The Power of Power Naps: Salvador Dali Teaches You How Micro-Naps Can Give You Creative Inspiration

dali naps 3

Image by Allan War­ren, via Wiki­me­dia Com­mons

In high school, I had a his­to­ry teacher who was, in his spare time, a mil­lion­aire own­er of sev­er­al mari­nas. He taught, he told us, because he loved it. Was he a good teacher? Not by the lights of most ped­a­gog­i­cal stan­dards, but he did intend, amidst all his las­si­tude and total lack of orga­ni­za­tion, to leave us all with some­thing more impor­tant than his­to­ry: the secret of his suc­cess. What was it, you ask? Naps. Each day he tout­ed the pow­er of pow­er naps with a pros­e­ly­tiz­er’s relent­less enthu­si­asm: 15 min­utes a few times a day, the key to wealth and hap­pi­ness.

We all thought he was benign­ly nuts, but maybe he was on to some­thing after all. It seems that many very wise, pro­duc­tive people—such as Albert Ein­stein, Aris­to­tle, and Sal­vador Dali—have used pow­er naps as sources of refresh­ment and inspi­ra­tion. Except that while my his­to­ry teacher rec­om­mend­ed no less than ten min­utes, at least one of these famous gents pre­ferred less than one. Dali used a method of tim­ing his naps that ensured his sleep would not last long. He out­lined it thus, accord­ing to Life­hack­er:

1. Sleep sit­ting upright (Dali rec­om­mends a Span­ish-style bony arm­chair)

2. Hold a key in your hand, between your fin­gers (for the bohemi­an, use a skele­ton key)

3. Relax and fall asleep (but not for too long…)

4. As you fall asleep, you’ll drop the key. Clang bang clang!

5. Wake up inspired!

Dali called it, fit­ting­ly, “Slum­ber with a key,” and to “accom­plish this micro nap,” writes The Art of Man­li­ness, he “placed an upside-down plate on the floor direct­ly below the key.” As soon as he fell asleep, “the key would slip through his fin­gers, clang the plate, and awak­en him from his nascent slum­ber.” He claimed to have learned this trick from Capuchin monks and rec­om­mend­ed it to any­one who worked with ideas, claim­ing that the micro nap “reviv­i­fied” the “phys­i­cal and psy­chic being.”

Dali includ­ed “Slum­ber with a key” in his book for aspir­ing painters, 50 Secrets of Mag­ic Crafts­man­ship, along with such nos­trums as “the secret of the rea­son why a great draughts­man should draw while com­plete­ly naked” and “the secret of the peri­ods of car­nal absti­nence and indul­gence to be observed by the painter.” We might be inclined to dis­miss his nap tech­nique as a sur­re­al­ist prac­ti­cal joke. Yet The Art of Man­li­ness goes on to explain the cre­ative poten­tial in the kind of nap I used to take in his­to­ry class—dozing off, then jerk­ing awake just before my head hit the desk:

The expe­ri­ence of this tran­si­tion­al state between wake­ful­ness and sleep is called hyp­n­a­gogia. You’re float­ing at the very thresh­old of con­scious­ness; your mind is slid­ing into slum­ber, but still has threads of aware­ness dan­gling in the world…. While you’re in this state, you may see visions and hal­lu­ci­na­tions (often of shapes, pat­terns, and sym­bol­ic imagery), hear nois­es (includ­ing your own name or imag­ined speech), and feel almost phys­i­cal sen­sa­tions…. The expe­ri­ence can essen­tial­ly be described as “dream­ing while awake.”

The ben­e­fits for a sur­re­al­ist painter—or any cre­ative per­son in need of a jolt out of the ordinary—seem obvi­ous. Many vision­ar­ies such as William Blake, John Keats, and Samuel Tay­lor Coleridge have made use of wak­ing dream states as well­springs of inspi­ra­tion. Both Beethoven and Wag­n­er com­posed while half asleep.

Sci­en­tists have found wak­ing dream states use­ful as well. We’ve already men­tioned Ein­stein. Bril­liant math­e­mati­cian, engi­neer, philoso­pher, and the­o­ret­i­cal physi­cist Hen­ri Poin­care also found inspi­ra­tion in micro naps. He point­ed out that the impor­tant thing is to make ready use of any insights you glean dur­ing your few sec­onds of sleep by writ­ing them down imme­di­ate­ly (have pen and paper ready). Then, the con­scious mind must take over: “It is nec­es­sary,” wrote Poin­care, “to put in shape the results of this inspi­ra­tion, to deduce from them the imme­di­ate con­se­quences, to arrange them,” and so forth. He also sug­gests that “ver­i­fi­ca­tion” of one’s hyp­n­a­gog­ic insights is need­ed above all, but this step, while crit­i­cal for the math­e­mati­cian, seems super­flu­ous for the artist.

So the micro nap comes to us with a very respectable pedi­gree, but does it real­ly work or is it a psy­cho­log­i­cal place­bo? The author of the Almost Bohemi­an blog writes that he has prac­ticed the tech­nique for sev­er­al weeks and found it “rel­a­tive­ly suc­cess­ful” in restor­ing ener­gy, though he has yet to har­ness it for inspi­ra­tion. If you asked empir­i­cal sleep researchers, they might tend to agree with my his­to­ry teacher: “Sleep lab­o­ra­to­ry stud­ies show,” writes Lynne Lam­berg in her book Bodyrhythms, “that a nap must last at least ten min­utes to affect mood and per­for­mance.” This says noth­ing at all, how­ev­er, about how long it takes to open a door­way to the uncon­scious and steal a bit of a dream to put to use in one’s wak­ing work.

Aside from the very spe­cif­ic use of the micro nap, the longer pow­er nap—anywhere from 10–40 minutes—can work won­ders in improv­ing “mood, alert­ness and per­for­mance,” writes the Nation­al Sleep Foun­da­tion. Short naps seem to work best as they leave one feel­ing refreshed but not grog­gy, and do not inter­fere with your reg­u­lar sleep cycle. The Sleep Foun­da­tion cites a NASA study “on sleepy mil­i­tary pilots and astro­nauts” which found that “a 40-minute nap improved per­for­mance by 34% and alert­ness by 100%.” Life­hack­er points to stud­ies show­ing that “pow­er naps, short 10 to 15 minute naps, improve men­tal effi­cien­cy and pro­duc­tiv­i­ty,” which is why com­pa­nies like Google and Apple allow their employ­ees to doze off for a bit when drowsy.

One stress man­age­ment site observes that the 10–15 minute pow­er nap does not even require a pil­low or blan­ket; “you don’t even need to go to sleep! You just need a com­fort­able place to lie on your back, put your feet up, and breathe com­fort­ably.” Such a prac­tice will not like­ly turn you into a world famous artist, poet, or sci­en­tist (or mil­lion­aire mari­na-own­ing, altru­is­tic high school teacher). It will like­ly reju­ve­nate your mind and body so that you can make much bet­ter use of the time you spend not sleep­ing.

via The Art of Man­li­ness

Relat­ed Con­tent:

How a Good Night’s Sleep — and a Bad Night’s Sleep — Can Enhance Your Cre­ativ­i­ty

Why You Do Your Best Think­ing In The Show­er: Cre­ativ­i­ty & the “Incu­ba­tion Peri­od”

How to Take Advan­tage of Bore­dom, the Secret Ingre­di­ent of Cre­ativ­i­ty

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

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

William S. Burroughs Reads Edgar Allan Poe’s “The Masque of the Red Death”

burroughs poe

The label “Amer­i­can orig­i­nal” gets slapped onto a lot of dif­fer­ent peo­ple, but it seems to me that, espe­cial­ly in the realm of let­ters, we could find no two lumi­nar­ies who mer­it it more in the 19th cen­tu­ry than psy­cho­log­i­cal hor­ror pio­neer Edgar Allan Poe, and in the 20th cen­tu­ry William S. Bur­roughs, sui gener­is even with­in the Beat Gen­er­a­tion. So how could we resist fea­tur­ing the record­ing just below, free to hear on Spo­ti­fy (whose soft­ware, if you don’t have it yet, you can down­load here), of Bur­roughs read­ing Poe’s tale — because, as you know if you read him, he wrote not sto­ries but tales — “The Masque of the Read Death”?

The 1842 tale itself, still haunt­ing today more than 170 years after its pub­li­ca­tion, tells of a prince and his coterie of a thou­sand aris­to­crats who, in order to pro­tect them­selves from a Black Plague-like disease—the tit­u­lar Red Death—sweeping through com­mon soci­ety, take refuge in an abbey and weld the doors shut. In need of amuse­ments (this all takes place about cen­tu­ry and a half before Net­flix, remem­ber), the prince throws a mas­quer­ade ball. What, then, should inter­rupt this good time but the inex­plic­a­ble arrival of an unin­vit­ed guest in a cos­tume rem­i­nis­cent of the corpse of a Red Death vic­tim — pos­si­bly an embod­i­ment of the Red Death itself?

Poe could tell a seri­ous­ly res­o­nant tale, and so could Bur­roughs. Though com­plete­ly dif­fer­ent in form, aes­thet­ic, set­ting, and psy­chol­o­gy, both writ­ers’ works strike just the right omi­nous tone and leave just enough unex­plained to seep into our sub­con­scious in vivid and some­times even unwant­ed ways. And so it makes per­fect sense for Bur­roughs and his voice of a jad­ed but still amused ancient to join the for­mi­da­ble line­up of Poe’s inter­preters, which includes Christo­pher Walken, Vin­cent Price, Christo­pher LeeJames Earl JonesIggy PopLou Reed, and Stan Lee. But among them all, who bet­ter than Bur­roughs to artic­u­late “The Masque of the Red Death’s” final line: “And Dark­ness and Decay and the Red Death held illim­itable domin­ion over all.”

You can hear more of Bur­roughs read­ing Poe, in per­for­mances record­ed for the com­put­er game The Dark Eye, in Ted Mills’ pre­vi­ous post here.

Bur­roughs’ read­ing (which you can also hear on YouTube) will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

William S. Bur­roughs Reads Edgar Allan Poe Tales in the Vin­tage 1995 Video Game, “The Dark Eye”

Iggy Pop Reads Edgar Allan Poe’s Clas­sic Hor­ror Sto­ry, “The Tell-Tale Heart”

Down­load 55 Free Online Lit­er­a­ture Cours­es: From Dante and Mil­ton to Ker­ouac and Tolkien

Edgar Allan Poe’s “The Raven,” Read by Christo­pher Walken, Vin­cent Price, and Christo­pher Lee

Lou Reed Rewrites Edgar Allan Poe’s “The Raven.” See Read­ings by Reed and Willem Dafoe

Down­load the Com­plete Works of Edgar Allan Poe on His Birth­day

Aubrey Beardsley’s Macabre Illus­tra­tions of Edgar Allan Poe’s Short Sto­ries (1894)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. 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.

Hear a Supercut of the Last Second of Every AC/DC Song

acdc songs

Image by Weatherman90, via Wiki­me­dia Com­mons

Last sum­mer, Paul Mar­shall, a DJ at the clas­sic rock sta­tion 100.7 KSLX in Phoenix Ari­zona, went the dis­tance in try­ing to answer a ques­tion: how many AC/DC songs end in pret­ty much the same way? The result of his study is the super­cut below. On his Face­book page, Mar­shall writes:

It took a LONG time to go through. I promise you, *no song was repeat­ed.* These are all the final notes, of almost every AC/DC song ever record­ed (very few songs in their his­to­ry, fade out. They were omit­ted). They know how to end a song. That’s for sure. Feel free to share, steal, and give to your morn­ing show with­out cred­it­ing me (you know who you are!). Annnd.…power chord!

All of this puts the quote attrib­uted to Angus Young (AC/DC co-founder/­gui­tarist) in a fun­ny light: “I’m sick to death of peo­ple say­ing we’ve made 11 albums that sounds exact­ly the same, Infact, [sic] we’ve made 12 albums that sound exact­ly the same.”

Enjoy!

via @WFMU

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!

by | Permalink | Make a Comment ( 4 ) |

Psychedelic Animation Takes You Inside the Mind of Stephen Hawking

What’s it like inside the mind of the­o­ret­i­cal physi­cist Stephen Hawk­ing? Is it an elec­tro-cos­mic dance par­ty nar­rat­ed by Carl Sagan? I would like to think so. So would direc­tor Will Studd of Aard­man Stu­dios who cre­at­ed the hip pro­mo video above, which also includes audio clips from Hawk­ing him­self and fel­low physi­cists Bri­an Cox and Andrew Stro­minger, with music by Max Hal­stead. Pret­ty cool, but what’s it for?

Well, Hawk­ing will very soon join a long line of dis­tin­guished pub­lic intel­lec­tu­als when he deliv­ers two Rei­th Lec­tures, the annu­al BBC Radio event estab­lished in 1948 and inau­gu­rat­ed by Bertrand Rus­sell (access an audio archive of the lec­tures up to 2011 here). Hawk­ing’s first lec­ture, “Do Black Holes Have No Hair?” will debut today (and we’ll post it here for you). The sec­ond, “Black Holes Ain’t as Black as They Are Paint­ed” will broad­cast next Tues­day. So what’s with the funky titles?

Ask Hawking—or rather, read his paper (or one of the lay­folk sum­maries), “Soft Hair on Black Holes,” which he  post­ed a cou­ple of weeks ago on Cor­nell Uni­ver­si­ty’s arX­iv, an open access data­base of physics, math­e­mat­ics, and oth­er sci­en­tif­ic research. Of Hawk­ing and oth­er physi­cists’ the­o­ry, Tia Ghose at Live Sci­ence writes, “black holes may sport a lux­u­ri­ous head of ‘hair’ made up of ghost­ly, zero-ener­gy par­ti­cles.” These “hairs” may store quan­tum infor­ma­tion that would oth­er­wise be lost for­ev­er. In the sec­ond part of his lec­ture, Hawk­ing will expand on his the­o­ry of black hole radi­a­tion. Get a brief sum­ma­ry of that the­o­ry in the video clip above, and watch this space for Hawk­ing’s sure-to-be-enlight­en­ing black hole lec­tures.

Relat­ed Con­tent:

Free Online Physics Cours­es

Bertrand Rus­sell & Oth­er Big Thinkers in BBC Lec­ture Series (Free)

The Big Ideas of Stephen Hawk­ing Explained with Sim­ple Ani­ma­tion

Watch A Brief His­to­ry of Time, Errol Mor­ris’ Film About the Life & Work of Stephen Hawk­ing

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

Producer Tony Visconti Breaks Down the Making of David Bowie’s Classic “Heroes,” Track by Track

Those famil­iar with David Bowie lore may know one or two things about the record­ing of his sem­i­nal 1978 track “Heroes.” One is that the record­ing stu­dio did, in fact, look out over the Berlin Wall and the lovers that Bowie saw made it into the lyrics (“I can remem­ber stand­ing by the wall/And the guns shot above our heads/And we kissed as though noth­ing could fall”). The oth­er is the micro­phone set up in Hansa’s expan­sive record­ing stu­dio: one next to Bowie’s mouth, anoth­er 15 — 20 feet away, and anoth­er at the far end of the room to catch the reverb. (Hands up how many of us learned about that when Steve Albi­ni copied it for Nirvana’s “All Apolo­gies”? Any­body?) But as this video above with pro­duc­er Tony Vis­con­ti shows, that’s only a few of the mag­i­cal inven­tions and dar­ing deci­sions made for this record­ing. The ses­sion con­tains lessons for any young pro­duc­er end­less­ly fid­dling about with their Pro­Tools and the mil­lions of choic­es afford­ed by a $2.99 synth app for the iPad.

When Bowie added his vocals at the end of the record­ing ses­sion, there was only one track left on the tape, hav­ing filled up the 23 oth­er tracks with the band’s back­ing track, Eno’s synths, extra per­cus­sion, three (!) tracks of Robert Fripp com­mand­ing the gods through his gui­tar pick­up and feed­back, and more. If they didn’t like the take, they’d erase over it with the new one. Those were the ana­log days. But as Vis­con­ti says, that scary deci­sion elec­tri­fied Bowie. As an artist, every­thing was at stake. It’s like they knew they were mak­ing a song for the ages. Maybe it’s Visconti’s 20/20 hind­sight, but they were right.

This small seg­ment above is part of a longer three-hour tour through Visconti’s career, record­ed in 2011 for the Red Bull Acad­e­my lec­ture series. Vis­con­ti talks about work­ing with Marc Bolan, Mor­ris­sey, Paul McCart­ney and oth­ers, along with his thoughts on pro­duc­ing, and a great deal about Bowie’s “Berlin Tril­o­gy.” (The sec­ond half of the talk is here.)

But there’s so much more to be dis­cov­ered among those 24 audio tracks of “Heroes.” In this won­der­ful BBC doc­u­men­tary from 2012 (also see up top), Vis­con­ti sits down with the dig­i­tal­ly trans­ferred mas­ter tapes and takes us through the con­struc­tion of the song. Here we get to hear Robert Fripp’s raw gui­tar tracks which sound so incred­i­bly abra­sive it’s hard to believe they exist in the song; Visconti’s “cow­bell,” which is him hit­ting a pipe out­side in the yard; Eno’s synth in a brief­case, the EMS Synthi‑A; and numer­ous painter­ly daubs of audio that all make up the mix. And then there’s that vocal, which Vis­con­ti lets play with­out any of the music, a song for the his­to­ry books, a voice that couldn’t be con­strained to just one mic. The video unfor­tu­nate­ly could­n’t be embed­ded on our site, but it’s def­i­nite­ly worth your time.

Relat­ed Con­tent:

David Bowie Per­forms a Live Acoustic Ver­sion of “Heroes,” with a Bot­tle Cap Strapped to His Shoe, Keep­ing the Beat

Hear Demo Record­ings of David Bowie’s “Zig­gy Star­dust,” “Space Odd­i­ty” & “Changes”

Dave: The Best Trib­ute to David Bowie That You’re Going to See

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.

Jules Verne Accurately Predicts What the 20th Century Will Look Like in His Lost Novel, Paris in the Twentieth Century (1863)

jules-verne

Sci­ence fic­tion, they say, does­n’t real­ly deal with the future; it uses the set­ting of the future as a way to deal with the present. That would explain all the stan­dard pre­pos­ter­ous tropes you reg­u­lar­ly see in the gen­re’s less grace­ful­ly aging nov­els and films: jet­packs, fly­ing cars, holo-phones, that sort of thing. So when you look into sci-fi’s back pages and do come across the occa­sion­al accu­rate or even semi-accu­rate pre­dic­tion of the future — that is, an accu­rate pre­dic­tion of our present — it real­ly jumps out at you. Many such pre­dic­tions have jumped out at read­ers from the pages of Jules Verne’s lost sec­ond nov­el, Paris in the Twen­ti­eth Cen­tu­ry.

Orig­i­nal­ly writ­ten in 1863 but not pub­lished until found at the bot­tom of a vault in 1994, the book’s score­card of seem­ing­ly bang-on ele­ments of the then-future include the explo­sion of sub­ur­ban liv­ing and shop­ping and large-scale high­er edu­ca­tion; career women; syn­the­siz­er-dri­ven elec­tron­ic music and a record­ing indus­try to sell it; ever more advanced forms of ever crud­er enter­tain­ment; cities of ele­va­tor-equipped, auto­mat­i­cal­ly sur­veilled sky­scrap­ers elec­tri­cal­ly illu­mi­nat­ed all night long; gas-pow­ered cars, the roads they dri­ve on, and the sta­tions where they fill up; sub­ways, mag­net­i­cal­ly-pro­pelled trains, and oth­er forms of rapid tran­sit; fax machines as well as a very basic inter­net-like com­mu­ni­ca­tion sys­tem; the elec­tric chair; and weapons of war too dan­ger­ous to use.

You may sense that the young Verne did not see the future, which takes its form in the nov­el of Paris in 1960, as a utopia. In fact, he went a lit­tle too far in using the set­ting and its sto­ry of an artis­tic soul adrift in a cul­tur­al­ly dead, progress-wor­ship­ing tech­noc­ra­cy to express his own anx­i­eties about the 19th cen­tu­ry and its rise of con­glom­er­a­tion, automa­tion, and mech­a­niza­tion — or so thought his pub­lish­er, who believed the book’s bleak pre­dic­tions, even if accu­rate, would fail to win over the com­mon read­er. “My dear Verne,” he wrote in his rejec­tion let­ter to the author, “even if you were a prophet, no one today would believe this prophe­cy… they sim­ply would not be inter­est­ed in it.”

But over 150 years lat­er, the pre­dic­tions of Paris in the Twen­ti­eth Cen­tu­ry do inter­est us, or at least those of us who won­der whether we’ve hand­ed too much of our human­i­ty over to the realms of tech­nol­o­gy, finance, and enter­tain­ment. Even if Richard Bern­stein, review­ing the nov­el in The New York Times when it final­ly saw pub­li­ca­tion, found its satire “weak, inno­cent and ado­les­cent in light of what actu­al­ly hap­pened in the 20th cen­tu­ry,” it has giv­en us more than ever to talk about today. To get in on the con­ver­sa­tion, have a lis­ten to the episode of the Futil­i­ty Clos­et pod­cast on the book just above. Do you think Verne accu­rate­ly fore­saw our cur­rent con­di­tion — or does his dystopia still lie in wait?

Relat­ed Con­tent:

How French Artists in 1899 Envi­sioned Life in the Year 2000: Draw­ing the Future

Isaac Asi­mov Pre­dicts in 1964 What the World Will Look Like Today

In 1964, Arthur C. Clarke Pre­dicts the Inter­net, 3D Print­ers and Trained Mon­key Ser­vants

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

The Inter­net Imag­ined in 1969

In 1900, Ladies’ Home Jour­nal Pub­lish­es 28 Pre­dic­tions for the Year 2000

Philip K. Dick Makes Off-the-Wall Pre­dic­tions for the Future: Mars Colonies, Alien Virus­es & More (1981)

Niko­la Tesla’s Pre­dic­tions for the 21st Cen­tu­ry: The Rise of Smart Phones & Wire­less, The Demise of Cof­fee, The Rule of Eugen­ics (1926/35)

In 1968, Stan­ley Kubrick Makes Pre­dic­tions for 2001: Human­i­ty Will Con­quer Old Age, Watch 3D TV & Learn Ger­man in 20 Min­utes

In 1911, Thomas Edi­son Pre­dicts What the World Will Look Like in 2011: Smart Phones, No Pover­ty, Libraries That Fit in One Book

Mark Twain Pre­dicts the Inter­net in 1898: Read His Sci-Fi Crime Sto­ry, “From The ‘Lon­don Times’ in 1904”

Future Shock: Orson Welles Nar­rates a 1972 Film About the Per­ils of Tech­no­log­i­cal Change

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. 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.

Kate Bush’s First Ever Television Appearance, Performing “Kite” & “Wuthering Heights” on German TV (1978)

There are few things in life that I can enjoy uncritically—totally sur­ren­der to—and yet also appre­ci­ate as intel­lec­tu­al­ly com­plex, fine­ly-wrought works of art. The music of Kate Bush is one of those things. Her preter­nat­ur­al voice, sub­lime­ly ridicu­lous cos­tumes, dance, and ges­ture, and haunt­ing, lit­er­ary lyri­cism imme­di­ate­ly cap­ti­vate the ear and eye—and work their mag­ic on the mind not long after. It’s an unusual—I’d say extreme­ly rare—set of qual­i­ties that set her apart from every pop star in the era of her prime and in our own. At the risk of draw­ing a per­haps too-easy com­par­i­son, but I think an apt one: as a solo artist she rivals maybe only David Bowie in her abil­i­ty to own the spot­light and remain in total con­trol of her sound and image. (Both of them, in fact, trained with the same dance teacher, Lind­say Kemp.)

But while Bowie made it look easy, and found ways to stay near­ly-ever-present in every decade since the 70s, for Bush that con­trol was hard won, and meant with­drawals from the pub­lic, includ­ing a 12-year break that, writes The Guardian, remind­ed some of “the mytho­log­i­cal res­o­nance of Bob Dylan’s Base­ment Tapes hia­tus.” She has toured only twice: once at the very begin­ning of her career in 1979 and again, 35 years lat­er, in 2014. Crit­ics and die-hard fans have long spec­u­lat­ed about the rea­sons for Bush’s with­draw­al from per­for­mance and her gen­er­al pub­lic ret­i­cence, but state­ments from the artist her­self have made it clear that part of her strug­gle with star­dom had to do with feel­ing exploit­ed in the way so many women are by the music indus­try.

By the end of her lav­ish, 28-night 1979 extrav­a­gan­za, she recalled, “I felt a ter­rif­ic need to retreat as a per­son, because I felt that my sex­u­al­i­ty, which in a way I had­n’t real­ly had a chance to explore myself, was being giv­en to the world in a way which I found imper­son­al.” “Bush,” The Guardian writes, “did every­thing she could to pre­vent her­self being exposed in that way again.”

The move was both a loss and a gain for her fans. While her live shows might have become leg­endary in the way Bowie’s did over the years, her retreat into a pri­vate sphere all her own allowed her to con­tin­ue writ­ing and record­ing con­sis­tent­ly bril­liant, chal­leng­ing music that nev­er became com­pro­mised by indus­try hack­work, as she her­self nev­er became some­one else’s prod­uct.

Her abil­i­ty to assert her­self so ear­ly in her career is also a tes­ta­ment to her cre­ative con­fi­dence. Bush was only 19 years old when she released her first album, The Kick Inside, an age at which many emerg­ing pop stars allow them­selves to be com­man­deered by over­bear­ing man­age­ment. But she has remained rel­e­vant by remain­ing her—odd, enig­mat­ic, total­ly original—self. “Artists should­n’t be made famous,” she once remarked, “it is a forced impor­tance.”

Before launch­ing that first tour, and decid­ing it was­n’t for her, Bush made her first tele­vi­sion appear­ance on a Ger­man pro­gram in 1978—see it at the top of the post. Rather than open­ing with “Wuther­ing Heights,” the song that did make her famous, she instead starts with the B‑side, “Kite.” But then we hear that famil­iar, tin­kling piano intro, and she deliv­ers the big sin­gle, wear­ing the flow­ing red gown she donned in the oft-par­o­died Amer­i­can video for the song (above). The weird and won­der­ful dance moves are a lit­tle sub­dued, but like all of her performances—in very rare stage appear­ances, numer­ous videos, and ten amaz­ing albums—it’s glo­ri­ous.

In her first Amer­i­can TV appear­ance, on Sat­ur­day Night Live lat­er that same year, Bush sang “The Man With the Child in His Eyes” in the gold lamé body­suit she wore in the song’s offi­cial video (above). Just one of the many fash­ion choic­es that, along with those unin­hib­it­ed dance moves—“those weird, spas­tic, fan­tas­tic inter­pre­tive dance moves,” writes Matthew Zuras in an appreciation—later gave us unfor­get­table clas­sics like the “Baboosh­ka” video (below). We have this unique, uncom­pro­mis­ing body of work both because a more adven­tur­ous music indus­try decid­ed to invest in devel­op­ing Bush’s tal­ent in the ear­ly 70s, and because she refused, after all, to accede to that indus­try’s usu­al demands.

via Dan­ger­ous Minds

Relat­ed Con­tent:

300 Kate Bush Imper­son­ators Pay Trib­ute to Kate Bush’s Icon­ic “Wuther­ing Heights” Video

2009 Kate Bush Doc­u­men­tary Dubs Her “Queen of British Pop”

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

Professional Pickpocket Apollo Robbins Explains the Art of Misdirection

You’ve got to pick-a-pock­et or two, boys 

You’ve got to pick-a-pock­et or two. 

Unlike the Art­ful Dodger and oth­er light-fin­gered urchins brought to life by Charles Dick­ens and, more recent­ly, com­pos­er Lionel Bartpro­fes­sion­al pick­pock­et Apol­lo Rob­bins con­fines his prac­tice to the stage.

Past exploits include reliev­ing actress Jen­nifer Gar­ner of her engage­ment ring and bas­ket­ball Hall-of-Famer Charles Barkley of a thick bankroll. In 2001, he vir­tu­al­ly picked for­mer U.S. pres­i­dent Jim­my Carter’s Secret Ser­vice detail clean, net­ting badges, a watch, Carter’s itin­er­ary, and the keys to his motor­cade. (Rob­bins wise­ly steered clear of their guns.)

How does he does he do it? Prac­tice, prac­tice, prac­tice… and remain­ing hyper vig­i­lant as to the things com­mand­ing each indi­vid­ual vic­tim­s’s atten­tion, in order to momen­tar­i­ly redi­rect it at the most con­ve­nient moment.

Clear­ly, he’s a put lot of thought into the emo­tion­al and cog­ni­tive com­po­nents. In a TED talk on the art of mis­di­rec­tion, above, he cites psy­chol­o­gist Michael Posner’s “Trin­i­ty Mod­el” of atten­tion­al net­works. He has deep­ened his under­stand­ing through the study of aiki­do, crim­i­nal his­to­ry, and the psy­chol­o­gy of per­sua­sion. He under­stands that get­ting his vic­tims to tap into their mem­o­ries is the best way to tem­porar­i­ly dis­arm their exter­nal alarm bells. His easy­go­ing, seem­ing­ly spon­ta­neous ban­ter is but one of the ways he gains marks’ trust, even as he pen­e­trates their spheres with a preda­to­ry grace.

Watch his hands, and you won’t see much, even after he explains sev­er­al tricks of his trade, such as secur­ing an already depock­et­ed wal­let with his index fin­ger to reas­sure a jack­et-pat­ting vic­tim that it’s right where it belongs. (Half a sec­ond lat­er, it’s drop­ping below the hem of that jack­et into Rob­bins’ wait­ing hand.) Those paws are fast!

I do won­der how he would fare on the street. His act depends on a fair amount of chum­my touch­ing, a phys­i­cal inti­ma­cy that could quick­ly cause your aver­age straphang­er to cry foul. I guess in such an instance, he’d lim­it the take to one pre­cious item, a cell phone, say, and leave the wal­let and watch to a non-the­o­ret­i­cal “whiz mob” or street pick­pock­et team.

Though he him­self has always been scrupu­lous about return­ing the items he lib­er­ates, Rob­bins does not with­hold pro­fes­sion­al respect for his crim­i­nal broth­ers’ moves. One real-life whiz mob­ber so impressed him dur­ing a tele­vi­sion inter­view that he drove over four hours to pick the perp’s brains in a min­i­mum secu­ri­ty prison, a con­fab New York­er reporter Adam Green described in col­or­ful detail as part of a lengthy pro­file on Rob­bins and his craft.

One small detail does seem to have escaped Rob­bins’ atten­tion in the sec­ond demon­stra­tion video below, in which reporter Green will­ing­ly steps into the role of vic’. Per­haps Rob­bins doesn’t care, though his mark cer­tain­ly should. The sit­u­a­tion is less QED than XYZPDQ.

While you’re tak­ing notice, don’t for­get to remain alert to what a poten­tial pick­pock­et is wear­ing. Such atten­tion to detail may serve you down at the sta­tion, if not onstage.

Relat­ed Con­tent:

Watch Björk’s 6 Favorite TED Talks, From the Mush­room Death Suit to the Vir­tu­al Choir

The Sci­ence of Willpow­er: 15 Tips for Mak­ing Your New Year’s Res­o­lu­tions Last from Dr. Kel­ly McGo­ni­gal

The Kit­ty Gen­ovese Myth and the Pop­u­lar Imag­i­na­tion

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. The sleep­ing bag-like insu­lat­ing prop­er­ties of her ankle-length faux leop­ard coat make her very pop­u­lar with the pick­pock­ets of New York. Fol­low her @AyunHalliday

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.