Bob Dylan’s Controversial 2004 Victoria’s Secret Ad: His First & Last Appearance in a Commercial

Bob Dylan’s been piss­ing off his fans since he went elec­tric at the New­port Folk Fes­ti­val in 1965, leav­ing scores of bit­ter folkies with feel­ings of betray­al. But he’s also tak­en many a prin­ci­pled stand, walk­ing off The Ed Sul­li­van Show ear­ly in his career in 1963, for exam­ple, when he learned that CBS want­ed to cen­sor his “Talkin’ John Birch Para­noid Blues” for being poten­tial­ly libelous to the far-right group. Then there are those episodes that have sim­ply baf­fled his admir­ers, like his release of the almost uni­ver­sal­ly panned Self Por­trait and his con­ver­sion to evan­gel­i­cal Chris­tian­i­ty. What­ev­er pos­sessed him to appear in the 2004 Victoria’s Secret ad above, how­ev­er, is anyone’s guess. While it may not have the same geopo­lit­i­cal juice as his con­tro­ver­sial appear­ance in Chi­na in 2011, aside from the gen­er­al weird­ness of once coun­ter­cul­tur­al fig­ures sell­ing prod­ucts, it’s a move that espe­cial­ly trou­bled fans of Dylan, to say the least.

There were, of course, cries of “sell out.” Then there’s the trou­bling sta­tus of Victoria’s Secret, a com­pa­ny that has accu­mu­lat­ed no small share of con­tro­ver­sy since the ad aired, and which at the time was not espe­cial­ly known as a social­ly respon­si­ble enti­ty.

Though Dylan had already licensed the song “Love Sick” from 1997’s Time Out of Mind to the com­pa­ny (and in 2000 licensed “For­ev­er Young” to Apple), this is the first and only time he’s appeared on screen in a com­mer­cial, with the excep­tion of a 2010 Google ad that recy­cled clips from the ’65 “Sub­ter­ranean Home­sick Blues” film.

While ad agen­cies may have replaced A&R for hun­gry young indie bands, the phe­nom­e­non of wealthy, aging rock stars shilling for major cor­po­ra­tions seems to defy rea­son. Most peo­ple assume it’s always a cash grab. Dylan him­self joked in 1965 that the only thing he’d sell out for would be “ladies under­gar­ments.” In a per­haps unfor­tu­nate­ly titled arti­cle for Slate, Seth Steven­son sug­gest­ed that Dylan and those of his gen­er­a­tion took the cor­po­rate bait in attempts to remain rel­e­vant and “remind the world that they still exist.” In the case of the Victoria’s Secret ad (see a “behind the scenes” video here), this is a lit­tle hard to swal­low. Not even the bale­ful­ly timed release of his Love and Theft in Sep­tem­ber of 2001 could over­shad­ow the enor­mous suc­cess of that album, which, All­mu­sic writes, “stands proud­ly among his very best.” 2006’s plat­inum-sell­ing Mod­ern Times was not far behind. Unlike his online response to the Chi­na con­tro­ver­sy, Dylan him­self revealed noth­ing of his inten­tions, leav­ing fans with the unset­tling image of one of the 20th century’s most icon­o­clas­tic artists (and one nev­er espe­cial­ly known for his sex appeal) hawk­ing lin­gerie on nation­al tele­vi­sion.

Relat­ed Con­tent:

David Bowie Appears in the “Director’s Cut” of a New Louis Vuit­ton Ad, Nods to Labyrinth

Ker­ouac Wore Khakis: Ghost of the Beat Writer Stars in 1993 Gap Adver­tis­ing Cam­paign

Nev­er Mind the Bol­locks, Here’s … John Lydon in a But­ter Com­mer­cial?

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

 

Stephen Fry Explains Cloud Computing in a Short Animated Video

Just the oth­er day, I did the unthink­able: I actu­al­ly watched a pre-video adver­tise­ment. The spot, for a major bank, spent its first few min­utes explain­ing the mechan­ics of cred­it rat­ing. Promis­ing use­ful knowl­edge, this bank received my atten­tion in return — for about two thirds of the com­mer­cial, any­way. The video above, com­mis­sioned by a com­pa­ny called Data­bar­racks, does much the same by offer­ing an expla­na­tion of “cloud com­put­ing,” a con­cept you’ve sure­ly heard much thrown around over the past sev­er­al years. Sweet­en­ing the deal, it uses for its visu­als a drawn-as-you-watch style of edu­ca­tion­al ani­ma­tion you may have encoun­tered here before, and it employs as its nar­ra­tor writer, come­di­an, and man-about-inter­net Stephen Fry, from whom I’ve always enjoyed a good expla­na­tion. “Today,” he begins, “we are in the mid­dle of a rev­o­lu­tion in busi­ness com­put­ing.”

In ser­vice of this the­sis, he then goes back to 2700 BC, when the Sume­ri­ans invent­ed the aba­cus, con­tin­u­ing on through Leonar­do da Vin­ci’s plans for a mechan­i­cal cal­cu­la­tor, Charles Bab­bage’s dif­fer­ence engine, Alan Tur­ing and Tom­my Flow­ers’ for­ward-look­ing sep­a­ra­tion of hard­ware from soft­ware, and Tim Bern­ers-Lee’s real­iza­tion that com­put­ers could oper­ate on some­thing like a neur­al net­work — some­thing like this very World Wide Web. We then see and hear an anal­o­gy made between com­put­ing and elec­tric­i­ty. Where once firms want­i­ng to use elec­tric­i­ty had to build and main­tain their own bur­den­some pow­er plants, now they have elec­tric­i­ty as a util­i­ty, pay­ing only for what they need at the time. And while firms have main­ly, up to this point, pur­chased and oper­at­ed their own stores of com­put­ing pow­er, doing it cloud-style will free them all to pay for that, too, as a util­i­ty. A bold pitch, per­haps, but every­thing sounds rea­son­able — inevitable, even — com­ing from Stephen Fry.

Relat­ed Con­tent:

Stephen Fry Hosts “The Sci­ence of Opera,” a Dis­cus­sion of How Music Moves Us Phys­i­cal­ly to Tears

Stephen Fry: What I Wish I Knew When I Was 18

Stephen Fry Intro­duces the Strange New World of Nanoscience

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

Stephen Colbert & Louis CK Recite The Gettysburg Address, With Some Help from Jerry Seinfeld

On a Thurs­day after­noon in Novem­ber of 1863, Edward Everett took to the stage in Get­tys­burg, Penn­syl­va­nia, to deliv­er the main address at the Con­se­cra­tion Cer­e­mo­ny of the Nation­al Ceme­tery. Everett was a politi­cian who had served as both a clas­sics pro­fes­sor and pres­i­dent of Har­vard Uni­ver­si­ty, and was also a renowned ora­tor. His address to the 15,000-strong crowd began on the fol­low­ing grandil­o­quent note, which Everett pro­ceed­ed to hold for two hours:

“Stand­ing beneath this serene sky, over­look­ing these broad fields now repos­ing from the labors of the wan­ing year, the mighty Alleghe­nies dim­ly tow­er­ing before us, the graves of our brethren beneath our feet, it is with hes­i­ta­tion that I raise my poor voice to break the elo­quent silence of God and Nature. But the duty to which you have called me must be per­formed; grant me, I pray you, your indul­gence and your sym­pa­thy.”

Despite this wave of lofty sen­ti­ment, Everett’s speech was over­shad­owed by the 278-word for­mu­la­tion that would for­ev­er com­mem­o­rate that day, deliv­ered by Abra­ham Lin­coln.

Unlike Everett’s remarks, Lincoln’s Get­tys­burg address (whose five ver­sions can be found here) has shown lit­tle wear since its deliv­ery on Novem­ber 19, exact­ly 150 years ago. While there is some evi­dence to sug­gest that the audi­ence was ini­tial­ly non­plussed by the speech’s sim­ple lan­guage and strik­ing brevi­ty, today Lincoln’s words are con­sid­ered to be among the most fine­ly wrought rhetoric in the West­ern canon: they remain acces­si­ble to all, yet seam­less­ly entwine the thread of equal­i­ty that ran so clear­ly through the Dec­la­ra­tion of Inde­pen­dence with the idea of the war being essen­tial to the preser­va­tion of the Union. One can­not help but sus­pect that hon­est Abe failed to grasp the impact that his pithy ora­tion would have; Everett’s sub­se­quent com­ments to the Pres­i­dent, how­ev­er, pre­fig­ured the speech’s his­tor­i­cal arc:

“I should be glad if I could flat­ter myself that I came as near to the cen­tral idea of the occa­sion, in two hours, as you did in two min­utes.”

In hon­or of the 150th anniver­sary of Lincoln’s deliv­ery of the Get­tys­burg address, doc­u­men­tar­i­an Ken Burns has embarked on a project called Learn The Address in an attempt to get Amer­i­cans to record their recita­tions of the speech. In the mashup below, Burns pro­vides footage of politi­cians, enter­tain­ers, and jour­nal­ists giv­ing their ren­di­tions. We’ve also includ­ed some of our favorites, includ­ing Stephen Colbert’s high­ly com­i­cal mono­logue (top) and Jer­ry Sein­feld explain­ing the sig­nif­i­cance of the address to Louis CK, right above.

For more ver­sions of Lin­col­n’s Get­tys­burg address, includ­ing those by Pres­i­dent Oba­ma, Conan O’Brien, and Bill O’Reil­ly, head to Ken Burn’s Learn The Address site.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Slavoj Žižek & Pussy Riot’s Nadezhda Tolokonnikova Exchange An Extraordinary Series of Letters

Nadezhda Tolokonnikova of Pussy Riot writing to Slavoj Žižek

Miss­ing for almost a month, impris­oned Pussy Riot mem­ber Nadezh­da Tolokon­niko­va has been report­ed by her hus­band as recov­er­ing in a Siber­ian hos­pi­tal from issues relat­ed to her hunger strike. As The Guardian reports, Tolokon­niko­va didn’t only resist by refus­ing to eat, she also kept up a live­ly cor­re­spon­dence with Sloven­ian the­o­rist Slavoj Žižek while endur­ing report­ed abuse at the penal colony in Mor­dovia where she had been sen­tenced. It seems from the edit­ed cor­re­spon­dence pub­lished by The Guardian that Žižek began the con­ver­sa­tion in ear­ly Jan­u­ary. “All hearts were beat­ing for you” he writes, until “it became clear that you reject­ed glob­al cap­i­tal­ism.” In a lat­er, April 16 reply, Tolokon­niko­va explains exact­ly what Pussy Riot rejects:

As a child I want­ed to go into adver­tis­ing. I had a love affair with the adver­tis­ing indus­try. And this is why I am in a posi­tion to judge its mer­its. The anti-hier­ar­chi­cal struc­tures and rhi­zomes of late cap­i­tal­ism are its suc­cess­ful ad cam­paign. Mod­ern cap­i­tal­ism has to man­i­fest itself as flex­i­ble and even eccen­tric. Every­thing is geared towards grip­ping the emo­tion of the con­sumer. Mod­ern cap­i­tal­ism seeks to assure us that it oper­ates accord­ing to the prin­ci­ples of free cre­ativ­i­ty, end­less devel­op­ment and diver­si­ty. It gloss­es over its oth­er side in order to hide the real­i­ty that mil­lions of peo­ple are enslaved by an all-pow­er­ful and fan­tas­ti­cal­ly sta­ble norm of pro­duc­tion. We want to reveal this lie.

Read the full pub­lished exchange at The Guardian’s site.

Relat­ed Con­tent:

Fear of a Female Plan­et: Kim Gor­don (Son­ic Youth) on Why Rus­sia and the US Need a Pussy Riot

Russ­ian Punk Band, Sen­tenced to Two Years in Prison for Derid­ing Putin, Releas­es New Sin­gle

Slavoj Žižek Demys­ti­fies the Gang­nam Style Phe­nom­e­non

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

The Big Aha, the Latest Novel by Cyberpunk Writer Rudy Rucker, is Now Out and Free Online

the big aha coverA quick note: Rudy Ruck­er, one of the founders of the cyber­punk move­ment, put him­self on the lit­er­ary map with the Prize-Win­ning Ware Tetral­o­gy. In the spir­it of open­ness, Ruck­er has long made the Tetral­o­gy freely avail­able online. Now comes his lat­est work, The Big Aha, which you can read online in an illus­trat­ed for­mat at right this very moment. Released just days ago, the nov­el (also avail­able in ebook and paper­back for­mats) was fund­ed by 331 back­ers through a Kick­starter cam­paign launched ear­li­er this year. For more free sci-fi, please see our rich 2012 post: Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond.

via Boing­Bo­ing

Relat­ed Con­tent:

Revis­it Futuria Fan­ta­sia: The Sci­ence Fic­tion Fanzine Ray Brad­bury Pub­lished as a Teenag­er

Isaac Asi­mov Recalls the Gold­en Age of Sci­ence Fic­tion (1937–1950)

Free Philip K. Dick: Down­load 13 Great Sci­ence Fic­tion Sto­ries

500 Free eBooks: Down­load to Kin­dle, iPad/iPhone & Nook

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How Benoit Mandelbrot Discovered Fractals: A Short Film by Errol Morris

Even if you know lit­tle of math­e­mat­ics, you prob­a­bly have some aware­ness of frac­tals. You’ve almost cer­tain­ly heard them invoked, cor­rect­ly or oth­er­wise, to describe things that look or act the same at the large scale as they do at the small. You may even know the name Benoit Man­del­brot, the much-lau­reled Pol­ish-French-Amer­i­can “father of frac­tal geom­e­try.” Hard sci­ence-fic­tion titan Arthur C. Clarke called his epony­mous set of math­e­mat­i­cal points “one of the most aston­ish­ing dis­cov­er­ies in the entire his­to­ry of math­e­mat­ics.”

Nas­sim Nicholas Taleb, the famous­ly dis­crim­i­nat­ing author of The Black Swancalled him “the only per­son for whom I have had intel­lec­tu­al respect.” Even for­mer French pres­i­dent Nico­las Sarkozy gave Man­del­brot his props, cred­it­ing his dis­cov­er­ies of the geo­met­ri­cal reg­u­lar­i­ties of “rough” things, from coast­lines to stock-mar­ket fluc­tu­a­tions, as antecedent to mod­ern infor­ma­tion the­o­ry. He also acknowl­edged Man­del­brot’s hav­ing car­ried on his work “entire­ly out­side main­stream research,” and the math­e­mati­cian’s rep­u­ta­tion as an unusu­al­ly insight­ful intel­lec­tu­al mav­er­ick sur­vives him.

Who bet­ter to reveal the mind of an intel­lec­tu­al mav­er­ick, insight­ful or oth­er­wise, than Errol Mor­ris, the doc­u­men­tar­i­an behind such head-on inter­view-dri­ven fea­ture films as A Brief His­to­ry of Time, about astro­physi­cist Stephen Hawk­ing; Mr. Death, about elec­tric-chair design­er and Holo­caust-denial mav­er­ick Fred A. Leuchter Jr.; and The Fog of War, about for­mer Defense Sec­re­tary and Viet­nam War engi­neer Robert S. McNa­ma­ra? His five-minute pro­file of Man­del­brot comes cour­tesy of IBM, where the father of frac­tals worked for 35 years — and whose then-cut­ting-edge com­put­ers he used to father those frac­tals in the first place. “A for­mu­la can be very sim­ple,” he says, sum­ming up one impact of the Man­del­brot set in this inter­view shot 19 days before his death in 2010, “and cre­ate a uni­verse of bot­tom­less com­plex­i­ty.” To find out more about just how that hap­pens, vis­it to IBM’s page on Man­del­brot and frac­tal geom­e­try as well as their ongo­ing frac­tal-themed Tum­blr.

Relat­ed Con­tent:

Arthur C. Clarke Nar­rates Film on Mandelbrot’s Frac­tals; David Gilmour Pro­vides the Sound­track

Watch A Brief His­to­ry of Time, Errol Mor­ris’ Film About the Life & Work of Stephen Hawk­ing

“They Were There” — Errol Mor­ris Final­ly Directs a Film for IBM

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

Hear Ezra Pound Read From His “Cantos,” Some of the Great Poetic Works of the 20th Century

No stu­dent of mod­ernism, no lover of mod­ern poet­ry, can avoid Ezra Pound, or the prob­lem that is Ezra Pound. Although a noto­ri­ous and enthu­si­as­tic boost­er of Mussolini’s Ital­ian state dur­ing the Sec­ond World War, Pound’s influ­ence over the shape and char­ac­ter of Amer­i­can lit­er­a­ture in the ear­ly 20th cen­tu­ry always seems to trump his regret­table, if not par­tic­u­lar­ly sur­pris­ing, pol­i­tics. T.S. Eliot, James Joyce, H.D.—all are deeply indebt­ed to Pound. His attempts to bridge East­ern and West­ern aes­thet­ics are pro­found, and his own poet­ry, informed by his devo­tion to Chi­nese poet­ics and immer­sion in the Euro­pean canon, com­pris­es an often bril­liant, gen­er­al­ly intim­i­dat­ing body of work.

Over the course of five decades, dur­ing each of Pounds’ var­i­ous phases—as lit­er­ary impre­sario, lan­guage schol­ar, edi­tor, and deeply con­tro­ver­sial weirdo—he was hard at work on what became known as The Can­tos, a long, loose­ly con­nect­ed series of poet­ic chap­ters in Eng­lish, Chi­nese, Ital­ian that were pub­lished at var­i­ous times in var­i­ous forms. Pound’s tra­vails as the author of this long and exceed­ing­ly dif­fi­cult series may be the reward of a fool and his fol­ly (as his col­leagues thought) or the rocky, lone­ly path of genius, unap­pre­ci­at­ed in its time. I’m not sure I would rec­om­mend him as the lat­ter, but I’ve often found not only his pol­i­tics, but also his delib­er­ate obscu­ri­ty a stum­bling block. And yet, there may be no sub­sti­tute for hear­ing poet­ry read aloud, some­times best by its author, who knows every nuance. At the top, hear Pound read “Can­to I,” built of clas­si­cal mod­els on Anglo-Sax­on scaf­fold­ing. Direct­ly above, Pound reads from a chap­ter pub­lished almost ten years lat­er. His voice is more ragged and qua­ver­ing, and he rails against usury, a theme close to his often anti-Semit­ic eco­nom­ic the­o­ries. You can hear dozens more record­ings of Pound, made from 1939 to the year of his death, 1972, at the Penn Sound archive. And also over at UBUweb.

You can find more read­ings of clas­sic poems in the Poet­ry sec­tion of our Free Audio Books col­lec­tion. Oth­er works by Pound can be found in our col­lec­tion of Free eBooks.

Relat­ed Con­tent: 

Ernest Hem­ing­way Writes of His Fas­cist Friend Ezra Pound: “He Deserves Pun­ish­ment and Dis­grace” (1943)

Ezra Pound’s Fiery 1939 Read­ing of His Ear­ly Poem, ‘Ses­ti­na: Altaforte’

Pier Pao­lo Pasoli­ni Talks and Reads Poet­ry with Ezra Pound (1967)

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

Watch Houdini Escape From a Strait Jacket, Then See How He Did It (Circa 1917)

Claus­tro­phobes, take cau­tion, and for pity’s sake, don’t try this at home!

Should such warn­ings leave you unde­terred, PBS has step-by-step instruc­tions for per­form­ing Hou­dini’s strait jack­et escape. Well, almost step-by-step. Derived from the mas­ter’s own 1909 Hand­cuff Secrets, the direc­tions are both vague and hor­ri­fy­ing in their speci­fici­ty, falling some­where between assem­bling an Ikea book­shelf and 127 Hours.

In need of more guid­ance? Have a look below at the how-to Hou­di­ni shared with Ladies Home Jour­nal in 1918. (He also gave advice to gen­teel, post-WWI female read­ers on how to escape rope bondage.)

houdini escape

For a more man­age­able trick, imag­ine your­self a face in the crowd, gaz­ing upward at the strug­gling magi­cian, with­out tex­ting, tweet­ing, or Insta­gram­ming. Sheer open-mouthed amaze­ment is a trick we see pre­cious lit­tle of these days.

Our best guess is that the video above was shot around 1917.

Relat­ed Con­tent:

Har­ry Houdini’s Great Rope Escape

Arthur Conan Doyle Dis­cuss­es Sher­lock Holmes and Psy­chics in a Rare Filmed Inter­view (1927)

Ayun Hal­l­i­day’s lat­est feat is direct­ing 16 home­schooled teens in Yeast Nation, the world’s first bio-his­tor­i­cal musi­cal. See it in New York City this week. Fol­low her @AyunHalliday

Christopher Hitchens, Who Mixed Drinking & Writing, Names the “Best Scotch in the History of the World”

In 2006, a pro­file of Christo­pher Hitchens in The New York­er not­ed how its sub­ject had the ten­den­cy to drink “like a Hem­ing­way char­ac­ter: con­tin­u­al­ly and to no appar­ent effect.” Although Ernest Hem­ing­way’s approach to alco­hol informed the habits of his lit­er­ary per­son­ages, it dif­fered sig­nif­i­cant­ly from that of the late jour­nal­ist. Hem­ing­way, counter to his image, stood firm­ly against mix­ing writ­ing and drink­ing, and when asked about com­bin­ing the two exclaimed:

“Jeezus Christ! Have you ever heard of any­one who drank while he worked? You’re think­ing of Faulkn­er. He does sometimes—and I can tell right in the mid­dle of a page when he’s had his first one. Besides, who in hell would mix more than one mar­ti­ni at a time, any­way?”

Where­as Hemingway’s approach to writ­ing and imbib­ing was often marked by a cau­tious and pro­fes­sion­al wall of sep­a­ra­tion, Hitchens had no such com­punc­tions. The con­trar­i­an will­ing­ly admit­ted to drink­ing a for­ti­fy­ing mix­ture of wine and spir­it through­out the day:

“I work at home, where there is indeed a bar-room, and can suit myself.… At about half past mid­day, a decent slug of Mr. Walk­er’s amber restora­tive, cut with Per­ri­er water (an ide­al deliv­ery sys­tem) and no ice. At lun­cheon, per­haps half a bot­tle of red wine: not always more but nev­er less. Then back to the desk, and ready to repeat the treat­ment at the evening meal. No “after din­ner drinks”—​most espe­cial­ly noth­ing sweet and nev­er, ever any brandy. “Night­caps” depend on how well the day went, but always the mix­ture as before. No mix­ing: no mess­ing around with a gin here and a vod­ka there.”

Despite this hale and hearty rou­tine, Hitchens claimed to be invig­o­rat­ed rather than impaired by his con­sump­tion:

“… on aver­age I pro­duce at least a thou­sand words of print­able copy every day, and some­times more. I have nev­er missed a dead­line. I give a class or a lec­ture or a sem­i­nar per­haps four times a month and have nev­er been late for an engage­ment or shown up the worse for wear. My boy­ish vis­age and my mel­liflu­ous tones are fair­ly reg­u­lar­ly to be seen and heard on TV and radio, and noth­ing will ampli­fy the slight­est slur more than the stu­dio micro­phone.”

As with fish­ing and amorous exploits, so with drinking—one should be skep­ti­cal of bold claims. Nev­er­the­less, Gray­don Carter, the long­stand­ing edi­tor of Van­i­ty Fair mag­a­zine, cor­rob­o­rat­ed the robust­ness of Hitchens’ con­sti­tu­tion in a fond and respect­ful obit­u­ary fol­low­ing the journalist’s death in 2011.

“He was a man of insa­tiable appetites—for cig­a­rettes, for scotch, for com­pa­ny, for great writ­ing, and, above all, for con­ver­sa­tion… Pre-lunch can­is­ters of scotch were fol­lowed by a cou­ple of glass­es of wine dur­ing the meal and a sim­i­lar quan­ti­ty of post-meal cognac. That was just his intake. After stum­bling back to the office, we set him up at a rick­ety table and with an old Olivet­ti, and in a sym­pho­ny of clack­ing he pro­duced a 1,000-word col­umn of near per­fec­tion in under half an hour.”

In the clip above, Hitchens makes his well-researched pro­nounce­ments on the world’s best Scotch whisky. Below, the for­mer Asylum.com pro­duc­er Antho­ny Layser sits down with Hitchens for a drink fol­low­ing the release of his mem­oir, Hitch-22. Over Hitchens’ beloved spir­it, the duo dis­cuss­es every­thing from writ­ing, to Brazil­ian wax­es, to water­board­ing. The con­ver­sa­tion, last­ing some 14 min­utes, is part of an Asylum.com series titled Drinks with Writ­ers, which includes Layser’s inter­views with Gary Shteyn­gart, Simon Rich, and Nick Horn­by.

Relat­ed Con­tent:

Christo­pher Hitchens Revis­es the Ten Com­mand­ments

Christo­pher Hitchens Answers Red­dit User Ques­tions

Christo­pher Hitchens Cre­ates a Read­ing List for Eight-Year-Old Girl

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman.

Everything That’s Wrong With Back To The Future in 8 Minutes

There’s noth­ing real­ly wrong with Back to the Future. Crit­ics loved Robert Zemeck­is’ sci-fi com­e­dy when it first came out in 1985. (Roger Ebert likened it to a great Frank Capra film.) And it still delights old and new view­ers almost 30 years lat­er. But, like every film, Back to the Future has its minor flaws. The web site/YouTube chan­nel Cin­e­ma Sins is “ded­i­cat­ed to point­ing out all the sins [they] can find in movies, some big and some small. Some … down­right micro­scop­ic.” And that’s what you get here. A break­down of every lit­tle prob­lem and incon­sis­ten­cy in Zemeck­is’ film. For­tu­nate­ly, the folks behind Cin­e­ma Sins don’t take them­selves too seri­ous­ly. Nor do they con­sid­er them­selves beyond reproach. Heck, this sum­mer they pro­duced Every­thing Wrong With Cin­e­ma Sins In 3 Min­utes Or Less. You can watch it here.

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David Bowie Appears in the “Director’s Cut” of a New Louis Vuitton Ad, Nods to Labyrinth

Look­ing like a haute cou­ture treat­ment of “As the World Falls Down” from Labyrinth, by way of Peter Jackson’s Beau­ti­ful Crea­tures, the “Director’s Cut” of this Louis Vuit­ton ad above, titled “L’Invitation au Voy­age,” is pret­ty stun­ning. Bowie lip syncs “I’d Rather be High,” a stand out from his lat­est, The Next Day, and looks near­ly as mag­net­ic as his Gob­lin King did almost thir­ty years ago. He’s def­i­nite­ly still got it on screen, mak­ing me pine for anoth­er Bowie-led fea­ture-length fan­ta­sy (but not a Labyrinth remake).

The mak­ing-of reel above might also be of inter­est, although at under two min­utes, the tech­no mon­tage doesn’t offer much insight into the elab­o­rate design of the short. Of more inter­est for fans of fash­ion, design, and film may be this blog post (in Chi­nese), which fea­tures some gor­geous pro­duc­tion stills and sto­ry­boards, like the one below. The short’s direc­tor, Romain Gavras, pre­vi­ous­ly made the video for Kanye West and Jay Z’s “No Church in the Wild,” so he’s def­i­nite­ly got an eye for spec­ta­cle.

VuittonStoryB

Relat­ed Con­tent:

Watch David Bowie’s New Video for ‘The Stars (Are Out Tonight)’ With Til­da Swin­ton

David Bowie’s Fash­ion­able Mug Shot From His 1976 Mar­i­jua­na Bust

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

David Bowie Releas­es Vin­tage Videos of His Great­est Hits from the 1970s and 1980s

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


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