Hamilton Mania Inspires the Library of Congress to Put 12,000 Alexander Hamilton Documents Online

Remem­ber when bloody, bloody Andrew Jack­son seemed like a shoe in for Best Sepul­chral His­tor­i­cal Fig­ure Brought Back to Life by an Amer­i­can Musi­cal?

Alas for the 7th Pres­i­dent, a lit­tle jug­ger­naut called Hamil­ton came along, and just like that, it was the first Trea­sury Sec­re­tary and author of the Fed­er­al­ist Papers who had a fan base on the order of Beat­le­ma­nia.

Teach­ers, his­to­ri­ans, and librar­i­ans thrilled to reports of kids singing along with the Hamil­ton sound­track. Play­wright and orig­i­nal star Lin-Manuel Miran­da’s clever rap lyrics ensured that young Hamil­fans (and their par­ents, who report­ed­ly were nev­er allowed to lis­ten to any­thing else in the car) would become well versed in their favorite found­ing father’s per­son­al and pro­fes­sion­al his­to­ry.

Out of town vis­i­tors who spend upwards of a month’s gro­cery bud­get for Broad­way tick­ets vol­un­tar­i­ly side trip way uptown to tour Hamil­ton Grange. The insa­tiable self­ie imper­a­tive dri­ves them to Cen­tral Park and Muse­um of the City of New York in search of larg­er than life sculp­tures. They take the PATH train to Wee­hawken to pay their respects in the spot where Hamil­ton was felled by Aaron Burr

Hamil­ton mer­chan­dise, need­less to say, is sell­ing briskly. Books, t‑shirts, jew­el­ry, bob­ble heads com­mem­o­ra­tive mugs…

The Library of Con­gress is not out to cash in on this cul­tur­al moment in the mon­e­tary sense. But “giv­en the increased inter­est in Hamil­ton,” says Julie Miller, a cura­tor of ear­ly Amer­i­can man­u­scripts, it’s no acci­dent that the Library has tak­en pains to dig­i­tize 12,000 Hamil­ton doc­u­ments and make them avail­able on the web. The col­lec­tion includes speech­es, a draft of the Reynolds Pam­phlet, finan­cial accounts, school exer­cis­es and cor­re­spon­dence, both per­son­al and pub­lic, encom­pass­ing such mar­quee names as John Adams, Thomas Jef­fer­son, the Mar­quis de Lafayette, and George Wash­ing­ton.

One need not be a musi­cal the­ater fan to appre­ci­ate the emo­tion of the let­ter he wrote to his wife, Eliz­a­beth Schuyler, on the eve of his fate­ful duel with Aaron Burr:

I need not tell you of the pangs I feel, from the idea of quit­ting you and expos­ing you to the anguish which I know you would feel.… Adieu best of wives and best of Women. Embrace all my dar­ling Chil­dren for me.

Explore the Library of Con­gress’ Hamil­ton col­lec­tion here.

And enter the online lot­tery for $10 Hamil­ton tick­ets because, hey, somebody’s got to win.

via The­ater Mania

Relat­ed Con­tent:

Dis­cov­er Thomas Jefferson’s Cut-and-Paste Ver­sion of the Bible, and Read the Curi­ous Edi­tion Online

Watch a Wit­ty, Grit­ty, Hard­boiled Retelling of the Famous Aaron Burr-Alexan­der Hamil­ton Duel

“Alexan­der Hamil­ton” Per­formed with Amer­i­can Sign Lan­guage

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

Behold the “Book Wheel”: The Renaissance Invention Created to Make Books Portable & Help Scholars Study Several Books at Once (1588)

Devo­tees of print may object, but we read­ers of the 21st cen­tu­ry enjoy a great priv­i­lege in our abil­i­ty to store a prac­ti­cal­ly infi­nite num­ber of dig­i­tized books on our com­put­ers. What’s more, those com­put­ers have them­selves shrunk down to such com­pact­ness that we can car­ry them around day and night with­out dis­com­fort. This would hard­ly have worked just forty years ago, when books came only in print and a seri­ous com­put­er could still fill a room. The paper book may remain rea­son­ably com­pet­i­tive even today with the con­ve­nience refined over hun­dreds and hun­dreds of years, but its first hand­made gen­er­a­tions tend­ed toward lav­ish, weighty dec­o­ra­tion and for­mats that now look com­i­cal­ly over­sized.

These posed real prob­lems of unwield­i­ness, one solu­tion to which took the unlike­ly form of the book­wheel. In 1588’s The Var­i­ous and Inge­nious Machines of Cap­tain Agosti­no Ramel­li, the Ital­ian engi­neer of that name “out­lined his vision for a wheel-o-books that would employ the log­ic of oth­er types of wheel (water, Fer­ris, ‘Price is Right’, etc.) to rotate books clock­work-style before a sta­tion­ary user,” writes the Atlantic’s Megan Gar­ber.

The design used “epicyclic gear­ing — a sys­tem that had at that point been used only in astro­nom­i­cal clocks — to ensure that the shelves bear­ing the wheel’s books (more than a dozen of them) would remain at the same angle no mat­ter the wheel’s posi­tion. The seat­ed read­er could then employ either hand or foot con­trols to move the desired book pret­ty much into her (or, much more like­ly, his) lap.” This rotat­ing book­case gave 16th cen­tu­ry read­ers the abil­i­ty to read heavy books in place, with far greater ease.

In his 1588  book, Ramel­li added:

This is a beau­ti­ful and inge­nious machine, very use­ful and con­ve­nient for any­one who takes plea­sure in study, espe­cial­ly those who are indis­posed and tor­ment­ed by gout. For with this machine a man can see and turn through a large num­ber of books with­out mov­ing from one spot. Moveover, it has anoth­er fine con­ve­nience in that it occu­pies very lit­tle space in the place where it is set, as any­one of intel­li­gence can clear­ly see from the draw­ing.

Inven­tors all over Europe cre­at­ed their own ver­sions of the book­wheel dur­ing the 17th and 18th cen­turies, four­teen exam­ples of which still exist. (The one pic­tured in the mid­dle of the post, built around 1650, now resides in Lei­den.) Even archi­tect Daniel Libe­skind has built one, based on Ramel­li’s design and exhib­it­ed in his home­land at the 1986 Venice Bien­nale. Alas, after it went to Gene­va for an exhi­bi­tion at the Palais Wil­son, it fell vic­tim to a ter­ror­ist fire bomb­ing. Inno­va­tion, it seems, will always have its ene­mies.

Relat­ed Con­tent:

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

The Art of Mak­ing Old-Fash­ioned, Hand-Print­ed Books

Won­der­ful­ly Weird & Inge­nious Medieval Books

Wear­able Books: In Medieval Times, They Took Old Man­u­scripts & Turned Them into Clothes

800 Free eBooks for iPad, Kin­dle & Oth­er Devices

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

Martin Scorsese to Teach His First Online Course on Filmmaking

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

If you need to make movies, if you feel like you can’t rest until you’ve told this par­tic­u­lar sto­ry that you’re burn­ing to tell, then Mar­tin Scors­ese has a course for you. Through Mas­ter­Class, the direc­tor of Good­fel­las, Rag­ing Bull, Taxi Dri­ver, and Mean Streets is now set to teach his first online course. Accord­ing to the video trail­er above, Scors­ese will explore in 20+ lessons every­thing from cin­e­matog­ra­phy and edit­ing, to work­ing with actors, on-set direct­ing, and devel­op­ing a per­son­al film­mak­ing style. The $90 course won’t be released until ear­ly 2018, but any­one who pre-enrolls now will get ear­ly access to the class.

While you wait, you can also take Wern­er Her­zog’s own course on film­mak­ing (also offered through Mas­ter­Class). Or explore Scors­ese’s lists of rec­om­mend­ed films that we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture. Find them in the Relat­eds right below.

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 and BlueSky.

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!

Note: Mas­ter­Class is one of our part­ners. So if you sign up for a course, it ben­e­fits not just you and Mas­ter­Class. It ben­e­fits Open Cul­ture too. So con­sid­er it win-win-win.

Oth­er Mas­ter­Class cours­es worth explor­ing include:

Relat­ed Con­tent:

Mar­tin Scors­ese Cre­ates a List of 39 Essen­tial For­eign Films for a Young Film­mak­er

Mar­tin Scors­ese Makes a List of 85 Films Every Aspir­ing Film­mak­er Needs to See

Mar­tin Scors­ese Names His Top 10 Films in the Cri­te­ri­on Col­lec­tion

Great Film­mak­ers Offer Advice to Young Direc­tors: Taran­ti­no, Her­zog, Cop­po­la, Scors­ese, Ander­son, Felli­ni & More

Wern­er Her­zog Teach­es His First Online Course on Film­mak­ing

 

Watch the New Trailer for Wes Anderson’s Stop Motion Film, Isle of Dogs, Inspired by Akira Kurosawa

It sur­prised every­one, even die-hard fans, when Wes Ander­son announced that he would not just adapt Roald Dahl’s chil­dren’s book Fan­tas­tic Mr. Fox for the screen, but do it with stop-motion ani­ma­tion. But after we’d all giv­en it a bit of thought, it made sense: Ander­son­’s films and Dahl’s sto­ries do share a cer­tain sense of inven­tive humor, and step­ping away from live action would final­ly allow the direc­tor of such detail-ori­ent­ed pic­tures as Rush­moreThe Roy­al Tenen­baums, and The Life Aquat­ic with Steve Zis­sou fuller con­trol over the visu­als. Eight years lat­er, we find Ander­son over­see­ing anoth­er team of ani­ma­tors to tell anoth­er, even more fan­tas­ti­cal-look­ing sto­ry, this one set not in an Eng­land of the past but a Japan of the future.

There, accord­ing to the pro­jec­t’s new­ly released trail­er, “canine sat­u­ra­tion has reached epic pro­por­tions. An out­break of dog flu rips through the city of Megasa­ki. May­or Kobayashi issues emer­gency orders call­ing for a hasty quar­an­tine. Trash Island becomes an exile colony: the Isle of Dogs.” Equals in fur­ri­ness, if not attire, to Fan­tas­tic Mr. Fox’s wood­land friends and voiced by the likes of Jeff Gold­blum, Scar­let Johans­son, Til­da Swin­ton, and of course Bill Mur­ray (in a cast also includ­ing Japan­ese per­form­ers like Ken Watan­abe, Mari Nat­su­ki, and Yoko Ono — yes, that Yoko Ono), the canines of var­i­ous col­ors and sizes forcibly relo­cat­ed to the bleak tit­u­lar set­ting must band togeth­er into a kind of rag­tag fam­i­ly.

Ander­son must find him­self very much at home in this the­mat­ic ter­ri­to­ry by now. It would also have suit­ed the tow­er­ing fig­ure in Japan­ese film to whom Isle of Dogs pays trib­ute. Although Ander­son has cit­ed the 1960s and 70s stop-ani­ma­tion hol­i­day spe­cials of Rankin/Bass like Rudolph the Red-Nosed Rein­deer and The Lit­tle Drum­mer Boy — all pro­duced, inci­den­tal­ly, in Japan — as one inspi­ra­tion, he also said on an ArteTV Q&A ear­li­er this year that “the new film is real­ly less influ­enced by stop-motion movies than it is by Aki­ra Kuro­sawa.” Per­haps he envi­sioned Atari Kobayashi, the boy who jour­neys to Trash Island to retrieve his lost com­pan­ion, as a twelve-year-old ver­sion of one of Kuro­sawa’s lone heroes.

And per­haps it owes to Kuro­sawa that the set­ting — at least from what the trail­er reveals — com­bines ele­ments of an imag­ined future with the look and feel of Japan’s rapid­ly devel­op­ing mid-20th cen­tu­ry, a peri­od that has long fas­ci­nat­ed Ander­son in its Euro­pean incar­na­tions but one cap­tured crisply in Kuro­sawa’s home­land in crime movies like High and Low and The Bad Sleep Well. Ander­son has made lit­tle to no ref­er­ence to the Land of the Ris­ing Sun before, but his inter­est makes sense: no land bet­ter under­stands what Ander­son has expressed more vivid­ly with every project, the rich­ness of the aes­thet­ic mix­ture of the past and future that always sur­rounds us. And from what I could tell on my last vis­it there, its dog sit­u­a­tion remains bless­ed­ly under con­trol — for now.

via Uncrate

Relat­ed Con­tent:

A Com­plete Col­lec­tion of Wes Ander­son Video Essays

The Geo­met­ric Beau­ty of Aki­ra Kuro­sawa and Wes Anderson’s Films

Wes Ander­son & Yasu­jiro Ozu: New Video Essay Reveals the Unex­pect­ed Par­al­lels Between Two Great Film­mak­ers

Acci­den­tal Wes Ander­son: Every Place in the World with a Wes Ander­son Aes­thet­ic Gets Doc­u­ment­ed by Red­dit

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

How Can We Know What is True? And What Is BS? Tips from Carl Sagan, Richard Feynman & Michael Shermer

Sci­ence denial­ism may be a deeply entrenched and enor­mous­ly dam­ag­ing polit­i­cal phe­nom­e­non. But it is not a whol­ly prac­ti­cal one, or we would see many more peo­ple aban­don med­ical sci­ence, air trav­el, com­put­er tech­nol­o­gy, etc. Most of us tac­it­ly agree that we know cer­tain truths about the world—gravitational force, nav­i­ga­tion­al tech­nol­o­gy, the germ the­o­ry of dis­ease, for exam­ple. How do we acquire such knowl­edge, and how do we use the same method to test and eval­u­ate the many new claims we’re bom­bard­ed with dai­ly?

The prob­lem, many pro­fes­sion­al skep­tics would say, is that we’re large­ly unaware of the epis­temic cri­te­ria for our think­ing. We believe some ideas and doubt oth­ers for a host of rea­sons, many of them hav­ing noth­ing to do with stan­dards of rea­son and evi­dence sci­en­tists strive towards. Many pro­fes­sion­al skep­tics even have the humil­i­ty to admit that skep­tics can be as prone to irra­tional­i­ty and cog­ni­tive bias­es as any­one else.

Carl Sagan had a good deal of patience with unrea­son, at least in his writ­ing and tele­vi­sion work, which exhibits so much rhetor­i­cal bril­liance and depth of feel­ing that he might have been a poet in anoth­er life. His style and per­son­al­i­ty made him a very effec­tive sci­ence com­mu­ni­ca­tor. But what he called his “Baloney Detec­tion Kit,” a set of “tools for skep­ti­cal think­ing,” is not at all unique to him. Sagan’s prin­ci­ples agree with those of all pro­po­nents of log­ic and the sci­en­tif­ic method. You can read just a few of his pre­scrip­tions below, and a full unabridged list here.

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.

Anoth­er skep­tic, founder and edi­tor of Skep­tic mag­a­zine Michael Sher­mer, sur­rounds his epis­te­mol­o­gy with a sym­pa­thet­ic neu­ro­science frame. We’re all prone to “believ­ing weird things,” as he puts it in his book Why Peo­ple Believe Weird Things and his short video above, where he intro­duces, fol­low­ing Sagan, his own “Baloney Detec­tion Kit.” The human brain, he explains, evolved to see pat­terns every­where as a mat­ter of sur­vival. All of our brains do it, and we all get a lot of false pos­i­tives.

Many of those false pos­i­tives become wide­spread cul­tur­al beliefs. Sher­mer him­self has been accused of insen­si­tive cul­tur­al bias (evi­dent in the begin­ning of his video), intel­lec­tu­al arro­gance, and worse. But he admits up front that sci­en­tif­ic think­ing should tran­scend indi­vid­ual per­son­al­i­ties, includ­ing his own. “You shouldn’t believe any­body based on author­i­ty or what­ev­er posi­tion they might have,” he says. “You should check it out your­self.”

Some of the ways to do so when we encounter new ideas involve ask­ing “How reli­able is the source of the claim?” and “Have the claims been ver­i­fied by some­body else?” Return­ing to Sagan’s work, Sher­mer offers an exam­ple of con­trast­ing sci­en­tif­ic and pseu­do­sci­en­tif­ic approaches—the SETI (Search for Extrater­res­tri­al Intel­li­gence) Insti­tute and UFO believ­ers. The lat­ter, he says, uncrit­i­cal­ly seek out con­fir­ma­tion for their beliefs, where the sci­en­tists at SETI rig­or­ous­ly try to dis­prove hypothe­ses in order to rule out false claims.

Yet it remains the case that many people—and not all of them in good faith—think they’re using sci­ence when they aren’t. Anoth­er pop­u­lar sci­ence com­mu­ni­ca­tor, physi­cist Richard Feyn­man, rec­om­mend­ed one method for test­ing whether we real­ly under­stand a con­cept or whether we’re just repeat­ing some­thing that sounds smart but makes no log­i­cal sense, what Feyn­man calls “a mys­tic for­mu­la for answer­ing ques­tions.” Can a con­cept be explained in plain Eng­lish, with­out any tech­ni­cal jar­gon? Can we ask ques­tions about it and make direct obser­va­tions that con­firm or dis­con­firm its claims?

Feyn­man was espe­cial­ly sen­si­tive to what he called “intel­lec­tu­al tyran­ny in the name of sci­ence.” And he rec­og­nized that turn­ing forms of know­ing into emp­ty rit­u­als result­ed in pseu­do­sci­en­tif­ic think­ing. In a won­der­ful­ly ram­bling, infor­mal, and auto­bi­o­graph­i­cal speech he gave in 1966 to a meet­ing of the Nation­al Sci­ence Teach­ers Asso­ci­a­tion, Feyn­man con­clud­ed that think­ing sci­en­tif­i­cal­ly as a prac­tice requires skep­ti­cism of sci­ence as an insti­tu­tion.

“Sci­ence is the belief in the igno­rance of experts,” says Feyn­man. “If they say to you, ‘Sci­ence has shown such and such,’ you might ask, ‘How does sci­ence show it? How did the sci­en­tists find out? How? What? Where?’” Ask­ing such ques­tions does not mean we should reject sci­en­tif­ic con­clu­sions because they con­flict with cher­ished beliefs, but rather that we should­n’t take even sci­en­tif­ic claims on faith.

For elab­o­ra­tion on Sher­mer, Sagan and Feyn­man’s approach­es to telling good sci­en­tif­ic think­ing from bad, read these arti­cles in our archive:

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

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

Richard Feynman’s “Note­book Tech­nique” Will Help You Learn Any Subject–at School, at Work, or in Life

Michael Shermer’s Baloney Detec­tion Kit: What to Ask Before Believ­ing

 

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

A Reading of Edgar Allan Poe’s “The Raven” in 100 Celebrity Voices

For every august per­son­age who’s tak­en a crack Edgar Allan Poe’s ever­green poem, “The Raven,” there are thou­sands more who haven’t.

Humorist Jor­dan Mon­sell is doing what he can to close that gap, pro­vid­ing a sam­pling of 100 most­ly male, most­ly white, most­ly human celebri­ty voic­es. It’s a solo recita­tion, but vocal­ly a col­lab­o­ra­tive one, with a fair num­ber of ani­mat­ed char­ac­ters mak­ing their way into the cred­its, too.

He cer­tain­ly knows how to cast out­side the box. Tra­di­tion­al Poe inter­preters such as Vin­cent Price and John Astin bring some well estab­lished creep cred to the enter­prise. Mon­sell picks Christo­pher Walken and Christo­pher Lee already have exist­ing takes on this clas­sic, and Antho­ny Hop­kins and Willem Dafoe are wel­come addi­tions.

But what to make of Jer­ry Sein­feld, Pee-Wee Her­man, John­ny Cash… and even poet­ry lover Bill Mur­ray? Man­ic and much missed Robin Williams may offer a clue. What good is hav­ing an arse­nal of impres­sions if you’re not will­ing to roll them out in rapid suc­ces­sion?

While some of Mon­sel­l’s imper­son­ations (cough, David Bowie) fall a bit short of the mark, oth­ers will have you regret­ting that no one had the fore­thought to record Don Knotts or JFK recit­ing the poem in its entire­ty.

The titles offer a bit of a mis­nomer. In many instances, it’s not real­ly the per­form­ers but their best known char­ac­ters being aped. While there may not be too great a vocal divide between play­wright Wal­lace Shawn and Vizzi­ni in The Princess Bride, The Dude is not Jeff Bridges, any more than Cap­tain Jack Spar­row is John­ny Depp.

The project seems like­ly to play best with nerdy ado­les­cent boys… which could be good news for teach­ers look­ing to get reluc­tant read­ers onboard. Show it on the class­room Smart Board, and be pre­pared to have mini-teach-ins on Katharine Hep­burn, Wal­ter Matthau, the late great Robert Shaw, and oth­er big names whose day has passed. Shrek, Gol­lum, and Har­ry Potter’s house elf, Dob­by, are on hand to keep the ref­er­ences from feel­ing too moldy.

The specter of Poe gets the cov­et­ed final word, a balm to the ears after the triple assault of Chris­t­ian Bale’s Bat­man, Mad Max’s Tom Hardy, and Heath Ledger’s Jok­er. (It may be a mat­ter of taste. You’ll hear no com­plaint from these quar­ters with regard to Mick­ey Mouse, Bert Lahr’s Cow­ard­ly Lion, or The Simpson’s Krusty the Klown, won­der­ful­ly unc­tu­ous.)

The break­neck audio patch­work approach doesn’t do much for read­ing com­pre­hen­sion, but could lead to a live­ly mid­dle school dis­cus­sion on what con­sti­tutes a suc­cess­ful per­for­mance. Who served the text best? Read­ers?

Fur­ther­more, who’s miss­ing? What voice would you add to the Monsell’s roll call, below?

Mor­gan Free­man

Ker­mit the Frog

John­ny Cash

Ringo Starr

David Bowie

Rick Mora­nis

Gary Old­man

Peter Lorre

Adam San­dler

Don Knotts

William Shat­ner

George Takei

Michael Dorn

Daffy Duck

Ricky Ger­vais

Foghorn Leghorn

Liam Nee­son

Nicholas Cage

John Tra­vol­ta

Antho­ny Hop­kins

Rod Ser­ling

Cook­ie Mon­ster

Jay Baruchel

Jeff Bridges

John­ny Depp

Archer

Dr. Phil

Gol­lum

Mandy Patinkin

Wal­lace Shawn

Bil­ly Crys­tal

Owen Wil­son

Dustin Hoff­man

Krusty the Klown

Apu

Chris­t­ian Bale

Michael Caine

Tom Hardy

Heath Ledger

Mick­ey Mouse

John Wayne

Jer­ry Sein­feld

Phil Hart­man

Goofy

Al Paci­no

Mar­lon Bran­do

Jack Lem­mon

Wal­ter Matthau

Christo­pher Walken

Rowlf the Dog

John Cleese

Robin Williams

Katharine Hep­burn

Woody Allen

Matthew McConaugh­ey

Cow­ard­ly Lion

Jim­my Stew­art

John C. Reil­ly

James Mason

Sylvester Stal­lone

Arnold Schwarzeneg­ger

Stewie

Daniel Day Lewis

Mag­gie Smith

Alan Rick­man

Dob­by

Jack Nichol­son

Christoph Waltz

Bill Mur­ray

Dan Aykroyd

Sean Con­nery

Bill Cos­by

Christo­pher Lloyd

Droopy Dog

Kevin Spacey

Har­ri­son Ford

Ronald Rea­gan

JFK

Bill Clin­ton

Keanu Reeves

Ian McK­ellen

Paul Gia­mat­ti

Sebas­t­ian

Stan Lee

Jeff Gold­blum

Hugh Grant

Ken­neth Branagh

Lar­ry the Cable Guy

Pee-Wee Her­man

Shrek

Don­key

Charl­ton Hes­ton

Michael Keaton

Homer Simp­son

Yoda

Willem Dafoe

Bruce Willis

Robert Shaw

Christo­pher Lee

Edgar Allan Poe

Relat­ed Con­tent:

Hear Clas­sic Read­ings of Poe’s “The Raven” by Vin­cent Price, James Earl Jones, Christo­pher Walken, Neil Gaiman, Stan Lee & More

Edgar Allan Poe’s the Raven: Watch an Award-Win­ning Short Film That Mod­ern­izes Poe’s Clas­sic Tale

The Grate­ful Dead Pays Trib­ute to Edgar Allan Poe’s “The Raven” in a 1982 Con­cert: Hear “Raven Space”

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

Lin-Manuel Miranda Reads Junot Diaz’s The Brief Wondrous Life of Oscar Wao

It’s worth tak­ing note of this: In a new­ly-released audio­book, Lin-Manuel Miran­da (the cre­ator and star of Hamil­ton) nar­rates Junot Diaz’s Pulitzer Prize-win­ning nov­el, The Brief Won­drous Life of Oscar Wao. Above and below, lis­ten to excerpts of an unabridged read­ing that lasts near­ly 10 hours. And also note that Miran­da is joined at points by Tony Award-win­ning actress, Karen Oli­vo.

If you’re tempt­ed to hear the full pro­duc­tion, you can pur­chase the audio­book online. Or you can down­load it for free by sign­ing up for Audi­ble’s 30-day free tri­al. As I’ve men­tioned before, if you reg­is­ter for Audi­ble’s free tri­al pro­gram, they let you down­load two free audio­books. At the end of 30 days, you can decide whether you want to become an Audi­ble sub­scriber (as I have) or not. No mat­ter what you decide, you get to keep the two free audio­books. Miran­da’s read­ing of The Brief Won­drous Life of Oscar Wao can be one of them.

For any­one who wants free read­ings of Diaz sto­ries, see our post: 7 Short Sto­ries by Junot Díaz Free Online, In Text and Audio.

NB: Audi­ble is an Amazon.com sub­sidiary, and we’re a mem­ber of their affil­i­ate pro­gram.

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 and BlueSky.

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:

Hamilton’s Lin-Manuel Miran­da Cre­ates a 19-Song Playlist to Help You Get Over Writer’s Block

A Sneak Peek at Junot Díaz’s Syl­labi for His MIT Writ­ing Class­es, and the Nov­els on His Read­ing List

Hamilton’s Lin-Manuel Miran­da Cre­ates a Playlist of Protest Music for Our Trou­bled Times

“Alexan­der Hamil­ton” Per­formed with Amer­i­can Sign Lan­guage

The Smithsonian Design Museum Digitizes 200,000 Objects, Giving You Access to 3,000 Years of Design Innovation & History

John Lennon poster by Richard Ave­don

When we think of design, each of us thinks of it in our own way, focus­ing on our own inter­ests: illus­tra­tion, fash­ion, archi­tec­ture, inter­faces, man­u­fac­tur­ing, or any of a vast num­ber of sub-dis­ci­plines besides. Those of us who have paid a vis­it to Coop­er Hewitt, also known as the Smith­son­ian Design Muse­um, have a sense of just how much human inno­va­tion, and even human his­to­ry, that term can encom­pass. Now, thanks to an ambi­tious dig­i­ti­za­tion project that has so far put 200,000 items (or 92 per­cent of the muse­um’s col­lec­tion) online, you can expe­ri­ence that real­iza­tion vir­tu­al­ly.

Con­cept car designed by William McBride

The video below explains the sys­tem, an impres­sive feat of design in and of itself, with which Coop­er Hewitt made this pos­si­ble. “In col­lab­o­ra­tion with the Smithsonian’s Dig­i­ti­za­tion Pro­gram Office, the mass dig­i­ti­za­tion project trans­formed a phys­i­cal object (2‑D or 3‑D) from the shelf to a vir­tu­al object in one con­tin­u­ous process,” says its about page. “At its peak, the project had four pho­to­graph­ic set ups in simul­ta­ne­ous oper­a­tion, allow­ing each to han­dle a cer­tain size, range and type of object, from minute but­tons to large posters and fur­ni­ture. A key to the project’s suc­cess was hav­ing a com­plete­ly bar­cod­ed col­lec­tion, which dra­mat­i­cal­ly increased effi­cien­cy and allowed all object infor­ma­tion to be auto­mat­i­cal­ly linked to each image.”

Giv­en that the items in Coop­er Hewit­t’s col­lec­tion come from all across a 3000-year slice of his­to­ry, you’ll need an explo­ration strat­e­gy or two. Have a look at the col­lec­tion high­lights page and you’ll find curat­ed sec­tions hous­ing the items pic­tured here, includ­ing psy­che­del­ic posters, designs for auto­mo­biles, archi­tec­t’s eye, and designs for the Olympics — and that’s just some of the rel­a­tive­ly recent stuff. Hit the ran­dom but­ton instead and you may find your­self behold­ing, in high res­o­lu­tion, any­thing from a drag­o­nish frag­ment of a pan­el orna­ment from 18th-cen­tu­ry France to a late 19th-cen­tu­ry col­lar to a Swedish vase from the 1980s.

Mex­i­co 68 designed by Lance Wyman

Coop­er Hewitt has also begun inte­grat­ing its online and offline expe­ri­ences, hav­ing installed a ver­sion of its col­lec­tion brows­er on tables in its phys­i­cal gal­leries. There vis­i­tors can “select items from the ‘object riv­er’ that flows down the cen­ter of each table” about which to learn more, as well as use a “new inter­ac­tive Pen” that “fur­ther enhances the vis­i­tor expe­ri­ence with the abil­i­ty to “col­lect” and “save” infor­ma­tion, as well as cre­ate orig­i­nal designs on the tables.” So no mat­ter how much time you spend with Coop­er Hewit­t’s online col­lec­tion — and you could poten­tial­ly spend a great deal — you might, should you find your­self on Man­hat­tan’s Muse­um Mile, con­sid­er stop­ping into the muse­um to see how phys­i­cal and dig­i­tal design can work togeth­er. Enter the Coop­er Hewit­t’s online col­lec­tion here.

Tem­ple of Curios­i­ty by Eti­enne-Louis Boul­lée

Relat­ed Con­tent:

Free: A Crash Course in Design Think­ing from Stanford’s Design School

Bauhaus, Mod­ernism & Oth­er Design Move­ments Explained by New Ani­mat­ed Video Series

Abstract: Netflix’s New Doc­u­men­tary Series About “the Art of Design” Pre­mieres Today

The Smith­son­ian Picks “101 Objects That Made Amer­i­ca”

Smith­son­ian Dig­i­tizes & Lets You Down­load 40,000 Works of Asian and Amer­i­can Art

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

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Open Culture was founded by Dan Colman.