A Huge Anthology of Noise & Electronic Music (1920–2007) Featuring John Cage, Sun Ra, Captain Beefheart & More

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Image by Emi­ly, via Wiki­me­dia Com­mons

If you’ve tak­en any intro­duc­to­ry course or even read any intro­duc­to­ry books on music, you’ll almost cer­tain­ly have heard it described as “orga­nized sound.” Fair enough, but then what do you call dis­or­ga­nized sound? Why, noise of course. And all this makes per­fect sense until your first encounter with the seem­ing­ly para­dox­i­cal but robust and ever-expand­ing tra­di­tion of noise music.

“Mod­ern ‘noise music’ finds its roots in ear­ly elec­tron­ic and indus­tri­al musics,” says Sta­t­ic Sig­nals, which used to review a lot of the stuff. “Where com­posers began expand­ing their vocab­u­lary of sound and instru­men­ta­tion is where the con­cept of ‘noise’ begins: what sounds can pro­duce music and which are pure­ly sta­t­ic or noise? For some, music’s out­er bound­ary is defined by west­ern Euro­pean clas­si­cal instru­ments designed hun­dreds of years ago and the sounds, pitch­es, rhythms they can (clas­si­cal­ly) pro­duce. For oth­ers, no sound, rhythm, tone, or pitch is off lim­its; music can be made by any­thing that can vibrate air.”

The devel­op­ment of elec­tron­ic musi­cal instru­ments — and indeed, any kind of sound-manip­u­lat­ing elec­tron­ic device — came as a great boon to this explo­ration of the bor­der­lands between orga­nized and dis­or­ga­nized sound. You can hear the effects of that sort of tech­nol­o­gy and much else besides in An Anthol­o­gy of Noise and Elec­tron­ic Music, a sev­en-part anthol­o­gy released by for­mi­da­ble Bel­gian exper­i­men­tal music label Sub Rosa, all of it avail­able on Spo­ti­fy (whose soft­ware you can down­load here if you need it). The first two vol­umes are embed­ded above; all sev­en vol­umes can be streamed via the links below. If you dig the col­lec­tion, we’d encour­age you to pur­chase your own copy and sup­port Sub Rosa’s project.

To the noise music-unini­ti­at­ed — and prob­a­bly even to a few of the ini­ti­at­ed — some of the tracks here will sound like music, and some cer­tain­ly won’t. But most of them fall fas­ci­nat­ing­ly in-between the two states, ide­al­ly expand­ing the lis­ten­er’s con­cep­tion of the son­ic ter­ri­to­ry music can explore. Some musi­cal exper­i­ments, just like sci­en­tif­ic exper­i­ments, point in more fruit­ful direc­tions than oth­ers, but each one sheds a lit­tle new light on the musi­cal enter­prise itself. And “the noise,” to take the words straight from Sub Rosa them­selves, “goes on…”

via Ubuweb

Relat­ed Con­tent:

Björk Presents Ground­break­ing Exper­i­men­tal Musi­cians on the BBC’s Mod­ern Min­i­mal­ists (1997)

The Avant-Garde Project: An Archive of Music by 200 Cut­ting-Edge Com­posers, Includ­ing Stravin­sky, Schoen­berg, Cage & More

The Music of Avant-Garde Com­pos­er John Cage Now Avail­able in a Free Online Archive

Hear the Exper­i­men­tal Music of the Dada Move­ment: Avant-Garde Sounds from a Cen­tu­ry Ago

Hear Albums from Bri­an Eno’s 1970s Label, Obscure Records

The His­to­ry of Elec­tron­ic Music in 476 Tracks (1937–2001)

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

Hear Sev­en Hours of Women Mak­ing Elec­tron­ic Music (1938- 2014)

How the Moog Syn­the­siz­er Changed the Sound of Music

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.

Watch the Titanic Sink in Real Time in a New 2‑Hour, 40 Minute Animation

From the mak­ers of Titan­ic: Hon­or and Glo­rya PC video game that lets you sail aboard a ful­ly detailed re-cre­ation of the RMS Titan­ic–comes an ani­ma­tion that lets you watch the sink­ing of the Titan­ic in real time. Accord­ing to the web site Titan­ic Facts, the ship sank in two hours and 40 min­utes in 1912. And that’s pre­cise­ly how long things take to unfold in the video above. The ani­ma­tion nar­rates the events in a fair­ly straight­for­ward way–nothing like the dra­mat­ic scenes paint­ed in James Cameron’s 1997 fic­tion­al­ized film. But it’s still worth the watch. 

In the Relat­eds below, you can check out two relat­ed clips — a vin­tage clip show­ing footage of the actu­al Titan­ic in 1911, and anoth­er ani­mat­ed reen­act­ment of the Titan­ic sink­ing, this one cre­at­ed by Cameron him­self.

via coudal.com

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:

The Titan­ic: Rare Footage of the Ship Before Dis­as­ter Strikes

How the Titan­ic Sank: James Cameron’s New CGI Ani­ma­tion

Titan­ic: The Nazis Cre­ate a Mega-Bud­get Pro­pa­gan­da Film About the Ill-Fat­ed Ship … and Then Banned It (1943)

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Brian Eno Creates a List of His 13 Favorite Records: From Gospel to Afrobeat, Shoegaze to Bulgarian Folk

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For most of us, mak­ing a list of our favorite albums involves no small amount of nos­tal­gia. We remem­ber high­lights from high school and col­lege: songs on con­stant rota­tion after breakups and dur­ing sum­mers of bliss. More so than any oth­er media we con­sume, music—from clas­si­cal to the most com­mer­cial pop—feels deeply per­son­al.

But there are many oth­er ways to relate to music. Bri­an Eno’s jour­ney through the world of record­ed sound, for exam­ple, more resem­bles that of a 19th cen­tu­ry explor­er. He grav­i­tates toward the cul­tur­al­ly exot­ic, makes stu­dious obser­va­tions, and advances hypothe­ses and the­o­ries. In read­ing through an inter­view he gave to The Qui­etus for their “baker’s dozen” series—in which they ask famous artists to name their top 13 albums—one theme emerges in the way Eno talks about music: dis­cov­ery.

And as Eno reminds us in his com­men­tary on his first pick—a gospel record by Rev­erend Maceo Woods and The Chris­t­ian Taber­na­cle Choir—one pre­cur­sor to dis­cov­ery is curios­i­ty, unbound­ed by prej­u­dice or pre­con­cep­tion. It’s an approach that has enabled him to cre­ate some of the most con­sis­tent­ly inter­est­ing records decade after decade (hear 150 Eno tracks here), and to remain rel­e­vant long after most of his ’70s peers have dis­ap­peared.

Eno first heard, or mis­heard, the gospel group on U.S. radio. To his ears, the refrain “sur­ren­der to His will” sound­ed like “sur­ren­der to the wheel,” a cryp­tic phrase that pro­voked all sorts of asso­ci­a­tions. But even after he learned the real lyric, he was hooked on the group’s sound, and want­ed to know more, though he him­self is entire­ly non-reli­gious.

“Why am I so moved by a music based on some­thing that I just don’t believe in?,” Eno asked him­self. His response ranges into philo­soph­i­cal ter­ri­to­ry, then ends on an unex­pect­ed­ly upbeat note. If it sur­pris­es you that one of Eno’s favorite albums is an obscure record by an ama­teur gospel group, take a look at the rest of his picks. We’d expect the Vel­vet Under­ground to appear—giv­en his famous com­ment about their mas­sive influ­ence—and they do. The rest is a col­lec­tion of wild cards. See the eclec­tic list below and stop by The Qui­etus to read Eno’s thought­ful, can­did com­men­tary on each album.

 

The Dynam­ic Rev­erend Maceo Woods and The Chris­t­ian Taber­na­cle Choir in Con­cert, by Rev­erend Maceo Woods and The Chris­t­ian Taber­na­cle Choir

Farid El Atra­che, by Farid El Atra­che

Umut, by Arif Sag

“Go Where I Send Thee,” The Gold­en Gate Quar­tet (sin­gle)

Fresh, by Sly and the Fam­i­ly Stone

Plan­ta­tion Lul­la­bies, Me’Shell Nde­geO­cel­lo

The Vel­vet Under­ground, by The Vel­vet Under­ground

Ear­ly Works, by Steve Reich

Afro­disi­ac, by Fela Ran­some-Kuti & The Africa ‘70

Glid­er, by My Bloody Valen­tine

Heart­land, by Owen Pal­lett

Grande Liturgie Ortho­doxe Slave, by Chœur Bul­gare Sve­toslav Obreten­ov

Court and Spark, by Joni Mitchell

via The Qui­etus

Relat­ed Con­tent:

David Bowie Lists His 25 Favorite LPs in His Record Col­lec­tion: Stream Most of Them Free Online

Tom Waits Makes a List of His Top 20 Favorite Albums of All Time

Kurt Cobain Lists His 50 Favorite Albums: Fea­tures LPs by David Bowie, Pub­lic Ene­my & More

Hear 150 Tracks High­light­ing Bri­an Eno’s Career as a Musi­cian, Com­pos­er & Pro­duc­er & Stream His 2015 John Peel Lec­ture

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

Hear 100 Amazing Cover Versions of Beatles Songs

If you’ve ever learned to play an instru­ment, espe­cial­ly the gui­tar or piano, odds are you’ve spent count­less hours try­ing to mas­ter the rhythms and melodies of your favorite songs. And odds are at least one of those songs was writ­ten by Messrs. Lennon & McCart­ney. If you’re any­thing like me, you prob­a­bly real­ized ear­ly in the exer­cise that The Bea­t­les weren’t only praised as great song­writ­ers because of their lyri­cism and social and roman­tic insights. Their songs are also packed with inge­nious chord changes, unex­pect­ed time shifts, unusu­al hooks, etc.

What may seem at first lis­ten like a sim­ple tune reveals itself as high­ly chal­leng­ing for the ama­teur musi­cian. I well remem­ber sweat­ing over two of my favorites—“Julia” and “Martha My Dear”—for many days.

Even in mod­i­fied ver­sions that sim­pli­fy dif­fi­cult voic­ings, I strug­gled to mas­ter the let­ter of the songs while still con­vey­ing the spir­it. Sure­ly, that’s a tes­ta­ment to my own lack of skill, and yet the trou­ble I’ve had pulling off my favorite Bea­t­les’ songs has giv­en me all the more respect for musi­cians who make it look easy.

Even a straight-ahead blues like “Why Don’t We Do It In the Road” ain’t easy to sell—far from it. But I’ve nev­er heard any­one do it bet­ter than Tul­sa, Okla­homa-born blues­man Low­ell Ful­som (top). Fur­ther down, St. Vin­cent does a stel­lar live ren­di­tion of anoth­er of my favorites, “Dig a Pony.” A great song can take all kinds of bend­ing, stretch­ing, and pulling and still retain its essence. In Pao­lo Nutini’s smooth, stripped-down, organ, voice, and drums take on Lennon’s “Don’t Let Me Down,” above, the pas­sion remains, even if the impas­sioned shouts have been tamed.

There are hun­dreds more great Bea­t­les’ cov­ers out there, and prob­a­bly hun­dreds of ter­ri­ble ones, too—and many an odd­ball inter­pre­ta­tion that sharply divides opin­ion in either direc­tion (such as Marc Ribot’s machine-shop “While My Gui­tar Gen­tly Weeps,” which I hap­pen to love). Just above, we’ve put togeth­er a Spo­ti­fy playlist of over 80 great cov­er ver­sions of Bea­t­les’ songs, culled from sug­ges­tions made by @openculture followers/fans on Twit­ter. (You can down­load Spo­ti­fy’s soft­ware here.) And in the list below, find links to 20 fab­u­lous cov­er ver­sions on Youtube. (Those weren’t avail­able on Spo­ti­fy, but they’re def­i­nite­ly worth hear­ing). In total, you’ll find 100 tracks, by artists rang­ing from Ray Charles, to Joe Cock­er and Sarah McLach­lan, to Pat­ti Smith, David Bowie, and John­ny Cash. It makes for 6 hours of Bea­t­les bliss.

If we’ve missed an essen­tial cov­er, let us know in the com­ments below, and drop in a link if you can.

Jimi Hen­drix — Sgt. Pep­per
The Pix­ies — Wild Hon­ey Pie  
David Gilmour — Here, There and Every­where
Alice Coop­er and the Bee Gees — Because
Kris Kristof­fer­son — Paper­back Writer 
Bryan Fer­ry — She’s Leav­ing Home
Pao­lo Nuti­ni — Don’t Let Me Down
The Fall — A Day in the Life 
Elliot Smith — Because 
Elvis Costel­lo — Pen­ny Lane 
Marc Ribot — While My Gui­tar Gen­tly Weeps
Ben E. King — Don’t Let Me Down
Ike & Tina Turn­er – She Came in Through the Bath­room Win­dow
St Vin­cent — Dig a Pony  
Peer Framp­ton and the Bee Gees — Sgt. Pep­per’s Lone­ly Hearts Club Band (sound­track)
Ray Charles — The Bea­t­les Cov­ers
Book­er T. & the MGS — McLemore Avenue (Cov­ers of Abbey Road)  
George Ben­son — The Oth­er Side of Abbey Road

Relat­ed Con­tent:

The 15 Worst Cov­ers of Bea­t­les Songs: William Shat­ner, Bill Cos­by, Tiny Tim, Sean Con­nery & Your Excel­lent Picks

Peter Sell­ers Cov­ers the Bea­t­les’ “A Hard Day’s Night,” “She Loves You” & “Help!”

Bea­t­les Trib­ute Band “The Fab Faux” Per­forms Live an Amaz­ing­ly Exact Repli­ca of the Orig­i­nal Abbey Road Med­ley

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

The 100 Most Memorable Shots in Cinema Over the Past 100 Years

Harold Lloyd hang­ing high above the city on the hands of a sky­scrap­er’s clock. A shot through the eye on the Odessa steps. Anoth­er eye, this one read­ied for the razor blade. King Kong roar­ing atop a sky­scraper of his own. Snow White offer­ing a perch to the blue­bird. Dorothy, the Cow­ard­ly Lion, the Tin Man, and the Scare­crow skip­ping off toward the dis­tant Emer­ald City. Charles Fos­ter Kane orat­ing before his own enor­mous por­trait. Nor­ma Desmond’s unset­tling approach through ever-soft­er focus.

Roger Thorn­hill pur­sued by the biplane. Pat­ton salut­ing before the enor­mous Amer­i­can flag. Alex DeLarge star­ing, in his bowler and past his pros­thet­ic eye­lash­es, straight into the cam­era. Rocky jog­ging up the Philadel­phia Muse­um of Art steps. A cam­ou­flage-paint­ed Willard ris­ing out of the swamp. The slow-motion march of Messrs. Blonde, Blue, Brown, Orange, Pink, and White. The open­ing-night recep­tion dance after Max Fis­cher’s Heav­en and Earth. Leonidas kick­ing the mes­sen­ger into the hole. The young Mason Evans, Jr. flat on the grass, star­ing up at the skies.

Oh, and Char­lie Chap­lin using Scraps the dog as a pil­low. I could have described more of the most mem­o­rable shots of the past cen­tu­ry of cin­e­ma his­to­ry, but in the video above, which presents one hun­dred years of film with one shot select­ed from each year, they all speak for them­selves. “While many of these shots are the most rec­og­niz­able in film his­to­ry, oth­ers are equal­ly icon­ic in their own right,” writes the video’s cre­ator Jacob T. Swin­ney, “For exam­ple, some shots pio­neered a style or defined a genre, while oth­ers test­ed the bound­aries of cen­sor­ship and film­go­er expec­ta­tions.”

While the ear­li­est pic­tures here, a group start­ing in 1915 with D.W. Grif­fith’s The Birth of a Nation, have had plen­ty of time to estab­lish them­selves in our visu­al lex­i­con — even for those of us who’ve nev­er actu­al­ly sat down and watched the movies in full — the more recent selec­tions clear­ly require some guess­work: Swin­ney’s mem­o­rable shots from the past decade come from sources as var­ied as There Will Be Blood and The Tree of LifeAvatar, and The Avengers.

And some cin­e­ma purists, as opposed to struc­tur­al purists, will regret that, with these strict­ly sin­gle shots, the famous cuts (in both sens­es, when it comes to Un Chien Andalou’s eye­ball) don’t come across. Me, I’d have bent the rules to pay prop­er trib­ute to Lawrence blow­ing out the match, but that’s just one cinephile’s opin­ion. Besides, you’ve got to see it in con­text, pro­ject­ed in 70-mil­lime­ter, to real­ly feel why it can stand for all of 1962 in film — and then some.

Relat­ed Con­tent:

A Mes­mer­iz­ing Super­cut of the First and Final Frames of 55 Movies, Played Side by Side

Sig­na­ture Shots from the Films of Stan­ley Kubrick: One-Point Per­spec­tive

The Per­fect Sym­me­try of Wes Anderson’s Movies

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.

Shakespeare and His World: Free Shakespeare Course Starts Today, During the 400th Anniversary of the Bard’s Death

Coin­cid­ing with the 400th anniver­sary of Shakespeare’s death, the Uni­ver­si­ty of War­wick (locat­ed just 16 miles from Shakespeare’s home­town of Strat­ford-Upon-Avon) has teamed up  with the Shake­speare Birth­place Trust to run a free 10-week online course start­ing on April 18th. The course explores not only the great writer’s work, but his world too — you might even say it’s such stuff as dreams are made on.

Sir Jonathan Bate will intro­duce a new play each week, exam­in­ing it in rela­tion to cul­tur­al themes and trea­sures from the Shake­speare Birth­place Trust’s archives. In fact this course offers unprece­dent­ed access to the famous vaults of the Trust where thou­sands of rare arte­facts are kept.

Here’s a quick run through of what each week cov­ers:

Week 1: An Intro­duc­tion to Shake­speare and his World

Week 2: Shake­speare and Strat­ford — The Mer­ry Wives of Wind­sor

Week 3: The Birth of The­atre — A Mid­sum­mer Night’s Dream

Week 4: The World at War — Hen­ry V

Week 5: Mon­ey and the City — The Mer­chant of Venice

Week 6: Witch­es and Doc­tors — Mac­beth

Week 7: The Clash of Civil­i­sa­tions — Oth­el­lo

Week 8: The Roman Exam­ple — Antony & Cleopa­tra

Week 9: O Brave New World — The Tem­pest

Week 10: The Cult of Shake­speare

You can find the free course Shake­speare and his World on Future­Learn. The last time this course ran it attract­ed over 40,000 learn­ers around the world so it might be time to brush up on your Shake­speare­an lin­go. The course starts today.

Jess Weeks is a copy­writer at Future­Learn. Her favourite Shake­speare­an insult is ‘you egg’  because it’s both sim­ple and strange.

Relat­ed Con­tent:

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

A 68 Hour Playlist of Shakespeare’s Plays Being Per­formed by Great Actors: Giel­gud, McK­ellen & More

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Download 834 Radical Zines From a Revolutionary Online Archive: Globalization, Punk Music, the Industrial Prison Complex & More

OfficeSupplyYouth5_0000

Whatcha mean, “what’s a zine”?

Some say Thomas Paine orig­i­nat­ed the con­cept in 1776, when he self-pub­lished the pam­phlet, Com­mon Sense… an asser­tion author and cul­tur­al crit­ic Greil Mar­cus would like­ly find a “spu­ri­ous” attempt to con­fer legit­i­ma­cy on a move­ment that occu­pies the soci­etal fringes by def­i­n­i­tion.

No mat­ter how many read­ers they attract, the cre­ators of these small-cir­cu­la­tion labors of love take their agen­das very seri­ous­ly. Whether the ulti­mate goal is to inform, to agi­tate, to smear or to cel­e­brate, their con­tents are as raw as the cut-and-paste aes­thet­ic that pro­vid­ed their defac­to look, pre-Etsy.

zine archive

While some zinesters are good about pre­serv­ing mas­ter copies and donat­ing back issues to zine libraries, many oth­ers’ titles fall through the cracks of his­to­ry, as the mak­ers age out of the prac­tice, or move on to oth­er inter­ests.

Indi­vid­ual zines’ best chance at sur­vival lies in acad­e­mia, where expe­ri­enced archivists and fleets of interns have the time and resources to cat­a­logue and dig­i­tize thou­sands of poor­ly pho­to­copied, often hand­writ­ten pages.

Psycho Bunny

Duke University’s Sal­lie Bing­ham Cen­ter for Women’s His­to­ry and Cul­ture boasts over 4000 fem­i­nist zines.

Tem­ple University’s Sci­ence Fic­tion Fanzine Col­lec­tion takes up near­ly 100 box­es (or 46.5 lin­ear feet).

zine archive 2

The most recent archive is a 1000-title-strong rad­i­cal col­lec­tion that land­ed at the Uni­ver­si­ty of Kansas. Donat­ed by the Sol­i­dar­i­ty! Rev­o­lu­tion­ary Cen­ter and Rad­i­cal Library, a still-active, non-hier­ar­chi­cal, infor­ma­tion-shar­ing col­lec­tive in Lawrence, these zines cov­er a wide spec­trum of activist his­to­ry and con­cerns. You can now find and down­load about 834 of these zines online.

Camp Trans Gender

HellYeah-consent-basedQueerPorn_0000

Titles such as Camp Trans: Gen­der Camp Zine, Hell Yeah! Con­sent Based Queer Porn and CoEx­ist were pro­vid­ing a clear, first-per­son win­dow on the LGBTQ world years before the main­stream media thought to fol­low suit.

TheFemmenstruationRitesRag_0025

HerbalAbortion-theFruitOfTheTreeOfKnowledge_0000

TheInvisibilityOfWomenPrisonersResistanceByVikkiLaw_0000

Sis­ter­hood is not just pow­er­ful, but pal­pa­ble in Fem­men­stru­a­tion Rites Rag, Herbal Abor­tion: The Fruit of the Tree of Knowl­edge, and The Invis­i­bil­i­ty of Women Pris­on­ers’ Resis­tance.

UrbanPermaculture-aReaderCompiledForTheDiySkillshare_0000

10StepsToDeliciousSoymilk_0000

DearMotorist..._0000

Sus­tain­abil­i­ty starts at home with Urban Per­ma­cul­ture, Ten Steps to Deli­cious Soymilk! and Dear Motorist….

Oth­er top­ics include race, glob­al­iza­tion, veg­an­ism, ani­mal rights, and anar­chy.

Unsur­pris­ing­ly, the largest num­ber of titles falls into the Music cat­e­go­ry. Before the Inter­net, punk shows were the most reli­able chan­nel of zine­ly dis­tri­b­u­tion, and few of these fanzines are devoid of polit­i­cal con­tent.

PunksBeforeProfits10_0000

Below, Kansas Uni­ver­si­ty Eng­lish pro­fes­sor Frank Farmer (who arranged for the dona­tion) and archivist Becky Schulte dis­cuss the impor­tance of “counter-pub­lic doc­u­ments” and zine cul­ture.

You can explore 830 dig­i­tized exam­ples from the Sol­i­dar­i­ty archives online here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The Whole Earth Cat­a­log Online: Stew­art Brand’s “Bible” of the 60s Gen­er­a­tion

The Online Knit­ting Ref­er­ence Library: Down­load 300 Knit­ting Books Pub­lished From 1849 to 2012

Exten­sive Archive of Avant-Garde & Mod­ernist Mag­a­zines (1890–1939) Now Avail­able Online

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. A large por­tion of her zine col­lec­tion and papers are being processed by the Sal­lie Bing­ham Cen­ter at Duke Uni­ver­si­ty and will be avail­able for research lat­er this year. Fol­low her @AyunHalliday

Spike Lee Directs, “Wake Up,” a Five-Minute Campaign Film for Bernie Sanders

Ear­li­er this month Spike Lee and Bernie Sanders, two Brook­lyn natives, sat down and talked about pol­i­tics and the state of our nation. Now, with the New York pri­ma­ry right around the cor­ner, Spike drew on his film­mak­ing tal­ents and direct­ed a five-minute polit­i­cal cam­paign film for Bernie. It’s called sim­ply “Wake Up,” and it fea­tures cameos by Dr. Cor­nel West, Susan Saran­don, and Har­ry Bela­fonte.

I can’t recall anoth­er instance where a major film­mak­er shot an ad for a pres­i­den­tial can­di­date. If we’re over­look­ing some­thing obvi­ous (or less obvi­ous), let us know in the com­ments and we’ll maybe fea­ture it dur­ing this cam­paign sea­son.

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:

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

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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Open Culture was founded by Dan Colman.