Live Stream the Concerts at Coachella This Weekend: Radiohead, Lady Gaga, Lorde, New Order & Much More

This week­end, YouTube is live stream­ing Coachel­la 2017, which will fea­ture per­for­mances by Lady Gaga, Kendrick Lamar, Radio­head, Lorde, Bon Iver, New Order and more.

To watch the shows, you can tune into three chan­nels through­out the week­end, plus a Live 360 chan­nel for select per­for­mances. The chan­nels all appear below. And fur­ther down the page, you can find the sched­ule for the entire week­end. Enjoy!

Chan­nel 1

Chanel 2

Chanel 3

Live 360

 

The Line Up:

Fri­day, April 14

Chan­nel 1

  • 3:35 – Ten­nis
  • 4:10 – King Giz­zard & The Lizard Wiz­ard
  • 5:00 – Bonobo
  • 5:50 – Mac DeMar­co
  • 6:55 – Glass Ani­mals
  • 7:45 – Father John Misty
  • 8:45 – Phan­togram
  • 9:35 – The xx
  • 10:40 – Radio­head

Chan­nel 2

  • 3:35 – Preser­va­tion Hall Jazz Band
  • 4:25 – SOHN
  • 5:10 – Sam­pha
  • 6:00 – Fran­cis and the Lights
  • 6:50 – Oh Won­der
  • 7:40 – BANKS
  • 8:30 – Richie Hawtin
  • 9:30 – Jag­war Ma
  • 10:20 – DJ Shad­ow
  • 11:20 – Travis Scott
  • 12:15 – Cap­i­tal Cities

Chan­nel 3

  • 3:35 – Klangstof
  • 4:05 – Joseph
  • 5:00 – The Lemon Twigs
  • 5:45 – Stor­mzy
  • 6:30 – Broods
  • 7:20 – Big Gigan­tic
  • 8:20 – Crys­tal Cas­tles
  • 9:10 – Mac Miller
  • 10:00 – Steve Angel­lo
  • 11:00 – Empire of the Sun
  • 11:55 – Dil­lon Fran­cis

Sat­ur­day, April 15

Chan­nel 1

  • 3:35 – Local Natives
  • 4:30 – Chi­cano Bat­man
  • 5:15 – The Head and the Heart
  • 6:10 – Bastille
  • 7:20 – Two Door Cin­e­ma Club
  • 8:20 – Future
  • 9:15 – ScHool­boy Q
  • 10:15 – Bon Iver
  • 11:25 – Lady Gaga

Chan­nel 2

  • 3:35 – Arkells
  • 3:55 – Kaleo
  • 4:45 – Car Seat Head­rest
  • 5:40 – The Atom­ics
  • 6:25 – Roisin Mur­phy
  • 7:15 – DREAMCAR
  • 8:05 – Mod­er­at
  • 9:05 – Warpaint
  • 9:55 – NAV
  • 10:45 – DJ Snake
  • 12:00 – Guc­ci Mane

Chan­nel 3

  • 3:35 – Blos­soms
  • 4:20 – Shu­ra
  • 5:00 – Banks & Steelz
  • 5:45 – Auto­graf
  • 6:35 – Lit­tle Drag­on
  • 7:25 – Mura Masa
  • 8:15 – Gryf­fin
  • 9:10 – Tory Lanez
  • 10:00 – Röyk­sopp
  • 10:55 – Mar­tin Gar­rix
  • 12:05 – Clas­six

Sun­day, April 16

Chan­nel 1

  • 3:35 – Ezra Fur­man
  • 4:25 – Whit­ney
  • 5:15 – Toots & The May­tals
  • 6:10 – Grou­plove
  • 7:20 – Future Islands
  • 7:55 – Tove Lo
  • 8:15 – Porter Robin­son & Madeon
  • 9:20 – Lorde
  • 10:25 – Kendrick Lamar

Chan­nel 2

  • 3:35 – Grace Mitchell
  • 4:25 – Pre­oc­cu­pa­tions
  • 5:15 – Goldlink
  • 6:10 – Jack Gar­ratt
  • 7:00 – Kiiara
  • 7:45 – Tycho
  • 8:40 – Hans Zim­mer
  • 9:45 – Hehlani
  • 10:30 – New Order

Chan­nel 3

  • 4:15 – Anna Lunoe
  • 5:15 – NAO
  • 6:55 – Kay­trana­da
  • 8:10 – DJ Khaled
  • 9:20 – Lorde
  • 9:00 – Galan­tis
  • 9:55 – Marsh­mel­lo
  • 10:50 – Jus­tice

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Discover the “Lost” Final Scene of The Shining, Which Kubrick Personally Had Recalled and Destroyed

When we think of Stan­ley Kubrick, we can’t help but think of per­fec­tion­ism, a qual­i­ty he brought even to the mak­ing of what he called a “ghost film” — a genre for which he seemed to have lit­tle respect — with 1980’s The Shin­ing. So much did he want to get his adap­ta­tion (or rather, near-total reimag­i­na­tion) of Stephen King’s nov­el of the haunt­ed Over­look Hotel just right that he actu­al­ly had the first set of released prints recalled and destroyed because he did­n’t think he’d quite nailed the end­ing: specif­i­cal­ly, he want­ed to remove just one short scene from it, one which came imme­di­ate­ly before the haunt­ing final pho­to­graph of the Over­look’s 1921 Fourth of July Ball.

“There was a big length prob­lem with Warn­er Bros,” said screen­writer Diane John­son in an inter­view with Enter­tain­ment Week­ly’s James Hib­berd. “The film was too long and peo­ple said it had to be short­ened.” The two min­utes Kubrick cut from the end­ing con­sti­tut­ed what Hib­berd describes as a hos­pi­tal scene in which “the hotel man­ag­er, Ull­man (Bar­ry Nel­son), vis­its Wendy and Dan­ny after their ordeal and explains that no super­nat­ur­al evi­dence was found to sup­port their claims of what tran­spired,” not even the frozen body of Jack Nichol­son’s crazed Jack Tor­rance. “Just when the audi­ence begins to ques­tion every­thing they’ve seen, Ull­man omi­nous­ly gives Dan­ny the same ball that was rolled to him from an unseen force out­side Room 237.”

“In oth­er words,” said John­son in an expla­na­tion of the scene’s point, “all of this real­ly hap­pened, and the mag­ic events were actu­al. It was just a lit­tle twist. It was easy to jet­ti­son.” Roger Ebert, in a 2006 essay on the film, also thought “Kubrick was wise to remove that epi­logue,” though for a dif­fer­ent rea­son: “It pulled one rug too many out from under the sto­ry. At some lev­el, it is nec­es­sary for us to believe the three mem­bers of the Tor­rance fam­i­ly are actu­al­ly res­i­dents in the hotel dur­ing that win­ter, what­ev­er hap­pens or what­ev­er they think hap­pens.” Whether or not you think it should have been left in, we can sure­ly all agree that Kubrick did well to depart from King’s orig­i­nal end­ing, which had the Over­look explode in a ball of flame, tak­ing Jack with it, as the rest of the fam­i­ly escaped to safe­ty. Some­times what works on the page just does­n’t work on the screen.

The video above fea­tures the screen­play for the delet­ed orig­i­nal end­ing of The Shin­ing.

via Kot­tke

Relat­ed Con­tent:

The Mak­ing of Stan­ley Kubrick’s The Shin­ing (As Told by Those Who Helped Him Make It)

Go Inside the First 30 Min­utes of Kubrick’s The Shin­ing with This 360º Vir­tu­al Real­i­ty Video

The Scores That Elec­tron­ic Music Pio­neer Wendy Car­los Com­posed for Stan­ley Kubrick’s A Clock­work Orange and The Shin­ing

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.

Sad 7‑Foot Tall Clown Sings “Pinball Wizard” in the Style of Johnny Cash, and Other Hits by Roy Orbison, Cheap Trick & More

Read­ers, are you over­come with the Fri­day Feels?

Pud­dles Pity Par­ty, a 6’8” Pier­rot from Atlanta, empathizes.

The ‘Sad Clown with the Gold­en Voice’ has tak­en to releas­ing emo­tion­al­ly-freight­ed cov­ers on select Fri­days.

There’s some­thing about a giant sad singing clown that com­forts us, let’s us know it’s ok to feel, to show our feel­ings. It’s a sad and beau­ti­ful world, and we’re all in it togeth­er, even when we’re total­ly alone.

So quoth Big Mike Geier, the founder and front­man of the band King­sized, and the man behind Pud­dles’ white make­up and rick­rack-trimmed clown suit.

What­ev­er he’s tapped into, it’s real. The New York Times’ Jason Zin­no­man, in a slight­ly skeeved-out think piece on clowns last year, wrote:

What makes him tran­scend the trope is his vul­ner­a­bil­i­ty. When you first see him charg­ing down the aisle, he’s an intim­i­dat­ing fig­ure, but his body is actu­al­ly not aggres­sive. It slumps, pas­sive­ly. When he asks for a hug, it looks as if he real­ly needs it. He makes you feel bad for find­ing him off-putting, and then he belts out a love­ly song.

Fri­day, March 3 found Pud­dles accom­pa­ny­ing him­self on a red gui­tar for “It’s a Heartache,” a hit for Bon­nie Tyler and lat­er, Rod Stew­art. They both have their strengths, but Pud­dles is unique­ly suit­ed to tap into the heartache of ‘stand­ing in the cold rain, feel­ing like a clown.”

A pre­vi­ous Fri­day Feel, Roy Orbison’s “Cry­ing,” was a fan request. (Yes, he’s still tak­ing them.)

The video for “She’s Gone Again”—previously cov­ered by Don Ho—touch­es on Pud­dles’  obses­sion with actor Kevin Cost­ner.

Feb­ru­ary 10’s Fri­day Feel brought new lis­ten­ers to a younger artist, Brett Den­nen. Pud­dles praised his “Heav­en” as “beau­ti­ful and thought­ful song,” con­fess­ing that he “bare­ly held it togeth­er on this one.” Also see Cheap Trick­’s “I Want You to Want Me” down below.

The piece de resis­tance, where­in the lyrics of Pin­ball Wiz­ard are sung to the tune of Fol­som Prison Blues, is at the top of the page. It’s no great sur­prise that that one’s gone viral. Pud­dles is trans­par­ent, how­ev­er, giv­ing cred­it to the late Gre­go­ry Dean Smal­l­ey, an Atlanta-based song­writer who died of AIDS in the late 90s:

 Back in 1994 or so, I saw (him) per­form this mashup at the Star Com­mu­ni­ty Bar. I was floored. Greg was a force of super­nat­ur­al pro­por­tions and he is missed. Many peo­ple have done it pri­or to me doing it. I guess it was always meant to be.

You can lis­ten to more of Pud­dles Pity Par­ty on Spo­ti­fy, or sup­port the artist with a pur­chase on Google Play or iTunes. Sub­scribe to his youtube chan­nel to stay abreast of future Fri­day Feels, or request a song.

via Boing­Bo­ing

Relat­ed Con­tent:

Watch Stephen Sond­heim Teach a Kid How to Sing “Send In the Clowns”

John­ny Cash & Joe Strum­mer Sing Bob Marley’s “Redemp­tion Song” (2002)       

Hear John­ny Cash Deliv­er Lincoln’s Get­tys­burg Address

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

“Primitive Potter” Travels into the Backcountry for 10 Days with Only a Knife & Buckskin and Makes Anasazi Pottery

From film­mak­er Steve Olpin comes a short doc­u­men­tary (a “doc­u­men­tary poem”) called Earth and Fire, about artist and prim­i­tive pot­ter Kel­ly Magle­by. The film fol­lows Kel­ly as she trav­els into “the back­coun­try of South­ern Utah with a knife and a buck­skin for 10 days to try to learn about Anasazi pot­tery by doing it the way the Anasazi did it.” On her web­site, Kel­ly writes “My desire to make Anasazi pot­tery start­ed with my inter­est in prim­i­tive and sur­vival skills. I love the fact that you can go into the wild with noth­ing and get all you need to sur­vive and even flour­ish from the earth. The idea that you can go out and dig up some ‘dirt’, shape it, paint it and fire it all using only mate­ri­als found in nature is amaz­ing to me.” On her site, she details her method for mak­ing the pot­tery. Find more info about the Anasazi and their pot­tery here and 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!

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Ancient Maps that Changed the World: See World Maps from Ancient Greece, Babylon, Rome, and the Islamic World

One of the great­est chal­lenges for writ­ers and great­est joys for read­ers of fan­ta­sy and sci­ence fic­tion is what we call “world build­ing,” the art of cre­at­ing cities, coun­tries, con­ti­nents, plan­ets, galax­ies, and whole uni­vers­es to peo­ple with war­ring fac­tions and nomadic truth seek­ers. Such writ­ing is the nat­ur­al off­spring of the Medieval trav­el­ogue, a genre once tak­en not as fan­ta­sy but fact, when sailors, cru­saders, pil­grims, mer­chants, and mer­ce­nar­ies set out to chart, trade for, and con­vert, and con­quer the world, and returned home with out­landish tales of glit­ter­ing empires and peo­ple with faces in their chests or hop­ping around on a sin­gle foot so big they could use it to shade them­selves.

One of the most famous of such chron­i­clers, Sir John Man­dev­ille, may now be most­ly for­got­ten, but for cen­turies his Trav­els was so pop­u­lar with aspir­ing nav­i­ga­tors and lit­er­ary men like Shake­speare, Mil­ton, and Keats that “until the Vic­to­ri­an era,” writes Giles Mil­ton, it was he, “not Chaucer, who was known as ‘the father of Eng­lish prose.’”

Man­dev­ille, like Mar­co Polo half a cen­tu­ry before him, may have been part adven­tur­er, part char­la­tan, but in any case, both drew their itin­er­aries, as did lat­er nav­i­ga­tors like Colum­bus and Wal­ter Raleigh, from a very long tra­di­tion: the mak­ing of spec­u­la­tive world maps, which far pre­dates the ear­ly Mid­dle Ages of pil­grim­age and thirst for East­ern spices and gold.

In the West­ern tra­di­tion, we can trace world map­mak­ing all the way back to 6th cen­tu­ry B.C.E., Pre-Socrat­ic thinker Anax­i­man­der, stu­dent of Thales, whom Aris­to­tle regard­ed as the first Greek philoso­pher. We have no copy of the map, but we have some idea what it might have looked since Herodotus described it in detail, a cir­cu­lar known world sit­ting atop an earth the shape of a drum. (Anax­i­man­der was also an orig­i­nal spec­u­la­tive astronomer.) His map con­tained two con­ti­nents, or halves, “Europe” and “Asia”—which includ­ed the known coun­tries of North Africa. “Two rel­a­tive­ly small strips of land north and south of the Mediter­ranean Sea,” with ten inhab­it­ed regions in total, that illus­trate the very ear­ly dichotomiz­ing of the world—in this case divid­ed top to bot­tom rather than west and east.

Anax­i­man­der may have been the first Greek geo­g­ra­ph­er, but it is the 2nd cen­tu­ry B.C.E. that Libyan-Greek sci­en­tist and philoso­pher Eratos­thenes who has his­tor­i­cal­ly been giv­en the title “Father of Geog­ra­phy” for his three-vol­ume Geog­ra­phy, his dis­cov­ery that the earth is round, and his accu­rate cal­cu­la­tion of its cir­cum­fer­ence. Lost to his­to­ry, Eratos­thenes’ Geog­ra­phy has been pieced togeth­er from descrip­tions by Roman authors, as has his map of the world—at the top in a 19th-cen­tu­ry reconstruction—showing a con­tigu­ous inhab­it­ed land­mass resem­bling a lob­ster claw.

You’ll note that Eratos­thenes drew pri­mar­i­ly on Anaximander’s descrip­tion of the world. In turn, his map had a sig­nif­i­cant influ­ence on lat­er Medieval geo­g­ra­phers. A Baby­lon­ian world map, inscribed on a clay tablet around the time Anax­i­man­der imag­ined the world (and thought to be the ear­li­est extant exam­ple of such a thing), may have influ­enced Euro­pean map-mak­ing in the age of dis­cov­ery as well. It depicts a flat, round world, with Baby­lon at the cen­ter (see the British Muse­um for a detailed trans­la­tion and com­men­tary of the map’s leg­end).

The Baby­lon­ian map is said to sur­vive in the sim­i­lar-look­ing “T and O map” (third image from top), rep­re­sent­ing the words orbis ter­rar­i­um and orig­i­nat­ing from descrip­tions in 7th cen­tu­ry C.E. Span­ish schol­ar Isado­ra of Seville’s Ety­molo­giae. The “T” is the Mediter­ranean and the “O” the ocean. In the ver­sion above, a recre­ation of an 8th cen­tu­ry draw­ing, and every deriva­tion there­after, we see the three known con­ti­nents, Asia, Europe, and Africa, with the holy city, Jerusalem, at the cen­ter. This map great­ly informed ear­ly Medieval con­cep­tions of the world, from cru­saders to gar­ru­lous knights errant like Man­dev­ille, and racon­teur mer­chants like Polo, both of whom made quite an impres­sion on Colum­bus and Raleigh, as did the cir­ca 1300 map from Con­stan­tino­ple above, the old­est of many drawn from the thou­sands of coor­di­nates in Roman geo­g­ra­ph­er and astronomer Ptolemy’s Geo­graphia.

It wouldn’t be until 100 years after the trans­la­tion of Ptolemy’s text from Greek to Latin in 1407 that his geo­graph­i­cal pre­ci­sion became wide­ly known. Until this, “all knowl­edge of these co-ordi­nates had been lost in the West,” writes the British Library.  This would not be so in the East, how­ev­er, where world maps like Ibn Hawqal’s, above from 980 C.E., show the influ­ence of Ptole­my, already so long dom­i­nant in geog­ra­phy in the Islam­ic world that it was begin­ning to wane. Many more world maps sur­vive from 11–12th cen­tu­ry Britain, Turkey, and Sici­ly, from 16th cen­tu­ry Korea, and from that wan­der­ing age of Colum­bus and Raleigh, begin­ning to increas­ing­ly resem­ble the world maps we’re famil­iar with today. (See a 15th cen­tu­ry recon­struc­tion of Ptolemy’s geog­ra­phy below.)

For most of record­ed his­to­ry, knowl­edge of the world from any one place in it was almost whol­ly or part­ly spec­u­la­tive and imag­i­na­tive, often peo­pled with mon­sters and won­ders. “All cul­tures have always believed that the map they val­orize is real and true and objec­tive and trans­par­ent,” as Jer­ry Brot­ton Pro­fes­sor at Queen Mary Uni­ver­si­ty of Lon­don tells Uri Fried­man at The Atlantic. Colum­bus believed in his spec­u­la­tive maps, even when he ran into islands off the coast of con­ti­nents chart­ed on none of them. We are still con­cep­tu­al prisoners—or con­sumers, users, read­ers, view­ers, audiences—of maps, though we’ve phys­i­cal­ly plot­ted every cor­ner of the globe. Per­spec­tives can­not be ren­dered objec­tive. No gods-eye views exist.

Nonethe­less, sev­er­al cul­tur­al­ly for­ma­tive pro­jec­tions of the world since Ptolemy’s Geog­ra­phy and well before it have changed the whole world, point­ing to the pow­er of human imag­i­na­tion and the leg­en­dar­i­ly imag­i­na­tive, as well as leg­en­dar­i­ly bru­tal, acts of “world build­ing” in real life.

Relat­ed Con­tent:

Down­load 67,000 His­toric Maps (in High Res­o­lu­tion) from the Won­der­ful David Rum­sey Map Col­lec­tion

Buck­min­ster Fuller’s Map of the World: The Inno­va­tion that Rev­o­lu­tion­ized Map Design (1943)       

“Every Coun­try in the World”–Two Videos Tell You Curi­ous Facts About 190+ Coun­tries       

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

How Quentin Tarantino Creates Suspense in His Favorite Scene, the Tension-Filled Opening Moments of Inglourious Basterds

We all have a favorite Quentin Taran­ti­no scene, but the direc­tor of Pulp Fic­tionKill BillThe Hate­ful Eight, and oth­er movies that can seem made out of noth­ing but mem­o­rable scenes also has one of his own. “My favorite thing I think I’ve ever writ­ten is the scene at the French farm­house at the begin­ning of Inglou­ri­ous Bas­ter­ds,” Busi­ness Insid­er quotes him as say­ing in a pan­el at San Diego Com­ic-Con. “The scene Taran­ti­no refers to is the very first one of his bru­tal World War II epic” where­in “SS Colonel Hans Lan­da (Christoph Waltz) arrives at a remote dairy farm in France that is sus­pect­ed of hid­ing Jew­ish peo­ple. Lan­da sits down with the farmer (Denis Meno­chet) and ques­tions him about the where­abouts of the Drey­fus fam­i­ly.” A “tense and sneaky psy­cho­log­i­cal mind game” ensues.

You can learn exact­ly what makes those open­ing twen­ty min­utes such a minia­ture mas­ter­piece in the Lessons from the Screen­play video above. Draw­ing from psy­cho­log­i­cal research on the nature of ten­sion and sus­pense, series cre­ator Michael Tuck­er high­lights cer­tain “key com­po­nents of ten­sion expe­ri­ences,” includ­ing uncer­tain­ty, insta­bil­i­ty, and a lack of con­trol, and shows how Taran­ti­no uses them to height­en the ten­sion as much as pos­si­ble through­out these sev­en­teen min­utes.

“It’s like the sus­pense is a rub­ber band,” Taran­ti­no says in a Char­lie Rose inter­view clip includ­ed in the video, “and I’m just stretch­ing it and stretch­ing it and stretch­ing it to see how far it can stretch.”

Taran­ti­no also uses a suite of tech­niques that movie­go­ers have come to asso­ciate specif­i­cal­ly with him, such as long stretch­es of dia­logue that go off on extend­ed tan­gents (“Part of my plan,” he says in anoth­er inter­view clip, “is to bury it in so much minu­tia about noth­ing that you don’t real­ize you’re being told an impor­tant plot point until it becomes impor­tant”), the charged con­sump­tion of food and drink, and the poten­tial for car­nage at any moment. “The fact that the audi­ence is aware they’re watch­ing a Taran­ti­no film adds to the sus­pense,” says Tuck­er. “We know there will be con­se­quences, and that Taran­ti­no has no qualms about show­ing vio­lence.” And after the tour de force of its open­ing, the movie still has well over two hours of pure Taran­tin­ian cin­e­ma to go.

Relat­ed Con­tent:

The Films of Quentin Taran­ti­no: Watch Video Essays on Pulp Fic­tion, Reser­voir Dogs, Kill Bill & More

Watch 34 of Quentin Tarantino’s Visu­al Ref­er­ences to Cit­i­zen Kane, Blade Run­ner, 8 1/2 & Oth­er Great Films

The Pow­er of Food in Quentin Tarantino’s Films

Decod­ing the Screen­plays of The Shin­ing, Moon­rise King­dom & The Dark Knight: Watch Lessons from the Screen­play

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.

A Free 700-Page Chess Manual Explains 1,000 Chess Tactics in Plain English

Image by Michael Mag­gs, via Wiki­me­dia Com­mons

FYI: In 2011, Ward Farnsworth pub­lished a two-vol­ume col­lec­tion called Preda­tor at The Chess­board: A Field Guide To Chess Tac­tics (Vol­ume 1Vol­ume 2where he explains count­less chess tac­tics in plain Eng­lish. In this 700-page col­lec­tion, “there are 20 chap­ters, about 200 top­ics with­in them, and over 1,000 [chess] posi­tions dis­cussed.” Now for the even bet­ter part: Farnsworth also made these vol­umes avail­able free online. Just vis­it chesstactics.org and you can start mak­ing your­self a bet­ter chess play­er when­ev­er you have the urge.

Nat­u­ral­ly, Preda­tor At The Chess­board will be added to our col­lec­tion, 800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

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:

Clay­ma­tion Film Recre­ates His­toric Chess Match Immor­tal­ized in Kubrick’s 2001: A Space Odyssey

A Human Chess Match Gets Played in Leningrad, 1924

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

Pho­to by Steve Jurvet­son, via Flickr Com­mons

Last year we alert­ed you to a short doc about authors and their rela­tion­ship with writer’s block. Many were philo­soph­i­cal. Oth­ers like Philipp Mey­er dis­missed it: ““I don’t think writer’s block actu­al­ly exists,” he said. “It’s basi­cal­ly inse­cu­ri­ty.”

How seri­ous­ly you take it or how ter­ri­bly it affects you, we have a Spo­ti­fy playlist cre­at­ed by Lin-Manuel Miran­da of Hamil­ton fame called “Write Your Way Out.”

He revealed the playlist on his Twit­ter feed on March 20 with an apol­o­gy that the mix took longer to make than expect­ed. It is a mix, he said, “about writ­ing, songs that fea­ture great writ­ing, and every­thing in between.” Like his oth­er mix­es, he’s think­ing about us, that kind­ly Mr. Miran­da.

The eclec­tic mix begins with “Hap­py Birth­day Dar­ling” from Bright Lights Big City (“Now when you write my son, make the choice, find your voice, look down deep in your heart”), then fea­tures Eng­lish-lan­guage hip hop from the Hamil­ton Mix­tape (Nas’ “Wrote My Way Out”) and Span­ish-lan­guage hip hop from Calle 13 (“Aden­tro”), folk clas­sics (Joni Mitchell’s “Chelsea Morn­ing”, Bob Dylan’s “My Back Pages”), even some jaun­ty pop from Vam­pire Week­end (“Oxford Com­ma”) and Sara Bareilles (“Love Song”). He ends with Raúl Esparza­’s bal­lad “Why” from the musi­cal Tick, Tick, BOOM!, which clos­es the mix with a paean to the healthy addic­tion of cre­ativ­i­ty. (“I make a vow, right here and now / I’m gonna spend my time this way,” he sings.)

And don’t wor­ry if you don’t have Spo­ti­fy (which you can down­load here). He’s list­ed the tracks on his Twit­ter post too.

It’s nice to know that Miran­da fussed over this selec­tion like one used to do back in the days of cas­sette tapes. Does that mean he has a crush on all of us?

via Nerdist

Relat­ed Con­tent:

8 Writ­ers on How to Face Writer’s Block and the Blank Page: Mar­garet Atwood, Jonathan Franzen, Joyce Car­ol Oates & More

A Clever Super­cut of Writ­ers Strug­gling with Writer’s Block in 53 Films: From Bar­ton Fink to The Roy­al Tenen­baums

How Famous Writ­ers Deal With Writer’s Block: Their Tips & Tricks

Ray Brad­bury Gives 12 Pieces of Writ­ing Advice to Young Authors (2001)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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