Thug Notes Demystifies 60 Literary Classics (from Shakespeare to Gatsby) with a Fresh Urban Twist

Gen­tle read­er, if you feel your knee jerk­ing at Thug Notes, may I sug­gest tak­ing a moment to gaze beyond the gold bling and du-rag favored by its fic­ti­tious host, lit­er­a­ture lover Sparky Sweets, PhD.

Or do we think YA author John Green should hold the monop­oly on wit­ty, break­neck decon­struc­tions of clas­sic lit­er­a­ture? No shade towards Green. The Crash Course empire he’s cre­at­ed with his sci­en­tist broth­er, Hank, pro­vides a great and enter­tain­ing ser­vice to stu­dents of all ages. His cute-nerd vibe makes him an appeal­ing host.

But there’s more than one way to skin a cat.

A poor choice of metaphor, giv­en the fic­ti­tious Dr. Sweets’ soft spot for baby felines. It’s not some­thing he talks about on the show, but he fre­quent­ly tweets pho­tos of him­self in their oh-so-cud­dly com­pa­ny, tag­ging them #kit­ten­ther­a­py.

He (or per­haps head writer / pro­duc­er Jared Bauer) also turns to Twit­ter to dis­sem­i­nate quotes by the likes of Cer­vantes (“Dili­gence is the moth­er of good for­tune”) and Orwell (“Either we all live in a decent world, or nobody does”).

Thug Notes’ tagline “clas­sic lit­er­a­ture, orig­i­nal gangs­ta” may be its punch­line, but the humor of incon­gruity is not its sole aim.

Come­di­an Greg Edwards, who plays Sparky Sweets, told The New York Times that the project is “triv­i­al­iz­ing academia’s attempt at mak­ing lit­er­a­ture exclu­sion­ary by show­ing that even high­brow aca­d­e­m­ic con­cepts can be com­mu­ni­cat­ed in a clear and open fash­ion.”

Amen. As Sparky Sweets observes fol­low­ing Simon’s mur­der in the Lord of the Flies above, “Whoo, this $hit (is) get­tin’ real!”

Is there a dan­ger that white teenage boys who love com­e­dy and hip hop, who are indif­fer­ent to lit­er­a­ture, and who know few black peo­ple and/or urban dwellers, might run around imi­tat­ing their favorite parts of these videos, not real­iz­ing that their attempt to embody the char­ac­ter is per­pet­u­at­ing a stereo­type in a bad way?

Yes.

Is there an equal or greater dan­ger that a reluc­tant stu­dent might be prod­ded in a pos­i­tive direc­tion by Sparky’s zesty, insight­ful take on their assigned read­ing?

Resound­ing­ly, yes.

Thug Notes’ dis­cus­sion of racism as por­trayed in To Kill a Mock­ing­bird is not the longest I’ve ever heard, but it is the most straight­for­ward and brac­ing. It got my blood going! I’m inspired to drag my dog eared paper­back copy out and give it anoth­er read! (Maybe I’ll have a Scotch and play some clas­si­cal music. Sparky does that too.)

I’m hop­ing the kids at the high school a cou­ple of blocks away — who, for the record, look and sound far more like Sparky than they do me — will be encour­aged to sup­ple­ment their read­ing of this book, and oth­ers, with Thug Notes.

As an out-of-char­ac­ter Greg Edwards, bear­ing as much resem­blance to Sparky Sweets as Stephen Col­bert does to his most famous cre­ation, told inter­view­er Tavis Smi­ley:

We don’t want to stop kids from read­ing the book. We just want to open up doors. Maybe teach­ers can use it. It’s hard being a teacher nowa­days. You’re under­paid, you’re over­worked, the class­rooms are full, the kids are crazy, so throw this on and maybe it’ll spark one kid’s atten­tion.

As of this writ­ing, Thug Notes has tack­led dozens of titles (you can watch them all here, or right below), a heap­ing help­ing of banned books, and four of Shakespeare’s plays (above).

New titles will be added every oth­er Tues­day. I can’t wait.

Relat­ed Con­tent:

Alexan­der Hamil­ton: Hip-Hop Hero at the White House Poet­ry Evening

The Can­ter­bury Tales Remixed: Baba Brinkman’s New Album Uses Hip Hop to Bring Chaucer Into the 21st Cen­tu­ry, Yo

Do Rap­pers Have a Big­ger Vocab­u­lary Than Shake­speare?: A Data Sci­en­tist Maps Out the Answer

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

Leonardo Da Vinci’s To Do List (Circa 1490) Is Much Cooler Than Yours

da vinci todo list

Most people’s to-do lists are, almost by def­i­n­i­tion, pret­ty dull, filled with those quo­tid­i­an lit­tle tasks that tend to slip out of our minds. Pick up the laun­dry. Get that thing for the kid. Buy milk, canned yams and kumquats at the local mar­ket.

Leonar­do Da Vin­ci was, how­ev­er, no ordi­nary per­son. And his to-do lists were any­thing but dull.

Da Vin­ci would car­ry around a note­book, where he would write and draw any­thing that moved him. “It is use­ful,” Leonar­do once wrote, to “con­stant­ly observe, note, and con­sid­er.” Buried in one of these books, dat­ing back to around the 1490s, is a to-do list. And what a to-do list.

NPR’s Robert Krul­wich had it direct­ly trans­lat­ed. And while all of the list might not be imme­di­ate­ly clear, remem­ber that Da Vin­ci nev­er intend­ed for it to be read by web surfers 500  years in the future.

[Cal­cu­late] the mea­sure­ment of Milan and Sub­urbs

[Find] a book that treats of Milan and its church­es, which is to be had at the stationer’s on the way to Cor­du­sio

[Dis­cov­er] the mea­sure­ment of Corte Vec­chio (the court­yard in the duke’s palace).

[Dis­cov­er] the mea­sure­ment of the castel­lo (the duke’s palace itself)

Get the mas­ter of arith­metic to show you how to square a tri­an­gle.

Get Mess­er Fazio (a pro­fes­sor of med­i­cine and law in Pavia) to show you about pro­por­tion.

Get the Brera Fri­ar (at the Bene­dic­tine Monastery to Milan) to show you De Pon­deribus (a medieval text on mechan­ics)

[Talk to] Gian­ni­no, the Bom­bardier, re. the means by which the tow­er of Fer­rara is walled with­out loop­holes (no one real­ly knows what Da Vin­ci meant by this)

Ask Benedet­to Poti­nari (A Flo­ren­tine Mer­chant) by what means they go on ice in Flan­ders

Draw Milan

Ask Mae­stro Anto­nio how mor­tars are posi­tioned on bas­tions by day or night.

[Exam­ine] the Cross­bow of Mas­tro Gian­net­to

Find a mas­ter of hydraulics and get him to tell you how to repair a lock, canal and mill in the Lom­bard man­ner

[Ask about] the mea­sure­ment of the sun promised me by Mae­stro Gio­van­ni Francese

Try to get Vitolone (the medieval author of a text on optics), which is in the Library at Pavia, which deals with the math­e­mat­ic.

You can just feel Da Vinci’s vora­cious curios­i­ty and intel­lec­tu­al rest­less­ness. Note how many of the entries are about get­ting an expert to teach him some­thing, be it math­e­mat­ics, physics or astron­o­my. Also who casu­al­ly lists “draw Milan” as an ambi­tion?

Leonardo da Vinci exhibition

Lat­er to-do lists, dat­ing around 1510, seemed to focus on Da Vinci’s grow­ing fas­ci­na­tion with anato­my. In a note­book filled with beau­ti­ful­ly ren­dered draw­ings of bones and vis­cera, he rat­tles off more tasks that need to get done. Things like get a skull, describe the jaw of a croc­o­dile and tongue of a wood­peck­er, assess a corpse using his fin­ger as a unit of mea­sure­ment.

On that same page, he lists what he con­sid­ers to be impor­tant qual­i­ties of an anatom­i­cal draughts­man. A firm com­mand of per­spec­tive and a knowl­edge of the inner work­ings of the body are key. So is hav­ing a strong stom­ach.

You can see a page of Da Vinci’s note­book above but be warned. Even if you are con­ver­sant in 16th cen­tu­ry Ital­ian, Da Vin­ci wrote every­thing in mir­ror script.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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Relat­ed Con­tent:

Thomas Edison’s Huge­ly Ambi­tious “To-Do” List from 1888

Watch Leonar­do da Vinci’s Musi­cal Inven­tion, the Vio­la Organ­ista, Being Played for the Very First Time

The Anatom­i­cal Draw­ings of Renais­sance Man, Leonar­do da Vin­ci

An Ani­mat­ed His­to­ry Of Avi­a­tion: From da Vinci’s Sketch­es to Apol­lo 11

1,700 Free Online Cours­es from Top Uni­ver­si­ties

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 lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

The Art of Making Blade Runner: See the Original Sketchbook, Storyboards, On-Set Polaroids & More

There’s nev­er been a bad time to revis­it Blade Run­ner, but now, with all the news about the in-devel­op­ment Blade Run­ner 2 break­ing even as you read this, it seems like an espe­cial­ly appro­pri­ate time to go deep­er into Rid­ley Scot­t’s piece of ground­break­ing, Philip K. Dick-adapt­ing cyber­punk cin­e­ma. What­ev­er you think of the prospect of a sequel, if you call your­self a Blade Run­ner fan, you’ll nev­er turn down a chance for anoth­er look behind the scenes of the orig­i­nal.

Hence our offer­ing today of BBC crit­ic Mark Ker­mod­e’s doc­u­men­tary above, On the Edge of Blade Run­ner, and, via Fla­vor­wire, a selec­tion of orig­i­nal sto­ry­boards from the film. Few sci­ence-fic­tion movies hold up so well aes­thet­i­cal­ly after 32 years, but only because few sci­ence-fction movies had so much sheer work put into their design — we are still, I imag­ine, assured a steady stream of pro­duc­tion mate­ri­als to gaze upon for a long time to come.

blade runner storyboard

In recent years, for instance, Sean Young, who played the repli­cant Rachel, released her Polaroid pho­tos from the film’s set. And if you missed it the first time around, you’ll want to cir­cle back to our post fea­tur­ing a freely read­able online ver­sion of Blade Run­ner Sketch­book, a col­lec­tion of over 100 pro­duc­tion draw­ings and pieces of art­work that orig­i­nal­ly came out along­side the film. (See it above.)

blade runner polaroid

And what­ev­er direc­tion Blade Run­ner 2 takes, promis­ing or less so, we’ll all hear a lot about it in the com­ing months. So to bal­ance out the com­ing wave of pro­mo­tion for the sec­ond one, why not watch a lit­tle of the pro­mo­tion of the first one in the form of the con­ven­tion reel below (pro­duced not least to counter all the bad press the pro­duc­tion had drawn at the time), which con­tains inter­views with some of those respon­si­ble for Blade Run­ner’s most endur­ing qual­i­ties: Rid­ley Scott, “visu­al futur­ist” Syd Mead, and visu­al effects design­er Dou­glas Trum­bull. If all three of those guys work on the sequel, well, maybe I’ll start get­ting excit­ed.

Relat­ed Con­tent:

The Blade Run­ner Pro­mo­tion­al Film

Blade Run­ner: The Pil­lar of Sci-Fi Cin­e­ma that Siskel, Ebert, and Stu­dio Execs Orig­i­nal­ly Hat­ed

The Blade Run­ner Sketch­book: The Orig­i­nal Art of Syd Mead and Rid­ley Scott Online

Philip K. Dick Pre­views Blade Run­ner: “The Impact of the Film is Going to be Over­whelm­ing” (1981)

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.

‘Tired of Giving In’: The Arrest Report, Mug Shot and Fingerprints of Rosa Parks (December 1, 1955)

Rosa_Parks_Booking_Photo_

On this day in 1955, Rosa Parks took her fate­ful bus ride in Mont­gomery, Alaba­ma.

As the sto­ry is often told, Parks was a diminu­tive African-Amer­i­can seam­stress who was weary from a long day of work at a down­town depart­ment store. Her feet ached, so when the dri­ver ordered her to give up her seat to a white man who had just got­ten on the bus, Parks refused, acci­dent­ly set­ting into motion a series of events that led to the mod­ern Civ­il Rights Move­ment.

The prob­lem with the sto­ry, told in that way, is that it is gross­ly mis­lead­ing.

Besides being a seam­stress, Parks was a polit­i­cal orga­niz­er and activist, a mem­ber of the Mont­gomery Vot­ers League and sec­re­tary of the local chap­ter of the NAACP. And while it’s true that Parks did­n’t know when she board­ed the bus that day that she would com­mit an act of civ­il dis­obe­di­ence, when the moment arose she knew what she was doing, and why. As Parks lat­er wrote in her auto­bi­og­ra­phy:

Peo­ple always say that I did­n’t give up my seat because I was tired, but that isn’t true. I was not tired phys­i­cal­ly, or no more tired than I usu­al­ly was at the end of a work­ing day. I was not old, although some peo­ple have an image of me as being old then. I was forty-two. No, the only tired I was, was tired of giv­ing in.

Rosa_Parks_Fingerprints_

Parks was not the first black per­son to be arrest­ed in 1955 for refus­ing to give up a seat on Mont­gomery’s racial­ly seg­re­gat­ed bus­es. There was a grow­ing sense in the African-Amer­i­can com­mu­ni­ty that the time was ripe for change. The pre­vi­ous year, the U.S. Supreme Court had issued its land­mark deci­sion in Brown v. Board of Edu­ca­tion, declar­ing that seg­re­ga­tion in pub­lic schools was uncon­sti­tu­tion­al.

The Wom­en’s Polit­i­cal Coun­cil in Mont­gomery was already lay­ing the ground­work for a boy­cott of the city bus sys­tem when it learned of Parks’ arrest. Giv­en the respect and sup­port Parks had with­in the com­mu­ni­ty, the group decid­ed it was an oppor­tune moment to take action. A one-day boy­cott was held on the day of Park­s’s tri­al (she was con­vict­ed of vio­lat­ing Chap­ter 6, Sec­tion 11 of the Mont­gomery City Code and ordered to pay a $10 fine plus $4 in court costs) and a longer one was launched short­ly after­ward, crip­pling the finances of the com­pa­ny that ran the bus sys­tem, which typ­i­cal­ly derived over 75 per­cent of its fare rev­enue from African-Amer­i­can pas­sen­gers. That boy­cott last­ed more than a year, until late Decem­ber of 1956, when the Supreme Court upheld a low­er court rul­ing in Brow­der, et al v. Gayle that the seg­re­ga­tion of Mont­gomery’s bus sys­tem was uncon­sti­tu­tion­al.

Rosa_Parks_Arrest_Report_

The doc­u­ments shown here were sub­mit­ted as evi­dence in Brow­der v. Gayle. The arrest report (above) states that Parks was sit­ting in the white sec­tion of the bus. Actu­al­ly, she had com­plied with the law when she first entered, sit­ting down behind the first 10 seats which were per­ma­nent­ly reserved for whites. (See the chart below; the front of the bus is at the top of the chart, with the dri­ver’s seat des­ig­nat­ed by an “X.”) Under Mont­gomery law, the bus dri­ver had the dis­cre­tion to move blacks far­ther back when the white sec­tion filled up. Black peo­ple paid the same fare as whites, but were often ordered to exit the bus after pay­ing the fare and re-enter through the back door. In stand­ing-room-only con­di­tions, they were not allowed even to stand next to white peo­ple.

Rosa_Parks_Bus_Chart_

At rush hour on Dec. 1, 1955, the bus was fill­ing up as Parks and three oth­er African-Amer­i­cans sat in the first row behind the white sec­tion. When a white man entered the bus, the dri­ver James F. Blake ordered Parks and the oth­er three to leave their seats and move back, where they would all have to stand. After hes­i­tat­ing, the oth­ers got up but Parks stayed seat­ed. In The Rebel­lious Life of Mrs. Rosa Parks, Jeanne Theo­haris recon­structs the scene:

Blake want­ed the seats. “I had police pow­ers — any dri­ver did.”  The bus was crowd­ed and the ten­sion height­ened as Blake walked back to her. Refus­ing to assume a def­er­en­tial posi­tion, Parks looked him straight in the eye.

Blake asked, “Are you going to stand up?”

Parks replied, “No.” She then told him she was not going to move  “because I got on first and paid the same fare, and I did­n’t think it was right for me to stand so some­one else who got on lat­er could sit down.”

“Well, I’m going to have you arrest­ed.”

“You may do that,” Parks replied.

via: Nation­al Archives

Watch Solaris (1972), Andrei Tarkovsky’s Haunting Vision of the Future

A friend recent­ly told me about a screen­ing of Andrei Tarkovsky’s Solaris he attend­ed in a state of, er, expand­ed per­cep­tion. The vivid sci-fi trip he’d expect­ed turned into the most har­row­ing emo­tion­al expe­ri­ence of his life. 2001: A Space Odyssey has proven a reli­able favorite of the con­scious­ness-alter­ing crowd since it came out in 1968, almost to the point where you’d think Kubrick made the film just for them. But Tarkovsky’s 1972 sto­ry of a sen­tient plan­et and the hal­lu­ci­na­tions with which it tempts and tor­ments a near­by space sta­tion has an entire­ly dif­fer­ent exis­ten­tial con­cep­tion of mankind’s ven­ture into the unknown realms of space and time. What­ev­er your own state of mind, you can watch Solaris free online. (Watch below and make sure click “cc” at the bot­tom of the videos to launch the sub­ti­tles.) If you don’t feel sure about tak­ing the plunge, have a look first at the updat­ed trail­er above.


Rework­ing Stanis­law Lem’s orig­i­nal nov­el toward his own artis­tic ends, Tarkovsky real­ized his vision of the future with a num­ber of unusu­al tech­niques. View­ers often take spe­cial, bemused notice of the scene above, a five-minute dri­ve down an urban high­way which comes just before the pro­tag­o­nist, psy­chol­o­gist Kris Kelvin, departs for his space mis­sion. (Tarkovsky liked to say he put it there to dis­cour­age impa­tient film­go­ers.) The clip includes com­men­tary from film schol­ars Vida John­son and Gra­ham Petrie. As John­son explains, “Tarkovsky knew that in order to sit­u­ate the sto­ry in a for­eign place and a dis­tant time, both to ful­fill genre require­ments and deflect poten­tial cen­sors, he need­ed to con­trast his nos­tal­gia for nature and the past with a city of the future.” And so, unable to build such a thing on his lim­it­ed bud­get, Tarkovsky went to Tokyo: “The Japan­ese road signs, the for­eign cars, long tun­nels, and mul­ti-lane high­ways with wind­ing bridges and over­pass­es might have rep­re­sent­ed a city of the future for ear­ly-1970s Sovi­et audi­ences used to sim­ple two-lane roads and domes­tic tin-box cars, if they were lucky enough to have a car at all.”

akasaka_08Petrie ref­er­ences an entry from Tarkovsky’s diaries “where he wor­ries that if the Japan­ese visa does­n’t come through in time, they will miss the end of the exhi­bi­tion” — prob­a­bly Osaka’s thor­ough­ly future-ori­ent­ed Expo ’70 World’s Fair. (Inci­den­tal­ly, next time you swing by Osa­ka, I do rec­om­mend tak­ing a walk around the still-fas­ci­nat­ing Expo ’70 grounds.) Tarkovsky did end up miss­ing the Osa­ka exhi­bi­tion, and so he shot in Tokyo instead. At Tarkovsky fan site nostalghia.com, Yuji Kiku­take has gone through mod­ern-day Tokyo and found the sur­viv­ing land­marks of the Akasa­ka and Iiku­ra neigh­bor­hoods over which the sequence pass­es — reveal­ing the future, in oth­er words, of the city of the future. What­ev­er you think of the result­ing five min­utes, the fact that Tarkovsky man­aged to go shoot them and that the offi­cials in charge fund­ed it demon­strates, as Petrie puts it, not just “the inge­nu­ity of film­mak­ers try­ing to pen­e­trate the Iron Cur­tain,” but “the high esteem in which [Tarkovsky] was held by the same film-indus­try bureau­crats who made his life mis­er­able by cut­ting his bud­gets and try­ing to cen­sor his films.”

In addi­tion to Solaris (watch here or above) you can find oth­er major films by the Russ­ian auteur in our col­lec­tion of Free Tarkovsky Films, or our larg­er col­lec­tion: 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Tarkovsky Films Now Free Online

Tarkovsky’s Solaris Revis­it­ed

The Mas­ter­ful Polaroid Pic­tures Tak­en by Film­mak­er Andrei Tarkovsky

Tarkovsky’s Advice to Young Film­mak­ers: Sac­ri­fice Your­self for Cin­e­ma

A Poet in Cin­e­ma: Andrei Tarkovsky Reveals the Director’s Deep Thoughts on Film­mak­ing and Life

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

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.

George Harrison’s Mystical, Fisheye Self-Portraits Taken in India (1966)

Harrison Fisheye1

The Bea­t­les’ sojourn in India can seem like a bit of a stunt, as much a rock n’ roll cliché as Led Zeppelin’s trashed hotel rooms or Fleet­wood Mac’s coke binges. Eas­i­ly par­o­died in, for exam­ple, Walk Hard: The Dewey Cox Sto­ry, the band’s turn East­ward looks in hind­sight like fad­dish spir­i­tu­al tourism. That impres­sion may not be so far off. As one writer puts it:

By the late 1960s, The Bea­t­les had engi­neered anoth­er pop cul­ture rev­o­lu­tion (at least in Europe and North Amer­i­ca) by wear­ing Indi­an-style cloth­ing, spout­ing reli­gious and philo­soph­i­cal apho­risms that seemed to bor­row from ‘East­ern’ thought, and lat­er even vis­it­ing India for a high­ly-pub­li­cized train­ing ses­sion to learn Tran­scen­den­tal Med­i­ta­tion with the fraud­u­lent ‘mys­tic’ Mahar­ishi Mahesh Yogi.

But while for John, Paul, and Ringo, “inter­est in Indian/Hindu cul­ture was rather fleet­ing and tem­po­ral […] for George, India com­plete­ly over­hauled and changed his life per­ma­nent­ly.” As Har­ri­son him­self would lat­er recount of his first jour­ney in 1966, “it was the first feel­ing I’d ever had of being lib­er­at­ed from being a Bea­t­le or a num­ber.” The rest of the band wouldn’t make the trip until two years lat­er.

Harrison Fisheye 2

Har­ri­son had prin­ci­pal­ly embarked to study sitar under Ravi Shankar and learn yoga, but this was also a peri­od of self-dis­cov­ery and escape from, as he says, the “mania.” Trav­el­ing, as he always did, with a cam­era, he doc­u­ment­ed his jour­ney. His pic­tures are far from ordi­nary tourist images.

While he describes in writ­ing the “mix­ture of unbe­liev­able things” he saw, he just as often turned the cam­era on him­self, his pho­to­graph­ic intro­spec­tion made even more pro­nounced by his use of a fish­eye lens.

Harrison Fisheye 3

Inter­est­ing­ly, in his rec­ol­lec­tion of the trip, Har­ri­son ref­er­ences the sur­re­al cult, sci-fi show The Pris­on­er as a prime illus­tra­tion of life as “a num­ber.” One of the show’s most mem­o­rable devices involves a huge, mys­te­ri­ous white bub­ble that cap­tures or kills any­one try­ing to escape the sin­is­ter orga­ni­za­tion that holds the main char­ac­ter cap­tive. In Harrison’s pho­tos, the bub­ble becomes a para­dox­i­cal rep­re­sen­ta­tion of his way out of fame’s fish­bowl, of the prison of Beat­le­ma­nia and an iden­ti­ty that felt con­trived and alien­at­ing.

Harrison Fisheye 4

Behind his steady, seri­ous gaze open up vis­tas that presage the breadth and depth of his immer­sion in Indi­an spir­i­tu­al prac­tices. What­ev­er one thinks of his con­ver­sion, there’s no doubt it was sin­cere, and life­long. Not long after this first trip, at the age of 24, he wrote to his moth­er, “I want to be self-real­ized. I want to find God. I’m not inter­est­ed in mate­r­i­al things, this world, fame.” Har­ri­son expressed the very same mys­ti­cal aspi­ra­tions in his final, 1997 inter­view, still play­ing and singing with his men­tor Ravi Shankar.

Harrison Fisheye 5

via Shoot­ing Film/Dan­ger­ous Minds

Relat­ed Con­tent:

Ravi Shankar Gives George Har­ri­son a Sitar Les­son … and Oth­er Vin­tage Footage

Watch George Harrison’s Final Inter­view and Per­for­mance (1997)

Phil Spector’s Gen­tle Pro­duc­tion Notes to George Har­ri­son Dur­ing the Record­ing of All Things Must Pass

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

Wanderers: A Short Sci-Fi Film About Humanity’s Future in Space, Narrated by Carl Sagan

Swedish ani­ma­tor Erik Wern­quist calls his short sci­ence fic­tion film, Wan­der­ers, a spec­u­la­tive look at “human­i­ty’s future expan­sion into the Solar Sys­tem,” a “glimpse of the fan­tas­tic and beau­ti­ful nature that sur­rounds us on our neigh­bor­ing worlds,” and “how it might appear to us if we were there.” The loca­tions shown in Wan­der­ers are all “dig­i­tal recre­ations of actu­al places in the Solar Sys­tem, built from real pho­tos and map data.” And Wern­quist has a big still-image gallery where he walks you through his cre­ative work. The voice accom­pa­ny­ing the film is none oth­er than Carl Sagan’s, tak­en from an audio record­ing of his 1994 book Pale Blue Dot: A Vision of the Human Future in Space. Astute sci-fi fans will also notice the influ­ences of Arthur C. ClarkeKim Stan­ley Robin­son and the mas­ter of space art Ches­ley Bon­estell.

Relat­ed Con­tent:

Free Sci­ence Fic­tion Clas­sics on the Web: Hux­ley, Orwell, Asi­mov, Gaiman & Beyond

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

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

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

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Albert Camus: The Madness of Sincerity — 1997 Documentary Revisits the Philosopher’s Life & Work

Open­ing with a child­hood sto­ry from his life, the doc­u­men­tary above, Albert Camus: The Mad­ness of Sin­cer­i­ty, tells us that the philosopher/journalist/novelist’s first love was “the howl­ing and the tumult of the wind.” It’s a beau­ti­ful image for a writer who con­front­ed the pain, joy, and con­fu­sion of human exis­tence with­out the ready-made props of reli­gious belief, nation­al­ist alle­giance, or ide­o­log­i­cal con­for­mi­ty. Camus’ “mad­ness of sin­cer­i­ty” pro­duced endur­ing work like The Stranger, The Plague, The Rebel, The First Man, and The Fall and won him a Nobel Prize in 1957.

His con­vic­tion also cost him friend­ships as he turned away from mass move­ments and pur­sued his own path. It was a cost he was pre­pared to bear. As he would write in The Fall in 1956, “How could sin­cer­i­ty be a con­di­tion of friend­ship? A lik­ing for the truth at all costs is a pas­sion that spares noth­ing and that noth­ing can with­stand.”

After the wind, of course, Camus had many more loves, and many lovers. A few of them appear above, along with Camus’ daugh­ter Cather­ine and son Jean to dis­cuss the great themes of his work in three chap­ters: the Absurd, Revolt, and Hap­pi­ness. With dis­cus­sion and excerpts—read by nar­ra­tor Bri­an Cox—from Camus’ work, the doc­u­men­tary traces his life from birth and a dif­fi­cult child­hood in French Alge­ria, to his dai­ly edi­to­ri­als for Com­bat dur­ing the French Resis­tance, his turn against Com­mu­nism and deci­sion to live in near-exile in the ‘50s, and his pre­ma­ture death in a car acci­dent in 1960 at the age of 47. All in all, the doc­u­men­tary leaves us with the impres­sion of Camus as a mag­net­ic indi­vid­ual, and a deeply prin­ci­pled one, who held true to the words quot­ed from his Nobel accep­tance speech ear­ly in the film about the writer’s task, which is always, he said, “root­ed in two com­mit­ments… the refusal to lie about what one knows, and resis­tance to oppres­sion.”

Find more thought-pro­vok­ing films in our col­lec­tion, 285 Free Doc­u­men­taries Online.

Relat­ed Con­tent:

Hear Albert Camus Deliv­er His Nobel Prize Accep­tance Speech (1957)

Albert Camus Wins the Nobel Prize & Sends a Let­ter of Grat­i­tude to His Ele­men­tary School Teacher (1957)

Albert Camus Writes a Friend­ly Let­ter to Jean-Paul Sartre Before Their Per­son­al and Philo­soph­i­cal Rift

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

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