A Last Glimpse Inside the Okura, Tokyo’s Modernist Masterpiece Hotel

In late August, one of Tokyo’s grand­est hotels, Hotel Oku­ra closed its doors and its main wing will be demol­ished to make way for a $980 mil­lion recon­struc­tion. The new hotel will open in 2019.

The move was met with howls of protest around the world. The orig­i­nal hotel was hailed as a mod­ernist trea­sure. “It’s a mas­ter­piece,” lament­ed not­ed archi­tec­ture writer Hiroshi Mat­suku­ma. “It has a cul­tur­al and his­tor­i­cal val­ue that can nev­er be repro­duced again.”

The hotel first opened its doors in 1962 at a piv­otal time in Japan­ese his­to­ry. Eager to dis­tance itself from its mil­i­taris­tic past, the coun­try put on a new inter­na­tion­al­ist face to the world. The 1964 Tokyo Olympics were meant to be a sort of com­ing out par­ty for a new, thor­ough­ly mod­ern nation. The Hotel Oku­ra was designed in this same opti­mistic spir­it.

Archi­tect Yoshio Taniguchi said that he intend­ed the hotel to be crisply mod­ern though imbued with “a firm dig­ni­ty imper­vi­ous to fleet­ing fash­ion.” Five decades lat­er, the hotel’s inte­ri­ors still seem strik­ing, ele­gant and won­der­ful­ly atmos­pher­ic. Taniguchi recruit­ed mas­ter arti­sans Hideo Kosa­ka, Shiko Munaka­ta and Ken­kichi Tomi­mo­to to craft the hotel’s look. The hotel’s murals, fur­ni­ture, exte­ri­or fac­ing, even the light fix­tures, all draw upon ele­ments of tra­di­tion­al Japan­ese design, re-imag­ined for the jet age.

“It’s the light­ing fix­tures, the fur­ni­ture. What’s excit­ing is that you see this con­cept of Japan­ese design his­to­ry play out across the lob­by,” said Don Choi, pro­fes­sor of archi­tec­ture at Cal Poly San Luis Obis­po. “You would­n’t see that in Paris or New York. That atten­tion to detail makes it a com­plete work of art.”

Hotel Oku­ra has played host to sev­er­al US Pres­i­dents, from Ford to Oba­ma, along with oth­er inter­na­tion­al lumi­nar­ies from the Dalai Lama to Mikhail Gor­bachev. Even James Bond spent the night there in You Only Live Twice. Haru­ki Muraka­mi lat­er fea­tured the place promi­nent­ly in his beloved tome 1Q84.

For 50 years, the hotel has con­tin­ued to oper­ate large­ly unchanged. Even the menu for the hotel’s restau­rant, the Orchid Room, serves up the same fare they had back in 1964 — from crepes suzette to wiener schnitzel. The place was the Kennedy era dipped in amber. For the 21st cen­tu­ry vis­i­tor, that was no doubt much of its charm.

Mon­o­cle Mag­a­zine has pro­duced a love­ly video ele­gy to the hotel, which you can watch above.

Via Devour

Relat­ed Con­tent:

Hōshi: A Short Film on the 1300-Year-Old Hotel Run by the Same Fam­i­ly for 46 Gen­er­a­tions

The His­to­ry of West­ern Archi­tec­ture: From Ancient Greece to Roco­co (A Free Online Course)

The Mod­ernist Gas Sta­tions of Frank Lloyd Wright and Mies van der Rohe

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

Take a 360° Vir­tu­al Tour of Tal­iesin, Frank Lloyd Wright’s Per­son­al Home & Stu­dio

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 vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Play The Hitchhiker’s Guide to the Galaxy Video Game Free Online, Designed by Douglas Adams in 1984

We’ve told you about a fair few vin­tage video games that you can play free online. Here’s anoth­er one to add to your col­lec­tion.

Back in 1985, Dou­glas Adams teamed up with Info­com’s Steve Meret­zky to cre­ate an inter­ac­tive fic­tion video game based on The Hitch­hik­er’s Guide to the Galaxy. Designed before graph­ic-inten­sive video games real­ly hit their stride, the orig­i­nal Hitch­hik­er’s Guide game (watch an unbox­ing above) was played with text com­mands on the Apple II, Mac­in­tosh, Com­modore 64, CP/M, DOS, Ami­ga, Atari 8‑bit and Atari ST plat­forms. And it found instant suc­cess. The adven­ture game sold 400,000 copies, mak­ing it one of the best-sell­ing games of its time, and it was named the “Game Of The Year” by var­i­ous mag­a­zines.

In 2004, the BBC released on its web­site a 20th anniver­sary ver­sion of the game, and then an enhanced 30th anniver­sary ver­sion last year. Before you start play­ing, you will need to reg­is­ter for an account with the BBC, and then you would be wise to read the instruc­tions, which begin with these words:

The game remains essen­tial­ly unchanged and the orig­i­nal writ­ing by Dou­glas Adams remains untouched. It is still played by enter­ing com­mands and press­ing return. Then read the text, fol­low your judge­ment and you will prob­a­bly be killed an inor­di­nate num­ber of times.

Note: The game will kill you fre­quent­ly. If in doubt, before you make a move please save your game by typ­ing “Save” then enter. You can then restore your game by typ­ing “Restore” then enter. This should make it slight­ly less annoy­ing get­ting killed as you can go back to where you were before it hap­pened. You’ll need to be signed in for this to work. You can sign in or reg­is­ter by click­ing the BBCiD icon next to the BBC logo in the top nav­i­ga­tion bar.

You can find some impor­tant game hints here, or watch a walk-through on YouTube here.

Enjoy.

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:

Back to Bed: A New Video Game Inspired by the Sur­re­al Art­work of Esch­er, Dali & Magritte

Play the Twin Peaks Video Game: Retro Fun for David Lynch Fans

The Inter­net Arcade Lets You Play 900 Vin­tage Video Games in Your Web Brows­er (Free)

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Stephen Colbert Reads Flannery O’Connor’s Darkly Comedic Story, “The Enduring Chill”

A good man is hard to find… a good man who can hold an audi­ence rapt by read­ing aloud for over an hour is hard­er still.

Soon-to-be Late Show host Stephen Col­bert acquits him­self quite nice­ly with Flan­nery O’Connor’s 1958 short sto­ry “The Endur­ing Chill,” above.

The tale of an ail­ing New York-based playwright’s unwill­ing return to his ances­tral home is a nat­ur­al fit for Col­bert, raised in Charleston, South Car­oli­na by North­ern par­ents. Record­ed at the behest of Select­ed Shorts, a pub­lic radio pro­gram where­in well known per­form­ers inter­pret con­tem­po­rary and clas­sic short fic­tion, the story—hand picked by Colbert—is a risky choice for 2015.

Like all of O’Connor’s work, it’s dark­ly comedic, and rife with rich char­ac­ter­i­za­tions. It also makes repeat­ed ref­er­ence to “Negroes,” two of whom the reader—in Col­bert’s case, a white man—is tasked with bring­ing to life. In this cur­rent cli­mate, I sus­pect most white come­di­ans would’ve played it safe with O’Connor’s lurid crowd pleas­er, “A Good Man is Hard to Find,” a sta­ple of high school read­ing lists, which you can hear O’Con­nor, her­self, read here.

Col­bert sails through by bring­ing his North­west­ern Uni­ver­si­ty the­ater train­ing to bear. (O’Connor was a favorite of the Per­for­mance Stud­ies depart­ment dur­ing his time there.)

Hav­ing spent years embody­ing a right wing wind­bag on his satir­i­cal Col­bert Report, the come­di­an clear­ly rel­ish­es the oppor­tu­ni­ty to tack­le a vari­ety of roles, includ­ing the main character’s will­ful­ly super­fi­cial moth­er, his sour sis­ter, and the afore­men­tioned pre-Civ­il Rights-era African-Amer­i­can men, work­ers in the hero’s mother’s dairy barn. The Catholic Col­bert also has fun with an unex­pect­ed­ly less-than-eru­dite Jesuit priest.

Grow­ing up in South Car­oli­na, Col­bert made a con­scious deci­sion to steer clear of a South­ern accent, but his pro­nun­ci­a­tion of the word “poem” is a hall­mark of authen­tic here.

As for O’Connor, she gets in a not-so-sub­tle jab at Gone with the Wind, as well as the sort of read­er who, try­ing to be help­ful, coun­sels an aspi­rant South­ern writer to “put the War in there.”

Some­thing tells me these two would have hit it off…I would’ve loved to hear him inter­view her along with George Clooney, Amy Schumer, and oth­er first week guests.

Col­bert’s read­ing of “The Endur­ing Chill” will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

via Metafil­ter

Relat­ed Con­tent:

Flan­nery O’Connor: Friends Don’t Let Friends Read Ayn Rand (1960)

Stephen Col­bert Reads Ray Brad­bury Clas­sic Sci-Fi Sto­ry “The Veldt”

Rare 1959 Audio: Flan­nery O’Connor Reads ‘A Good Man is Hard to Find’

Stephen Col­bert & Louis CK Recite The Get­tys­burg Address, With Some Help from Jer­ry Sein­feld

Ayun Hal­l­i­day is an author, illus­tra­tor and per­former who revis­its her low bud­get back­pack­er trav­els in the new edi­tion of No Touch Mon­key! And Oth­er Trav­el Lessons Learned Too Late . Fol­low her @AyunHalliday

 

 

Tolstoy and Gandhi Exchange Letters: Two Thinkers’ Quest for Gentleness, Humility & Love (1909)

Gandhi.Tolstoy

Some of the most rig­or­ous moral thinkers of the past cen­tu­ry have spent time on the wrong side of ques­tions they deemed of vital impor­tance. Mohan­das Gand­hi, for exam­ple, at first remained loy­al to the British, man­i­fest­ing many of the vicious prej­u­dices of the Empire against Black South Africans and lob­by­ing for Indi­ans to serve in the war against the Zulu. Maya Jasanoff in New Repub­lic describes Gand­hi dur­ing this peri­od of his life as a “crank.” At the same time, he devel­oped his phi­los­o­phy of non-vio­lent resis­tance, or satya­gra­ha, in South Africa as an Indi­an suf­fer­ing the injus­tices inflict­ed upon his coun­try­men by both the Boers and the British.

Gandhi’s some­time con­tra­dic­to­ry stances may be in part under­stood by his rather aris­to­crat­ic her­itage and by the warm wel­come he first received in Lon­don when he left his fam­i­ly, his caste, and his wife and child in India to attend law school in 1888. And yet it is in Lon­don that he first began to change his views, becom­ing a staunch veg­e­tar­i­an and encoun­ter­ing theos­o­phy, Chris­tian­i­ty, and many of the con­tem­po­rary writ­ers who would shift his per­spec­tive over time. Gand­hi received a very dif­fer­ent recep­tion in Eng­land when he returned in 1931, the de fac­to leader of a bur­geon­ing rev­o­lu­tion­ary move­ment in India whose exam­ple was so impor­tant to both the South African and U.S. civ­il rights move­ments of suc­ceed­ing decades.

One of the writ­ers who most deeply guid­ed Gandhi’s polit­i­cal, spir­i­tu­al, and philo­soph­i­cal evo­lu­tion, Leo Tol­stoy, expe­ri­enced his own dra­mat­ic trans­for­ma­tion, from land­ed aris­to­crat to social rad­i­cal, and also renounced prop­er­ty and posi­tion to advo­cate stren­u­ous­ly for social equal­i­ty. Gand­hi eager­ly read Tolstoy’s The King­dom of God is With­in You, the novelist’s state­ment of Chris­t­ian anar­chism. The book, Gand­hi wrote in his auto­bi­og­ra­phy, “left an abid­ing impres­sion on me.” After fur­ther study of Tolstoy’s reli­gious writ­ing, he “began to real­ize more and more the infi­nite pos­si­bil­i­ties of uni­ver­sal love.”

It was in Eng­land, not India, where Gand­hi first read “A Let­ter to a Hin­du,” Tolstoy’s 1908 reply to a note from Indi­an rev­o­lu­tion­ary Tarak­nath Das on the ques­tion of Indi­an inde­pen­dence. Tol­stoy divides his lengthy, thought­ful “Let­ter” into short chap­ters, each of which begins with a quo­ta­tion from the Vedas. “Indeed,” writes Maria Popo­va, the mis­sive “puts in glar­ing per­spec­tive the nuance­less and hasty op-eds of our time.” It so affect­ed Gand­hi that, in 1909, he wrote to Tol­stoy, thus begin­ning a cor­re­spon­dence between the two that last­ed through the fol­low­ing year. “I take the lib­er­ty of invit­ing your atten­tion to what has been going on in the Trans­vaal for near­ly three years,” begins Gandhi’s first let­ter, some­what abrupt­ly, “There is in that Colony a British Indi­an pop­u­la­tion of near­ly 13,000. These Indi­ans have, for sev­er­al years, labored under var­i­ous legal dis­abil­i­ties.”

The prej­u­dice against col­or and in some respects against Asians is intense in that Colony….The cli­max was reached three years ago, with a law that many oth­ers and I con­sid­ered to be degrad­ing and cal­cu­lat­ed to unman those to whom it was applic­a­ble. I felt that sub­mis­sion to a law of this nature was incon­sis­tent with the spir­it of true reli­gion. Some of my friends and I were and still are firm believ­ers in the doc­trine of non­re­sis­tance to evil. I had the priv­i­lege of study­ing your writ­ings also, which left a deep impres­sion on my mind.

Gand­hi refers to a law forc­ing the Indi­an pop­u­la­tion in South Africa to reg­is­ter with the author­i­ties. He goes on to inquire about the authen­tic­i­ty of the “Let­ter” and asks per­mis­sion to trans­late it, with pay­ment, and to omit a neg­a­tive ref­er­ence to rein­car­na­tion that offend­ed him. Tol­stoy respond­ed a few months lat­er, in 1910, allow­ing the trans­la­tion free of charge, and allow­ing the omis­sion, with the qual­i­fi­ca­tion that he believed “faith in re-birth will nev­er restrain mankind as much as faith in the immor­tal­i­ty of the soul and in divine truth in love.” Over­all, how­ev­er, he express­es sol­i­dar­i­ty, greet­ing Gand­hi “fra­ter­nal­ly” and writ­ing,

God help our dear broth­ers and co-work­ers in the Trans­vaal! Among us, too, this fight between gen­tle­ness and bru­tal­i­ty, between humil­i­ty and love and pride and vio­lence, makes itself ever more strong­ly felt, espe­cial­ly in a sharp col­li­sion between reli­gious duty and the State laws, expressed by refusals to per­form mil­i­tary ser­vice.

The two con­tin­ued to write to each oth­er, Gand­hi send­ing Tol­stoy a copy of his Indi­an Home Rule and the trans­lat­ed “Let­ter,” and Tol­stoy expound­ing at length on the errors—and what he saw as the supe­ri­or characteristics—of Chris­t­ian doc­trine. You can read their full cor­re­spon­dence here, along with Tolstoy’s “Let­ter to a Hin­du” and Gandhi’s intro­duc­tion to his edi­tion. Despite their reli­gious dif­fer­ences, the exchange fur­ther gal­va­nized Gand­hi’s pas­sive resis­tance move­ment, and in 1910, he found­ed a com­mu­ni­ty called “Tol­stoy Farm” near Johan­nes­burg.

Gand­hi’s views on African inde­pen­dence would change, and Nel­son Man­dela lat­er adopt­ed Gand­hi and the Indi­an inde­pen­dence move­ment as a stan­dard for the anti-apartheid move­ment. We’re well aware, of course, of Gand­hi’s influ­ence on Mar­tin Luther King, Jr. For his part, Gand­hi wrote glow­ing­ly of Tol­stoy, and the mod­el the nov­el­ist pro­vid­ed for his own anti-colo­nial cam­paign. In a speech 18 years lat­er, he said, “When I went to Eng­land, I was a votary of vio­lence, I had faith in it and none in non­vi­o­lence.” After read­ing Tol­stoy, “that lack of faith in non­vi­o­lence vanished…Tolstoy was the very embod­i­ment of truth in this age. He strove uncom­pro­mis­ing­ly to fol­low truth as he saw it, mak­ing no attempt to con­ceal or dilute what he believed to be the truth. He stat­ed what he felt to be the truth with­out car­ing whether it would hurt or please the peo­ple or whether it would be wel­come to the mighty emper­or. Tol­stoy was a great advo­cate of non­vi­o­lence in his age.”

Relat­ed Con­tent:

Hear Gandhi’s Famous Speech on the Exis­tence of God (1931)

Albert Ein­stein Express­es His Admi­ra­tion for Mahat­ma Gand­hi, in Let­ter and Audio

Leo Tolstoy’s Masochis­tic Diary: I Am Guilty of “Sloth,” “Cow­ardice” & “Sissi­ness” (1851)

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

Jack Kerouac’s Poetry & Prose Read/Performed by 20 Icons: Hunter S. Thompson, Patti Smith, William S. Burroughs, Johnny Depp & More

Image by Tom Palum­bo, via Wiki­me­dia Com­mons

Last year, we fea­tured a few read­ings and per­for­mances of the work of Jack Ker­ouac by musi­cians like Pat­ti Smith, John Cale, Thurston Moore, and Joe Strum­mer. Those tracks got laid down for 1997’s Ker­ouac: Kicks Joy Dark­ness, a trib­ute to the author of On the Road and The Dhar­ma Bums and an Amer­i­can cul­tur­al pres­ence as res­o­nant as they come. Now, you can lis­ten to the whole thing on Spo­ti­fy (whose free soft­ware you can down­load here) and rev­el in ren­di­tions of Ker­ouac’s poet­ry and prose by an even wider selec­tion of beloved alter­na­tive musi­cians: War­ren Zevon, Pearl Jam’s Eddie Ved­der, REM’s Michael Stipe, Son­ic Youth’s Lee Ranal­do show up on the ros­ter, to name but a few.

It also fea­tures con­tri­bu­tions from a great many sub­cul­ture-defin­ing non-musi­cians, includ­ing writ­ers like Hunter S. Thomp­son and William S. Bur­roughs, come­di­an Richard Lewis, actor Matt Dil­lon, poet Mag­gie Estep, and a gen­uine Beat emi­nence like Lawrence Fer­linghet­ti. It even brings in cul­tur­al fig­ures who, though known for oth­er pur­suits, also estab­lished enough of a side career in music to hold their own in the record­ing stu­dio, like John­ny Depp and The Bas­ket­ball Diaries author Jim Car­roll. We even hear Ker­ouac as inter­pret­ed with the help of no less a life­long musi­cian — and no less unex­pect­ed a musi­cian on an album like this — than Aero­smith’s Steven Tyler.

“Four­teen of the 25 tracks on this 79½-minute disc are drawn from Ker­ouac’s poet­ry book Pomes All Sizes,writes All Music Guide’s William Ruhlmann. “The rest come from his nov­els (noth­ing from On the Road, though) and let­ters, with some unpub­lished work also includ­ed.” Ruhlmann points out Ker­ouac’s own lack of enthu­si­asm for rock and pref­er­ence for jazz, high­light­ing Ranal­do, Zevon, Dil­lon, and Lewis’ con­tri­bu­tions as clos­est to the man’s own sen­si­bil­i­ty. But alto­geth­er, he writes, they “present a good sam­pling of Ker­ouac’s lit­er­ary con­cerns, and, whether appro­pri­ate or not, the record­ings demon­strate his exten­sive influ­ence” — a per­fect demon­stra­tion of how the cool of one era can inspire the cool of anoth­er.

Ker­ouac: Kicks Joy Dark­ness will be added to our list of col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

Jack Kerouac’s Poems Read by Pat­ti Smith, John Cale & Oth­er Cul­tur­al Icons (with Music by Joe Strum­mer)

Jack Ker­ouac Lists 9 Essen­tials for Writ­ing Spon­ta­neous Prose

Pull My Daisy: 1959 Beat­nik Film Stars Jack Ker­ouac and Allen Gins­berg

Jack Ker­ouac Reads from On the Road (1959)

Jack Kerouac’s Naval Reserve Enlist­ment Mugshot, 1943

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.

New Research Shows How Music Lessons During Childhood Benefit the Brain for a Lifetime

As a some­time musi­cian, it’s only nat­ur­al that I want my four-year-old daugh­ter to take an inter­est in music. Sure, it’s a fun bond­ing activ­i­ty, and sure, there may be a bit of a stage dad lurk­ing inside me at times. But I’m also con­vinced of the tan­gi­ble ben­e­fits play­ing a musi­cal instru­ment can have on one’s per­son­al devel­op­ment. New sci­ence, it seems, backs up this intu­ition. The Wash­ing­ton Post report­ed last year on a recent study from North­west­ern Uni­ver­si­ty which found that “Music train­ing not only helps chil­dren devel­op fine motor skills, but aids emo­tion­al and behav­ioral mat­u­ra­tion as well.”

This may not come as a sur­prise. And yet, the details of the study pro­vide insights our intu­itions about the pow­er of musi­cal edu­ca­tion may lack. For one thing, as you can see in the CNN report above, the ben­e­fits of learn­ing to play music as a child can last for decades, even if some­one hasn’t picked up an instru­ment since those ear­ly lessons. As Dr. Nina Kraus, direc­tor of Northwestern’s Audi­to­ry Neu­ro­science Lab­o­ra­to­ry, explains, good musi­cal tim­ing is strong­ly cor­re­lat­ed with read­ing skills and gen­er­al men­tal acu­ity. Accord­ing to a co-author of the study, James Hudzi­ak, pro­fes­sor of psy­chi­a­try at the Uni­ver­si­ty of Ver­mont, ear­ly musi­cal train­ing was shown to have “accel­er­at­ed cor­ti­cal orga­ni­za­tion in atten­tion skill, anx­i­ety man­age­ment and emo­tion­al con­trol.” These brain changes can accom­pa­ny us well into old age.

Anoth­er, Cana­di­an study, pub­lished in Feb­ru­ary in the The Jour­nal of Neu­ro­science, found that child­hood music lessons boost the abil­i­ty of old­er adults to hear speech, a skill that begins to weak­en lat­er in life. The study found “robust” evi­dence that “start­ing for­mal lessons on a musi­cal instru­ment pri­or to age 14 and con­tin­u­ing intense train­ing for up to a decade appears to enhance key areas in the brain that sup­port speech recog­ni­tion.” Even music lessons tak­en lat­er life can help reha­bil­i­tate the brains of old­er adults. “The find­ings,” writes Sci­ence Dai­ly, “under­score the impor­tance of music instruc­tion in schools and in reha­bil­i­ta­tive pro­grams for old­er adults.”

Music teach­ers cer­tain­ly need this kind of evi­dence to bol­ster sup­port for ail­ing pro­grams in schools, and musi­cal­ly-inclined par­ents will cheer these find­ings as well. But before the stage par­ent in you begins enrolling your kid in every music les­son you can fit into the sched­ule, take heed. As Dr. Kraus dis­cov­ered in the North­west­ern study, forc­ing kids to show up and par­tic­i­pate under duress won’t exer­cise their brains. Real, active engage­ment is key. “We like to say that ‘mak­ing music mat­ters,’” says Kraus, “because it is only through the active gen­er­a­tion and manip­u­la­tion of sound that music can rewire the brain.” While musi­cal train­ing may be one par­tic­u­lar­ly enjoy­able way to strength­en cog­ni­tion, it isn’t the only way. But even if they don’t stick with it, the kids will­ing to put in the hours (and yes, the longer the bet­ter) will expe­ri­ence pos­i­tive change that lasts a life­time.

Relat­ed Con­tent:

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

The Neu­ro­science of Drum­ming: Researchers Dis­cov­er the Secrets of Drum­ming & The Human Brain

This is Your Brain on Jazz Impro­vi­sa­tion: The Neu­ro­science of Cre­ativ­i­ty

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

Kurt Vonnegut Creates a Report Card for His Novels, Ranking Them From A+ to D

I love turn­ing teenagers on to the work of author Kurt Von­negut.

I want their minds to be blown the way mine was at 15, when I picked up Slap­stick, his 8th nov­el, for rea­sons I no longer remem­ber. It wasn’t on rec­om­men­da­tion of some beloved teacher, nor was there any Von­negut on our home shelves, despite the fact that he was a local author. What­ev­er drew me to that book, thank god it did. It was the begin­ning of a life­long romance.

What grabbed me so? His genius idea for bestow­ing an arti­fi­cial extend­ed fam­i­ly on every cit­i­zen, via the assign­ment of mid­dle names:

 I told him, ‘your new mid­dle name would con­sist of a noun, the name of a flower or fruit or nut or veg­etable or legume, or a bird or a rep­tile or a fish, or a mol­lusk, or a gem or a min­er­al or a chem­i­cal ele­ment — con­nect­ed by a hyphen to a num­ber between one and twen­ty.’ I asked him what his name was at the present time.

  ‘Elmer Glenville Gras­so,’ he said.

  ‘Well,’ I said, ‘you might become Elmer Uranium‑3 Gras­so, say. Every­body with Ura­ni­um as a part of their mid­dle name would be your cousin.’

This held enor­mous appeal for me as the only child of an only child. Lone­some No More!

It also con­tained the most won­der­ful pro­fan­i­ty I had ever heard:

You ask him his mid­dle name, and when he tells you “Oys­ter-19” or “Chickadee‑1” or “Hol­ly­hock-13” you say to him: Buster — I hap­pen to be a Uranium‑3. You have one hun­dred and nine­ty thou­sand cousins and ten thou­sand broth­ers and sis­ters. You’re not exact­ly alone in this world. I have rel­a­tives of my own to look after. So why don’t you take a fly­ing fuck at a rolling dough­nut? Why don’t you take a fly­ing fuck at the moooooooooooon?

Imag­ine my dis­may when just two books lat­er, Von­negut gave Slap­stick the low­est pos­si­ble mark in a lit­er­ary self eval­u­a­tion pub­lished in Palm Sun­day, below.

Vonnegut grades

He wasn’t describ­ing the dif­fer­ence between a B and a B+. In Vonnegut’s mind, Slap­stick was a D. In oth­er words, a min­i­mal­ly accept­able, deeply below aver­age per­for­mance.

(Slaugh­ter­house Five, which also con­tains the rolling dough­nut line, received an A+. Break­fast of Cham­pi­ons, my oth­er favorite, earned a C.)

He lat­er reflect­ed to jour­nal­ist Char­lie Rose that he’d been over­ly hard on the title. But the crit­ics had trashed it when it first appeared, and pre­sum­ably crit­ics knew best. So much for Von­negut the rebel and class clown. This was a clear case of give the teacher the answer you think she wants.

I give it an A+, and so would you, if you’d dis­cov­ered it when I did.

How about you? Any marks you’d change on Vonnegut’s report card?

Relat­ed Con­tent:

Kurt Vonnegut’s 8 Tips on How to Write a Good Short Sto­ry

Kurt Von­negut Maps Out the Uni­ver­sal Shapes of Our Favorite Sto­ries

Hear Kurt Von­negut Read Slaugh­ter­house-Five, Cat’s Cra­dle & Oth­er Nov­els

Ayun Rasp­ber­ry-19 Hal­l­i­day cel­e­brates the new edi­tion of her book, No Touch Mon­key and Oth­er Trav­el Lessons Learned Too Late. Fol­low her @AyunHalliday

The First Animated Feature Film: The Adventures of Prince Achmed by Lotte Reiniger (1926)


Ear­li­er this week, we fea­tured pio­neer­ing Ger­man ani­ma­tor Lotte Reiniger’s ani­mat­ed sil­hou­ette films, for which she adapt­ed old Euro­pean sto­ries like “Cin­derel­la,” “Thum­be­li­na,” and “Hansel and Gre­tel” into a strik­ing visu­al style — strik­ing now, and even more strik­ing in the 1920s — sim­i­lar to tra­di­tion­al Indone­sian shad­ow pup­pet the­ater. Her work draws plen­ty of mate­r­i­al from folk­tales, but not just those from in and around her home­land (Ger­many). For her most ambi­tious work, for instance, Reiniger looked all the way to Ara­bia, adapt­ing sto­ries from no less ven­er­a­ble a source than One Thou­sand and One Nights. The 65-minute result, 1926’s The Adven­tures of Prince Achmed, stands as the ear­li­est ani­mat­ed fea­ture film. (See a nice clip above. The com­plete film lives on DVD/Blu Ray.)

“For cen­turies Prince Achmed on his mag­ic horse had lived a com­fort­able life as a well-loved fairy tale fig­ure of the Ara­bi­an nights and was well con­tent­ed with that,” Reiniger writes in her intro­duc­tion to the pic­ture. “But one day he was thrown out of his peace­ful exis­tence by a film com­pa­ny which want­ed to employ him and many oth­er char­ac­ters of the same sto­ries for an ani­mat­ed film.” And so, in 1923, it fell to her and a select group of col­lab­o­ra­tors to make that film. They labored for the bet­ter part of three years, not just because of the require­ments of shoot­ing each and every frame by hand but because of the exper­i­men­tal nature of ani­ma­tion itself. “We had to exper­i­ment and try out all sorts of inven­tions to make the sto­ry come alive. The more the shoot­ing of Prince Achmed advanced the more ambi­tious he became.”

At that time, The Adven­tures of Prince Achmed did not, of course, even faint­ly resem­ble any fea­ture yet made. “No the­atre dared show it,” Reiniger writes, “for ‘it was not done.’ ” And so they did it them­selves, screen­ing the film just out­side Berlin, which led to a show in Paris, then one in Berlin prop­er, by which point Prince Achmed and his mag­ic horse were well on their way to a place in the ani­ma­tion his­to­ry books. They near­ly lost that place due to the 1945 bat­tle of Berlin, when the film’s neg­a­tive was lost amid the destruc­tion, but the British Film Insti­tute had made a neg­a­tive of their own for a Lon­don screen­ing, which even­tu­al­ly became the mate­r­i­al for a restora­tion and revival. “The revival was done by the son of the banker who spon­sored the film in 1923,” notes Reiniger. “He had assist­ed in its cre­ation as a small boy. So it was grant­ed to old Prince Achmed to have a hap­py res­ur­rec­tion after almost half a cen­tu­ry” — and he con­tin­ues to win new fans today.

Relat­ed Con­tent:

The Ground­break­ing Sil­hou­ette Ani­ma­tions of Lotte Reiniger: Cin­derel­la, Hansel and Gre­tel, and More

Sita Sings the Blues Now on YouTube

Ear­ly Japan­ese Ani­ma­tions: The Ori­gins of Ani­me (1917–1931)

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

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.

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