Passover starts this Friday. And you might ask: why is this Passover different from all other Passovers? Because this Passover is getting ushered in by a Rube Goldberg Machine that tells highlights of the Passover story. Designed by students from Technion — Israel Institute of Technology, the device features falling matzah dominoes, baby Moses getting blown across the water by a fan, and a text message telling the Pharaoh to “let my people go.” How it all came together? You can find out by watching this “behind-the-scenes” video.
Let’s take a love song—let’s take Huey Lewis and the News’ “Power of Love,” why not? Catchy, right? And that video? Back to the Future! That takes you back, doesn’t it? Yeah…. Now let’s ask some hard questions. Is this song an accurate representation of the human emotion we call “love”? All upbeat synths and blaring horns? Really? But then, there’s Lewis, who, right out of the gate, acknowledges that love, “a curious thing,” can “make one man weep” and “another man sing.” I imagine that love can make a woman feel the same. A curious thing. Huey Lewis’ 80s anthem may not sound like love, necessarily, but he’s a smart enough songwriter to know that love often uses its power for ill—“it’s strong and sudden and it’s cruel sometimes.”
Let’s take another songwriter, one with a darker vision, a more literary bent, Nick Cave. The Australian post-punk crooner and former leader of chaotic punk band The Birthday Party wrote a song called “People Ain’t No Good,” the most universal of laments, after a breakup. See him, in the live version in Poland at the top, declare in a mournful, soulful baritone accompanied only by a piano, the truth of no-goodness. Unlike Huey Lewis, this song allows for no quality, power of love or otherwise, to “change a hawk into a little white dove.” It’s Nietzschean in its tragic disappointment. And yet, such is the power of Nick Cave, to write a song of no goodness that sounds like a hymn of praise. The duality Cave embraces gets a part autobiographical, part gospel treatment in the lecture above (“The Secret Life of the Love Song”), which Cave delivered at the Vienna Poetry Festival in 1999.
Cave, the son of a literature professor and himself an accomplished novelist and poet, knows his craft well. The ballads that dominate pop music have deeper roots in a harsher world, one that produced the “murder ballad,” not coincidentally the title of a Nick Cave and the Bad Seeds record — one Allmusic writes Cave “was waiting to make his entire career.” Cave recognizes, as he says in his talk above “an uncaring world—a world that fucks everybody over.” And yet… and yet, he says again and again, there is love, or rather, love songs. Quoting W.H. Auden and Federico Garcia Lorca, he goes on to describe the form as “a howl in the void, for Love and for comfort.” The love song “lives on the lips of the child crying for its mother. It is the song of the lover in need of her loved one, the raving of the lunatic supplicant petitioning his God.”
The love song, then, must contain a quality Garcia Lorca called Duende, an “eerie and inexplicable sadness.” Bob Dylan, Leonard Cohen, Van Morrison, Tom Waits, and Neil Young have it. “It haunts,” he says, his ex P.J. Harvey. “All love songs must contain duende. For the love song is never truly happy. It must first embrace the potential for pain.” Cave draws on Lou Reed’s “Perfect Day,” the “brutal prose” of the Old Testament, and the most innocuous-sounding pop songs, which can disguise “messages to God that cry out into the yawning void, in anguish and self-loathing, for deliverance.”
He also references, and reads, his own song, “Far From Me,” from 1997’s The Boatman’s Call, the post-breakup record that contains “People Ain’t No Good.” (Cave begins the lecture with a rendition of “West Country Girl” from that same record.) It’s an album that brought Cave’s “morbidity to near-parodic levels,” stripping the Bad Seeds stumbling lounge punk down to mostly piano and voice. This reference is not a matter of vanity but of the most well chosen illustration. Cave admits he is “happy to be sad,” to live in “divine discontent.” His religious existentialism is ultimately relieved by the power of love songs, by his “crooked brood of sad eyed children” which “rally round and in their way, protect me, comfort me and keep me alive.” Maybe Huey Lewis had something similar to say, but there’s no way he could ever say it the way that Nick Cave does. Read a partial transcript of Cave’s talk here.
In 1958, Hunter S. Thompson applied for a job with the Vancouver Sun. He was fresh out of the Air Force and struggling to make a living in New York City, though from the tone of the letter you wouldn’t know it.
People who are experts in such things say that good cover letters should match the employer’s needs with the applicant’s abilities, should be tailored specifically to the job in question and should show some personality. By those yardsticks, Thompson’s letter to the Vancouver Sun is a model to be followed. He lays out his eagerness to work: “I can work 25 hours a day if necessary, live on any reasonable salary.” Any HR manager would be tickled with lines like that. He succinctly describes his work experience: “most of my experience has been in sports writing, but I can write everything from warmongering propaganda to learned book reviews.” And for any other fault you might find with the letter, it definitely doesn’t lack in personality.
Yet the letter somehow failed to charm his would-be employer; Thompson never moved to Vancouver. Perhaps they were given pause by Thompson’s steady stream of insults directed towards his former editor — “It was as if the Marquis De Sade had suddenly found himself working for Billy Graham” — and towards journalism in general: “It’s a damned shame that a field as potentially dynamic and vital as journalism should be overrun with dullards, bums, and hacks, hag-ridden with myopia, apathy, and complacence, and generally stuck in a bog of stagnant mediocrity.” Or perhaps it was his intentionally off-putting arrogance, “I’d rather offend you now than after I started working for you.” In any case, it’s a hoot to read. More people should write job application letters like this.
Read the full letter below.
Vancouver Sun
TO JACK SCOTT, VANCOUVER SUN
October 1, 1958 57 Perry Street New York City
Sir,
I got a hell of a kick reading the piece Time magazine did this week on The Sun. In addition to wishing you the best of luck, I’d also like to offer my services.
Since I haven’t seen a copy of the “new” Sun yet, I’ll have to make this a tentative offer. I stepped into a dung-hole the last time I took a job with a paper I didn’t know anything about (see enclosed clippings) and I’m not quite ready to go charging up another blind alley.
By the time you get this letter, I’ll have gotten hold of some of the recent issues of The Sun. Unless it looks totally worthless, I’ll let my offer stand. And don’t think that my arrogance is unintentional: it’s just that I’d rather offend you now than after I started working for you.
I didn’t make myself clear to the last man I worked for until after I took the job. It was as if the Marquis de Sade had suddenly found himself working for Billy Graham. The man despised me, of course, and I had nothing but contempt for him and everything he stood for. If you asked him, he’d tell you that I’m “not very likable, (that I) hate people, (that I) just want to be left alone, and (that I) feel too superior to mingle with the average person.” (That’s a direct quote from a memo he sent to the publisher.)
Nothing beats having good references.
Of course if you asked some of the other people I’ve worked for, you’d get a different set of answers. If you’re interested enough to answer this letter, I’ll be glad to furnish you with a list of references — including the lad I work for now.
The enclosed clippings should give you a rough idea of who I am. It’s a year old, however, and I’ve changed a bit since it was written. I’ve taken some writing courses from Columbia in my spare time, learned a hell of a lot about the newspaper business, and developed a healthy contempt for journalism as a profession.
As far as I’m concerned, it’s a damned shame that a field as potentially dynamic and vital as journalism should be overrun with dullards, bums, and hacks, hag-ridden with myopia, apathy, and complacence, and generally stuck in a bog of stagnant mediocrity. If this is what you’re trying to get The Sun away from, then I think I’d like to work for you.
Most of my experience has been in sports writing, but I can write everything from warmongering propaganda to learned book reviews.
I can work 25 hours a day if necessary, live on any reasonable salary, and don’t give a black damn for job security, office politics, or adverse public relations.
I would rather be on the dole than work for a paper I was ashamed of.
It’s a long way from here to British Columbia, but I think I’d enjoy the trip.
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.
Why does Jane Austen feel so much like our contemporary? Is it the way she has been appropriated by popular culture, turned into a vampish, modern consumer icon in adaptations like From Prada to Nada, Clueless, and Bridget Jones’ Diary? Do these candy-colored updates of Austen truly represent the spirit of the late 18th/early 19th century novelist’s world? Or do we gravitate toward Austen because of nostalgia for a simpler, almost pre-industrial time, when—as in the rather reactionary world of Downton Abbey—the comings and goings in a single household constituted an entire human society?
Why not both? As the writers and artists in the video above from the Morgan Library assert, Austen, like Shakespeare, is a writer for every age. “The Divine Jane” as the title dubs her, had an insight into human behavior that transcends the particulars of her historical moment. But of course, the context of Austen’s fiction—a time of great English country houses and an emerging class-consciousness based on rapidly changing social arrangements—is no mere backdrop. Like Shakespeare, we need to understand Austen on her own terms as much as we enjoy her wit transposed into our own.
The Morgan Library’s “A Woman’s Wit” exhibit, moved online since its debut in the physical space in 2009, offers an excellent collection of resources for scholars and lay readers to discover Austen’s world through her correspondence and manuscripts. You’ll also find there drawings by Austen and her contemporaries and commentary from a number of twentieth century writers inspired by her work. Much of the Austen-mania of the past several years treats the novelist as a more-or-less postmodern ironist—“hotter,” wrote Martin Amis in 1996, “than Quentin Tarantino.” That she has become such fodder for films, both good and frankly terrible, can obscure her obsession with language, one represented by her novels, of course, as well as by her letters—so lively and immediate so as to have inspired a “Perfect Love Letter” competition among Austen enthusiasts.
As for the novels, well, there really is no substitute. Dressing Austen up in Prada and Gucci and recasting her bumbling suitors and impish heroines as mall-savvy teenage Americans has—one hopes—been done enough. Let not Austen’s appeal to our age eclipse the rich, fine-grained observations she made of hers. Whether you’re new to Austen or a lifelong reader, her work is always available, as she intended it to be experienced, on the page—or, er… the screen… thanks to internet publishing and organizations like Project Gutenberg and Librivox. At the links below, you can find all of Austen’s major works in various eBook and audio formats.
So by all means, enjoy the modern classic Clueless, that hilarious rendition of Austen’s Emma. And by all means, read Emma, and Pride and Prejudice, and Mansfield Park, and… well, you get the idea….
No doubt about it, Marshall McLuhan was a cryptic thinker and a bit of an odd duck. Earlier this week, Colin Marshall brought you an Introduction to Marshall McLuhan, presented by Tom Wolfe (best known for The Electric Kool-Aid Acid Test and The Bonfire of the Vanities). In putting together that post, we stumbled upon another gem of a video, a testament to McLuhan’s quirkiness — and we mean that in the best possible way. Above McLuhan, kicking back on a couch, reveals his “peculiar reading habit,” admitting: “If it’s a frivolous, relaxing book, I read every word. But serious books I read on the right-hand side only because I’ve discovered enormous redundancy in any well-written book, and I find that by reading only the right-hand page this keeps me very wide awake, filling in the other page out of my own noodle.” There’s a bit of hubris in that approach, but also a certain amount of creativity too. Perhaps you’ll want to give it a try.
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Note: You will hear sound 37 seconds into the film.
Humanity has endured a great many wartime atrocities since 1937, but to this day, if you think of an artwork born of one such event, you’ll more than likely still think of Guernica. Pablo Picasso’s large black-and-white canvas, which he began painting less than a month after the aerial bombing during the Spanish Civil War of the small Basque town which gave it its name, renders the horror of sudden, thorough destruction in a way nobody had ever seen before, or has seen again since.
“When I visited the town the whole of it was a horrible sight, flaming from end to end. The reflection of the flames could be seen in the clouds of smoke above the mountains from 10 miles away,” wrote The Times’ war correspondent George Steer, in the report that moved Picasso to take on the subject of Guernica for the mural the Spanish Republican government had commissioned for the 1937 World’s Fair. “Throughout the night houses were falling until the streets became long heaps of red impenetrable debris.”
In 1950, both Guernica and Guernica inspired an equally haunting short film of the same name [part one, part two] by Alain Resnais and Robert Hessens. In black and white just like Picasso’s painting, the picture uses nightmarish cutting to combine imagery from Guernica and other artistic sources, a score by Guy Bernard, and the poem “Victory of Guernica” by Paul Éluard. “You hold the flame between your fingers and paint like a fire,” said the poet to the painter during their close friendship in the years after the bombing.
Resnais, who would go on to direct such classics of French cinema as Hiroshima mon amour (another study of an aftermath) and Last Year at Marienbad, only just ended his long and distinguished filmmaking career when he died last year. But in 1950, his career had only just begun, his first forays into film having come in the form of short documentaries on working artists in the mid-1940s. Those led to a commission to do one on the paintings of Van Gogh for a Paris exhibition, which led to one on Gauguin, which led to Guernica. Clearly, Resnais had the tendency to unite the arts in his work from the very beginning, and many of his fans would say it served him well to the end.
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