Watch Queen’s “Bohemian Rhapsody” Acted Out Literally as a Short Crime Film

Queen’s “Bohemi­an Rhap­sody”–you can play it on a 1910 fair­ground organ; you can get Siri to sing the song on your iPhone and use it to help explain string the­o­ry; and you can even turn the song into a vir­tu­al real­i­ty expe­ri­ence. There’s noth­ing you can’t do with “Bohemi­an Rhapsody”–down to and includ­ing mak­ing it the basis of a short crime film. “Fred­die” is played by Jeff Schine above; and Deb­o­rah Ramaglia plays “Mama.” You know the script.

via Digg

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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: 

65,000 Fans Break Into a Sin­ga­long of Queen’s “Bohemi­an Rhap­sody” at a Green Day Con­cert in London’s Hyde Park

1910 Fair­ground Organ Plays Queen’s “Bohemi­an Rhap­sody,” and It Works Like a Charm

Inside the Rhap­sody: A Short Doc­u­men­tary on the Mak­ing of Queen’s Clas­sic Song, ‘Bohemi­an Rhap­sody’ (2002)

Bohemi­an Grav­i­ty: String The­o­ry Explored With an A Cap­pel­la Ver­sion of Bohemi­an Rhap­sody

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Brooklyn Academy of Music Puts Online 70,000 Objects Documenting the History of the Performing Arts: Download Playbills, Posters & More

Yes­ter­day the sad news broke that The Vil­lage Voice will dis­con­tin­ue its print edi­tion. Co-found­ed by Nor­man Mail­er in 1955 and pro­vid­ing New York­ers with savvy music writ­ing, raunchy advice columns, juicy exposés, reviews, enter­tain­ment list­ings, apart­ments, jobs, band mem­bers, ter­ri­ble room­mates, and pret­ty much any­thing else one might desire every week for over half a cen­tu­ry, the paper will be missed. Though it won’t dis­ap­pear online, the loss of the street-lev­el copy in its com­fort­ing­ly famil­iar red plas­tic box marks the abrupt end of an era. Those of us inclined to mourn its pass­ing can take some solace in the fact that so many of the city’s key cul­tur­al insti­tu­tions still per­sist.

Promi­nent among them, Brooklyn’s Acad­e­my of Music, or BAM, has been at it since 1861, when it began as the home of the Phil­har­mon­ic Soci­ety of Brook­lyn. It has inhab­it­ed its present Beaux Arts build­ing in Fort Greene since 1908. In its 150 years as a per­for­mance space for opera, clas­si­cal, avant-garde the­ater, dance, and music, and film, BAM has amassed quite a col­lec­tion of mem­o­ra­bil­ia. This year, on its cen­tu­ry-and-a-half anniver­sary, it has made 70,000 of those arti­facts avail­able to the pub­lic in its Leon Levy Dig­i­tal Archive. Like future issues of the Voice, you can­not hold these in your hand, unless you hap­pen to be one of the museum’s cura­tors. But “researchers—or any­one else inter­est­ed,” writes The New York Times, “can cre­ate per­son­al­ized col­lec­tions based on spe­cif­ic artists, com­pa­nies or eras.”

The his­to­ry rep­re­sent­ed here is vast and deep, by a young country’s stan­dards. “Every pres­i­den­tial can­di­date made cam­paign stops there before there was tele­vi­sion,” says for­mer BAM pres­i­dent Karen Brooks Hop­kins. “Mary Todd Lin­coln was in the audi­ence dur­ing the open­ing week of fes­tiv­i­ties. Then you have [Rudolph] Nuryev mak­ing his first per­for­mance in the West just after he defects, [Martha] Gra­ham per­form­ing her last per­for­mance on stage….” These land­mark moments notwith­stand­ing, BAM has earned a rep­u­ta­tion as a home for avant-garde per­for­mance art, and the col­lec­tion cer­tain­ly reflects that dimen­sion among the 40,000 artists rep­re­sent­ed.

We have fur­ther up the post­card Kei­th Har­ing designed for a 1984 Bill T. Jones and Arnie Zane piece called Secret Pas­tures (Har­ing also designed the sets). We have the poster above for a 1981 per­for­mance of Philip Glass’ Satya­gra­ha, his opera based on the life of Gand­hi. And below, a poster for the 1983 world pre­mier of Lau­rie Anderson’s Unit­ed States: Parts I‑IV. These objects come from BAM’s Next Wave Fes­ti­val col­lec­tion, which con­tains many thou­sands of pho­tographs, play­bills, and posters from the space’s more exper­i­men­tal side, many, though not all of them, down­load­able.

Between the Civ­il War mem­o­ra­bil­ia and mod­ernist doc­u­ments, you’ll find all sorts of fas­ci­nat­ing ephemera: pho­tos of a very young Meryl Streep and Christo­pher Lloyd in a 1977 pro­duc­tion of Hap­py End at the Chelsea The­ater dur­ing a BAM Spring Series, or of an old­er Patrick Stew­art in a 2008 Mac­beth. Just below, we have a charm­ing play­ing card fea­tur­ing the Brook­lyn Acad­e­my of Music’s Peter Jay Sharp build­ing in 1909, the year after it was built. It’s an impos­ing struc­ture that seems like it might last for­ev­er, though much of the vibrant cre­ative work fea­tured year after year at BAM may some­day also move entire­ly into dig­i­tal spaces. Enter the com­plete BAM dig­i­tal archive here.

via The New York Times/Hyper­al­ler­gic

Relat­ed Con­tent:

The The­ater Dic­tio­nary: A Free Video Guide to The­atre Lin­go

A Min­i­mal Glimpse of Philip Glass

Google Gives You a 360° View of the Per­form­ing Arts, From the Roy­al Shake­speare Com­pa­ny to the Paris Opera Bal­let

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

Hear What Music Sounds Like When It’s Created by Synthesizers Made with Artificial Intelligence

When syn­the­siz­ers like the Yama­ha DX7 became con­sumer prod­ucts, the pos­si­bil­i­ties of music changed for­ev­er, mak­ing avail­able a wealth of new, often total­ly unfa­mil­iar sounds even to musi­cians who’d nev­er before had a rea­son to think past the elec­tric gui­tar. But if the peo­ple at Project Magen­ta keep doing what they’re doing, they could soon bring about a wave of even more rev­o­lu­tion­ary music-mak­ing devices. That “team of Google researchers who are teach­ing machines to cre­ate not only their own music but also to make so many oth­er forms of art,” writes the New York Times’ Cade Metz, work toward not just the day “when a machine can instant­ly build a new Bea­t­les song,” but the devel­op­ment of tools that allow artists “to cre­ate in entire­ly new ways.”

Using neur­al net­works, “com­plex math­e­mat­i­cal sys­tems allow machines to learn spe­cif­ic behav­ior by ana­lyz­ing vast amounts of data” (the kind that gen­er­at­ed all those dis­turb­ing “Deep­Dream” images a while back), Magen­ta’s researchers “are cross­breed­ing sounds from very dif­fer­ent instru­ments — say, a bas­soon and a clavi­chord — cre­at­ing instru­ments capa­ble of pro­duc­ing sounds no one has ever heard.”

You can give one of the results of these exper­i­ments a test dri­ve your­self with NSynth, described by its cre­ators as “a research project that trained a neur­al net­work on over 300,000 instru­ment sounds.” Think of Nsynth as a syn­the­siz­er pow­ered by AI.

Fire it up, and you can mash up and play your own son­ic hybrids of gui­tar and sitar, pic­co­lo and pan flute, ham­mer dul­cimer and dog. In the video at the top of the post you can hear “the first tan­gi­ble prod­uct of Google’s Magen­ta pro­gram,” a short melody cre­at­ed by an arti­fi­cial intel­li­gence sys­tem designed to cre­ate music based on infer­ences drawn from all the music it has “heard.” Below that, we have anoth­er piece of arti­fi­cial intel­li­gence-gen­er­at­ed music, this one a poly­phon­ic piece trained on Bach chorales and per­formed with the sounds of NSynth.

If you’d like to see how the cre­ation of nev­er-before-heard instru­ments works in a bit more depth, have a look at the demon­stra­tion just above of the NSynth inter­face for Able­ton Live, one of the most DJ-beloved pieces of audio per­for­mance soft­ware around, just above. Hear­ing all this in action brings to mind the moral of a sto­ry Bri­an Eno has often told about the DX7, from which only he and a few oth­er pro­duc­ers got inno­v­a­tive results by actu­al­ly learn­ing how to pro­gram: as much as the prospect of AI-pow­ered music tech­nol­o­gy may astound, the music cre­at­ed with it will only sound as good as the skills and adven­tur­ous­ness of the musi­cians at the con­trols — for now.

Relat­ed Con­tent:

Arti­fi­cial Intel­li­gence Pro­gram Tries to Write a Bea­t­les Song: Lis­ten to “Daddy’s Car”

Arti­fi­cial Intel­li­gence Cre­ativ­i­ty Machine Learns to Play Beethoven in the Style of The Bea­t­les’ “Pen­ny Lane”

Watch Sun­spring, the Sci-Fi Film Writ­ten with Arti­fi­cial Intel­li­gence, Star­ring Thomas Mid­dled­itch (Sil­i­con Val­ley)

Two Arti­fi­cial Intel­li­gence Chat­bots Talk to Each Oth­er & Get Into a Deep Philo­soph­i­cal Con­ver­sa­tion

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 to Win at Texas Hold ‘Em: A Free MIT Course

In 2015, we fea­tured a short MIT course called Pok­er The­o­ry and Ana­lyt­ics, which intro­duced stu­dents to pok­er strat­e­gy, psy­chol­o­gy, and deci­sion-mak­ing in eleven lec­tures. Now comes a new course, this one more square­ly focused on Texas Hold ‘Em. Taught by MIT grad stu­dent Will Ma, the course “cov­ers the pok­er con­cepts, math con­cepts, and gen­er­al con­cepts need­ed to play the game of Texas Hold’em on a pro­fes­sion­al lev­el.” Here’s a quick overview of the top­ics the course delves into in the 7 lec­tures above (or find them here on YouTube).

  • Pok­er Con­cepts: pre­flop ranges, 3‑betting, con­tin­u­a­tion bet­ting, check-rais­ing, float­ing, bet siz­ing, implied odds, polar­iza­tion, ICM the­o­ry, data min­ing in pok­er
  • Math Con­cepts: prob­a­bil­i­ty and expec­ta­tion, vari­ance and the Law of Large Num­bers, Nash Equi­lib­ri­um
  • Gen­er­al Con­cepts: deci­sions vs. results, exploita­tive play vs. bal­anced play, risk man­age­ment

You can find the syl­labus, lec­ture slides and assign­ments on this MIT web­site.  How to Win at Texas Hold ‘Em will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

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:

MIT’s Intro­duc­tion to Pok­er The­o­ry: A Free Online Course

150 Free Online Busi­ness Cours­es

Learn Python with a Free Online Course from MIT

What’s a Scientifically-Proven Way to Improve Your Ability to Learn? Get Out and Exercise

Wiki­me­dia Com­mons Image by the U.S. Navy

The ben­e­fit, nay neces­si­ty, of phys­i­cal exer­cise is unde­ni­able. The med­ical com­mu­ni­ty has iden­ti­fied seden­tary lifestyles as an epi­dem­ic, some­times called “sit­ting dis­ease” (or as peo­ple like to say, “sit­ting is the new smok­ing”). Pro­longed sit­ting has been estab­lished as a cause of all sorts of chron­ic ill­ness­es includ­ing heart dis­ease, dia­betes, and even cer­tain can­cers. Com­bine this prob­lem with the steady stream of processed foods in more and more diets and we have a full-blown pub­lic health cri­sis on our hands that requires some seri­ous inter­ven­tion on the part of doc­tors, dieti­cians, phys­i­cal ther­a­pists, and sci­en­tists.

And as more and more researchers are find­ing out, a poor diet and lack of exer­cise can also have seri­ous­ly harm­ful effects on the brain. Con­verse­ly, as a recent Uni­ver­si­ty of Cal­i­for­nia study shows, exer­cise boosts brain func­tion; it “enhances learn­ing and mem­o­ry, improves exec­u­tive func­tion” and “coun­ter­acts… men­tal decline.” To put the the­o­ry of enhanced learn­ing to the test, researchers have con­duct­ed sev­er­al exper­i­ments and found that phys­i­cal activ­i­ty can improve the abil­i­ty to learn new things at near­ly any age.

Stud­ies have “found cor­re­la­tions between children’s aer­o­bic fit­ness and their brain struc­ture,” reports The New York Times, and kids who exer­cise before math and read­ing tests show con­sis­tent­ly high­er scores than their seden­tary peers. Like­wise, a study con­duct­ed with col­lege stu­dents in Ire­land found that par­tic­i­pants per­formed sig­nif­i­cant­ly bet­ter on mem­o­ry tests after 30 min­utes of cycling. One like­ly expla­na­tion is that exer­cise increas­es the pro­duc­tion of BDNF (Brain-Derived Neu­rotrop­ic Fac­tor), a pro­tein that pro­motes nerve health. And in a new paper pub­lished by researchers from Italy, Chi­na, and Thai­land, we find that that exer­cise can specif­i­cal­ly improve the abil­i­ty to learn new lan­guages.

The study test­ed 40 col­lege-age Chi­nese stu­dents who are learn­ing Eng­lish. One group remained seden­tary, while anoth­er rode exer­cise bikes at a mod­er­ate pace both before and dur­ing study ses­sions. The stu­dents who biked per­formed bet­ter on 8 sep­a­rate vocab­u­lary tests and were bet­ter able to rec­og­nize cor­rect Eng­lish sen­tences. These results are sim­i­lar to those of a recent Ger­man study which found that a group of young women rid­ing exer­cise bikes, at slow and mod­er­ate paces, per­formed much bet­ter on vocab­u­lary tests than anoth­er group who didn’t exer­cise.

Though The New York Times points to a dif­fer­ent study with con­trast­ing results, the evi­dence seems large­ly on the side of exer­cise-enhances-learn­ing pro­po­nents. “In recent years,” the Times notes, “a wealth of stud­ies in both ani­mals and peo­ple have shown that we learn dif­fer­ent­ly if we also exer­cise.” You’ll find many of those stud­ies sum­ma­rized at the BBC, The Guardian, and else­where, along with sev­er­al pos­si­ble expla­na­tions for the phe­nom­e­non. Psy­chol­o­gist Justin Rhodes notes that “aer­o­bic exer­cise can actu­al­ly reverse hip­pocam­pal shrink­age,” increas­ing gray mat­ter in an area of the brain asso­ci­at­ed with mem­o­ry and emo­tion. His con­tention is backed by recent research on mice and humans.

In any case, although it appears that more vig­or­ous exer­cis­es like cycling and run­ning cre­ate the most improve­ment, tak­ing a brisk walk before a class or study ses­sion can also help with reten­tion and alert­ness. What­ev­er kind of exer­cise one does, a sim­ple “take-home mes­sage,” says one researcher, “may be that instruc­tion should be flanked by phys­i­cal activ­i­ty. Sit­ting for hours and hours with­out mov­ing is not the best way to learn.” Hav­ing trou­ble get­ting moti­vat­ed to run or bike before you study for that math test or start a new lan­guage course? Take some advice from Har­vard Med­ical School on how to start slow­ly, find some­thing you like doing, and turn every­day activ­i­ties into exer­cise.

Relat­ed Con­tent:

Why Sit­ting Is The New Smok­ing: An Ani­mat­ed Expla­na­tion

This Is Your Brain on Exer­cise: Why Phys­i­cal Exer­cise (Not Men­tal Games) Might Be the Best Way to Keep Your Mind Sharp

Hear Aer­o­bic Exer­cise: When Sovi­et Musi­cians Record­ed Elec­tron­ic Music for a Sub­ver­sive Home Fit­ness Record (1984)

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

Reality Is Nothing But a Hallucination: A Mind-Bending Crash Course on the Neuroscience of Consciousness

If you’ve been accused of liv­ing in “a world of your own,” get ready for some val­i­da­tion. As cog­ni­tive sci­en­tist Anil Seth argues in “Your Brain Hal­lu­ci­nates Your Con­scious Real­i­ty,” the TED Talk above, every­one lives in a world of their own — at least if by “every­one” you mean “every brain,” by “world” you mean “entire real­i­ty,” and by “of their own” you mean “that it has cre­at­ed for itself.” With all the sig­nals it receives from our sens­es and all the pri­or expe­ri­ences it has orga­nized into expec­ta­tions, each of our brains con­structs a coher­ent image of real­i­ty — a “mul­ti­sen­so­ry, panoram­ic 3D, ful­ly, immer­sive inner movie” — for us to per­ceive.

“Per­cep­tion has to be a process of ‘informed guess­work,’ ” says the TED Blog’s accom­pa­ny­ing notes, “in which sen­so­ry sig­nals are com­bined with pri­or expec­ta­tions about the way the world is, to form the brain’s best guess of the caus­es of these sig­nals.”

Seth uses opti­cal illu­sions and clas­sic exper­i­ments to under­score the point that “we don’t just pas­sive­ly per­ceive the world; we active­ly gen­er­ate it. The world we expe­ri­ence comes as much from the inside-out as the out­side-in,” in a process hard­ly dif­fer­ent from that which we casu­al­ly call hal­lu­ci­na­tion. Indeed, in a way, we’re always hal­lu­ci­nat­ing. “It’s just that when we agree about our hal­lu­ci­na­tions, that’s what we call ‘real­i­ty.’” And as for what, exact­ly, con­sti­tutes the “we,” our brains do a good deal of work to con­struct that too.

Sev­en­teen min­utes only allows Dash to go so far down the rab­bit hole of the neu­ro­science of con­scious­ness, but he’ll gal­va­nize the curios­i­ty of any­one with even a mild inter­est in this mind-mend­ing sub­ject. He leaves us with a few impli­ca­tions of his and oth­ers’ research to con­sid­er: first, “just as we can mis­per­ceive the world, we can mis­per­ceive our­selves”; sec­ond, “what it means to be me can­not be reduced to — or uploaded to — a soft­ware pro­gram run­ning on an advanced robot, how­ev­er sophis­ti­cat­ed”; third, “our indi­vid­ual inner uni­verse is just one way of being con­scious, and even human con­scious­ness gen­er­al­ly is a tiny region in a vast space of pos­si­ble con­scious­ness­es.” As we’ve learned, in a sense, from every TED Talk, no mat­ter how busy a brain may be con­struct­ing both real­i­ty and the self, it can always come up with a few big take­aways for the audi­ence.

Relat­ed Con­tent:

Free Online Psy­chol­o­gy & Neu­ro­science Cours­es

John Sear­le Makes A Force­ful Case for Study­ing Con­scious­ness, Where Every­thing Else Begins

Robert Sapol­sky Explains the Bio­log­i­cal Basis of Reli­gios­i­ty, and What It Shares in Com­mon with OCD, Schiz­o­phre­nia & Epilep­sy

Stanford’s Robert Sapol­sky Demys­ti­fies Depres­sion, Which, Like Dia­betes, Is Root­ed in Biol­o­gy

Alan Watts On Why Our Minds And Tech­nol­o­gy Can’t Grasp Real­i­ty

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.

Repairing Willie Nelson’s Trigger: A Good Look at How a Luthier Gets America’s Most Iconic Guitar on the Road Again

Many gui­tarists are of two minds about trib­ute mod­els. In some cas­es, they seem like shame­less cash grabs, par­tic­u­lar­ly when the artist is no longer with us and can’t con­sent to the process. Fender’s “Jimi Hen­drix Stra­to­cast­er” (reg­is­tered trade­mark) is in no way, after all, Jimi Hendrix’s Stra­to­cast­er. His white Strat was a right-hand­ed gui­tar he mod­i­fied him­self, turn­ing it upside down to play as a lefty. Born of neces­si­ty, it was nonethe­less a bril­liant mechan­i­cal inno­va­tion that defined his sound. The mass-mar­ket ver­sion flips every­thing over on a left-hand­ed gui­tar for the more numer­ous righty cus­tomers, under­min­ing the pur­pose of the design, mass-pro­duc­ing Hendrix’s hand­made alter­ations, and turn­ing a one-of-a-kind his­tor­i­cal arti­fact into a com­mod­i­ty.

Fel­low lefty Kurt Cobain’s inge­nious Jag-Stang—a mashup of Fender’s Mus­tang and Jaguar guitars—seems more legit, on the oth­er hand, since Fend­er made pro­to­types for Cobain from a design he him­self sent to the com­pa­ny (or rather from two Polaroids he taped togeth­er). There’s a pro­pri­etary rela­tion­ship here between artist and gui­tar mak­er, a pri­or arrange­ment. We don’t see that rela­tion­ship between anoth­er famous play­er and his guitar’s famous mak­er. Like Hen­drix and Cobain and their Fend­ers, Willie Nel­son has inspired gen­er­a­tions of play­ers to pick up Mar­tin acoustics. But I very much doubt that Mar­tin would ever pro­duce a repli­ca based on Trig­ger, Nelson’s stal­wart clas­si­cal ax, even if such a thing were pos­si­ble.

That’s for the best. Trig­ger is and should remain an entire­ly unique object. It has an aura of its own, much of it ema­nat­ing from a huge hole in the mid­dle of the gui­tar. Like its own­er, Trig­ger is weath­ered and worn, and instant­ly rec­og­niz­able. It has been with Nel­son since he restart­ed his career in Austin after his first bout of Nashville fame, and it rep­re­sents Nelson’s trans­for­ma­tion from tra­di­tion­al croon­er into the out­law trou­ba­dour who emerged in the ear­ly sev­en­ties to change the course of coun­try music. (Read the sto­ry of the man and his gui­tar here.) To real­ly appre­ci­ate Trig­ger’s ragged mys­ter­ies, you don’t need to hear from Mar­tin gui­tars, but from one of the instrument’s elite hostlers, so to speak. Respect­ed luthi­er Mark Erlewine takes care of Trig­ger when it’s at home in Austin and can explain, as he does in the video above, every one of the guitar’s pecu­liar­i­ties.

“There are a num­ber of things wrong with it,” says Erlewine, “but they’re just minor repairs to keep it going.” As for that hole and the craters sur­round­ing it, he seems uncon­cerned. Though it looks like it might cave in at any moment, Erlewine has kept it struc­tural­ly sound. “Willie is not con­cerned about the looks of this gui­tar so much as the playa­bil­i­ty and func­tion­al­i­ty of it.” How did Trig­ger come to take on its dis­tinc­tive wounds? Not in the way you might expect. Rather than a stage acci­dent or tour mishap, the way these things can hap­pen, Nelson’s gui­tar became dam­aged through the sheer pas­sion of his fin­ger­style play­ing. Over the years his fin­ger­nails would “often chip into the wood and pull out wood as he plays.”

In per­fect con­di­tion when he bought it, Trig­ger has record­ed in its beat­en-up top the motor mem­o­ries of “over 10,000 shows and record­ing ses­sions” in the deep impres­sions of only its own­er’s fin­gers and per­son­al­i­ty. There is no way to dupli­cate this phe­nom­e­non for mass con­sump­tion. Stick with the video, from gui­tar tool and parts giant Stew­art-Mac­Don­ald, and see how Erlewine keeps Trig­ger healthy, “alive,” and “shored up over the years.”

via Uncrate

Relat­ed Con­tent:

Willie Nel­son and His Famous Gui­tar: The Tale of Trig­ger: Watch the Short Film Nar­rat­ed by Woody Har­rel­son

Willie Nelson–Young, Clean-Shaven & Wear­ing a Suit–Sings Ear­ly Hits at the Grand Ole Opry (1962)

Mark Knopfler Gives a Short Mas­ter­class on His Favorite Gui­tars & Gui­tar Sounds

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

On the Power of Teaching Philosophy in Prisons

Phi­los­o­phy is often seen as an arcane aca­d­e­m­ic dis­ci­pline, in com­pe­ti­tion with the hard sci­ences or laden with abstruse con­cepts and lan­guage inac­ces­si­ble to ordi­nary peo­ple. Such a per­cep­tion may be war­rant­ed. This is not to damn aca­d­e­m­ic phi­los­o­phy but to high­light what has been lost through pro­fes­sion­al­iza­tion: clas­si­cal notions of ethics as “the art of liv­ing” or what Michel Fou­cault called “the care of the self”; the ancient Greek idea of par­rhe­sia—bold, hon­est speech uncloud­ed by pro­pri­etary jar­gon; phi­los­o­phy as a prac­tice like med­i­ta­tion or yoga, a tech­nique for self-knowl­edge, self-con­trol, and wise, just, and con­sid­er­ate rela­tion­ships with oth­ers.

From Socrates to Aris­to­tle to Epi­cu­rus and the Sto­ics, ancient West­ern thinkers believed phi­los­o­phy to be inti­mate­ly rel­e­vant to every­day life. This was very much the case in ancient East­ern thought as well, in the Jain­ist sages, the Bud­dha, or Lao-Tzu, to name a few. We will find some form of pop­u­lar phi­los­o­phy on every con­ti­nent and every his­tor­i­cal age. And while plen­ty of mod­ern teach­ers still believe in phi­los­o­phy for every­one, they oper­ate in a con­sumer cul­ture that often deems them irrel­e­vant, at best. Still, many edu­ca­tors per­sist out­side the acad­e­my, endeav­or­ing to reach not only ordi­nary cit­i­zens but a class of dis­em­pow­ered peo­ple also deemed irrel­e­vant, at best: the impris­oned, many of whom have had few edu­ca­tion­al resources and lit­tle to no expo­sure to philo­soph­i­cal think­ing.

We have many exam­ples of influ­en­tial thinkers writ­ing from prison, whether Boethius’ ear­ly Chris­t­ian Con­so­la­tions of Phi­los­o­phy, Anto­nio Gramsci’s pas­sion­ate Marx­ist prison let­ters, Oscar Wilde’s De Pro­fundis, or Mar­tin Luther King, Jr.’s essen­tial “Let­ter from a Birm­ing­ham Jail.” These have maybe pro­vid­ed read­ers who have nev­er been jailed with trag­ic, yet roman­tic notions of doing phi­los­o­phy while doing time. But the philoso­phers who enter pris­ons to work with peo­ple convicted—justly or otherwise—of all man­ner of crimes can­not afford to have roman­tic ideas. Philoso­pher Alan Smith found this to be espe­cial­ly so after teach­ing in UK pris­ons for 14 years, and writ­ing bold­ly and can­did­ly about the expe­ri­ence in his Guardian col­umn “Phi­los­o­phy for Pris­on­ers.”

Final­ly retir­ing in 2013, Smith con­fessed, “If I car­ried on in prison, I would have to do it dif­fer­ent­ly; I would have to admit that it was prison.” He may have felt burned out at the end of his sojourn, but he had­n’t lost his sense of eth­i­cal pur­pose:

When we don’t know about his­to­ry and art and soci­ety we are adrift. Most of you read­ing this will nev­er have had that expe­ri­ence, but many of the men I taught were igno­rant of just about every­thing, and as grown men felt this keen­ly. Edu­ca­tion was a relief, a route to self-respect.

Those who do this work report on how so many inmates hunger for routes to self-knowl­edge, reflec­tion, and rig­or­ous intel­lec­tu­al exer­cise. Sev­er­al edu­ca­tors at The Phi­los­o­phy Foun­da­tion, for exam­ple, have writ­ten about their expe­ri­ences teach­ing phi­los­o­phy in var­i­ous UK pris­ons. Con­di­tions are dif­fer­ent, and often much bleak­er, in the US—a coun­try with 5% of the world’s pop­u­la­tion and 25% of its prisoners—but here, too, philoso­phers have helped inmates dis­cov­er new truths about them­selves and their soci­ety. In the very short TED talk up top, Damon Horowitz, who teach­es at San Quentin through the Prison Uni­ver­si­ty Project, gives a pas­sion­ate, rapid-fire account­ing of his mis­sion behind bars: “Every­one’s got an opin­ion. We are here for knowl­edge. Our ene­my is thought­less­ness.” A cho­rus of ven­er­a­ble ancients would assured­ly agree.

Fur­ther down, you can see par­tic­i­pants in Prince­ton’s Prison Teach­ing Ini­tia­tive talk about the virtues and rewards of their accred­it­ed pro­gram. That includes teach­ers and stu­dents alike.

Note: You can find 140+ Free Phi­los­o­phy Cours­es in our ever-grow­ing list, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Tim Rob­bins’ Improv Class­es Trans­form Pris­on­ers’ Lives & Low­er Recidi­vism Rates

Pat­ti Smith Reads from Oscar Wilde’s De Pro­fundis, the Love Let­ter He Wrote From Prison (1897)

What Pris­on­ers Ate at Alca­traz in 1946: A Vin­tage Prison Menu

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

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