Peter Sellers Reads The Beatles’ “She Loves You” in 4 Different Accents: Dr. Strangelove, Cockney, Irish & Upper Crust

Back in the late 1950s, George Mar­tin record­ed two albums with the late, great Peter Sell­ers. When Mar­tin start­ed work­ing with the Bea­t­les a few years lat­er, he put the actor in touch with the musi­cians, and they became fast friends. This rela­tion­ship paved the way for some good com­e­dy. As you might recall, Sell­ers made a cameo appear­ance on “The Music of Lennon and McCart­ney” in 1964, and read A Hard Day’s Night in a way that com­i­cal­ly recalls Lau­rence Olivier’s 1955 per­for­mance in Richard III. (Watch the spoof here.) And then, also dur­ing the mid 60s, Sell­ers record­ed a com­ic read­ing of She Loves You — once in the voice of Dr. Strangelove (above), again with cock­ney and upper-crusty accents (both right below), and final­ly with an Irish twist (the last item). The record­ings were all released posthu­mous­ly between 1981 and 1983 on albums no longer in cir­cu­la­tion.

Cock­ney

Upper Crust

Irish

 

Relat­ed Con­tent:

Here Comes The Sun: The Lost Gui­tar Solo by George Har­ri­son

Gui­tarist Randy Bach­man Demys­ti­fies the Open­ing Chord of ‘A Hard Day’s Night’

The Bea­t­les’ Rooftop Con­cert: The Last Gig

 

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The Story Behind Rodin’s ‘The Kiss’

NOTE: If you are hav­ing prob­lems view­ing the video on our site, you can also watch it here.

With Valen­tine’s Day almost here, we thought it would be an oppor­tune time to bring you the sto­ry of Auguste Rod­in’s erot­i­cal­ly charged mas­ter­piece, The Kiss.

In this video from the Tate muse­ums, Jane Bur­ton explains how The Kiss was orig­i­nal­ly con­ceived as a detail in an ear­ly ver­sion of Rod­in’s The Gates of Hell, a mon­u­men­tal work that pre­oc­cu­pied the artist for the last 37 years of his life. The Kiss depicts the fate­ful embrace of Francesca and Pao­lo, adul­ter­ous lovers from Dan­te’s Infer­no.

Rodin devel­oped the theme of The Kiss in plas­ter and ter­ra­cot­ta before cre­at­ing a mar­ble ver­sion for the French gov­ern­ment in 1888. That piece is now on dis­play at the Musée Rodin in Paris. The ver­sion fea­tured in the video was com­mis­sioned in 1900 by an Amer­i­can art col­lec­tor liv­ing in Eng­land, and is now part of the per­ma­nent col­lec­tion of the Tate Mod­ern in Lon­don. It’s cur­rent­ly on loan (through Sep­tem­ber 2) to the Turn­er Con­tem­po­rary in Mar­gate, Kent.

The nudi­ty and frank sen­su­al­i­ty of The Kiss drew scorn from many crit­ics when the sculp­ture was first unveiled in 1889. The poet Paul Claudel, a reli­gious con­ser­v­a­tive, wrote:

the man is so to speak attablé [sit­ting down to dine] at the woman. He is sit­ting down in order to make the most of his oppor­tu­ni­ty. He uses both his hands, and she does her best, as the Amer­i­cans say, to “deliv­er the goods.”

Claudel’s con­tempt prob­a­bly had some­thing to do with the fact that his sis­ter, the sculp­tor Camille Claudel, was Rod­in’s lover at the time the work was com­plet­ed. For a more in-depth explo­ration of the fas­ci­nat­ing sto­ry behind The Kiss, be sure to watch the BBC series, Pri­vate Life of a Mas­ter­piece. The episode fea­tur­ing The Kiss can be seen online in four 12-minute seg­ments here.

Frankenstein: The First Adaptation of Mary Shelley’s Novel to Film (1910)

102 years ago, J. Sear­le Daw­ley wrote and direct­ed Franken­stein. It took him three days to shoot the short, 12-minute film (when most films were actu­al­ly shot in just one day). It marked the first time that Mary Shel­ley’s lit­er­ary cre­ation was adapt­ed to film. And, some­what notably, Thomas Edi­son had a hand (albeit it an indi­rect one) in mak­ing the film. The first Franken­stein was shot at Edi­son Stu­dios, the pro­duc­tion com­pa­ny owned by the famous inven­tor.

You can down­load the movie at the Inter­net Archive, or find it per­ma­nent­ly list­ed in our col­lec­tion of 725 Free Movies Online. (Also, you can find Mary Shel­ley’s clas­sic nov­el  in our col­lec­tion of Free Audio Books and Free eBooks.) To get more infor­ma­tion on Daw­ley’s short film, please vis­it The Franken­stein blog.

Relat­ed Con­tent:

The Birth of Film: 11 Firsts in Cin­e­ma

The Internet Imagined in 1969

The gen­der stereo­types might be back­ward-look­ing (we’ll make up for it lat­er in the day), but the tech­no­log­i­cal vision is on the mark, right down to email, e‑commerce and online bank­ing. Of course, these weren’t the only peo­ple imag­in­ing an elec­tron­ic, con­nect­ed world dur­ing the 1960s.

In 1964, the futur­ist Arthur C. Clarke peered into the future and saw our con­nect­ed­ness com­ing. By 2000, he pre­dict­ed, “We could be in instant con­tact with each oth­er, wher­ev­er we may be,” and “it will be pos­si­ble in that age … for a man to con­duct his busi­ness from Tahi­ti or Bali just as well as he could from Lon­don.”

And then Mar­shall McLuhan under­stood the trend too. He saw elec­tron­ic media turn­ing our world into a social one, a world where ser­vices like Face­book and Twit­ter would make com­plete sense. You can watch the pre­scient Mar­shall McLuhan right 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!

Relat­ed Con­tent:

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

The Inter­net Imag­ined in 1969

Mar­shall McLuhan: The World is a Glob­al Vil­lage

1930s Fash­ion Design­ers Imag­ine How Peo­ple Would Dress in the Year 2000

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Famous Literary Characters Visualized with Police Composite Sketch Software

In his 1955 clas­sic, Loli­ta, Vladimir Nabokov described the facial fea­tures of his scan­dalous pro­tag­o­nist, Hum­bert Hum­bert, in small bits. When tak­en togeth­er, here’s what you get:

Gloomy good looks… Clean-cut jaw, mus­cu­lar hand, deep sonorous voice… broad shoul­ders … I was, and still am, despite mes mal­heurs, an excep­tion­al­ly hand­some male; slow-mov­ing, tall, with soft dark hair and a gloomy but all the more seduc­tive cast of demeanor. Excep­tion­al viril­i­ty often reflects in the subject’s dis­playable fea­tures a sullen and con­gest­ed some­thing that per­tains to what he has to con­ceal. And this was my case… But instead I am lanky, big-boned, wooly-chest­ed Hum­bert Hum­bert, with thick black eye­brows… A cesspool­ful of rot­ting mon­sters behind his slow boy­ish smile… aging ape eyes… Humbert’s face might twitch with neu­ral­gia.

In a rather bril­liant move, Bri­an Joseph Davis has run these descrip­tions through law enforce­ment com­pos­ite sketch soft­ware and brought Hum­bert Hum­bert almost to life. (See above.) And he has done the same for a cast of oth­er lit­er­ary char­ac­ters on his Tum­blr, called The Com­pos­ites. Oth­er char­ac­ters get­ting the perp treat­ment include Emma Bovary (Gus­tave Flaubert’s Madame Bovary), Edward Rochester (Char­lotte Bron­të’s Jane Eyre), and Kei­th Tal­ent (Mar­tin Amis’ Lon­don Fields), among oth­ers. Find them all here. h/t Metafil­ter

Relat­ed Con­tent:

Vladimir Nabokov on Loli­ta: Just Anoth­er Great Love Sto­ry?

Vladimir Nabokov Mar­vels Over Dif­fer­ent “Loli­ta” Book Cov­ers

Nabokov Reads Loli­ta, Names the Great Books of the 20th Cen­tu­ry

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Watch Breaking the Code, About the Life & Times of Alan Turing (1996)

Updat­ed on Decem­ber 24, 2013: Yes­ter­day the British gov­ern­ment brought a sad chap­ter to a close when it final­ly issued a posthu­mous par­don to Alan Tur­ing, who was con­vict­ed in 1952 of break­ing laws that crim­i­nal­ized homo­sex­u­al­i­ty. The post you see below was orig­i­nal­ly writ­ten in Feb­ru­ary, 2012, when the ques­tion of Tur­ing being par­doned was still up for debate. The film fea­tured above is still very much worth your while.

This week the British gov­ern­ment final­ly par­doned Alan Tur­ing. One of the great­est math­e­mati­cians of the 20th cen­tu­ry, Tur­ing laid the foun­da­tions for com­put­er sci­ence and played a key role in break­ing the Nazi Enig­ma code dur­ing World War II. In 1952 he was con­vict­ed of homo­sex­u­al­i­ty. He killed him­self two years lat­er, after being chem­i­cal­ly cas­trat­ed by the gov­ern­ment.

On Mon­day, Jus­tice Min­is­ter Tom McNal­ly told the House of Lords that the gov­ern­ment of Prime Min­is­ter David Cameron stood by the deci­sion of ear­li­er gov­ern­ments to deny a par­don, not­ing that the pre­vi­ous prime min­is­ter, Gor­don Brown, had already issued an “unequiv­o­cal posthu­mous apol­o­gy” to Tur­ing. McNal­ly was quot­ed  in the Guardian:

A posthu­mous par­don was not con­sid­ered appro­pri­ate as Alan Tur­ing was prop­er­ly con­vict­ed of what at the time was a crim­i­nal offense. He would have known that his offense was against the law and that he would be pros­e­cut­ed. It is trag­ic that Alan Tur­ing was con­vict­ed of an offense which now seems both cru­el and absurd–particularly poignant giv­en his out­stand­ing con­tri­bu­tion to the war effort. How­ev­er, the law at the time required a pros­e­cu­tion and, as such, long-stand­ing pol­i­cy has been to accept that such con­vic­tions took place and, rather than try­ing to alter the his­tor­i­cal con­text and to put right what can­not be put right, ensure instead that we nev­er again return to those times.

The deci­sion came as a dis­ap­point­ment to thou­sands of peo­ple around the world who had peti­tioned for a for­mal par­don dur­ing the cen­te­nary year of Tur­ing’s birth. The Guardian also quot­ed an email sent by Amer­i­can math­e­mati­cian Den­nis Hejhal to a British col­league:

i see that the House of Lords reject­ed the par­don Feb 6 on what are for­mal grounds.

if law is X on date D, and you know­ing­ly break law X on date D, then you can­not be par­doned (no mat­ter how wrong or flawed law X is).

the real rea­son is OBVIOUS. they do not want thou­sands of old men say­ing par­don us too.

Efforts to obtain a par­don for Tur­ing are con­tin­u­ing. British cit­i­zens and UK res­i­dents can still sign the peti­tion.

To learn more about Tur­ing’s life, you can watch the 1996 BBC film Break­ing the Code (above, in its entire­ty), fea­tur­ing Derek Jaco­bi as Tur­ing and Nobel Prize-win­ning play­wright Harold Pin­ter as the mys­te­ri­ous “Man from the Min­istry.” Direct­ed by Her­bert Wise, the film is based on a 1986 play by Hugh White­more, which in turn was based on Andrew Hodge’s 1983 book Alan Tur­ing: The Enig­ma.

Break­ing the Code moves back and forth between two time frames and two very dif­fer­ent codes: one mil­i­tary, the oth­er social. The film runs 91 min­utes, and has been added to our col­lec­tion of Free Movies Online.

 

14 Years of US Weather in 33 Minutes, Set to Beethoven

There’s con­den­sa­tion in the air. You can feel it.

This video packs 14 years of Unit­ed States weath­er (1997 — 2011) into 33 min­utes, pre­sent­ing a total of 120,900 indi­vid­ual frames, each spaced one hour apart. And they’re all set to Beethoven’s Piano Con­cer­to No. 5 in E flat Major. If you want to get right to the dra­ma, we rec­om­mend jump­ing to the cli­mac­tic 27th minute. H/T Devour.

Relat­ed Con­tent:

Glob­al Warm­ing: A Free Course from UChica­go Explains Cli­mate Change

Chilean Earth­quake Waves Shown in Ani­ma­tion

NASA Cap­tures Giant Solar Storm

The Far Side of Moon: A Rare Glimpse from NASA

Here’s some­thing you don’t see every night: the far side of the Moon, pho­tographed by one of NASA’s Grav­i­ty Recov­ery and Inte­ri­or Lab­o­ra­to­ry (GRAIL) space­craft.

The Moon is “tidal­ly locked” in its orbit around the Earth, mean­ing its rota­tion­al and orbital peri­ods are exact­ly syn­chro­nized. As a result, we always see the same view of the Moon no mat­ter when or where (on Earth) we look at it. In this inter­est­ing video, released last week by NASA, we get a rare glimpse of the Moon’s oth­er side, start­ing with the north pole and mov­ing toward the heav­i­ly cratered south.

The video was cap­tured on Jan­u­ary 19 by the “MoonKAM” aboard one of a pair of GRAIL space­craft that were launched last Fall and began orbit­ing the Moon on New Year’s Eve and New Year’s Day. The pri­ma­ry mis­sion of GRAIL is to study the Moon’s inte­ri­or struc­ture and to learn more about its ther­mal evo­lu­tion.

GRAIL is also the first plan­e­tary mis­sion by NASA to car­ry instru­ments ded­i­cat­ed sole­ly to edu­ca­tion and pub­lic out­reach. The “KAM” in “MoonKAM” stands for Knowl­edge Acquired by Mid­dle school stu­dents. The pro­gram, led by for­mer astro­naut Sal­ly Ride, will engage fifth- to eighth-graders from across the coun­try in select­ing tar­get areas on the lunar sur­face to pho­to­graph and study. Edu­ca­tors inter­est­ed in par­tic­i­pat­ing can reg­is­ter at the MoonKAM web­site. To learn more about the video and GRAIL, see the NASA news release.

Disneyland 1957: A Little Stroll Down Memory Lane

It’s more than a theme park. It’s an icon­ic Amer­i­can insti­tu­tion, a sym­bol of an imag­ined Gold­en Age in Amer­i­can his­to­ry, and a site of many good child­hood mem­o­ries. We’re talk­ing about Dis­ney­land. Con­struc­tion began in July 1954 in rur­al Ana­heim, Cal­i­for­nia, and the park opened but a year lat­er in July 1955. And, thanks to this new­ly-cleaned up piece of footage, you can see Walt’s “mag­i­cal park” just a short two years lat­er. The babies in the strollers are like­ly grand­par­ents today. But the park still looks much the same. Dis­ney His­to­ry Insti­tute offers more com­men­tary on the clip 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!

Relat­ed Con­tent:

Walt Dis­ney Presents the Super Car­toon Cam­era

How Walt Dis­ney Car­toons Are Made

Disney’s Oscar-Win­ning Adven­tures in Music

Don­ald Duck Wants You to Pay Your Tax­es (1943)

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Werner Herzog Has a Beef With Chickens

It’s part of the beau­ty of Wern­er Her­zog. His films engross us, and the direc­tor pro­vides the enter­tain­ment on the side. You have seen him take a bul­let dur­ing an inter­view in LA. You’ve heard him read “Go the F**k to Sleep” in New York City. And, of course, you’ve watched him eat his shoe (lit­er­al­ly!) after loos­ing a bet to fel­low film­mak­er Errol Mor­ris. Well, today we give you the lat­est, great­est Her­zog moment — his 40 sec­ond dis­course on why he has a beef with chick­ens. h/t Coudal.com

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Neil Young on the Travesty of MP3s

Neil Young made head­lines last week when he appeared at the Wall Street Jour­nal’s “D: Dive Into Media” con­fer­ence and voiced his dis­ap­proval of the way music is being heard these days. “We live in a dig­i­tal age,” Young said, “and unfor­tu­nate­ly it’s degrad­ing our music, not improv­ing it.”

Young is deeply dis­sat­is­fied with the sound qual­i­ty of com­pressed MP3 dig­i­tal files, which he said car­ry only five per­cent of the data from the orig­i­nal vinyl or mas­ter record­ings. “It’s not that dig­i­tal is bad or infe­ri­or,” he told the Jour­nal’s Walt Moss­berg and Peter Kaf­ka. “It’s that the way it’s being used is not suf­fi­cient to trans­fer the depth of the art.”

The full 32-minute inter­view is now avail­able online, and can be seen above. Through­out the dis­cus­sion, Young’s com­mit­ment to his cause is clear. “My goal,” he said, “is to try and res­cue the art form that I’ve been prac­tic­ing for the past 50 years.”


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