey and rum. Gosh. You may as well just skip the punch and go straight for the hard stuff, if, as in Lettsom’s view, they all end in the same vices and dis­eases.

Puk­ing and Tremors of the Hands in the Morn­ing?

Yes, on occa­sion.

Peev­ish­ness, Idle­ness, and Obscen­i­ty?

Yep, that too.

Mur­der, Mad­ness, and Death?

Mer­ci­ful­ly, no. At least not yet.

While not entire­ly free of stig­ma, alco­holism is now some­thing many view through the lens of AA, a prob­lem best reme­died through a sys­tem of per­son­al account­abil­i­ty shored up by a net­work of non­judg­men­tal, sym­pa­thet­ic sup­port.

Back in Lettsom’s day, when an alco­holic hit rock bot­tom, it was assumed he or she would stay there, a task made eas­i­er when the wages of this par­tic­u­lar sin includ­ed the poor house, a one way tick­et to the Botany Bay penal colony, and the gal­lows.

Such loom­ing con­se­quences are eas­i­ly laughed off when you’ve had a snoot, which may be why Lett­som also pub­lished the illus­trat­ed ver­sion of his ther­mome­ter below. A pic­ture is worth a thou­sand words, par­tic­u­lar­ly when depict­ing the pre-Dick­en­sian mis­ery that awaits the drunk­ard and his fam­i­ly.

Termometro morall

via Rebec­ca Onion and Slate

Relat­ed Con­tent:

George Washington’s 110 Rules for Civil­i­ty and Decent Behav­ior

Thomas Jefferson’s Hand­writ­ten Vanil­la Ice Cream Recipe

“The Vertue of the COFFEE Drink”: An Ad for London’s First Cafe Print­ed Cir­ca 1652

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

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

bjork 11

Iceland’s biggest export, aside from vol­canic ash, is that pixy­ish pop singer, Björk. Or at least that’s how it seems in the Amer­i­can pop­u­lar imag­i­na­tion. Björk’s first three of albums were pret­ty much required lis­ten­ing in cer­tain cir­cles dur­ing the ‘90s.  Since then, her stature in the indie world has only grown.

Yet before she had a run of beau­ti­ful and strange mas­ter­pieces; before she was sys­tem­at­i­cal­ly tor­tured in front of the cam­era by Lars Von Tri­er in Dancer in the Dark; and before she was singing about birth­days with her break­out band The Sug­ar­cubes, Björk cut her very first album. It was 1977, and Björk was only eleven.

Björk, whose name rhymes with “work” not “pork,” land­ed the record deal after a tape of her singing Tina Charles’ 1976 dis­co hit “I Love to Love” played on Iceland’s one and only radio sta­tion. The album, called sim­ply Björk, was some­thing of a fam­i­ly affair. While Björk sang and played the flute, her step­fa­ther Sævar Árna­son played gui­tar while her mom, Hildur Hauks­dót­tir, designed the album cov­er. (See above.) Over­all, the record sounds exact­ly like what you might expect an Ice­landic album from the ‘70s sung by a tweenaged chanteuse might sound like – part Abba, part King Crim­son and part ear­ly Miley Cyrus. Björk does pret­ty groovy cov­ers of The Bea­t­les’ “Fool on the Hill” (top) and Syree­ta Wright’s “Your Kiss is Sweet (mid­dle),” both sung in Ice­landic. There’s also an equal­ly groovy psy­che­del­ic instru­men­tal track ded­i­cat­ed to painter Jóhannes Kjar­val, (below) whose work is on Ice­landic cur­ren­cy. Björk report­ed­ly went plat­inum in Ice­land. You can lis­ten to more tracks from that album on WFMU.

via WFMU

Relat­ed Con­tent:

Björk and Sir David Atten­bor­ough Team Up in a New Doc­u­men­tary About Music and Tech­nol­o­gy

Ice­land in the Mid­night Sun

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing one new draw­ing of a vice pres­i­dent with an octo­pus on his head dai­ly.  The Veep­to­pus store is here.

Sylvia Plath Reads Her Poetry: 23 Poems from the Last 6 Years of Her Life

In March of last year, Toron­to col­lec­tor Greg Gaten­by auc­tioned off “some 1,700 LPs, 45s, and 10-inch discs”-worth of record­ed lit­er­ary his­to­ry, con­tain­ing read­ings by such canon­i­cal fig­ures as “Auden and Atwood, Camus and Capote, Eliot, Faulkn­er, Kipling, Shaw and Yeats,” and the record­ings fea­tured here from Sylvia Plath. Gatenby’s entire col­lec­tion went on sale for a buy-it-now price of $85,000 (I assume it’s sold by now), and while we might have pre­ferred that he donat­ed these arti­facts to libraries, there may have been no need. Most of them are already, or we hope soon will be, dig­i­tized and free online. Sylvia Plath read­ing her poet­ry (now out of print) was orig­i­nal­ly released on vinyl and cas­sette in 1977 by pro­lif­ic spo­ken word record label Caed­mon, but of course the read­ings they doc­u­ment all took place over fif­teen years ear­li­er, some at least as ear­ly as 1959, the year before the pub­li­ca­tion of her first book, The Colos­sus and Oth­er Poems.

Many of the poems here appeared in The Colos­sus, the only col­lec­tion of poems Plath pub­lished in her life­time. Some, like “Novem­ber Graveyard”—first pub­lished in Made­moi­selle in 1958—were col­lect­ed late, in the Ted Hugh­es-edit­ed Col­lect­ed Poems in 1981, and the rest appeared in Ariel and oth­er posthu­mous col­lec­tions. Odd­ly, the title poem of her first book doesn’t appear, nor will you hear any of the poems that made Plath an infa­mous lit­er­ary fig­ure: no “Ariel,” no “Dad­dy,” no “Lady Lazarus,” though you can hear her read those poems else­where. Many of these poems are more lush, less vis­cer­al and per­son­al, though no less rich with arrest­ing and some­times dis­turb­ing imagery. Sev­er­al of these read­ings took place in Feb­ru­ary 1959 at Harvard’s Wood­ber­ry Poet­ry Room. The album’s offi­cial descrip­tion tells us these are “selec­tions from the last 6 years of her life,” and also include “read­ings for the BBC before she wrote her con­tro­ver­sial nov­el, The Bell Jar.”

Before Caed­mon col­lect­ed these less­er-known poems record­ed read­ings of “Dad­dy” and “Lady Lazarus” had already been released on the com­pi­la­tion record The Poet Speaks in 1965. Lis­ten­ing to Plath read these poems may prompt you to pull out your own edi­tions to read them for your­self, whether again or for the first time. To see a full list­ing of the poems Plath reads above, scroll to the bot­tom of this bib­li­og­ra­phy page on sylviaplath.info.

Find more great poet­ry read­ings in our audio col­lec­tion — 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

Hear Sylvia Plath Read Fif­teen Poems From Her Final Col­lec­tion, Ariel, in 1962 Record­ing

For Sylvia Plath’s 81st Birth­day, Hear Her Read ‘A Birth­day Present’

Sylvia Plath Reads “Dad­dy”

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


  • Great Lectures

  • Sign up for Newsletter

  • About Us

    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


    Advertise With Us

  • Archives

  • Search

  • Quantcast