His careful parsing of Louis CK’s Monopoly joke, above, takes rhythm, word choice, and the importance of a clearly stated premise into account.
Delivering the 207-word joke at the Beacon Theater, CK is characteristically nonchalant, but Puschak argues that there’s nothing unrehearsed about his performance.
Take the way he ramps up a scenario that will be familiar to any parent—the six-year-old who is emotionally unequipped to handle losing at games. CK gets at an even deeper truth about the howling injustice of being six, by saying that his younger daughter is “not emotionally developed enough to handle her inevitable loss in every game of Monopoly.”
Oh, the humanity.
Puschak also singles out CK’s acting ability. The way he speaks to his daughter, placing her in the first row of the audience, sharpens the comedy by helping the audience to fully visualize the scenario he’s set up:
I play Monopoly with my kids, that’s really fun. My nine year old, she can totally do Monopoly. The six year old totally gets how the game works but she’s not emotionally developed enough to handle her inevitable loss in every game of Monopoly because a monopoly loss is dark. It’s heavy. It’s not like when you lose at Candyland ‘Oh you got stuck in the fudgy-thing, baby! Oh well you’re in the gummy twirly‑o’s! You didn’t get to win!’ But when she loses at Monopoly, I gotta look at her little face and go ‘Ok, so here’s what’s gonna happen now, ok? All your property, everything you have, all your railroads and houses, and all your money…that’s mine now. Gotta give it all to me. Give it to me, that’s right. And no no, you can’t play anymore because, you see, even though you’re giving me all of that, it doesn’t even touch how you owe me. Doesn’t even touch it, baby. You’re going down hard, it’s really bad. All you’ve been working for all day, I’m gonna take it now and I’m gonna use it to destroy your sister. I mean I’m gonna ruin her! It is just mayhem on this board for her now.
You can view the Nerdwriter’s other videos essays on his website or subscribe to his YouTube channel where a new video is published every Wednesday.
Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Her play Zamboni Godot is opening in New York City in March 2017. Follow her @AyunHalliday.
“The United States Government has not yet made any official reply to the Soviet and East German allegations and protests concerning the 300-yard tunnel that American intelligence operatives are said to have built underneath the border between West and East Berlin for espionage purposes,” says a Washington Post article from 1956 headlined “The Tunnel of Love.” The Communists’ excitement about their discovery even had them conducting “special propaganda tours through the tunnel and to have exhibited the wiretapping and other recording apparatus that the Americans are supposed to have installed inside it.”
This amusing chapter of Cold War history might have seemed, to America at the time, like the kind of foiled effort — though one of an ingenuity admired on both sides of the Iron Curtain — best buried at the back of the espionage archives. But now, thanks to an executive order requiring the Central Intelligence Agency to release “nonexempt historically valuable records 25 years or older” as well as the dogged efforts of journalist Michael Best, you can read over 12 million pages of previously classified documents at CREST, the CIA Records Search Tool. In addition to the files on the “Berlin Tunnel” operation, it offers copious material on much else, such as vintage espionage techniques like writing with invisible ink and undetectably opening sealed letters and CIA research into spiritualist healing, telepathy, and other psychic powers.
For quite some time before now, you technically could have looked up all of this information yourself, provided you felt like going to the National Archives in College Park, Maryland, and pulling it up on one of the four computers made available to do so — but only between the hours of 9 a.m. and 4:30 p.m. The fact that you can now do it from the comfort of your browser owes in large part to the efforts of Best, who raised $15,000 on Kickstarter to go manually print out all (or at least some) of those twelve million pages and upload them to the internet, thereby prodding the CIA to save the ink-and-paper money and just do it themselves.
Some of the project’s backers, no doubt, wanted specifically to see what the CIA’s archives have to say about space aliens, a stock of information you may recall that we featured here just last year. “The publication of the files represents a potential motherlode of background material for researchers, journalists and curious hobbyists,” write the New York Times’ Daniel Victor and Erin McCann, not long before admitting that “most of the files are pretty boring,” a result of “regular bureaucratic collation.” But then, that kind of methodical gathering and organizing of information has long constituted most of the work of national intelligence: even the short-lived “Tunnel of Love” gathered enough data to keep its processors busy for years after it became a Soviet tourist spot.
Yesterday, the news broke that the Trump administration will apparently be slashing federal spending, to the tune of $10.5 trillion over 10 years. According to The Hill, the “departments of Commerce and Energy would see major reductions in funding.” And “the Corporation for Public Broadcasting [aka PBS] would be privatized, while the National Endowment for the Arts and National Endowment for the Humanities would be eliminated entirely.”
Attempts to cut funding for the arts is nothing new. Above, we take you back to 1969, when Richard Nixon planned to reduce PBS’ funding from $20 million to $10 million. That is, until Fred Rogers, the gentle creator of Mister Rogers’ Neighborhood, spent six short minutes before Senator John Pastore, the chairman of the Subcommittee on Communications, and made his pitch for publicly-funded educational television. In those 360 seconds, Rogers gets the gruff senator to do a complete 180 – to end up saying “It looks like you just earned the 20 million dollars.”
It’s unlikely that Mr. Rogers could get the same traction today. Quite the contrary, his sweetness and sincerity would likely be mocked quite mercilessly, a sign of how coarse our society has become these days.
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!
Shepard Fairey probably first crossed your radar when he drew the iconic “Hope” poster so associated with Barack Obama’s 2008 campaign. Now, he returns with another set of posters to help protest the inauguration of one Donald J. Trump. If you head over to the Amplifier Foundation web site, you can download and print a series of posters (shown above) by Fairey. The same applies to a number of posters designed by other artists, including Jessica Sabogal and Ernesto Yerena.
The images capture the “shared humanity of our diverse America” and condemn the exclusionary policies of the incoming administration. And thanks to the $1.3 million raised through a successful Kickstarter campaign, these posters will figure into a larger Inauguration Day plan. Here’s how it will work:
Much of Washington will be locked down on Inauguration Day, and in some areas there will be severe restrictions on signs and banners. But we’ve figured out a hack. It’s called the newspaper! On January 20th, if this campaign succeeds, we’re going to take out full-page ads in the Washington Post with these images, so that people across the capitol and across the country will be able to carry them into the streets, hang them in windows, or paste them on walls.
You’re welcome to print and post these posters around your town–wherever it’s legally permitted to do so. To download the posters, click here.
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!
If you want to study another language, by all means feel free to study such widely spoken ones as English, Spanish, and Chinese. But obscurity, as we all learn at one point or another growing up, also has an appeal, though we often need someone cool to give us a hint as to which obscurities to pursue. One “cowboy professor” has, since the videos he posts to Youtube have begun to gain popularity, emerged as the cool guy who may well turn a generation of scholars-to-be on to the study of Old Norse. Though he holds an academic position at the University of California, Berkeley, “Wyoming’s Dr. Jackson Crawford,” as he refers to himself, seems to spend at least part of his time in what he describes as “the Wilderness of the American West.”
He also shoots his videos out there, an appropriately sublime backdrop for the discussion of the mechanics of the Old Norse language, originally spoken by the Scandinavians of the 9th through the 13h centuries, and the myth and poetry composed in it.
Here we have three of Crawford’s videos meant to address questions of general curiosity about Old Norse: what the language sounded like, and, in twoparts, how best to pronounce the names of the various gods, places, and other elements of its mythology, from Óðinn (whom you might have seen referred to as Odin) to Valhǫll (Valhalla) to Ásgarðr (Asgard).
Jackson also gives readings from the 13th-century Poetic Edda, arguably the most influential piece of Scandinavian literature ever written, and one which he recently translated into modern English. Perhaps a sample:
Þagalt ok hugalt
skyli þjóðans barn,
ok vígdjarft vera.
Glaðr ok reifr
skyli gumna hverr,
unz sinn bíðr bana.
A noble man should
be silent, thoughtful,
and bold in battle.
But every man should also
be cheerful and happy,
till the inevitable day of death.
If you’re like me, every little bit of information doled out for the upcoming third season of Twin Peaks is like a series of clues found along a dark path through the Ghostwood National Forest. We’ve seen brief views of some major characters. We’ve heard Angelo Badalamenti confirm he’s back to score the series. We picked up and speed read the Mark Frost-written Secret History. We know that it will be 18 hours of pure David Lynch and Mark Frost, and that whatever it may do, it won’t go all wonky and not-so-good like the terrible trough in the middle of Season Two. And now we have a date for the premiere: May 21.
So it’s not time to brew coffee, or put a cherry pie in the oven, just yet. Instead, it’s time to bone up on the series itself and ask ourselves, is Twin Peaks a failed series that needs to be rectified? Or if Lynch and Frost had never agreed to revisit their iconic work, would we still have a cohesive work?
Video essayist Joel Bocko says yes, and has made what is probably the definitive and most thorough analysis of the series out there on the web.
I first stumbled across Journey Through Twin Peaks one night, and thinking that it was only one short video essay I started watching. My mistake: episode one was only the first in a 28-chapter series that totaled over four hours, arranged in four parts. And, yes, I sat and watched the whole damn thing.
Bocko is good, real good. This is not uncritical fan worship. This is a man, like many of us, who fell in love with the transcendent heights of the show and suffered through its miserable lows, but, through that misery, figured out what made the show such a game-changer.
One important thing Bocko does is give Mark Frost his due. Usually hidden behind the art and the mythos of Lynch, Frost brought much to the show, from the detective procedural framework to themes of the occult and Theosophy. Bocko shows how Lynch came out of the Twin Peaks experience with a completely different and much more complex idea of character. Before Peaks, Lynch’s work saw good and evil existing not just on opposite sides of the spectrum, but as different characters. (Think of Blue Velvet.) In the films he makes afterwards, doppelgangers, fugue states, and self-negation, along with the spiritual confusion that come with it, are central to Lynch’s work.
But that’s just one of the many insights waiting for you in this rewarding analytical work, which also takes in Fire Walk With Me and Mulholland Dr. through to Inland Empire. Suffice it to say, it’s full of spoilers, so proceed with caution.
Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.
It is not often noted that the surrealist movement in the 1920s originated with poets like Paul Éluard and André Breton, himself a trained psychologist, who drew explicitly from the work of Sigmund Freud, “the private world of the mind,” as the Metropolitan Museum of Art puts it. And yet we certainly see the influence of Freudian poetry in the work of Giorgio de Chirico, Marcel Duchamp, Salvador Dalí, Joan Miró, and Man Ray. We also see it, inexplicably, in the work of Hieronymus Bosch, that 15th century Dutch painter of bizarre works like The Garden of Earthly Delights, a triptych that becomes exponentially more nightmarish as one scans across it from left to right. (Take a virtual tour of the painting here), and from which photographer Lori Pond draws in the astonishing photographs you see here.
How does such a faraway figure as Bosch, whom we know so little about, seem to communicate so closely with our epoch’s artistic movements? The Garden of Earthly Delights, writes Stephen Holden at the New York Times, “outstrips in boldness many of the extreme digital fantasies in Hollywood horror films.” Bosch’s incredibly detailed paintings “feel startlingly contemporary.… Reproductions of his paintings have adorned rock album covers, been parodied on The Simpsons and printed on silk bodices designed by Alexander McQueen.” And he was, in fact, named “Trendiest Apocalyptic Medieval Painter of 2014.”
We might well wonder what Bosch would have done with the same technologies as those who now pay him tribute. Perhaps something very much like Pond has with her Bosch Redux series, a collection of photographs of very close-up details in several of Bosch’s paintings, featuring one or two characters. To make these photos, writes Alyssa Coppelman at Adobe’s Create blog, Pond “bought props online, in antique stores, and at swap meets, and friends donated her old Halloween costumes.” She hired a prosthetics designer and her “taxidermy teacher.” For photos like that above from the central panel of the triptych, Pond even hired a set builder to create a life-sized boat that could fit the two real-life models.
Many of these effects might have been accomplished by early twentieth century surrealists, and indeed, when these details from Bosch’s work are amplified they resemble nothing so much as those psychoanalytic modernists. But Pond admits, “I fully abide by the maxim, ‘A photograph isn’t a photograph until it goes through Photoshop.’” She makes the usual adjustments, adds filters and effects, then employs “textures, backgrounds, and other small details from the original paintings,” making Bosch a collaborator in these close-up remixes, which come from The Last Judgment, The Temptation of St. Anthony, and The Garden of Earthly Delights, of course—the painting that first gave her the inspiration when Pond saw it at the Prado in Madrid. You can see many more examples of the series at Pond’s website, sixteen surreally apocalyptic visions in all.
On Friday, a person who has insulted, demeaned, and threatened tens of millions of the country’s citizens will take the oath of office for the presidency of the United States. That’s an extraordinary thing, and the reaction will also be extraordinary—a Women’s March the following day in Washington, DC expected to draw hundreds of thousands of every gender, race, creed, and orientation. Sister marches and protests will take place in every major city on the East and West Coast and everywhere in-between, as well as internationally in cities like London, Sydney, Buenos Aires, Calgary, Barcelona, Dar es Salaam… the list goes on and on and on.
Why Women’s Marches if these events are all-inclusive? In addition to responding to the public displays of contempt for women we’ve witnessed over and over in the past year, the events intend to reaffirm the rights of all people. The organizers succinctly state that “women’s rights are human rights. We stand together, recognizing that defending the most marginalized among us is defending all of us.”
A Rawlsian progressive notion, and also a “Kingian” one, a description the march applies to its nonviolent principles. What they don’t say is that there is also significant historical precedent for the action. Over 100 years ago, another women’s march coincided with a presidential swearing-in, this time of Woodrow Wilson in March of 1913.
Marching for the cause of suffrage, women from around the country and the world arrived in DC on March 3rd, the day before Wilson’s inauguration. Many of those marchers had hiked 234 miles from New York in 17 days, bearing a letter to the President-elect, writes Mashable, “demanding that he make suffrage a priority of his administration and warning that the women of the nation would be watching ‘with an intense interest such as has never before been focused upon the administration of any of your predecessors.’” Organized by Alice Paul and Lucy Burns of the National American Woman Suffrage Association, the march promised, in their words, “the most conspicuous and important demonstration that has ever been attempted by suffragists in this country.”
The parade was filled with pageantry. “Clad in a white cape astride a white horse,” writes the Library of Congress, “lawyer Inez Mulholland led the great woman suffrage parage down Pennsylvania Avenue in the nation’s capital. Behind her stretched a long line with nine bands, four mounted brigades, three heralds, about twenty-four floats, and more than 5,000 marchers.” As you can see in the film footage at the top and the images here from the LoC—including the drawing of the parade route above by Little Nemo cartoonist Winsor McKay—the parade drew a huge global coalition. It also drew ridicule, harassment, and violence from groups in DC for the following day’s festivities. As the LoC writes:
[A]ll went well for the first few blocks. Soon, however, the crowds, mostly men in town for the following day’s inauguration of Woodrow Wilson, surged into the street making it almost impossible for the marchers to pass. Occasionally only a single file could move forward. Women were jeered, tripped, grabbed, shoved, and many heard “indecent epithets” and “barnyard conversation.” Instead of protecting the parade, the police “seemed to enjoy all the ribald jokes and laughter and in part participated in them.” One policeman explained that they should stay at home where they belonged.
Many marchers were injured; “two ambulances ‘came and went constantly for six hours, always impeded and at times actually opposed, so that doctor and driver literally had to fight their way to give succor.’” The event included several prominent figures, including Helen Keller, “who was unnerved by the experience.” Also present was Jeannette Rankin, who, writes Mashable, “would become the first woman elected to the House of Representatives four years later.” Nelly Bly marched, as did journalist and anti-lynching activist Ida B. Wells, “who marched with the Illinois delegation despite the complaints of some segregationist marchers.”
In fact, though the selective images suggest otherwise, the march was more inclusive than the suffragist movement is generally given credit for. Over the objections of mostly Southern delegates, many black women joined the ranks. After “telegrams and protests poured in” protesting segregation, members of the National Association of Colored Women “marched according to their State and occupation without let or hindrance,” noted the NAACP journal Crisis. And yet, when the women’s vote was finally achieved in 1920, that general category still did not include black women. The misogyny on display that day was vicious, but still perhaps not as endemic as the country’s racism, which existed in large degree within suffragist groups as well.
Once the press broadcast news of the marchers’ mistreatment, there was a massive public outcry that helped reinvigorate the suffrage movement. Several other artists than McKay found inspiration in the march; Cleveland Plain Dealer cartoonist James Donahey, for example, “substituted women for men in a cartoon based on the famous painting ‘Washington Crossing the Delaware,’” writes the Library of Congress. Another cartoonist, George Folsom, documented the stages of the hike from New York, with captions addressed to male readers. The strip above says, “they are making history mates—be sure you save it for your descendants.” Another strip reads “Brave women all, none braver mates. Put this away and look at it when they win.”
We're hoping to rely on loyal readers, rather than erratic ads. Please click the Donate button and support Open Culture. You can use Paypal, Venmo, Patreon, even Crypto! We thank you!
Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.
