Audrey Hepburn’s Moving Screen Test for Roman Holiday (1953)

When you think of Audrey Hep­burn, you think of Roman Hol­i­day, the 1953 film that launched her career. How can you for­get Hep­burn as Princess Anne? Orig­i­nal­ly, the part was writ­ten for Eliz­a­beth Tay­lor, then a major star. But some­thing hap­pened dur­ing the cast­ing that changed all of that. In his biog­ra­phy of Ms. Hep­burn, the author Bar­ry Paris writes:

Her Roman Hol­i­day test took place at Pinewood Stu­dio in Lon­don, Sep­tem­ber 18, 1951, under [Thorold] Dick­in­son’s direc­tion. “We did some scenes out of the script,” he said, but “Para­mount also want­ed to see what Audrey was actu­al­ly like not act­ing a part, so I did an inter­view with her. We loaded a thou­sand feet of film into a cam­era and every foot of it went on this con­ver­sa­tion. She talked about her expe­ri­ences in the war, the Allied raid on Arn­hem, and hid­ing out in a cel­lar. A deeply mov­ing thing.”

Lat­er, so the sto­ry goes, the direc­tor William Wyler watched the footage (shown above) in Rome and found it irre­sistible. He claimed: “She had every­thing I was look­ing for: charm, inno­cence and tal­ent. She also was very fun­ny. She was absolute­ly enchant­i­ng, and we said, ‘That’s the girl!’ ”

In watch­ing the footage, one thing will leap out. Hep­burn’s ado­les­cence was hard­ly suit­ed for a princess. Liv­ing in the Dutch town of Arn­hem dur­ing World War II, she expe­ri­enced the harsh Ger­man occu­pa­tion first­hand and suf­fered from mal­nu­tri­tion, acute ane­mia, res­pi­ra­to­ry prob­lems, and ede­ma by the war’s end. It was a for­ma­tive expe­ri­ence that lat­er made her a devot­ed activist for children’s rights.

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Relat­ed Con­tent:

Mar­lene Dietrich’s Tem­pera­men­tal Screen Test for The Blue Angel (1929)

Mar­lon Bran­do Screen Tests for Rebel With­out A Cause (1947)

Bruce Lee Audi­tions for The Green Hor­net

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New Study: Immersing Yourself in Art, Music & Nature Might Reduce Inflammation & Increase Life Expectancy

caspar-david-friedrich-wanderer

Of all the philo­soph­i­cal con­cepts Immanuel Kant is known for, the one I’ve had to strug­gle the least to grasp is his descrip­tion of the sub­lime, a state in which we are over­awed by the scale of some great work of man or nature. It’s an expe­ri­ence, in typ­i­cal Kant­ian fash­ion, that he explains as being not about the thing itself, but rather the idea of the thing. Yet the con­cept of the sub­lime isn’t his. Philoso­phers from the Greek teacher Long­i­nus in the 1st cen­tu­ry to Edmund Burke and oth­er Eng­lish Enlight­en­ment thinkers in Kan­t’s own 18th cen­tu­ry have had their take on it. For the clas­si­cal writ­ers, the sub­lime was rhetor­i­cal, for the Brits, it was empir­i­cal. But above all, the sub­lime is peak aesthetics—a supra-ratio­nal expe­ri­ence of art or nature one can­not get one’s head around. To be so ful­ly absorbed, so strick­en with awe, won­der, and, yes, even fear—all of these philoso­phers believed in some fashion—is to have an expe­ri­ence crit­i­cal to tran­scend­ing our lim­i­ta­tions.

We may not, in either com­mon speech or aca­d­e­m­ic phi­los­o­phy, talk much about the sub­lime these days, but what­ev­er we call the feel­ing of being absorbed in art, music, or nature, it turns out to have phys­i­cal ben­e­fits as well as men­tal and emo­tion­al. “There seems to be some­thing about awe,” says pro­fes­sor of psy­chol­o­gy Dacher Kelt­ner. “It seems to have pro­nounced impact on mark­ers relat­ed to inflam­ma­tion.”

In oth­er words, immers­ing your­self in art or nature is good for the joints, and it could pos­si­bly pre­empt var­i­ous dis­eases trig­gered by inflam­ma­tion. Kelt­ner and his fel­low researchers at UC Berke­ley con­duct­ed a study which found that “awe, won­der and beau­ty pro­mote [low­er and over­all] health­i­er lev­els of cytokines”—pro­teins that “sig­nal the immune sys­tem to work hard­er.” He goes on to say that “the things we do to expe­ri­ence these emotions—a walk in nature, los­ing one­self in music, behold­ing art—has [sic] a direct influ­ence upon health and life expectan­cy.”

Nev­er mind that Kant and Burke thought of the sub­lime and the beau­ti­ful as two very dif­fer­ent things. Whether we become total­ly over­whelmed by, or just find deep appre­ci­a­tion in an aes­thet­ic expe­ri­ence, the emo­tions pro­duced “might be just as salu­bri­ous as hit­ting the gym,” writes Hyper­al­ler­gic. That may seem a crude way of think­ing about the spir­i­tu­al and emo­tion­al grandeur of the sub­lime, but it brings our phys­i­cal being into the dis­cus­sion in ways many philoso­phers have neglect­ed. Grant­ed, the researchers them­selves admit the causal link is uncer­tain: it might be bet­ter health that leads to more expe­ri­ences of awe, and not the oth­er way around. But cer­tain­ly no harm—and a great deal of good—can come from con­duct­ing the exper­i­ment on your­self. Read an abstract (or pur­chase a copy) of the Berke­ley team’s arti­cle here, and learn more about their work with the Uni­ver­si­ty’s Greater Good Sci­ence Cen­ter, which aims to “spon­sor ground­break­ing sci­en­tif­ic research into social and emo­tion­al well-being.”

via Hyper­al­ler­gic

Relat­ed Con­tent:

This Is Your Brain on Jane Austen: The Neu­ro­science of Read­ing Great Lit­er­a­ture

How Walk­ing Fos­ters Cre­ativ­i­ty: Stan­ford Researchers Con­firm What Philoso­phers and Writ­ers Have Always Known

Free Guid­ed Med­i­ta­tions From UCLA: Boost Your Aware­ness & Ease Your Stress

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

Werner Herzog Narrates the Touching, Existential Journey of a Plastic Bag

It just goes to show that, put in the right hands, you can root, or shed a tear, for any pro­tag­o­nist — even if it’s a plas­tic bag. Shot in 2009 by Ramin Bahrani (who Roger Ebert called the “new great Amer­i­can direc­tor”) this 18-minute film “traces the epic, exis­ten­tial jour­ney of a plas­tic bag search­ing for its lost mak­er, the woman who took it home from the store and even­tu­al­ly dis­card­ed it.” Adding a spe­cial touch, Wern­er Her­zog nar­rates the inner thoughts of the bag as it “encoun­ters strange crea­tures, expe­ri­ences love in the sky, grieves the loss of its beloved mak­er, and tries to grasp its pur­pose in the world.”

Plas­tic Bag was one of 11 films released in the Inter­net Tele­vi­sion Ser­vice’s “Futurestates” film series explor­ing “what life might look like in an Amer­i­ca of the future.” Upon its release, Her­zog told The Guardian, ‘I’m so glad this is not an agen­da movie or I would run like mad and get away from here. I mean, we can talk about sus­tain­abil­i­ty issues, about plas­tic, about the Earth, but the movie’s about some­thing else, some­thing more … it’s about a jour­ney.” An emo­tion­al, exis­ten­tial one, indeed.

You can find Plas­tic Bag in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

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.

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:

Wern­er Her­zog Offers 24 Pieces of Film­mak­ing & Life Advice

Wern­er Her­zog Picks His 5 Top Films

Wern­er Her­zog and Cor­mac McCarthy Talk Sci­ence and Cul­ture

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Watch Nina Paley’s “Embroidermation,” a New, Stunningly Labor-Intensive Form of Animation

If you keep up with the ani­ma­tion we post here at Open Cul­ture, you’ll know we have a strong fas­ci­na­tion with tech­niques that require seem­ing­ly inhu­man lev­els of devo­tion to the craft. Ster­ling ear­li­er exam­ples of that include the pin­screen ani­ma­tion of Alexan­der Alex­eieff and Claire Park­er as used to envi­sion Niko­lai Gogol’s “The Nose” and Mod­est Mus­sorgsky’s “Night on Bald Moun­tain.” More recent prac­ti­tion­ers of such severe­ly labor-inten­sive ani­ma­tion include Nina Paley, the self-taught ani­mat­ed film­mak­er who sin­gle­hand­ed­ly cre­at­ed Sita Sings the Blues, the fea­ture-length jazz-scored adap­ta­tion of clas­sic Indi­an myth we fea­tured in 2009.

Since then, Paley has tak­en her con­sid­er­able skills to a form she calls “embroi­der­ma­tion.” It looks how it sounds: like frame by embroi­dered frame sequenced into life. You can get an idea of the process at Paley’s blog. She’s done this project under the ban­ner of PaleGray Labs, “the tex­tile col­lab­o­ra­tion of Nina Paley and Theodore Gray” (whose slo­gan announces their mis­sion to “put the NERD in quilt­iNg and EmbRoi­Dery”). They used it to make Chad Gadya, a three-minute ren­der­ing of a tra­di­tion­al passover folk song. (Below it, you can also see anoth­er embroi­der­ma­tion made by anoth­er artist for Throne’s song “Thar­sis Sleeps.”) PaleGray Labs bills Chad Gadya as “our most ridicu­lous­ly labor-inten­sive ani­ma­tion ever,” which must also make it the most ridicu­lous­ly labor-inten­sive ani­ma­tion we’ve yet fea­tured on Open Cul­ture. Its cre­ation required not only for­mi­da­ble embroi­dery abil­i­ties, but a deft hand with indus­tri­al-strength num­ber-crunch­ing soft­ware Math­e­mat­i­ca in order to cre­ate the process­es that allowed them to ani­mate the stitched fig­ures smooth­ly. If the results cap­ture your imag­i­na­tion, know that you can pur­chase the orig­i­nal phys­i­cal mate­ri­als: “Each unique, approx­i­mate­ly 16” square, unbleached cot­ton mat­zoh cov­er con­tains 6 frames of ani­ma­tion and is signed by the artists,” PaleGray’s site assures us. Per­haps you’d like to con­sid­er stock­ing up ear­ly on gifts for next Passover?

Relat­ed Con­tent:

Niko­lai Gogol’s Clas­sic Sto­ry, “The Nose,” Ani­mat­ed With the Aston­ish­ing Pin­screen Tech­nique (1963)

Night on Bald Moun­tain: An Eery, Avant-Garde Pin­screen Ani­ma­tion Based on Mussorgsky’s Mas­ter­piece (1933)

Sita Sings the Blues

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Amanda Palmer Animates & Narrates Husband Neil Gaiman’s Unconscious Musings

Accord­ing to singer, song­writer and crowed fun­der extra­or­di­naire, Aman­da Palmer, there’s an “epi­dem­ic of mild-man­nered British men who say weird shit in their sleep.”

Her hus­band, author Neil Gaiman, is no excep­tion.

Neil Gaiman is a total weirdo when he’s half asleep. in a GOOD way, usu­al­ly. you know all that cray shit he’s been writ­ing for the past 30 years? it has to come from *some­where*. the guy is a fleshy repos­i­to­ry of sur­re­al strange­ness, and he’s at his best when he’s in the twi­light zone of half-wake­ful­ness. he’s the strangest sleep­er I’ve ever slept with (let’s not get into who I’ve slept with…different ani­ma­tion) not just because of the bizarro things that come out of his mouth when he’s in the gray area, but because he actu­al­ly seems to take on a total­ly dif­fer­ent per­sona when he’s asleep. and when that dude shows up, the wak­ing Neil Gaiman is impos­si­ble to get back, unless you real­ly shout him awake.

She’s made a habit of jot­ting down her husband’s choic­est som­nam­bu­lis­tic mut­ter­ings. One paper­less night, she repaired to the bath­room to recre­ate his noc­tur­nal state­ments on her iPhone’s voice recorder as best she could remem­ber.

As some­one who’s sore­ly tempt­ed to get incon­tro­vert­ible proof of her bedmate’s errat­ic snor­ing pat­terns, I won­der that Palmer wasn’t tempt­ed to hit record mid-rant, and let him hoist him­self on his own petard. Revenge does not seem to be the motive here, though. Palmer uses the device as more of a diary, rarely revis­it­ing what she’s laid down. It’s more process than prod­uct.

That said, when she redis­cov­ered this track, she felt it deserved to be ani­mat­ed, a la the Blank on Blank series. (Brain­Pick­ing’s Maria Popo­va urged her on too.) The ever-game Gaiman report­ed­ly “laughed his head off” at the prospect of get­ting the Janis Joplin found text treat­ment.

The finan­cial sup­port of some 5,369 fans on the artist-friend­ly crowd fund­ing plat­form, Patre­on, allowed Palmer  to secure the ser­vices of ani­ma­tor Avi Ofer, who reen­vi­sioned the cou­ple as a New York­er car­toon of sorts. He also man­aged to squeeze in a deft Lit­tle Prince ref­er­ence.

Per­haps his ser­vices will be called upon again. Gaiman reports that his very preg­nant bride is also prone to non­sen­si­cal sleep talk. (“I want to go danc­ing and i don’t want them to take the sheep, Don’t let them take the sheep.”) Turn­about is fair play.

Relat­ed Con­tent:

Neil Gaiman’s Free Short Sto­ries

Where Do Great Ideas Come From? Neil Gaiman Explains

Watch Love­birds Aman­da Palmer and Neil Gaiman Sing “Makin’ Whoopee!” Live

Aman­da Palmer’s Tips for Being an Artist in the Rough-and-Tum­ble Dig­i­tal Age

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

Isaac Asimov’s Foundation Trilogy: Hear a Radio Dramatization (1973)

TheFoundationTrilogy
Last year Jonathan Nolan–screenwriter of Memen­to and Inter­stel­lar and not coin­ci­den­tal­ly direc­tor Christo­pher Nolan’s brother–announced that he would be devel­op­ing Isaac Asimov’s leg­endary Foun­da­tion tril­o­gy for HBO as a series. And we assume he’s still doing that, because there’s been nary a peep from the chan­nel since. So far the Inter­net con­sen­sus has been a col­lec­tive “well, that could be good!” instead of groans, which is a heart­en­ing thing these days.

For those who haven’t read the clas­sic books, but would like to get the jump on ol’ Nolan, we sub­mit this BBC Radio pro­duc­tion from 1973, which is now avail­able on Spo­ti­fy below. (Down­load Spo­ti­fy soft­ware here.) The record­ing also lives on Archive.org as well.

Right from the begin­ning we know we are in good hands, with the ana­log drones of the BBC Radio­phon­ic Work­shop ush­er­ing us into a stereo land­scape filled with plum­my British accents and atmos­pher­ic sound effects. It’s like the best ever episode of Doc­tor Who with­out a Tardis, cor­ri­dors, or the enfee­bled cries of a lost com­pan­ion.

The Foun­da­tion Tril­o­gy is heav­i­ly indebt­ed to Edward Gibbon’s The His­to­ry of the Decline and Fall of the Roman Empire, as well as a belief in the cir­cu­lar nature of his­to­ry.

Asimov’s hero in the first book, Hari Sel­don, using a sci­ence called psy­chohis­to­ry, can see the inevitable col­lapse of the Galac­tic Empire in which he lives and sets about try­ing to change it by set­ting up an oppo­si­tion called the Foun­da­tion. The nov­els then jump decades ahead, check­ing in with this essen­tial con­flict, much like Gibbon’s work goes from emper­or to emper­or, mark­ing the decline of empire and its inevitabil­i­ty. Free of aliens and shoot-em-ups, Foun­da­tion is very human despite its galac­tic scope.

Adapt­ed by Patrick Tull and Mike Stott, the eight part radio series does a good job of pre­sent­ing the nov­els as a char­ac­ter-dri­ven dra­ma, and while it is talky (it’s radio after all), it was Orson Scott Card who said of Foun­da­tion, it is “all talk, no action — but Asi­mov’s talk is action.”

It also influ­enced many future sci-fi writ­ers. No doubt some­where along the way Dou­glas Adams was lis­ten­ing to the radio play’s talk­ing ency­clo­pe­dia and think­ing, hmm, what if this had jokes?
And once you get through the trilogy–maybe after an eight-hour flight?–there’s more Asi­mov radio plays for your lis­ten­ing plea­sure on Spo­ti­fy: Host­ess, Peb­ble in the Sky, and Night­fall.

NOTE: Look­ing for free, pro­fes­sion­al­ly-read audio books from Audible.com? Here’s a great, no-strings-attached deal. If you start a 30 day free tri­al with Audible.com, you can down­load two free audio books of your choice. Get more details on the offer here.

And note this: Audiobooks.com also has a free tri­al offer where you can down­load a free audio­book. Details.

Relat­ed Con­tent:

Isaac Asimov’s Favorite Sto­ry “The Last Ques­tion” Read by Isaac Asi­mov— and by Leonard Nimoy

Lis­ten to 188 Dra­ma­tized Sci­ence Fic­tion Sto­ries by Ursu­la K. Le Guin, Isaac Asi­mov, Philip K. Dick, J.G. Bal­lard & More

Two Doc­u­men­taries Intro­duce Delia Der­byshire, the Pio­neer in Elec­tron­ic Music

1,000 Free Audio Books: Down­load Great Books for Free

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

Read Pablo Picasso’s Poetry: Modernist Meditations on Making Art, World War, Dogs & More

Picasso, annotated poem manuscript, December 24, 1935

What makes Pablo Picas­so such a rep­re­sen­ta­tive 20th-cen­tu­ry artist? Most of it has to do with his par­tic­u­lar achieve­ments, such as the visu­al ground he broke with his Cubist paint­ing, sure, but some of it also has to do with the fact that his inter­ests extend­ed so far beyond paint­ing. We think of cre­ators who could cre­ate across var­i­ous domains as “Renais­sance men,” but con­di­tions a few cen­turies on from the Renais­sance enabled such artists to exert their will across an even wider range of forms. Picas­so, for instance, worked in not just paint­ing but sculp­ture, print­mak­ing, ceram­ics, and let­ters.

That last even includes poet­ry, to which Picas­so announced his com­mit­ment in 1935, at the age of 53. At that point, writes Dan­ger­ous Minds’ Paul Gal­lagher, “he began writ­ing poems almost every day until the sum­mer of 1959,” begin­ning “by daub­ing col­ors for words in a note­book before mov­ing on to using words to sketch images,” ulti­mate­ly pro­duc­ing hun­dreds of poems com­posed pri­mar­i­ly of “stream of con­scious­ness, unpunc­tu­at­ed word asso­ci­a­tion with star­tling jux­ta­po­si­tion of images and at times an obses­sion with sex, death and excre­ment.”

If this sounds like your cup of tea, you can find plen­ty of Picas­so poet­ry over at Ubuweb, which offers A Picas­so Sam­pler: Excerpts from the Bur­ial of the Count of Orgaz & Oth­er Poems free for the view­ing. “Picas­so, like any poet of con­se­quence, is a man ful­ly into his time and into the ter­rors that his time presents,” writes the col­lec­tion’s edi­tor Jerome Rothen­berg. His words reflect “the state of things between the two world wars — the first one still fresh in mind and the rum­blings of the sec­ond start­ing up,” a time and place “where poet­ry becomes — for him as for us — the only lan­guage that makes sense.”

Before div­ing into that col­lec­tion, you can also get a sense of Picas­so’s poet­ry by hav­ing a look at some of his short­er poems col­lect­ed at the site of artist Jef Borgeau, such as “the artist & his mod­el”:

turn your back
but stay in view at the same time
(now look away,
any­thing else con­fus­es)

stand still with­out say­ing a word

you can’t see but this is how
i sep­a­rate day from night

and the star­less sky

from the emp­ty heart

“dogs”:

dogs eat at the night
buried in the yard
they chase the moon in a pack
the white of their teeth
com­pared to stars

the win­dows close against them
iron bars in trans­paren­cy

life clos­es against them

the morn­ing will crush them to dust
with only the wind left
to stir them up

And “the morn­ing of the world”:

i have a face cut from ice
a heart pierced in a thou­sand places
so to remem­ber
always the same voice
the same ges­tures
and my laugh­ter
heavy
as a wall
between you and me

the ones who are most alive
seem the most still

behind the milky way
a shad­ow dances

our gaze climbs toward the stars

Relat­ed Con­tent:

Picas­so Paint­ing on Glass

Pablo Picasso’s Two Favorite Recipes: Eel Stew & Omelette Tor­tilla Niçoise

The Post­cards That Picas­so Illus­trat­ed and Sent to Jean Cocteau, Apol­li­naire & Gertrude Stein

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

The 10 Commandments of Rock ‘n’ Roll, According to Robert Hunter

roadiessm

In the after­glow of the Grate­ful Dead­’s Fare Thee Well con­certs, we high­light­ed The Anno­tat­ed Grate­ful Dead Lyrics, an online project launched in 1995, which pro­vid­ed edi­to­r­i­al foot­notes explain­ing the ref­er­ences of every orig­i­nal Grate­ful Dead song.

For many of these songs we have Robert Hunter to thank. The major­i­ty of the Dead­’s songs were Robert Hunter/Jerry Gar­cia col­lab­o­ra­tions. Gar­cia com­posed the music, and Hunter, the lyrics. Hunter did­n’t per­form with the group (Gar­cia called him “the band mem­ber who does­n’t come out on stage with us”), but he was an inte­gral part of the group all the same. When the Dead entered the Rock n Roll Hall of Fame in 1994, Robert Hunter was one of the inductees.

Being part of the Grate­ful Dead fam­i­ly, Hunter some­times joined the band on tours, which weren’t always fun and games. As Den­nis McNal­ly, the Dead­’s offi­cial his­to­ri­an, wrote in A Long Strange Trip: The Inside His­to­ry of the Grate­ful Dead, the band, espe­cial­ly as it gained pop­u­lar­i­ty and toured on a big­ger scale, pulled some rough and tum­ble peo­ple into its orbit. The busi­ness man­agers made life dif­fi­cult for the musi­cal purists. And there was dis­sen­sion at times. At one point, writes McNal­ly, Robert Hunter wrote an open let­ter to the band mem­bers, struc­tured as a sar­cas­tic list, which “iden­ti­fies the least-char­i­ta­ble aspects of life in the Grate­ful Dead hier­ar­chy.” It reads as fol­lows:

The Ten Com­mand­ments of Rock & Roll

1. Suck up to the top cats

2. Do not express inde­pen­dent opin­ions.

3. Do not work for com­mon inter­ests, only fac­tion­al inter­ests.

4. If there’s noth­ing to com­plain about, dig up some old gripe.

5. Do not respect prop­er­ty or per­sons oth­er than band prop­er­ty and per­son­nel.

6. Make dev­as­tat­ing judg­ments about per­sons and sit­u­a­tions with­out ade­quate infor­ma­tion.

7. Dis­cour­age and con­found per­son­al, tech­ni­cal, and/or cre­ative projects.

8. Sin­gle out absent per­sons for intense crit­i­cism.

9. Remem­ber that any­thing you don’t under­stand is try­ing to fuck with you.

10 Destroy your­self phys­i­cal­ly and moral­ly and insist that all true broth­ers do like­wise as an expres­sion of uni­ty.

Relat­ed Con­tent:

Every Grate­ful Dead Song Anno­tat­ed in Hyper­text: Web Project Reveals the Deep Lit­er­ary Foun­da­tions of the Dead’s Lyrics

The Grate­ful Dead’s “Rip­ple” Played by Musi­cians Around the World

10,173 Free Grate­ful Dead Con­cert Record­ings in the Inter­net Archive

The Grate­ful Dead’s “Ulti­mate Boot­leg” Now Online & Added to the Library of Con­gress’ Nation­al Record­ing Reg­istry

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Open Culture was founded by Dan Colman.