Hear Oscar Wilde Recite a Section of The Ballad of Reading Gaol (1897)

Even those of us who have nev­er read The Impor­tance of Being Earnest, The Pic­ture of Dori­an Gray, or any­thing else Oscar Wilde wrote can still recite a thing or two he said. “A lit­tle sin­cer­i­ty is a dan­ger­ous thing, and a great deal of it is absolute­ly fatal,” for exam­ple, or that jew­el of so many Face­book pro­files, “We are all in the gut­ter, but some of us are look­ing at the stars.” I per­son­al­ly pre­fer “I can resist every­thing except temp­ta­tion,” but none of these quite hold the pow­er of Wilde’s immor­tal (if seem­ing­ly uncon­firmed) dying line: “Either those drapes go or I do.” Now you can hear the poet, play­wright, one-time nov­el­ist, and ded­i­cat­ed racon­teur speak his own words in this record­ing of two vers­es from his 1897 poem The Bal­lad of Read­ing Gaol, embed­ded above.

Wilde got his mate­r­i­al for this work straight from the source: con­vict­ed in 1895 of “gross inde­cen­cy,” he did the fol­low­ing two years of “hard bed, hard fare, hard labour” at HM’s Prison, Read­ing. There he wit­nessed a Roy­al Horse Guard troop­er hang for cut­ting his wife’s throat. Sens­ing a theme of the human con­di­tion, Wilde would lat­er write: “Yet each man kills the thing he loves / By each let this be heard. / Some do it with a bit­ter look / Some with a flat­ter­ing word. / The cow­ard does it with a kiss / The brave man with a sword!” The ear­li­er vers­es you hear Wilde read — for what­ev­er def­i­n­i­tion of “hear” the lim­i­ta­tions of eigh­teenth-cen­tu­ry record­ing devices allowed — end in a sum­ma­tion of just what struck him so deeply about all this busi­ness: “The man had killed the thing he loved / And so he had to die.”

Find more works by Oscar Wilde in our col­lec­tions of Free Audio Books and Free eBooks.

Relat­ed con­tent:

“Jer­sey Shore” in the Style of Oscar Wilde

Oscar Wilde in His Own Words

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

India’s Answer to M.I.T. Presents 268 Free Online Courses (in English)

Dur­ing the 1940s, when India won its inde­pen­dence from Britain, the lead­ers of the new­ly-formed nation began imag­in­ing the Indi­an Insti­tutes of Tech­nol­o­gy, oth­er­wise known as the IITs. Much like MIT in the US, these schools would cul­ti­vate some of the world’s top sci­en­tists and engi­neers. And they’d make tech­nol­o­gy key to the future of Indi­a’s eco­nom­ic devel­op­ment.

Today, the IITs stand atop the Indi­an edu­ca­tion­al sys­tem and, like their peer insti­tu­tions in the US, they’re mak­ing a point of putting free cours­es on the web. Rather qui­et­ly, they’ve amassed some 268 cours­es, giv­ing any­one with an inter­net con­nec­tion access to 10,000+ video lec­tures. As you might expect, the course line­up skews heav­i­ly toward sci­ence and tech­nol­o­gy, the stuff that con­tributes to Indi­a’s indus­tri­al base — Intro­duc­tion to Basic Elec­tron­icsHigh Per­for­mance Com­put­er Archi­tec­tureSpace Flight Mechan­ics, Steel Mak­ing, and all of the rest. But they’ve also added a few con­tem­pla­tive cours­es to the mix, cours­es like Con­tem­po­rary Lit­er­a­tureQuan­tum Physics, the His­to­ry of Eco­nom­ic The­o­ry, and Game The­o­ry and Eco­nom­ics.

You can start rum­mag­ing through the com­plete list of IIT cours­es on YouTube here, or you can access them via this IIT web­site, which gives you the abil­i­ty to down­load videos straight to your com­put­er. Nat­u­ral­ly we’ve added many essen­tial IIT cours­es to our list of Free Online Cours­es from Great Uni­ver­si­ties — Har­vard, Yale, Stan­ford, MIT, UC Berke­ley, Oxford, the list goes on.

Relat­ed Con­tent:

Yale Intro­duces Anoth­er Sev­en Free Online Cours­es, Bring­ing Total to 42

Har­vard Presents Free Cours­es with the Open Learn­ing Ini­tia­tive

MIT Intro­duces Com­plete Cours­es to Open­Course­Ware Project

 

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The Final Descent of NASA’s Mars Rover Curiosity Captured in High Resolution

A few weeks back, we showed you the first grainy footage of NASA’s rover, Curios­i­ty, land­ing on the dusty sur­face of Mars. And we promised to fol­low up with high­er res footage when it became avail­able. Well, it’s now online and on dis­play above. Just to recap, the video shows the final descent of Curios­i­ty, from the point where it jet­ti­sons its heat shield to the moment when it touch­es down on the mar­t­ian sur­face. The video was stitched togeth­er with 666 images tak­en at a rate of four per sec­ond.

Relat­ed Con­tent:

Find Astron­o­my cours­es in our col­lec­tion of 500 Free Online Cours­es

Carl Sagan Presents Six Lec­tures on Earth, Mars & Our Solar Sys­tem … For Kids (1977)

Ray Brad­bury Reads Mov­ing Poem on the Eve of NASA’s 1971 Mars Mis­sion

Fol­low us on Face­bookTwit­ter and now Google Plus and share intel­li­gent media with your friends! They’ll thank you for it.

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Parking Garage Door Does Impression of Miles Davis’ Jazz Album, Bitches Brew

Clas­sic. And if you’re not famil­iar with the ref­er­ence — Miles Davis’ 1970 exper­i­men­tal jazz album, Bitch­es Brew — you can catch it on YouTube, or snag a copy online.

H/T Kot­tke

Relat­ed Con­tent:

A Child’s Intro­duc­tion to Jazz by Can­non­ball Adder­ley (with Louis Arm­strong & Thelo­nious Monk)

‘The Sound of Miles Davis’: Clas­sic 1959 Per­for­mance with John Coltrane

1959: The Year that Changed Jazz

The Uni­ver­sal Mind of Bill Evans: Advice on Learn­ing to Play Jazz & The Cre­ative Process

 

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Remembering The Clash’s Frontman Joe Strummer on His 60th Birthday

It’s hard to imag­ine him as an old man, but Joe Strum­mer would have turned 60 today. Strum­mer was the heart and soul of the leg­endary punk group The Clash, the rea­son many peo­ple called it “The only band that mat­ters.”

He was a man with a Bob Dylan-like instinct for self-inven­tion. Born John Gra­ham Mel­lor on August 21, 1952 in Ankara, Turkey (his father was in the British diplo­mat­ic ser­vice), he changed his name to Joe Strum­mer in the ear­ly 1970s while play­ing in a rhythm and blues band called the 101’ers. When the Sex Pis­tols opened for the 101’ers, Strum­mer was so impressed with the band’s take-no-pris­on­ers atti­tude that he threw him­self into the punk move­ment, accept­ing an offer from gui­tarist Mick Jones, bassist Paul Simonon and man­ag­er Bernie Rhodes to join what would even­tu­al­ly become The Clash.

With the Clash, Strum­mer helped move punk beyond the self-absorbed nihilism of its ear­ly days to embrace polit­i­cal and social aware­ness. After the band dis­in­te­grat­ed in the mid 1980s, Strum­mer spent over a decade in semi-retire­ment before return­ing in the late 1990s for what he called his “Indi­an sum­mer,” with a pop­u­lar BBC radio show and a new band, The Mescaleros. But just as he was regain­ing his old momen­tum, Strum­mer died unex­pect­ed­ly of heart fail­ure on Decem­ber 22, 2002, at the age of 50.

In the video above, Strum­mer sings the title song to the The Clash’s 1980 album Lon­don Call­ing, which Rolling Stone ranked  Num­ber 8 on its list of the 500 Great­est Albums of All Time. “Record­ed in 1979 in Lon­don,” writes the mag­a­zine, “which was then wrenched by surg­ing unem­ploy­ment and drug addic­tion, and released in Amer­i­ca in Jan­u­ary 1980, the dawn of an uncer­tain decade, Lon­don Call­ing is 19 songs of apoc­a­lypse, fueled by an unbend­ing faith in rock & roll to beat back the dark­ness.”

Relat­ed con­tent:

The Clash: West­way to the World

The Clash Star in 1980’s Gang­ster Par­o­dy: Hell W10

Mick Jones, The Clash Gui­tarist, Sings ‘Train in Vain’ at the Library

What If Everyone Jumped at Once? What Color is a Mirror? Big Questions Answered in Viral Videos

Michael Stevens knows some­thing about viral videos. Yes, he’s a Googler who works on Pro­gram­ming Strat­e­gy at YouTube. That gives him some pro­fes­sion­al bona fides. But he also rolls up his sleeves and pro­duces his own wild­ly pop­u­lar videos under the Vsauce ban­ner. Per­haps you’ll remem­ber when Stevens asked the ques­tion late last year: Just how much does the entire inter­net — all 5 mil­lion ter­abytes of infor­ma­tion — actu­al­ly weigh?  (That got 1.3 mil­lion views, putting it cer­tain­ly into viral ter­ri­to­ry.) Two weeks ago, Stevens returned with anoth­er tan­ta­liz­ing ques­tion: What col­or is a mir­ror? Hint: It’s not what you think. And now, just two days ago, he dropped this ques­tion on us: What would hap­pen if every­one on the plan­et jumped at once? Catch it below.

“Learn English With Ricky Gervais,” A New Podcast Debuts (NSFW)

Bom­bas­ti­cal­ly billed as “a new land­mark in human com­pre­hen­sion,” Ricky Ger­vais’ video pod­cast, “Learn Eng­lish with Ricky Ger­vais” does, in a way, break new ped­a­gog­i­cal ground. The trail­er above pro­vides a brief glimpse of the series’ first episode, cur­rent­ly avail­able for free on iTunes. The premise of the show is that Ger­vais and his part­ner Karl Pilk­ing­ton, in a posh-look­ing study with globe and fire­place, par­o­dy video lan­guage cours­es for non-Eng­lish speak­ers. Ger­vais’ obnox­ious grandios­i­ty and the almost method­i­cal obtuse­ness of Pilk­ing­ton have become leg­endary to fans of HBO’s The Ricky Ger­vais Show. Miss­ing here is the third mem­ber of that pro­gram, co-cre­ator of the orig­i­nal British The Office, Stephen Mer­chant, but what­ev­er the rea­son for his absence, this con­cept prob­a­bly works bet­ter as a duo, with Ger­vais play­ing the over­bear­ing and some­what abu­sive teacher and Pilk­ing­ton stand­ing in for the hypo­thet­i­cal “stu­dents,” who would no doubt find this method as bewil­der­ing as he does.

The full episode includes sub­ti­tles in a lan­guage that resem­bles Welsh but most­ly seems like gib­ber­ish (cor­rect me, Welsh speak­ers, if I’m wrong), and Ger­vais and Pilkington’s exchanges are chock-full of non-sequiturs and insults, some benign, some skirt­ing the bound­aries of the uncom­fort­ably xeno­pho­bic, but that’s kind of the point, and the source of much of the humor. The char­ac­ters here are too cul­tur­al­ly insen­si­tive and dense to teach any­one any­thing. Gervais—with Mer­chant and Pilkington—uses a sim­i­lar shtick in his An Idiot Abroad series, and it works, I think, but you’ll need to decide for your­self in the case of “Learn Eng­lish,” and you’ll need to down­load iTunes (on the off chance you don’t have it) and sub­scribe to the pod­cast to view the full first episode, which debuted on August 14th. Ger­vais has said that future episodes may involve either a small fee or adver­tis­ing to cov­er costs.

In the mean­time, stop by our col­lec­tion of Free Lan­guage Lessons, where you can down­load seri­ous lessons in 40 dif­fer­ent lan­guages, includ­ing French, Span­ish, Ital­ian, Man­darin, Ara­bic, and, yes, Eng­lish and Welsh.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

James Franco Reads a Dreamily Animated Version of Allen Ginsberg’s Epic Poem ‘Howl’

“Hold back the edges of your gowns, Ladies, we are going through hell.” With those words, William Car­los Williams gives fair warn­ing to any­one bold enough to read Allen Gins­berg’s har­row­ing poem from the dark under­bel­ly of Amer­i­ca, “Howl.”

“Howl” made quite a stir when it was first pub­lished in 1956, spark­ing a noto­ri­ous obscen­i­ty tri­al and launch­ing Gins­berg as one of the most cel­e­brat­ed and con­tro­ver­sial poets of the 20th cen­tu­ry. In 2010, Rob Epstein and Jef­frey Fried­man made a film exam­in­ing the events sur­round­ing the poem’s incep­tion and recep­tion, star­ring James Fran­co as a young Gins­berg. The film is called Howl, and Newsweek called it “a response to a work of art that is art itself.”

Per­haps the most cel­e­brat­ed aspect of the film is its ani­mat­ed ver­sion of the poem itself. The sequence was designed by the artist Eric Drook­er, a friend of the late Gins­berg who is per­haps best known for his cov­ers for The New York­er–includ­ing the famous Octo­ber 10, 2011 cov­er show­ing a tow­er­ing stat­ue of a Wall Street bull with glow­ing red eyes and smoke­stack horns pre­sid­ing over the city like the false god in Gins­berg’s poem:

Moloch whose eyes are a thou­sand blind win­dows! Moloch whose sky­scrap­ers stand in the long streets like end­less Jeho­vahs! Moloch whose fac­to­ries dream and croak in the fog! Moloch whose smoke­stacks and anten­nae crown the cities!

Drook­er first met Gins­berg in the sum­mer of 1988, when they both lived on the Low­er East Side of Man­hat­tan. It was a time of local unrest, when police on horse­back were crack­ing down on punks and squat­ters occu­py­ing Tomp­kins Square Park. The young Drook­er had been plas­ter­ing the neigh­bor­hood with polit­i­cal action posters, and as he recalls on his Web site, Gins­berg lat­er “admit­ted that he’d been peel­ing them off brick walls and lamp­posts, and col­lect­ing them at home.”

The two men went on to col­lab­o­rate on sev­er­al projects, includ­ing Gins­berg’s final book, Illu­mi­nat­ed Poems. So Drook­er seemed a nat­ur­al for Epstein and Fried­man’s movie. “When they approached me with the inge­nious idea of ani­mat­ing ‘Howl,’ ” he says, “I thought they were nuts and said ‘sure, let’s ani­mate Dan­te’s Infer­no while we’re at it!’ Then they told me I’d work with a team of stu­dio ani­ma­tors who would bring my pic­tures to life… how could I say no?”

You can watch the begin­ning of Drook­er’s ani­mat­ed (and slight­ly abridged) ren­di­tion of “Howl” above, and con­tin­ue by click­ing the fol­low­ing six links:

Relat­ed con­tent:

Allen Gins­berg Reads His Clas­sic Beat Poem, ‘Howl’

Allen Gins­berg Reads a Poem he Wrote on LSD to William F. Buck­ley

The Bal­lad of the Skele­tons’: Allen Gins­berg’s 1996 Col­lab­o­ra­tion with Philip Glass and Paul McCart­ney

“Expan­sive Poet­ics” by Allen Gins­berg: A Free Course from 1981

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Open Culture was founded by Dan Colman.