Hear 22-Year-Old Orson Welles Star in The Shadow, the Iconic 1930s Super Crimefighter Radio Show

Who knows what evil lurks in the hearts of men? Every fan of old-time radio, the fruit of a “gold­en age” on the Amer­i­can air­waves which last­ed from the 1920s until tele­vi­sion took hold, can tell you the answer: The Shad­ow knows. Though he’s appeared in pulp-era mag­a­zines and nov­els as well as comics, movies, and even video games, the mys­te­ri­ous crime­fight­er, known by day as “wealthy young man about town” Lam­ont Cranston, made his biggest mark on the good old wire­less, around which lis­ten­ers gath­ered to hear him dis­pense his own brand of psy­cho­log­i­cal­ly deliv­ered jus­tice from 1937 to 1954.

The Shad­ow became, in many ways, the pro­to­type of the super­hero, espe­cial­ly Bat­man and oth­ers who do their job not with fan­tas­ti­cal super­pow­ers but with their wits, their wealth, and the host of advanced devices and obscure tech­niques at their dis­pos­al. (Assum­ing, of course, you don’t con­sid­er the Shad­ow’s nev­er-ful­ly-explained abil­i­ty to “cloud men’s minds” fan­tas­ti­cal.) This also makes him some­thing of a pro­to-James Bond, the tech­ni­cal­ly human but seem­ing­ly invin­ci­ble British Secret Ser­vice agent who debuted on the page the year before The Shad­ow end­ed his run on the radio. Like James Bond, The Shad­ow exists inde­pen­dent­ly of the many actors who have por­trayed him, but just as most acknowl­edge Sean Con­nery as the defin­i­tive Bond, Orson Welles stands as The Shad­ow to beat.

In fact, the New York­er’s Alex Ross titled his pro­file of Welles’ career, look­ing back from the 100th anniver­sary of the radio-the­ater-film auteur’s birth, “The Shad­ow,” acknowl­edg­ing aspects of the man’s cre­ative per­sona as well as the pro­gram on which he, at the ten­der age of 22, “achieved radio star­dom as a hyp­no­sis-induc­ing vig­i­lante” — and also found a source of mon­ey to fun­nel straight into his own high­er-brow and more social­ly con­scious pro­duc­tions under the New Deal’s Fed­er­al The­atre Project. (Ross quotes Franklin Delano Roo­sevelt jok­ing­ly call­ing Welles the “only oper­a­tor in his­to­ry who ever ille­gal­ly siphoned mon­ey into a Wash­ing­ton project.”)

Now you can lis­ten to more than 30 Welles-star­ring episodes of The Shad­ow free at the Inter­net Archive. When the show made its debut, it ran for 26 episodes spon­sored by Blue Coal, a name fans will know as well as they know Lam­ont Cranston’s. Then came a sum­mer series spon­sored by Goodrich Safe­ty Sil­ver-Town Tires. “For many years it was believed that the syn­di­cat­ed Goodrich series had run for 15 episodes,” say the accom­pa­ny­ing notes, “until a com­plete col­lec­tion of record­ings sur­faced in the estate of a for­mer Goodrich exec­u­tive and it was real­ized that the sum­mer sea­son had been a full 26 episodes — and that 11 full episodes star­ring Welles had been dis­cov­ered that had not been heard since they orig­i­nal­ly aired 70 years ago.” A sud­den, dra­mat­ic appear­ance by The Shad­ow just when we least expect­ed it — how very like him.

Relat­ed Con­tent:

The War of the Worlds: Orson Welles’ 1938 Radio Dra­ma That Pet­ri­fied a Nation

Orson Welles Turns Heart of Dark­ness Into a Radio Dra­ma, and Almost His First Great Film

Orson Welles’ Radio Per­for­mances of 10 Shake­speare Plays

A Christ­mas Car­ol, A Vin­tage Radio Broad­cast by Orson Welles and Lionel Bar­ry­more (1939)

Stream 61 Hours of Orson Welles’ Clas­sic 1930s Radio Plays: War of the Worlds, Heart of Dark­ness & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Carl Sagan Presents His “Baloney Detection Kit”: 8 Tools for Skeptical Thinking

Sagan_835

Pho­to by NASA via Wiki­me­dia Com­mons

It is some­times said that sci­ence and phi­los­o­phy have grown so far apart that they no longer rec­og­nize each oth­er. Per­haps they no longer need each oth­er. And yet some of the most thought­ful sci­en­tists of modernity—those who most ded­i­cat­ed their lives not only to dis­cov­er­ing nature’s mys­ter­ies, but to com­mu­ni­cat­ing those dis­cov­er­ies with the rest of us—have been ful­ly steeped in a philo­soph­i­cal tra­di­tion. This espe­cial­ly goes for Carl Sagan, per­haps the great­est sci­ence com­mu­ni­ca­tor of the past cen­tu­ry or so.

Sagan wrote a num­ber of pop­u­lar books for lay­folk in which he indulged not only his ten­den­cies as a “hope­less roman­tic,” writes Maria Popo­va, but also as a “bril­liant philoso­pher.” He did not fear to ven­ture into the realms of spir­i­tu­al desire, and did not mock those who did like­wise; and yet Sagan also did not hes­i­tate to defend rea­son against “society’s most shame­less untruths and out­ra­geous pro­pa­gan­da.” These under­tak­ings best come togeth­er in Sagan’s The Demon-Haunt­ed World, a book in which he very patient­ly explains how and why to think sci­en­tif­i­cal­ly, against the very human com­pul­sion to do any­thing but.

In one chap­ter of his book, “The Fine Art of Baloney Detec­tion,” Sagan laid out his method, propos­ing what he called “A Baloney Detec­tion Kit,” a set of intel­lec­tu­al tools that sci­en­tists use to sep­a­rate wish­ful think­ing from gen­uine prob­a­bil­i­ty. Sagan presents the con­tents of his kit as “tools for skep­ti­cal think­ing,” which he defines as “the means to con­struct, and to under­stand, a rea­soned argu­ment and—especially important—to rec­og­nize a fal­la­cious or fraud­u­lent argu­ment.” You can see his list of all eight tools, slight­ly abridged, below. These are all in Sagan’s words:

  • Wher­ev­er pos­si­ble there must be inde­pen­dent con­fir­ma­tion of the “facts.”
  • Encour­age sub­stan­tive debate on the evi­dence by knowl­edge­able pro­po­nents of all points of view.
  • Argu­ments from author­i­ty car­ry lit­tle weight — “author­i­ties” have made mis­takes in the past. They will do so again in the future. Per­haps a bet­ter way to say it is that in sci­ence there are no author­i­ties; at most, there are experts.
  • Spin more than one hypoth­e­sis. If there’s some­thing to be explained, think of all the dif­fer­ent ways in which it could be explained. Then think of tests by which you might sys­tem­at­i­cal­ly dis­prove each of the alter­na­tives.
  • Try not to get over­ly attached to a hypoth­e­sis just because it’s yours. It’s only a way sta­tion in the pur­suit of knowl­edge. Ask your­self why you like the idea. Com­pare it fair­ly with the alter­na­tives. See if you can find rea­sons for reject­ing it. If you don’t, oth­ers will.
  • If what­ev­er it is you’re explain­ing has some mea­sure, some numer­i­cal quan­ti­ty attached to it, you’ll be much bet­ter able to dis­crim­i­nate among com­pet­ing hypothe­ses. What is vague and qual­i­ta­tive is open to many expla­na­tions.
  • If there’s a chain of argu­ment, every link in the chain must work (includ­ing the premise) — not just most of them.
  • Occam’s Razor. This con­ve­nient rule-of-thumb urges us when faced with two hypothe­ses that explain the data equal­ly well to choose the sim­pler. Always ask whether the hypoth­e­sis can be, at least in prin­ci­ple, fal­si­fied…. You must be able to check asser­tions out. Invet­er­ate skep­tics must be giv­en the chance to fol­low your rea­son­ing, to dupli­cate your exper­i­ments and see if they get the same result.

See the unabridged list at Brain Pick­ings, or read Sagan’s full chap­ter, ide­al­ly by get­ting a copy of The Demon-Haunt­ed World. As Popo­va notes, Sagan not only gives us suc­cinct instruc­tions for crit­i­cal think­ing, but he also makes a thor­ough list, with def­i­n­i­tions, of the ways rea­son fails us through “the most com­mon and per­ilous fal­lac­i­es of log­ic and rhetoric.” Sagan’s chap­ter on “Baloney Detec­tion” is, like the rest of the book, a high­ly lit­er­ary, per­son­al, engage­ment with the most press­ing sci­en­tif­ic con­sid­er­a­tions in our every­day life. And it is also an infor­mal yet rig­or­ous restate­ment of Aristotle’s clas­si­cal log­ic and rhetoric and Fran­cis Bacon’s nat­ur­al phi­los­o­phy.

Relat­ed Con­tent:

The Wis­dom of Carl Sagan Ani­mat­ed

Richard Feyn­man Cre­ates a Sim­ple Method for Telling Sci­ence From Pseu­do­science (1966)

Noam Chom­sky Calls Post­mod­ern Cri­tiques of Sci­ence Over-Inflat­ed “Poly­syl­lab­ic Tru­isms”

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

Question: Where Can You Watch 65 Charlie Chaplin Films Free Online?

free chaplin films

Answer: Why, in our col­lec­tion 65 Char­lie Chap­lin Films Free Online. Just did­n’t want you to for­get :)

 

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!

Watch the First Episode of Vinyl: Mick Jagger & Martin Scorsese’s Series on the 1970s Music Scene

A quick note: HBO recent­ly pre­miered Vinyl, which takes a Good­fel­las-style look at the seedy 1970s rock music and record-mak­ing scene. Here’s a quick snap­shot of what the show’s all about:

Cre­at­ed by Mick Jag­ger & Mar­tin Scors­ese & Rich Cohen and Ter­ence Win­ter, this new dra­ma series is set in 1970s New York. A ride through the sex- and drug-addled music busi­ness at the dawn of punk, dis­co, and hip-hop, the show is seen through the eyes of a record label pres­i­dent, Richie Fines­tra, played by Bob­by Can­navale, who is try­ing to save his com­pa­ny and his soul with­out destroy­ing every­one in his path. Addi­tion­al series reg­u­lars include Olivia Wilde, Ray Romano, Ato Essan­doh, Max Casel­la, P.J. Byrne, J.C. MacKen­zie, Bir­gitte Hjort Sørensen, Juno Tem­ple, Jack Quaid, James Jag­ger and Paul Ben-Vic­tor. Scors­ese, Jag­ger and Win­ter exec­u­tive pro­duce along with Vic­to­ria Pear­man, Rick Yorn, Emma Till­inger Koskoff, John Melfi, Allen Coul­ter and George Mas­tras. Win­ter serves as showrun­ner. The 10-episode first sea­son debuts Feb­ru­ary 14th.

The first pilot episode–directly by Scors­ese himself–is cur­rent­ly stream­ing free on HBO’s web­site. It runs two good hours. And if you want to watch the remain­ing episodes on the cheap, you can start a month­long free tri­al of HBO NOW. Just look for the “Start Your Free Month” but­ton at the top of HBO’s site.

Note: The video up top is only a trail­er for Episode 1. To watch the com­plete episode, click here.

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!

 

30 Days of Shakespeare: One Reading of the Bard Per Day, by The New York Public Library, on the 400th Anniversary of His Death

April 23 is the 400th anniver­sary of Shakespeare’s death, an event so far in the past that it can be cel­e­brat­ed as a sec­ond birth­day of sorts.

The New York Pub­lic Library’s con­tri­bu­tion to the fes­tiv­i­ties has an endear­ing­ly home­made qual­i­ty.

This august insti­tu­tion boasts over 500 audio record­ings of the Bard’s work, not to men­tion 40 years’ worth of the New York Shake­speare Fes­ti­val’s records. But rather than draw­ing on the col­lec­tion to high­light the work of such supreme inter­preters as John Giel­gud, John Bar­ry­more, or Edwin Booth, the library has invit­ed thir­ty of its staffers to recite their favorite Shake­speare­an speech, mono­logue, or son­net.

Sean Fer­gu­son, of Chinatown’s Chatham Square branch, tack­les the open­ing of Richard III from a dig­ni­fied remove.

Grand Central’s man­ag­ing librar­i­an, Gen­oveve Stow­ell, goes for it with a lusty ren­di­tion of King Lear’s third act rage against the storm.

Liz Den­linger, who helms the main branch’s Carl H. Pforzheimer Col­lec­tion of Shel­ley and His Cir­cle went with Shakespeare’s tem­po­ral­ly-obsessed 12th sonnet.

Make no mis­take these are librar­i­ans, not trained actors, but their ama­teur­ish­ness is part of the fun.

The library plans to release one record­ing dai­ly through­out the month of April, adding to the playlist until the tracks num­ber thir­ty.

We are hop­ing that the pro­jec­t’s archi­tects will define “staff” to include sup­port­ing depart­ments. We would love to hear a mem­ber of the secu­ri­ty or main­te­nance team take a stab—pardon the pun—at Oth­el­lo or Juli­et.

For more Shake­speare read­ings, see our post: A 68 Hour Playlist of Shakespeare’s Plays Being Per­formed by Great Actors: Giel­gud, McK­ellen & More.

Relat­ed Con­tent:

The Late, Great Alan Rick­man Reads Shake­speare, Proust & Thomas Hardy

Watch Very First Film Adap­ta­tions of Shakespeare’s Plays: King John, The Tem­pest, Richard III & More (1899–1936)

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Her 15-year-old son will be play­ing Puck lat­er this month in the world pre­miere of Mark York’s musi­cal stag­ing of A Mid­sum­mer Night’s Dream. Mean­while, his moth­er dreams of being cast as the Nurse. Fol­low her @AyunHalliday

40,000 Film Posters in a Wonderfully Eclectic Archive: Italian Tarkovsky Posters, Japanese Orson Welles, Czech Woody Allen & Much More

stalker-md-web

Here we have a poster for a film many of you will have heard of, and some of you will have watched right here on Open Cul­ture: Stalk­er, wide­ly con­sid­ered the most mas­ter­ful of Sovi­et auteur Andrei Tarkovsky’s career full of mas­ter­pieces. Need­less to say, the film has inspired no small amount of cinephile enthu­si­asm in the 37 years since its release, and if it has inspired the same in you, what bet­ter way to express it than to hang its poster on your wall? And why not take it to the next lev­el by hang­ing a Stalk­er poster from anoth­er coun­try, such as the Ital­ian one here?

hannah-and-her-sisters-md-web

We found it on Pos­ter­i­tati, a New York movie poster gallery whose online store also func­tions as a dig­i­tal archive of over 40,000 of these com­mer­cial-cin­e­mat­ic works of art, all con­ve­nient­ly sort­ed into cat­e­gories: not just Tarkovsky posters, but posters from the for­mer East Ger­many and Iran, posters from the Czech New Wave, and posters designed by the Japan­ese artist Tadanori Yokoo (whose works, said no less an observ­er of the human con­di­tion than Yukio Mishi­ma, “reveal all of the unbear­able things which we Japan­ese have inside our­selves”). And that’s just a small sam­pling of what Pos­ter­i­tati has to offer. If you dig deep enough, you can even find posters from Poland and the Czech Repub­lic with cats in them.

bullitt-md-web

Avid Open Cul­ture read­ers might find Pos­ter­i­tati’s phi­los­o­phy sec­tion espe­cial­ly worth­while, con­tain­ing as it does posters for movies we’ve pre­vi­ous­ly fea­tured and movies about thinkers we like to write about, like Der­ri­da, Exam­ined LifeWittgen­stein, and of course the Slavoj Žižek-star­ring The Per­vert’s Guide to Ide­ol­o­gy and Žižek! 

f-for-fake-md-web

They also sell posters at the site, though even the ones not in stock remain avail­able to view as images: just tog­gle the “IN STOCK ONLY” switch to the OFF posi­tion, and you can then see all of the posters in the col­lec­tion.  No mat­ter what your cin­e­mat­ic, intel­lec­tu­al, or aes­thet­ic inter­ests, you’ll find at least a few posters that pique your inter­est. The Japan­ese poster for Orson Welles’ F for Fake just above, for instance, rep­re­sents a near-per­fect inter­sec­tion of most of my own inter­ests. Just as well Pos­ter­i­tati does­n’t have it in stock — I’d prob­a­bly pay any­thing.

Relat­ed Con­tent:

50 Film Posters From Poland: From The Empire Strikes Back to Raiders of the Lost Ark

The Strange and Won­der­ful Movie Posters from Ghana: The Matrix, Alien & More

Japan­ese Movie Posters of 10 David Lynch Films

Down­load Vin­tage Film Posters in High-Res: From The Philadel­phia Sto­ry to Attack of the Crab Mon­sters

A Look Inside Mar­tin Scorsese’s Vin­tage Movie Poster Col­lec­tion

100 Great­est Posters of Film Noir

Strik­ing French, Russ­ian & Pol­ish Posters for the Films of Andrei Tarkovsky

Watch Stalk­er, Andrei Tarkovsky’s Mind-Bend­ing Mas­ter­piece Free Online

F for Fake: Orson Welles’ Short Film & Trail­er That Was Nev­er Released in Amer­i­ca

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Monty Python’s John Cleese Worries That Political Correctness Will Lead Us into a Humorless World, Reminiscent of Orwell’s 1984

As with all of our polit­i­cal debates, those over “polit­i­cal cor­rect­ness” have become even more polar­ized, vit­ri­olic, and out­sized than when I was in col­lege at the height of the first cul­ture wars, when it often seemed to me like just new eti­quette for increas­ing­ly plu­ral­ist cam­pus­es and work­places. Now, peo­ple use the phrase to refer to any call for basic human decen­cy and intel­lec­tu­al honesty—and use it to dis­miss such calls out of hand. On the oth­er hand, many efforts at curb­ing or crit­i­ciz­ing cer­tain kinds of speech can seem gen­uine­ly, unnec­es­sar­i­ly, repres­sive. Whether it’s an illib­er­al col­lege group pres­sur­ing their uni­ver­si­ty to dis­in­vite enter­tain­ers or shut down debates, or fanat­i­cal gun­men threat­en­ing, and tak­ing, the lives of jour­nal­ists or blog­gers, the stakes over what can and can’t be said have grown expo­nen­tial­ly.

Have we reached a cri­sis of “Orwellian” pro­por­tions in the U.S.? I’d hes­i­tate to say so, giv­en the overuse and abuse of Orwell’s name and ideas as a catch-all for soci­etal dys­func­tion. We have ral­lies in which tens of thou­sands gath­er to cheer for the demo­niza­tion and slan­der of entire peo­ple groups. It hard­ly seems to me that anyone’s los­ing their free­dom of speech any time soon. But John Cleese in the Big Think video above makes an argu­ment about a par­tic­u­lar kind of polit­i­cal cor­rect­ness that he defines as “the idea that you have to be pro­tect­ed from any kind of uncom­fort­able emo­tion.” Describ­ing this kind of speech polic­ing as patho­log­i­cal, Cleese refers to a the­o­ry of a psy­chi­a­trist friend, Robin Skin­ner, that peo­ple who can’t con­trol their own emo­tions “have to start to con­trol oth­er people’s behav­ior.”

Cleese does­n’t blan­ket­ly impugn the motives of all activists for polit­i­cal­ly cor­rect speech. He notes a sim­i­lar tra­jec­to­ry as I have when it comes to col­lege cam­pus­es. “Polit­i­cal cor­rect­ness,” he says, “has been tak­en from being a good idea, which is ‘let’s not be mean, and par­tic­u­lar­ly to peo­ple who are not able to look after them­selves very well,’ to the point where any kind of crit­i­cism of any indi­vid­ual or group can be labeled cru­el.” Per­haps he’s right. (And Cleese is by no means the first com­ic to say so—and to swear off col­lege cam­pus­es.) In any case, his obser­va­tions about the nec­es­sary rela­tion­ship of com­e­dy to crit­i­cism or offense are dead on, as well as his con­clu­sion that once the humor’s gone, so “goes a sense of pro­por­tion, and… you’re liv­ing in 1984.” I can’t think of a book, or a soci­ety, with less humor in it.

One point of inter­est: Polit­i­cal Cor­rect­ness means a great many things to a great many peo­ple. For some it is about agency and self-deter­mi­na­tion, and right­ing his­tor­i­cal wrongs so as not to per­pet­u­ate them in the present. For oth­ers, it tends more toward a patron­iz­ing activist cru­sade on behalf, as Cleese says in his def­i­n­i­tion of the term, of “peo­ple who are not able to look after them­selves.” While he calls a lit­tle of this lat­ter atti­tude a good thing, George Car­lin saw it as con­de­scend­ing and disin­gen­u­ous. By no means a respecter of any par­ty ide­ol­o­gy, Car­lin described even seem­ing­ly innocu­ous forms of polit­i­cal­ly cor­rect lan­guage as fas­cism mas­querad­ing as man­ners.

In my expe­ri­ence, few peo­ple can make argu­ments against polit­i­cal­ly cor­rect lan­guage with­out occa­sion­al­ly falling into the trap of prov­ing its point. But Car­lin and Cleese make thought­ful cas­es, espe­cial­ly when they use humor—as Car­lin did over an entire career of rail­ing against the speech police. In his bit above on the increas­ing insis­tence on ungain­ly euphemisms and puffed-up jar­gon, he demon­strates what Cleese calls the effec­tive anti­dote to a polit­i­cal move­ment run riot: a sense of proportion—as well as a sense of com­pas­sion.

Relat­ed Con­tent:

Slavoj Žižek Calls Polit­i­cal Cor­rect­ness a Form of “Mod­ern Total­i­tar­i­an­ism”

John Cleese on How “Stu­pid Peo­ple Have No Idea How Stu­pid They Are” (a.k.a. the Dun­ning-Kruger Effect)

What “Orwellian” Real­ly Means: An Ani­mat­ed Les­son About the Use & Abuse of the Term

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

Spike Lee Interviews Bernie Sanders: Two Guys from Brooklyn Talk About Education, Inequality & More

With the New York pri­ma­ry com­ing up, Spike Lee and Bernie Sanders–the film­mak­er and the politician–sat down and talked about pol­i­tics and the state of our nation. At the 15 minute mark, the two Brook­lyn natives turned to edu­ca­tion (some­thing that undoubt­ed­ly con­cerns many read­ers here) and the impor­tance of mak­ing our pub­lic uni­ver­si­ties actu­al­ly acces­si­ble to the pub­lic. Such a rad­i­cal thought? You can read a tran­script of the con­ver­sa­tion over at The Hol­ly­wood Reporter.

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:

Bernie Sanders: I Will Be an Arts Pres­i­dent

Spike Lee’s List of 95 Essen­tial Movies – Now with Women Film­mak­ers

Bernie Sanders Sings “This Land is Your Land” on the Endear­ing­ly Bad Spo­ken Word Album, We Shall Over­come

Allen Ginsberg’s Hand­writ­ten Poem For Bernie Sanders, “Burling­ton Snow” (1986)

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