The Nano Guitar: Discover the World’s Smallest, Playable Microscopic Guitar

In 1997, the Cor­nell Chron­i­cle announced: “The world’s small­est gui­tar — carved out of crys­talline sil­i­con and no larg­er than a sin­gle cell — has been made at Cor­nell Uni­ver­si­ty to demon­strate a new tech­nol­o­gy that could have a vari­ety of uses in fiber optics, dis­plays, sen­sors and elec­tron­ics.”

Invent­ed by Dustin W. Carr, the so-called “nano­gu­i­tar” mea­sured 10 microm­e­ters long–roughly the size of your aver­age red blood cell. And it had six strings, each “about 50 nanome­ters wide, the width of about 100 atoms.”

Accord­ing to The Guardian, the vin­tage 1997 nano­gu­i­tar was actu­al­ly nev­er played. That hon­or went to a 2003 edi­tion of the nano­gu­i­tar, whose strings were plucked by minia­ture lasers oper­at­ed with an atom­ic force micro­scope, cre­at­ing “a 40 mega­hertz sig­nal that is 130,000 times high­er than the sound of a full-scale gui­tar.” The human ear could­n’t hear some­thing at that fre­quen­cy, and that’s a prob­lem not even a good amp–a Vox AC30, Fend­er Deluxe Reverb, etc.–could fix.

Thus con­cludes today’s adven­ture in nan­otech­nol­o­gy.

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:

Richard Feyn­man Intro­duces the World to Nan­otech­nol­o­gy with Two Sem­i­nal Lec­tures (1959 & 1984)

Stephen Fry Intro­duces the Strange New World of Nanoscience

A Boy And His Atom: IBM Cre­ates the World’s Small­est Stop-Motion Film With Atoms

New Deep Learning Courses Released on Coursera, with Hope of Teaching Millions the Basics of Artificial Intelligence

FYI: If you fol­low edtech, you know the name Andrew Ng. He’s the Stan­ford com­put­er sci­ence pro­fes­sor, who co-found­ed MOOC-provider Cours­era and lat­er became chief sci­en­tist at Baidu. Since leav­ing Baidu, he’s been work­ing on three arti­fi­cial intel­li­gence projects, the first of which he unveiled yes­ter­day. On Medi­um, he wrote:

I have been work­ing on three new AI projects, and am thrilled to announce the first one: deeplearning.ai, a project ded­i­cat­ed to dis­sem­i­nat­ing AI knowl­edge, is launch­ing a new sequence of Deep Learn­ing cours­es on Cours­era. These cours­es will help you mas­ter Deep Learn­ing, apply it effec­tive­ly, and build a career in AI.

Speak­ing to the MIT Tech­nol­o­gy Review, Ng elab­o­rat­ed: “The thing that real­ly excites me today is build­ing a new AI-pow­ered soci­ety… I don’t think any one com­pa­ny could do all the work that needs to be done, so I think the only way to get there is if we teach mil­lions of peo­ple to use these AI tools so they can go and invent the things that no large com­pa­ny, or com­pa­ny I could build, could do.”

Andrew’s new 5‑part series of cours­es on Deep Learn­ing can be accessed here. Cours­es include: Neur­al Net­works and Deep Learn­ing, Improv­ing Deep Neur­al Net­works, Struc­tur­ing Machine Learn­ing Projects, Con­vo­lu­tion­al Neur­al Net­works, and Sequence Mod­els.

You can find these cours­es on our list of Free Com­put­er Sci­ence Cours­es, a sub­set of 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 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:

Google Launch­es Free Course on Deep Learn­ing: The Sci­ence of Teach­ing Com­put­ers How to Teach Them­selves

Google’s Deep­Mind AI Teach­es Itself to Walk, and the Results Are Kooky, No Wait, Chill­ing

Arti­fi­cial Intel­li­gence: A Free Online Course from MIT

Marshall McLuhan Explains Why We’re Blind to How Technology Changes Us, Raising the Question: What Have the Internet & Social Media Done to Us?

Image of Mar­shall McLuhan at Cana­da, by Wiki­me­dia Com­mons

So many of us use Face­book every day, but how many of us know that its enor­mous pres­ence in our lives owes, in part, to mod­ern phi­los­o­phy? “In the course of his stud­ies at Stan­ford,” writes John Lan­ches­ter in a recent Lon­don Review of Books piece of Face­book, Sil­i­con Val­ley bil­lion­aire Peter Thiel, an ear­ly investor in the com­pa­ny, “became inter­est­ed in the ideas of the US-based French philoso­pher René Girard, as advo­cat­ed in his most influ­en­tial book, Things Hid­den since the Foun­da­tion of the World,” espe­cial­ly a con­cept he called “mimet­ic desire.”

“Human beings are born with a need for food and shel­ter,” writes Lan­ches­ter. “Once these fun­da­men­tal neces­si­ties of life have been acquired, we look around us at what oth­er peo­ple are doing, and want­i­ng, and we copy them.” Or as Thiel explained it, “Imi­ta­tion is at the root of all behav­ior.” Lan­ches­ter reports that “the rea­son Thiel latched onto Face­book with such alacrity was that he saw in it for the first time a busi­ness that was Girar­dian to its core: built on people’s deep need to copy,” yet few of us, its users, have clear­ly per­ceived that essen­tial aspect of Face­book and oth­er social media plat­forms.

Mar­shall McLuhan, despite hav­ing died decades before their devel­op­ment, would have caught on right away — and he under­stood why even we savvy denizens of the 21st cen­tu­ry haven’t. “For the past 3500 years of the West­ern world, the effects of media — whether it’s speech, writ­ing, print­ing, pho­tog­ra­phy, radio or tele­vi­sion — have been sys­tem­at­i­cal­ly over­looked by social observers,” said the author of Under­stand­ing Media and The Medi­um is the Mes­sage. “Even in today’s rev­o­lu­tion­ary elec­tron­ic age, schol­ars evi­dence few signs of mod­i­fy­ing this tra­di­tion­al stance of ostrich­like dis­re­gard.”

Those words come from an in-depth 1969 inter­view with Play­boy mag­a­zine that broke the celebri­ty lit­er­a­ture pro­fes­sor McLuhan’s ideas to an even wider audi­ence than they’d had before. In it he diag­nosed a “pecu­liar form of self-hyp­no­sis” he called “Nar­cis­sus nar­co­sis, a syn­drome where­by man remains as unaware of the psy­chic and social effects of his new tech­nol­o­gy as a fish of the water it swims in. As a result, pre­cise­ly at the point where a new media-induced envi­ron­ment becomes all per­va­sive and trans­mo­gri­fies our sen­so­ry bal­ance, it also becomes invis­i­ble.”

As McLuhan saw it, “most peo­ple, from truck dri­vers to the lit­er­ary Brah­mins, are still bliss­ful­ly igno­rant of what the media do to them; unaware that because of their per­va­sive effects on man, it is the medi­um itself that is the mes­sage, not the con­tent, and unaware that the medi­um is also the mas­sage — that, all puns aside, it lit­er­al­ly works over and sat­u­rates and molds and trans­forms every sense ratio. The con­tent or mes­sage of any par­tic­u­lar medi­um has about as much impor­tance as the sten­cil­ing on the cas­ing of an atom­ic bomb.”

Just last month, no less omnipresent an inter­net titan than Google cel­e­brat­ed McLuhan’s 106th birth­day, and a social observ­er called PR Pro­fes­sor saw in it a cer­tain irony: though “it seems like tech­nol­o­gy that extends man’s abil­i­ty to expe­ri­ence and inter­pret the world is pos­i­tive and desir­able,” McLuhan point­ed out “that the inher­ent ten­den­cy to focus on the mes­sages with­in the media make us blind to the lim­its and struc­tures imposed by the medi­ums them­selves.” This blind­ness has con­se­quences indeed, since, accord­ing to McLuhan, each time a soci­ety devel­ops a new media tech­nol­o­gy, “all oth­er func­tions of that soci­ety tend to be trans­mut­ed to accom­mo­date that new form” as that tech­nol­o­gy “sat­u­rates every insti­tu­tion of that soci­ety.”

This went for speech, writ­ing, print, and the tele­graph as well as it goes for “social media plat­forms like Twit­ter, which reduce expres­sive pos­si­bil­i­ties to 140 char­ac­ters of text or express­ing one’s self through the ‘re-tweet­ing’ of posts by oth­ers.” McLuhan believed that at one time only the inter­pre­tive work of the artist, “who has had the pow­er — and courage — of the seer to read the lan­guage of the out­er world and relate it to the inner world,” could allow the rest of us to rec­og­nize the thor­ough­go­ing effects of tech­nol­o­gy on soci­ety, but that “the new envi­ron­ment of elec­tric infor­ma­tion” had made pos­si­ble “a new degree of per­cep­tion and crit­i­cal aware­ness by nonartists.” At least more of us, if we step back, can now under­stand our afflic­tion by mimet­ic desire, Nar­cis­sus nar­co­sis, or any num­ber of oth­er trou­bling con­di­tions. What to do about them remains an open ques­tion.

Relat­ed Con­tent:

Mar­shall McLuhan Pre­dicts That Elec­tron­ic Media Will Dis­place the Book & Cre­ate Sweep­ing Changes in Our Every­day Lives (1960)

Mar­shall McLuhan in Two Min­utes: A Brief Ani­mat­ed Intro­duc­tion to the 1960s Media The­o­rist Who Pre­dict­ed Our Present

Has Tech­nol­o­gy Changed Us?: BBC Ani­ma­tions Answer the Ques­tion with the Help of Mar­shall McLuhan

McLuhan Said “The Medi­um Is The Mes­sage”; Two Pieces Of Media Decode the Famous Phrase

Mar­shall McLuhan, W.H. Auden & Buck­min­ster Fuller Debate the Virtues of Mod­ern Tech­nol­o­gy & Media (1971)

New Ani­ma­tion Explains Sher­ry Turkle’s The­o­ries on Why Social Media Makes Us Lone­ly

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.

Stream 935 Songs That Appeared in “The John Peel Festive 50” from 1976 to 2004: The Best Songs of the Year, as Selected by the Beloved DJ’s Listeners

Image by Zetkin, via Wiki­me­dia Com­mons

We’ve devot­ed space here before to leg­endary BBC DJ John Peel’s musi­cal lega­cy, from his for­mi­da­ble record col­lec­tion to his many hours of “Peel Ses­sions,” the record­ings he made in BBC stu­dios of artists like David Bowie, Joy Divi­sion, The Smiths, The Spe­cials, Siouxsie and the Ban­shees and so, so many more–usually when they were on the cusp of super­star­dom or endur­ing cult sta­tus. It was Peel’s par­tic­u­lar tal­ent for dis­cov­er­ing and pro­mot­ing such artists that set him apart from his peers. Rather than rid­ing the cul­tur­al wave of the moment, he lis­tened at the mar­gins, cul­ti­vat­ing and curat­ing what he heard. Whether punk, glam, new wave, hard­core, ska, tech­no, or indus­tri­al, it seems John Peel got there first, and the rest of the indus­try fol­lowed after him.

Peel did not approach his role in a crit­i­cal vein—sitting in judg­ment of the music around him. He approached it as an enthu­si­as­tic and obses­sive fan, which explains much of his appeal to the lis­ten­ers who loved his broad­casts. He hon­ored those lis­ten­ers each year by com­pil­ing a list of their favorites in what he called “The John Peel Fes­tive 50.” This end-of-the-year event “became a Christ­mas insti­tu­tion, writes the BBC, “more loved than fairy lights and Christ­mas crack­ers.”

Lis­ten­ers of Peel’s show vot­ed for their three favorite tracks in Novem­ber. The fol­low­ing month, the high­est-ranked “Fes­tive 50” were all played on the air. He described the process as a tru­ly demo­c­ra­t­ic, crowd­sourced endeav­or, as we would say today.

It’s real­ly just me mark­ing every sin­gle vote down in a ledger. There is obvi­ous­ly the temp­ta­tion to slip some­thing in that I like, espe­cial­ly if it’s just out­side the 50, and some­thing crap has gone above it. But I have a very work­man-like brain so it just would­n’t be on to fix it.

Peel “wasn’t always hap­py with what the lis­ten­ers vot­ed for,” often feel­ing “there were too many ‘white boys with gui­tars’ mak­ing an appear­ance.” The pre­dictabil­i­ty of sev­er­al of the lists irked him, and seemed to work against the spir­it of his mis­sion to tire­less­ly pro­mote adven­tur­ous, exper­i­men­tal music. Peel may have been pop­u­lar, but in mat­ters of taste, he was no pop­ulist. For the most part, how­ev­er, he remained faith­ful to the fans’ picks, and not­ed that he nev­er would have been able to choose the top three songs of the year him­self: “I couldn’t get any few­er than a list of 250.”

The tra­di­tion, with a few hic­cups, con­tin­ued from its incep­tion in 1976 till Peel’s death in 2004, and the mas­sive Spo­ti­fy playlist above aggre­gates the hun­dreds of those picks—932 songs, to be exact, over 70 hours of music. From Dylan, Clap­ton, and the Stones to Neko Case—and along the way, no short­age of tracks from the punk and post-punk artists most close­ly asso­ci­at­ed with Peel’s show. While the listener’s picks do fall heav­i­ly into the “white boys with gui­tars” cat­e­go­ry, there’s plen­ty more besides, includ­ing ear­ly tracks from Eric B. & Rakim, P.J. Har­vey, Stere­o­lab, 10,000 Mani­acs, Cocteau Twins, and many more. You can explore the tracks in Peel’s “Fes­tive 50” lists here. They’re sort­ed by decade: 1970s — 1980s — 1990s — 2000s.

Note: Here’s a direct link to the Spo­ti­fy playlist, and if you need Spo­ti­fy’s soft­ware, down­load it here.

Relat­ed Con­tent:

Stream 15 Hours of the John Peel Ses­sions: 255 Tracks by Syd Bar­rett, David Bowie, Siouxsie and the Ban­shees & Oth­er Artists

Hear a 9‑Hour Trib­ute to John Peel: A Col­lec­tion of His Best “Peel Ses­sions”

Revis­it the Radio Ses­sions and Record Col­lec­tion of Ground­break­ing BBC DJ John Peel

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

Bertrand Russell Reveals the 4 Human Desires That Make Our World: Acquisitiveness, Rivalry, Vanity & Love of Power

Con­trary to Aris­to­tle, the emi­nent logi­cian, philoso­pher, and activist Bertrand Rus­sell believed that virtue and moral­i­ty play lit­tle part in polit­i­cal life. Rather, what most dri­ves us to action, he argued, is self­ish desire. Rus­sel­l’s polit­i­cal phi­los­o­phy could seem almost Machi­avel­lian, most notably in his Nobel Prize speech 1950, in which he pro­claims that “all human activ­i­ty is prompt­ed by desire.” (Hear Rus­sell read an excerpt above.)

There is a whol­ly fal­la­cious the­o­ry advanced by some earnest moral­ists to the effect that it is pos­si­ble to resist desire in the inter­ests of duty and moral prin­ci­ple. I say this is fal­la­cious, not because no man ever acts from a sense of duty, but because duty has no hold on him unless he desires to be duti­ful. If you wish to know what men will do, you must know not only, or prin­ci­pal­ly, their mate­r­i­al cir­cum­stances, but rather the whole sys­tem of their desires with their rel­a­tive strengths.

Russell’s argu­ment about desire admits “there is no lim­it to the efforts that men will make, or to the vio­lence that they will dis­play” in the face of per­ceived scarci­ty, and his obser­va­tions recall not only the realpoli­tik of Machi­avel­li, but the insights of that most promi­nent the­o­rist of desire, Sig­mund Freud.

Man dif­fers from oth­er ani­mals in one very impor­tant respect, and that is that he has some desires which are, so to speak, infi­nite, which can nev­er be ful­ly grat­i­fied, and which would keep him rest­less even in Par­adise. The boa con­stric­tor, when he has had an ade­quate meal, goes to sleep, and does not wake until he needs anoth­er meal. Human beings, for the most part, are not like this. 

Rather than libidi­nous instincts, how­ev­er, Rus­sell names four main polit­i­cal desires that can­not be sat­is­fied: Acquis­i­tive­ness (“the wish to pos­sess as much as pos­si­ble), Rival­ry (“a much stronger motive”), Van­i­ty (“a motive of immense poten­cy”), and Love of Pow­er (“which out­weighs them all”). We may note the tremen­dous degree to which all four desires seem active­ly at work in shap­ing our cur­rent world. All four of these qual­i­ties greet us every morn­ing on our smart­phones and nev­er let up, day after day. But it has always been so to one degree or anoth­er, Rus­sell argues. The impor­tant thing is to be clear­sight­ed on the mat­ter. Although self­ish polit­i­cal desires can and large­ly are destruc­tive, they need not always be so.

Polit­i­cal desires like the love of pow­er may “have oth­er sides which are more desir­able.” Schol­ar­ly and sci­en­tif­ic endeav­ors may be “main­ly actu­at­ed by a love of pow­er.…. In pol­i­tics, also, a reformer may have just as strong a love of pow­er as a despot. It would be a com­plete mis­take to decry love of pow­er alto­geth­er as a motive.” “Rus­sell,” writes Maria Popo­va, is “a thinker of excep­tion­al sen­si­tiv­i­ty to nuance and to the dual­i­ties of which life is woven.” He cau­tions that we can­not sim­ply dis­miss our most pow­er­ful motive as “a whole­sale neg­a­tive dri­ver.”

The real prob­lem, as Rus­sell sees it, lies in “cir­cum­stances in which pop­u­la­tions will fall below self­ish­ness, if self­ish­ness is inter­pret­ed as enlight­ened self-inter­est.” The phe­nom­e­non we observe of peo­ple “vot­ing against their inter­ests” is for Rus­sell an occa­sion “on which they are con­vinced that they are act­ing from ide­al­is­tic motives.”

Much that pass­es as ide­al­ism is dis­guised hatred or dis­guised love of pow­er. When you see large mass­es of men swayed by what appear to be noble motives, it is as well to look below the sur­face and ask your­self what it is that makes these motives effec­tive. It is part­ly because it is so easy to be tak­en in by a facade of nobil­i­ty that a psy­cho­log­i­cal inquiry, such as I have been attempt­ing, is worth mak­ing.

Rather than virtue or moral­i­ty, pol­i­tics most requires “intel­li­gence,” Rus­sell con­cludes, “a thing that can be fos­tered by known meth­ods of edu­ca­tion.” These are not the forms of edu­ca­tion we gen­er­al­ly receive: “Schools are out to teach patri­o­tism,” he says, “news­pa­pers are out to stir up excite­ment; and politi­cians are out to get re-elect­ed. None of the three, there­fore, can do any­thing towards sav­ing the human race from rec­i­p­ro­cal sui­cide.”

The Cold War threat of nuclear anni­hi­la­tion hangs heavy over Russell’s speech. As long as humans are gripped by hatred and fear of oth­ers and held in thrall to polit­i­cal delu­sions, he sug­gests, the pos­si­bil­i­ty of mutu­al­ly assured destruc­tion remains. On the oth­er hand, if we were hon­est about our desires, and “if men were actu­at­ed by self-inter­est,” Rus­sell writes, “which they are not.… if men desired their own hap­pi­ness as ardent­ly as they desired the mis­ery of their neigh­bors.… the whole human race would coop­er­ate.” Read the full text of Rus­sel­l’s Nobel speech here.

via Brain­Pick­ings

Relat­ed Con­tent:

Free Online Polit­i­cal Sci­ence Cours­es

7 Nobel Speech­es by 7 Great Writ­ers: Hem­ing­way, Faulkn­er, and More

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

Bertrand Rus­sell: The Every­day Ben­e­fit of Phi­los­o­phy Is That It Helps You Live with Uncer­tain­ty

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

New Yorkers Can Now Stream 30,000 Free Movies, Including the Entire Criterion Collection, with Their Library Cards

Image by Andrés Nieto Por­ras, via Flickr Com­mons

A quick heads up for the 8+ mil­lion peo­ple liv­ing in New York City. Accord­ing to The New York Times, any­one “who has a New York Pub­lic Library or Brook­lyn Pub­lic Library card can now watch more than 30,000 fea­ture films, doc­u­men­taries, for­eign-lan­guage films and train­ing videos.” This includes the entire cat­a­logue of films in The Cri­te­ri­on Col­lec­tion (think Felli­ni, Lynch and Kuro­sawa), and also com­plete lec­ture series from The Great Cours­es.

The films can be viewed streamed any­where, any­time, on smart­phones, tablets, PCs and smart TVs.

New York Pub­lic Library mem­bers can get start­ed here. And Brook­lyn Pub­lic Library fans can do the same here.

Please some­one, beam me back to New York.

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:

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

120 Artists Pick Their Top 10 Films in the Cri­te­ri­on Col­lec­tion

The New York Pub­lic Library Lets You Down­load 180,000 Images in High Res­o­lu­tion: His­toric Pho­tographs, Maps, Let­ters & More

100,000+ Won­der­ful Pieces of The­ater Ephemera Dig­i­tized by The New York Pub­lic Library

Food­ie Alert: New York Pub­lic Library Presents an Archive of 17,000 Restau­rant Menus (1851–2008)

New York Pub­lic Library Puts 20,000 Hi-Res Maps Online & Makes Them Free to Down­load and Use

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When Mistakes/Studio Glitches Give Famous Songs Their Personality: Pink Floyd, Metallica, The Breeders, Steely Dan & More

Before the advent of dig­i­tal stu­dio tech­nol­o­gy, a degree of impre­ci­sion nat­u­ral­ly result­ed from the record­ing process. It may now be too easy to erase and cor­rect per­ceived errors. As Bri­an Eno has point­ed out, “the temp­ta­tion of the tech­nol­o­gy is to smooth every­thing out.” Per­haps that’s why so many of the famous songs con­tain­ing mis­takes in pop cul­ture lore come from a pre-dig­i­tal age. In any case, such lore abounds. Some of it spec­u­la­tive, some anec­do­tal, some apoc­ryphal, and much of it clear­ly evi­dent in close lis­tens and con­firmed by the musi­cians, engi­neers, and pro­duc­ers them­selves.

A recent Red­dit thread com­piled 500 com­ments worth of dis­cus­sion on the sub­ject. One promi­nent exam­ple is Ella Fitzgerald’s 1960 “Mack the Knife,” in which she for­gets the lyrics to the cho­rus and impro­vis­es. “Talk about fail­ing grace­ful­ly,” writes user Bleue22. The album, they note, went on to win a Gram­my.

But this exam­ple, you may object, comes from a live album—no sec­ond takes allowed. And Fitzger­ald sets up the error by say­ing before­hand, “we hope we remem­ber all the words.” (I’d guess she’s using the roy­al “we,” to which she’s ful­ly enti­tled.) Nonethe­less, her “Mack the Knife” may have no equal.

Still, we don’t lack for stu­dio exam­ples of mis­takes in great record­ings. If you’re a met­al fan, Metallica’s “Seek and Destroy” from 1983’s Kill ‘Em All like­ly holds a spe­cial place of hon­or in your col­lec­tion. As Kirk Ham­mett revealed in a 2002 inter­view with Gui­tar World after his induc­tion into the magazine’s hall of fame, his solo on the track was only a sec­ond or third take, with lit­tle rehearsal. “There were no frills, no con­tem­pla­tion, no over­in­tel­lec­tu­al­iz­ing,” he says. The result? Amaz­ing, right? But, Ham­mett con­tin­ues, “On a cou­ple of notes in that solo, I bend the notes out of pitch; for 18 years, every time I’ve heard that gui­tar solo, those sour notes come back to haunt me!”

Every gui­tarist has suf­fered through this expe­ri­ence while lis­ten­ing back to their records. Few make Gui­tar World’s hall of fame. The point is that great­ness and per­fec­tion are not always the best of friends. Anoth­er exam­ple of the kind of thing that might only haunt a musi­cian: In Steely Dan’s “Aja” from the 1977 Gram­my-win­ning album of the same name, drum­mer Steve Gadd plays “one of the best drum solos ever record­ed,” writes Michael Dun­can as Son­ic Scoop. Drum­mers for decades have sought to repli­cate the moment, espe­cial­ly an idio­syn­crat­ic click at 4:57. Turns out, it was “actu­al­ly a slip of his stick; albeit a well-timed one.” The solo, Dun­can notes, was done in one take.

Oth­er exam­ples may have had life-chang­ing con­se­quences for the musi­cian in ques­tion. It’s rumored that David Gilmour’s faint­ly record­ed cough­ing on Pink Floyd’s “Wish You Were Here” both­ered him so much that he quit smok­ing. In some cas­es, the mis­take can turn into a hook or a musi­cal state­ment, such as Cindy Wilson’s shout of “Tii­i­i­i­i­in Roof! Rust­ed” in the B‑52’s “Love Shack,” appar­ent­ly a mis­take on Wilson’s part. The phe­nom­e­non, grant­ed, tends to man­i­fest in gen­res that accom­mo­date all vari­eties of looseness—rock, blues, jazz, etc.—and the great bulk of exam­ples in the Red­dit mis­take thread come from such record­ings.  I couldn’t say whether it’s pos­si­ble to com­pile such a list in music with far stricter arrange­ments or reliance on elec­tron­ic instru­men­ta­tion.

I also couldn’t say whether mis­takes in, say clas­si­cal or elec­tron­ic music, would pro­duce such desir­able results. What often emerges in these dis­cus­sions is the degree to which mis­takes, unplanned impro­vi­sa­tions, or hap­py acci­dents can become essen­tial fea­tures of a song. Take The Breeder’s “Can­non­ball,” which inten­tion­al­ly incor­po­rates a mis­take bassist Josephine Wig­gs repeat­ed­ly made in rehearsals, slid­ing to the wrong note in the solo bass intro, then cor­rect­ing when the gui­tars came in. “We all just thought it was hilar­i­ous and thought it sound­ed real­ly great,” she remem­bered.  “It was clear to us at that moment that that was the right thing to do, to keep the wrong note in there.” Does it mat­ter that some record­ed mis­takes are inten­tion­al and oth­ers are not? That ques­tion may be fod­der for anoth­er 500-com­ment-long dis­cus­sion. Or we could heed the wis­dom of Bri­an Eno or Miles Davis and just go with it either way.

Relat­ed Con­tent:

Bri­an Eno Explains the Loss of Human­i­ty in Mod­ern Music

What Miles Davis Taught Her­bie Han­cock: In Music, as in Life, There Are No Mis­takes, Just Chances to Impro­vise

Jump Start Your Cre­ative Process with Bri­an Eno’s “Oblique Strate­gies” Deck of Cards (1975)

John Cleese on The Impor­tance of Mak­ing and Embrac­ing Mis­takes

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

Senator Al Franken Does a Pitch Perfect Imitation of Mick Jagger (1982)

If Sen­a­tor Al Franken won’t run for Pres­i­dent in 2020, per­haps he’d tem­per fans’ dis­ap­point­ment with a repeat of his ear­ly 80’s turn as Mick Jag­ger, above.

The per­for­mance took place at Stock­ton State, a pub­lic uni­ver­si­ty con­ve­nient­ly locat­ed in New Jersey–what the late Tom Davis, Franken’s long time Sat­ur­day Night Live writ­ing part­ner and Kei­th Richards to his Jag­ger called “the Blair Witch scrub forests twen­ty-five miles north of Atlantic City.”

Franken’s per­for­mance is an immer­sive tri­umph, espe­cial­ly for those who remem­ber his best known SNL char­ac­ter, the lisp­ing­ly upbeat Stu­art Smal­l­ey.

His Jag­ger is the oppo­site of Stuart–butch, preen­ing, ath­let­ic … a less than sober stu­dent fan in the Stock­ton State crowd might have drunk­en­ly won­dered if he or she had acci­den­tal­ly bought tick­ets to the Tat­too You tour. Those lips are pret­ty con­vinc­ing.

The cos­tum­ing is dead on too, and Franken did not take the route Chris Far­ley would lat­er take, lam­poon­ing the male strip­pers of Chip­pen­dales. He may not be Jag­ger-rangy, but he’s cer­tain­ly fit in an out­fit that leaves no room to hide.

As Davis recalled in his 2010 mem­oir, Thir­ty-Nine Years of Short-Term Mem­o­ry Loss: The Ear­ly Days of SNL from Some­one Who Was There:

As we start­ed “Under My Thumb,” Franken came run­ning out as Mick Jag­ger, wear­ing yel­low foot­ball pants and Capezios and was so good, it was scary. Unfor­tu­nate­ly, Franken and Davis at Stock­ton State nev­er sold very well… maybe it would be re-released if one of us became pres­i­dent, or shot a pres­i­dent.

Know­ing that Davis, who died five years ago, would like­ly nev­er have pre­dict­ed the out­come of the recent elec­tion, and that Sen­a­tor Franken, out­spo­ken as he is, is in no posi­tion to joke about the sec­ond option, we sug­gest truf­fling up a used copy, if you’d like to see more.

And for comparison’s sake, here are the orig­i­nals per­form­ing to an are­na-sized crowd in Ari­zona in 1981:

Relat­ed Con­tent:

Mick Jag­ger Defends the Rights of the Indi­vid­ual After His Leg­endary 1967 Drug Bust

When Bowie & Jagger’s “Danc­ing in the Street” Music Video Becomes a Silent Film: Can the Worst Music Video Ever Get Even Worse?

When William S. Bur­roughs Appeared on Sat­ur­day Night Live: His First TV Appear­ance (1981)

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

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