Along with its whimsical, hand-drawn covers and its surprisingly readable articles on unlikely subjects, like nickel-mining, The New Yorker magazine is known for its cartoons – single panel doodles that can be either wry commentaries on our culture or, as a famous Seinfeld episode pointed out, utterly inscrutable.
Translating the cartoons to television seems a task doomed to failure but Seth Meyers, the newly-installed host of Late Night, managed successfully to do just that. The show’s “theater group-in-residence, the late night players” reenacted some of the magazine’s more famous recent cartoons. Many of the magazine’s most enduring cartoon set ups are represented – a bar, a wedding reception and, of course, a deserted island.
Providing deadpan commentary on the performances is The New Yorker’s editor-in-chief David Remnick. When selecting cartoons for the magazine, he notes, the primary criteria is that they “should be funny.” Check it out above.
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.
What do a dancer, a chess player, a visual artist, a trumpeter, an architect, and a cab driver have in common? In the case of the dancer, the chess player, the visual artist, the trumpeter, the architect, and the cab driver profiled in trained molecular biologist and neuroscientist and The Rough Guide to the Brain author Barry J. Gibb’s abNormal above, they share… well, abnormality, in some sense or another. This half-hour documentary, which Gibb made in consultation with psychologist and neuroimaging researcher Chris Frith, “points a microscope at human behaviour, asking viewers to question their perceptions of others and even of themselves.” An ambitious mandate, especially when you consider its central question: we know what we mean when we think of someone else as abnormal, but what do all these other people — people whom we might indeed find abnormal, for good, ill, or both — consider abnormal? Do they consider themselves abnormal? And how do we define normality, let alone abnormality, in the first place?
A tangled question, bordering on nonsense, but science can, as usual, clarify a few things. abNormal finds answers, or at least the appropriate questions, in the workings of the human brain. It comes as an early offering from Mosaic, a new site from the Wellcome Trust “dedicated to exploring the science of life” by telling “stories with real depth about the ideas, trends and people that drive contemporary life sciences,” all published as Creative Commons-licensed content. In this case, a set of human stories — the frustrated IT worker who ditched the office job to become a London cabbie, the Thai painter who makes large-form works with three-dimensional nipples, the breakdancer bent on recreating and improving on 1982 with his body alone — converge to elucidate a deeper scientific narrative about our brains, our environments, and the forms our lives take today.
Many of us came across our favorite book serendipitously. No surprise: it’s easiest to be completely blown away by a work of art or literature when you approach it without any pre-existing expectations. For BoingBoing’s Cory Doctorow, that book was Lewis Carroll’sAlice In Wonderland. Doctorow, now a prominent author, journalist, and technology activist, first came across Carroll’s tale of a young girl who falls down a rabbit hole in 1978:
“In 1978, I walked into my Crestview Public School grade two classroom in Willowdale, a suburb of Toronto, and, on the spur of the moment, took Alice in Wonderland off the shelf. My teacher was Bev Pannikkar, who had the amazing empathy and good sense to let me be after I hunkered down behind the low bookshelf and started reading. I spent the entire day back there, reading. I never stopped.
If you’re looking for a version with a few more bells and whistles with regards to production value, we’ve included a 1996 audio version of the book, below. This one is narrated by Susan Jameson and James Saxon, two actors and veteran audiobook readers, who do a wonderful job of injecting the story’s tongue-in-cheek humor into the recording.
“Everyone’s got to start somewhere,” a banal platitude that expresses a truism worth repeating: wherever you are, you’ve got to get started. If you’re John Updike (who would have been 82 years old yesterday), you start where so many other accomplished figures have, the Harvard Lampoon. If you’re Charles Bukowski… believe it or not, you actually start in an equally renowned publication. Bukowski’s first fiction appeared in Story, a magazine that helped launch the careers of Cheever, Salinger, Saroyan, Carson McCullers and Richard Wright.
But if you’re Charles Bukowski, you come out swinging. Your first published work in 1944 is a nonsense story written as an eff you to the editor, Whit Burnett. You feature Mr. Burnett as a character, along with a cat who shakes hands (sort of), a prostitute named Millie, a few card-playing drunks, an imperious “short story instructress,” and a mysterious “bleary-eyed tramp.” Oh, and you open the story by quoting verbatim one of Burnett’s rejection letters:
Dear Mr. Bukowski:
Again, this is a conglomeration of extremely good stuff and other stuff so full of idolized prostitutes, morning-after vomiting scenes, misanthropy, praise for suicide etc. that it is not quite for a magazine of any circulation at all. This is, however, pretty much the saga of a certain type of person and in it I think you’ve done an honest job. Possibly we will print you sometime but I don’t know exactly when. That depends on you.
Sincerely yours,
Whit Burnett
I won’t spoil it for you—you must read (or listen to below) “Aftermath of a Lengthy Rejection Slip” for yourself—but the letter sets up a typically Bukowskian punchline: wry and sarcastic and wistful and lyrical all at once.
Bukowski was 24 and had only been writing for two years by this time. He later recalled being very unhappy with the publication. For one, writes Booktryst, “it had been buried in the End Pages section of the magazine as, Bukowski felt, a curiosity rather than a serious piece of writing.” However, Bukowski had already sent Story dozens of what he considered serious pieces of writing before penning “Aftermath,” which he admits he tamed for the sake of Burnett’s sensibilities. In an interview near the end of his life, Bukowski remembered submitting to the magazine “a couple of short stories a week for maybe a year and half. The story they finally accepted was mild in comparison to the others. I mean in terms of content and style and gamble and exploration and all that.”
Bukowski may have been bitter, but his first publication, and last submission to Story, might deserve credit for inspiring a lifetime of boozy material: looking back, he recalls that after the perceived slight, he “drank and became one of the best drinkers anywhere, which takes some talent also.” Everybody’s got to start somewhere.
Booktryst has more to the story, as well as several images of the rare 1944 Bukowski issue of Story. Above, in two parts, listen to the story in the wonderfully dry baritone of Tom O’Bedlam, whom you may already know from our previous posts on Bukowski’s poems “Nirvana” and “So You Want to Be a Writer?”
For his latest essay, Kogonada takes on perhaps film’s most famous formalist working today – Wes Anderson. As you can see from the video above, Anderson loves to compose his shots with perfect symmetry. From his breakout hit Rushmore,to his stop-motion animated movie The Fantastic Mr. Fox, to his most recent movie The Grand Budapest Hotel, Anderson consistently organizes the elements in his frame so that the most important thing is smack in the middle.
Directors are taught in film school to avoid symmetry as it feels stagey. An asymmetrically framed shot has a natural visual dynamism to it. It also makes for a more seamless edit to the next shot, especially if that shot is another asymmetrically framed shot. But if you’ve watched anything by Anderson, you know that seeming stagey has never been one of his concerns. Instead, Anderson has developed his own quirky, immediately identifiable visual style.
When critics complained about Ozu’s proclivity for essentially making the same movie over and over again, he famously responded by saying, “I only know how to make tofu. I can make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, that’s for other directors.” Anderson would probably not consider himself a tofu maker, but he would most likely appreciate Ozu’s sentiment.
Check out another Kogonada essay below about Anderson’s tendency for composing shots from directly overhead.
On Monday, the science world joyously celebrated a seminal astrophysics discovery. Using a telescope in the South Pole, researchers from the Harvard-Smithsonian Center for Astrophysics detected ripples in the fabric of space-time, called gravitational waves. These waves confirmed the inflation theory, which stated that for a brief moment — one trillionth of a trillionth of a trillionth of a second after the big bang — the universe was violently expanding faster than the speed of light. Stanford’s Andrei Linde (along with MIT’s Alan Guth) was one of the thinkers responsible for working out this theory in the 1980s. In the video above, another Stanford professor, Chao-Lin Kuo, visits Linde to break the news of the discovery to him on his front porch. Finding out that much of his career had been vindicated in such spectacular fashion, Linde was appropriately moved and stunned. You can learn more about Linde’s work in The Stanford Report.
Recently attacked by Cossacks in Sochi and by black-clad men with green antiseptic in Moldova, Nadezhda Tolokonnikova and Maria Alyokhina have, since their December release from a two-year prison sentence, remained the very public faces of the punk band/agit-prop collective known as Pussy Riot. The two also continue to raise the band’s profile in the States. Last month alone, they appeared on The Colbert Report and onstage with Madonna at a star-studded Amnesty International event.
Not only prominent activists for prison reform, Nadia and Masha—as they’re called in the HBO documentary Pussy Riot: A Punk Prayer—have become celebrities. (So much so that other mostly anonymous members of the group have disowned them, citing among other things issues with “personality cult.”) The HBO doc begins with profiles of the women, as does a new book, Words Will Break Cement: The Passion of Pussy Riot, by Russian journalist Masha Gessen.
In an interview Friday for KQED in San Francisco (above), Gessen—a lesbian mother who recently moved to the United States for fear of persecution—describes how Vladimir Putin, Pussy Riot’s primary target, has regained his popularity with the Russian people after his aggressions at the Ukraine border and Crimea’s Sunday vote for secession. She cites, for example, alarming poll numbers of only 6% of Russians who oppose an invasion of Ukraine. Yet at the time of Pussy Riot’s infamous performance at a Moscow cathedral in February of 2012, which led to Tolokinnikova and Alyokhina’s imprisonment, the anti-Putin protest movement made the autocratic ruler very nervous.
Gessen sketches the history of the movement in her interview (and details it in the book). At first the protests involved the situationist antics of performance art collective Voina—“War”—(see Tolokonnikova, above at far right, with other Voina members in 2008). The feminist punk band has only emerged in the past three years, when Voina’s art-school pranks became Pussy Riot’s provocations days after Putin announced his intent to return to the presidency.
One month before the cathedral performance that sent Nadia and Masha to prison, the band appeared in their trademark fluorescent dresses and balaclavas in Red Square (top). Only three months prior, on October 1, 2011, they released their first song, “Ubey seksista” (“Kill the Sexist”) and—as members of Voina—announced the arrival of Pussy Riot, a radical opposition to the authoritarianism, patriarchy, and crony capitalism they allege characterize Putin’s rule.
In November of 2011, Pussy Riot staged its first public performance (above), scaling atop scaffolding and Moscow trolley and subway cars while scattering feathers and dancing to their song “Osvobodi Bruschatku” (“Release the Cobblestones”). The song recommends that Russians throw cobblestones in street protests because–as Salon quotes from the group’s blog—“ballots will be used as toilet paper” in the approaching elections.
The collective next released the video for “Kropotkin Vodka” (above), featuring a montage of public appearances in fashionable locations around Moscow. The locations were chosen, the band writes, specifically as “forbidden sites in Moscow.” More from their (Google-translated) blog below:
The concerts were held in public places [for] wealthy putinists: boutiques in the capital, at fashion shows, luxury cars and roofs close to Kremlin bars […] Performances included arson and a series of musical occupations [of] glamorous areas of the capital.
The song takes its title and inspiration from Peter Kropotkin, the 19th century Russian aristocrat-turned-anarcho-communist intellectual.
In their open letter publicly releasing their two most prominent members from the group, six members of Pussy Riot write that the “ideals of the group” Nadia and Masha have allegedly abandoned were precisely “the cause for their unjust punishment.” The two have become, they say, “institutionalized advocates of prisoners’ rights.” And yet in mid-December, 2011, the band performed their song “Death to Prison, Freedom to Protests” on the rooftop of a detention center holding opposition leaders and activists. This was at the height of the anti-Putin movement when upwards of 100,000 people took to the streets of Moscow chanting “Russia without Putin” and “Putin is a Thief” and demanding free elections.
While most of us only heard of Pussy Riot after their arrest and trial for the cathedral stunt, their “breakthrough performance,” writes Salon, occurred one month earlier at the Red Square appearance at the top of the post. This was when the band decided to “take revolt to the Kremlin,” and coincided with promises from Putin to reform elections. “The revolution should be done by women,” said one member at the time. “For now, they don’t beat us or jail us as much.” The situation would turn rather quickly only weeks later, and it was with Pussy Riot, says Gessen, that the wave of arrests and beatings of protesters began. The band’s current schism comes just as the anti-Putin movement seems to be fracturing and losing resolve, and the future of democratic opposition in Putin’s increasingly belligerent Russia seems entirely uncertain.
Contrary to what the past decade’s TV commercials may indicate, Apple’s advertising hasn’t always been so tepid and generic. Before the era of the much-lampooned “I’m a Mac and I’m a PC” commercials, which starred Justin Long as the chilled out Apple computer and John Hodgman as the shamefully square PC, the company cultivated an iconoclastic image. Who could forget the radical 1984 commercial where Apple slammed 1980s conformity, or the “Think Different” campaign, where Jobs waxed lyrical about the “crazy ones, misfits, rebels and rule breakers?” No surprise, then, that Apple decided to burnish its rebel credentials by hiring none other than the father of gonzo journalism to star in one of its TV spots.
Above, you can view Hunter S. Thompson’s brief “Power is” Apple commercial. The ad seems to date to some point in the 1990s; at least, that’s what the whirlwind of cuts, oddly angled shots, shaky camerawork, and edgy guitar riffs seem to suggest. The commercial’s premise appears to be that Thompson both knows what power is, and how to use it to stick it to The Man.
Presumably, simply having Thompson in the ad gave Apple enough countercultural cachet, since he never mentions either the company or its product. This may have been the result of previous grievances: according to legend, the journalist had received a Mac from the editors of the San Francisco Examiner in the mid-1980s, in hopes that the gadget would help him transmit his perennially late copy to the paper on time. Despite its many features, however, the Mac couldn’t stand up to Thompson’s temper (he was known to lose his cool when dealing with electronics). In a fit of rage, Thompson blew the machine to smithereens with his shotgun, and sent the remains to his editors. Power, indeed.
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!
We're hoping to rely on loyal readers, rather than erratic ads. Please click the Donate button and support Open Culture. You can use Paypal, Venmo, Patreon, even Crypto! We thank you!
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.
