Animated GIFs Show How Subway Maps of Berlin, New York, Tokyo & London Compare to the Real Geography of Those Great Cities

You can’t make a per­fect­ly accu­rate map, as Jorge Luis Borges so suc­cinct­ly told us, with­out mak­ing it the exact same size and shape as the land it por­trays. But giv­en the utter use­less­ness of such an enor­mous piece of paper (which so frus­trat­ed the cit­i­zens of the imag­i­nary empire in Borges’ sto­ry that, “not with­out some piti­less­ness,” they tossed theirs into the desert), no map­mak­er would ever want to. A more com­pact map is a more use­ful one; unfor­tu­nate­ly, a more com­pact map is also, by its very nature, a less accu­rate one.

New York

The same rule applies to maps of all kinds, and espe­cial­ly to tran­sit maps, quite pos­si­bly the most use­ful spe­cial­ized maps we con­sult today. They show us how to nav­i­gate cities, and yet their clean, bold lines, some­times turn­ing but nev­er waver­ing, hard­ly rep­re­sent those cities — sub­ject as they are to vari­a­tions in ter­rain and den­si­ty, as well as cen­turies of unplannably organ­ic growth — with geo­graph­i­cal faith­ful­ness. One can’t help but won­der just how each urban tran­sit map, some of them beloved works of design, strikes the use­ful­ness-faith­ful­ness bal­ance.

Lon­don

Liv­ing in Seoul, I’ve grown used to the city’s stan­dard sub­way map. I thus get a kick out of scru­ti­niz­ing the more geo­graph­i­cal­ly accu­rate one, which over­lays the train lines onto an exist­ing map of the city, post­ed on some sta­tion plat­forms. It reveals the truth that some lines are short­er than they look on the stan­dard map, some are much longer, and none cut quite as clean a path through the city as they seem to. At Twist­ed Sifter you’ll find a GIF gallery of 15 stan­dard sub­way maps that morph into more geo­graph­i­cal­ly faith­ful equiv­a­lents, a vivid demon­stra­tion of just how much tran­sit map design­ers need to twist, squeeze, and sim­pli­fy an urban land­scape to pro­duce some­thing leg­i­ble at a glance.

Tokyo

All of those ani­ma­tions, just five of which you see in this post, come from the sub­red­dit Data Is Beau­ti­ful, a realm pop­u­lat­ed by enthu­si­asts of the visu­al dis­play of quan­ti­ta­tive infor­ma­tion — enthu­si­asts so enthu­si­as­tic that many of them cre­ate inno­v­a­tive data visu­al­iza­tions like these by them­selves. Accord­ing to their cre­ations, sub­way maps, like that of New York City’s ven­er­a­ble sys­tem, do rel­a­tive­ly lit­tle to dis­tort the city; oth­ers, like Toky­o’s, look near­ly unrec­og­niz­able when made to con­form to geog­ra­phy.

Austin

Even the maps of new and incom­plete tran­sit net­works do a num­ber on the real shape and direc­tion of their paths: the map of Austin, Texas’ Cap­i­tal Metro­Rail, for instance, straight­ens a some­what zig-zag­gy north­east-south­west track into a sin­gle hor­i­zon­tal line. It may take a few gen­er­a­tions before Austin’s “sys­tem” devel­ops into one exten­sive and com­plex enough to inspire one of the great tran­sit maps (the ranks, for exam­ple, of “The Won­der­ground Map of Lon­don Town”). But I would­n’t count out the pos­si­bil­i­ty: the more ful­ly cities real­ize their pub­lic-tran­sit poten­tial, the more oppor­tu­ni­ty opens up for the advance­ment of the sub­way map­mak­er’s art.

See all 15 of the sub­way GIFs at Twist­ed Sifter.

Relat­ed Con­tent:

A Won­der­ful Archive of His­toric Tran­sit Maps: Expres­sive Art Meets Pre­cise Graph­ic Design

Design­er Mas­si­mo Vignel­li Revis­its and Defends His Icon­ic 1972 New York City Sub­way Map

“The Won­der­ground Map of Lon­don Town,” the Icon­ic 1914 Map That Saved the World’s First Sub­way Sys­tem

Bauhaus Artist Lás­zló Moholy-Nagy Designs an Avant-Garde Map to Help Peo­ple Get Over the Fear of Fly­ing (1936)

Why Mak­ing Accu­rate World Maps Is Math­e­mat­i­cal­ly Impos­si­ble

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.

See What Happens When a Camera’s Shutter Speed Gets Perfectly Synced with a Helicopter’s Rotor

Ger­man cam­era­man Chris Fay recent­ly post­ed on YouTube a neat video show­ing what hap­pens when the frames per sec­ond on a cam­era and the speed of a heli­copter rotor are per­fect­ly aligned. The heli­copter blades appear not to rotate at all. And the heli­copter hov­ers mag­i­cal­ly in the air. Even if you know the mechan­ics of the illu­sion, it’s still fun to watch!

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!

via PetaPix­el

Relat­ed Con­tent:

An Intro­duc­tion to Dig­i­tal Pho­tog­ra­phy: Take a Free Course from Stan­ford Prof/Google Researcher Marc Lev­oy

Vis­it a New Dig­i­tal Archive of 2.2 Mil­lion Images from the First Hun­dred Years of Pho­tog­ra­phy

Hol­ly­wood by Heli­copter, 1958

Watch Karl­heinz Stockhausen’s Great Heli­copter String Quar­tet, Star­ring 4 Musi­cians, 4 Cam­eras & 4 Copters

Paul McCartney Admits to Dropping Acid in a Scrappy Interview with a Prying Reporter (June, 1967)

When we think of LSD and the Bea­t­les, John Lennon invari­ably gets the nod as the main mind expander of the group. After all, despite all protes­ta­tions to the con­trary, “Lucy in the Sky with Dia­monds” lit­er­al­ly spells out Lennon’s indul­gence in the psy­che­del­ic drug.

But it was Paul, as seen in this above news­reel, who announced that he him­self had dropped acid before any oth­er band mem­ber admit­ted to such. And in doing so, know­ing the whole world was watch­ing, McCart­ney insist­ed on telling the truth and fac­ing the music, as it were.

The inter­view was record­ed on June 19, 1967, a day after Paul’s 25th birth­day. Their album Sgt. Pepper’s Lone­ly Hearts Club Band had been released three weeks pri­or on June 1, ush­er­ing in a par­tic­u­lar psy­che­del­ic era in Lon­don, though the band had been drop­ping hints (as well as lyser­gic acid) as ear­ly as 1966’s Revolver and 1965’s “Day Trip­per.”

McCart­ney had already let it be known he had tak­en the drug in an inter­view a few days before in Queen mag­a­zine, which Life then reprint­ed.

After I took it (LSD), it opened my eyes. We only use one-tenth of our brain. Just think what we could accom­plish if we could only tap that hid­den part. It would mean a whole new world.

The quote sent ITV crews to McCartney’s back­yard gar­den on Cavendish Ave. for this con­fronta­tion­al inter­view, where the inter­view­er wants to know first where he got the LSD from, but then chas­tis­es the singer for not keep­ing such a per­son­al event qui­et.

McCart­ney respond­ed:

Mmm, but the thing is — I was asked a ques­tion by a news­pa­per, and the deci­sion was whether to tell a lie or tell him the truth. I decid­ed to tell him the truth… but I real­ly did­n’t want to say any­thing, you know, because if I had my way I would­n’t have told any­one. I’m not try­ing to spread the word about this. But the man from the news­pa­per is the man from the mass medi­um. I’ll keep it a per­son­al thing if he does too you know… if he keeps it qui­et. But he want­ed to spread it so it’s his respon­si­bil­i­ty, you know, for spread­ing it not mine.

The reporter, look­ing for an angle, asks “Do you think that you have now encour­aged your fans to take drugs?”

McCart­ney puts the onus back on the reporter for sen­sa­tion­al­iz­ing a per­son­al mat­ter.

No, it’s you who’ve got the respon­si­bil­i­ty. You’ve got the respon­si­bil­i­ty not to spread this NOW. You know, I’m quite pre­pared to keep it as a very per­son­al thing if you will too. If you’ll shut up about it, I will.

Fun­ni­ly enough, it was Paul who came to LSD long after Lennon and Har­ri­son had tak­en it for the first time…inadvertantly, that is:

John, George and their wives were slipped a dose on a sug­ar pill in their evening cof­fee by den­tist John Riley, who had the cou­ples over for din­ner, and pos­si­bly some free love. Instead the four went club­bing and had their minds expand­ed. You can read the whole sto­ry over here at this fas­ci­nat­ing his­to­ry of Bea­t­le drug use. Also hear John tell it in the ani­ma­tion above.

McCart­ney final­ly dropped acid–the last Bea­t­le to do so–on March 21, 1967 after a record­ing ses­sion for “Get­ting Bet­ter.” Lennon had tak­en some acid by acci­dent and sat out the ses­sion, unable to con­tin­ue and McCart­ney took him home to his flat, where he decid­ed to try LSD, to “sort of catch up” with his friend. The Beat­les­Bible site quotes from McCartney’s bio by Bar­ry Miles, Many Years from Now.

And we looked into each oth­er’s eyes, the eye con­tact thing we used to do, which is fair­ly mind-bog­gling. You dis­solve into each oth­er. But that’s what we did, round about that time, that’s what we did a lot. And it was amaz­ing. You’re look­ing into each oth­er’s eyes and you would want to look away, but you would­n’t, and you could see your­self in the oth­er per­son. It was a very freaky expe­ri­ence and I was total­ly blown away.

There’s some­thing dis­turb­ing about it. You ask your­self, ‘How do you come back from it? How do you then lead a nor­mal life after that?’ And the answer is, you don’t. After that you’ve got to get trepanned or you’ve got to med­i­tate for the rest of your life. You’ve got to make a deci­sion which way you’re going to go.

I would walk out into the gar­den — ‘Oh no, I’ve got to go back in.’ It was very tir­ing, walk­ing made me very tired, wast­ed me, always wast­ed me. But ‘I’ve got to do it, for my well-being.’ In the mean­time John had been sit­ting around very enig­mat­i­cal­ly and I had a big vision of him as a king, the absolute Emper­or of Eter­ni­ty. It was a good trip. It was great but I want­ed to go to bed after a while.

I’d just had enough after about four or five hours. John was quite amazed that it had struck me in that way. John said, ‘Go to bed? You won’t sleep!’ ‘I know that, I’ve still got to go to bed.’ I thought, now that’s enough fun and par­ty­ing, now … It’s like with drink. That’s enough. That was a lot of fun, now I got­ta go and sleep this off. But of course you don’t just sleep off an acid trip so I went to bed and hal­lu­ci­nat­ed a lot in bed. I remem­ber Mal com­ing up and check­ing that I was all right. ‘Yeah, I think so.’ I mean, I could feel every inch of the house, and John seemed like some sort of emper­or in con­trol of it all. It was quite strange. Of course he was just sit­ting there, very inscrutably.

Relat­ed Con­tent:

An Ani­mat­ed John Lennon Describes His First Acid Trip

Meet the Icon­ic Fig­ures on the Cov­er of The Bea­t­les’ Sgt. Pepper’s Lone­ly Hearts Club Band

Sgt. Pepper’s Album Cov­er Gets Reworked to Remem­ber Icons Lost in 2016

How The Bea­t­les’ Sgt. Pepper’s Lone­ly Hearts Club Band Changed Album Cov­er Design For­ev­er

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.

Blitzscaling: A Free Stanford Course on Scaling a Startup, Led by LinkedIn’s Reid Hoffman

A quick post­script to yes­ter­day’s men­tion of Reid Hoff­man’s new pod­cast, Mas­ters of Scale. Many of the con­cepts dis­cussed in Mas­ters of Scale expand on a 2015 course taught at Stan­ford by Hoff­man and his col­leagues– John Lil­ly from Grey­lock Part­ners, LinkedIn co-founder Allen Blue, and author Chris Yeh. The course focus­es on Blitzs­cal­ing–or what Hoff­man described in the Har­vard Busi­ness Review as “the sci­ence and art of rapid­ly build­ing out a com­pa­ny to serve a large and usu­al­ly glob­al mar­ket, with the goal of becom­ing the first mover at scale.” And to help demys­ti­fy that process, Hoff­man invit­ed guest speak­ers to class to break things down. Eric Schmidt on Struc­tur­ing Teams and Scal­ing GoogleNet­flix’s Reed Hast­ings on Build­ing a Stream­ing EmpireAirbn­b’s Bri­an Chesky on Launch­ing Airbnb and the Chal­lenges of Scale–they’re among the experts fea­tured in the course.

You can stream the 20 lec­tures from start to fin­ish above, or find the playlist on Grey­lock Part­ner’s YouTube chan­nel. You can also find class notes for the course on Medi­um.

Blitzs­cal­ing will be added to our list of Free Online Busi­ness 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, 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:

LinkedIn Co-Founder Reid Hoff­man Cre­ates a New Pod­cast Offer­ing Wis­dom on Nur­tur­ing & Scal­ing New Busi­ness­es

Seth Godin’s Start­up School: A Free Mini-Course for New Entre­pre­neurs

Peter Thiel’s Stan­ford Course on Star­tups: Read the Lec­ture Notes Free Online

The Gestapo Points to Guernica and Asks Picasso, “Did You Do This?;” Picasso Replies “No, You Did!”

His­to­ry remem­bers Pablo Picas­so first as an inno­v­a­tive painter, and sec­ond as an unin­hib­it­ed per­son­al­i­ty. The lat­ter espe­cial­ly gen­er­at­ed many an anec­dote in his long life, some sure­ly apoc­ryphal but most prob­a­bly true. A short Guardian edi­to­r­i­al on one of his most famous can­vas­es begins with the sto­ry of when, “in occu­pied Paris, a Gestapo offi­cer who had barged his way into Picasso’s apart­ment point­ed at a pho­to of the mur­al, Guer­ni­ca, ask­ing: ‘Did you do that?’ ‘No,’ Picas­so replied, ‘you did’, his wit fizzing with the anger that ani­mates the piece” — a piece that took no small amount of bold­ness to paint in the first place.

Guer­ni­ca, much more of a vis­cer­al expe­ri­ence than the aver­age paint­ing, resists straight­for­ward descrip­tion, but the arti­cle offers one: “In black and white, the piece has the urgency of a news­pa­per pho­to. Flail­ing bulls and hors­es show that the vis­cer­al hor­rors of war are not just an affront to human civil­i­sa­tion, but to life.”

Paint­ed in June 1937 at Picas­so’s home in Paris, in response to the bomb­ing by Nazi Ger­many and Fas­cist Italy of the Basque vil­lage from which the work would take its name, Guer­ni­ca raised aware­ness of (as well as relief funds for) the Span­ish Civ­il War when it debuted at the 1937 World’s Fair in Paris and sub­se­quent­ly toured the world itself.

Call­ing Picas­so’s paint­ing “prob­a­bly the most suc­cess­ful art­work about war ever cre­at­ed,” Slate’s Noah Char­ney cites play­wright Bertolt Brecht’s use of Ver­frem­dungsef­fekt, or the “alien­ation effect,” where­in “the idea was to no longer encour­age the tra­di­tion­al, Aris­totelian approach that the audi­ence of a play (or view­er of an art­work) should engage with the artwork/performance with a ‘will­ing sus­pen­sion of dis­be­lief,’ vol­un­tar­i­ly pre­tend­ing that what is hap­pen­ing on stage is real. Instead, Brecht want­ed to make it clear that the audi­ence was look­ing at a work of art, an arti­fi­cial per­for­mance that nev­er­the­less touch­es on real human emo­tions and issues.” Both Brecht and Picas­so used this tech­nique to effect social change with their work.

Guer­ni­ca also chal­lenges its view­ers in the best way, look­ing almost play­ful at first glance but almost imme­di­ate­ly demand­ing that they con­front the hor­ror it actu­al­ly con­tains. “A real­is­tic image of the bomb­ing of the town of Guer­ni­ca, with corpses and screams in the night, would like­ly have felt melo­dra­mat­ic, sac­cha­rine, dif­fi­cult to look at,” writes Char­ney. “It might have been Roman­ti­cized or it might have been so grit­ty that our reac­tion would be to shut down our abil­i­ty to sym­pa­thize, as a defense mech­a­nism. The fig­ures are almost car­toon­ish, but then of course, when you look more close­ly, when you know the con­text, they are not. But the child­like abstrac­tion pulls us in, where­as the same sub­ject, han­dled as a pho­to­re­al­ist blood-fest, would repel us.”

You can learn more about Guer­ni­ca, the events that inspired it, and the artist that turned those events into one of the most endur­ing images from the twen­ti­eth cen­tu­ry with the short BBC News clip above, and also this chap­ter in Khan Acad­e­my’s online art-his­to­ry course, this video primer and 3D tour, and Alain Resnais and Robert Hes­sens’ 1950 short film, almost as haunt­ing as the paint­ing itself. After all that, the only step that remains is to go see it in per­son at the Museo Nacional Cen­tro de Arte Reina Sofía in Madrid, where it has resided since 1992. And though Guer­ni­ca may now be safe from pry­ing Gestapo hands, the need for vig­i­lance against the kinds of destruc­tive ide­ol­o­gy that fired Picas­so up to paint it will nev­er go away.

Relat­ed Con­tent:

Guer­ni­ca: Alain Resnais’ Haunt­ing Film on Picasso’s Paint­ing & the Crimes of the Span­ish Civ­il War

A 3D Tour of Picasso’s Guer­ni­ca

How to Under­stand a Picas­so Paint­ing: A Video Primer

The Mys­tery of Picas­so: Land­mark Film of a Leg­endary Artist at Work, by Hen­ri-Georges Clouzot

Picas­so Makes Won­der­ful Abstract Art

Watch Picas­so Cre­ate Entire Paint­ings in Mag­nif­i­cent Time-Lapse Film (1956)

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.

Watch Simon & Garfunkel Sing “The Sound of Silence” 45 Years After Its Release, and Just Get Hauntingly Better with Time

The leg­end of Simon & Gar­funkel is big­ger than either per­former, though only one of them remained a major star after their breakup, while the oth­er became… too often the butt of unkind jokes. At the pin­na­cle of their fame in 1970, Art Gar­funkel, the tall angel­ic singer with the gold­en halo of curls, walked away from the duo as their rela­tion­ship soured. Gar­funkel moved to Con­necti­cut and became a math teacher for a spell. “I would talk them through a math prob­lem,” he remem­bered in 2015, “and ask if any­one had any ques­tions and they would say: ‘What were the Bea­t­les like?’”

Paul Simon, Gar­funkel recalled of the acri­mo­nious split, “was get­ting on my nerves. The jokes had run dry.” Per­haps it’s for the best they quit when they were ahead since their friend­ship nev­er recov­ered. After their famous Cen­tral Park reunion con­cert in 1981, a planned tour fell apart when they stopped speak­ing to each oth­er. At their 1990 induc­tion into the Rock and Roll Hall of Fame, the duo played three songs and report­ed­ly left with­out a word exchanged between them. “Arthur and I agree about almost noth­ing,” Simon remarked. Their split has all the qual­i­ties of a ter­ri­ble divorce.

Luck­i­ly for their fans, the two have infre­quent­ly giv­en their part­ner­ship anoth­er shot, stag­ing tours in 1993 and 2004. And in 2009, Gar­funkel showed up for three songs dur­ing a Simon con­cert at New York’s Bea­con the­ater. This led to a tour of Asia and Aus­tralia and, as you can see up top, an appear­ance togeth­er at the Rock and Roll Hall of Fame’s 25th Anniver­sary Con­cert at Madi­son Square Gar­den, where they played one of their biggest hits—and arguably one of Simon’s great­est songs—“The Sound of Silence” (1964). If you didn’t already know that they can’t stand each other’s com­pa­ny, you’d hard­ly guess it from the video.

After Simon’s gen­tly plucked gui­tar intro, they exchange brief but gen­uine smiles, then launch into har­mo­ny, their voic­es blend­ing with all the haunt­ing beau­ty of their hey­day. In fact, it’s pos­si­ble that—despite the bit­ter­ness and wear of sev­er­al decades—they sound bet­ter than they ever did. Com­pare this per­for­mance to that below, a live Cana­di­an TV appear­ance from 1966. (Simon earnest­ly, and iron­i­cal­ly in hind­sight, intro­duces the song as a com­ment on strained com­mu­ni­ca­tion.) The ear­ly per­for­mance seems rushed and man­nered com­pared to their impas­sioned reunion in 2009.

It’s a tru­ly haunt­ing expe­ri­ence fit­ting a tru­ly haunt­ing song, and made all the more poignant by the fact that they may nev­er per­form togeth­er again. In 2010, what is like­ly their last reunion end­ed when Garfunkel’s voice failed him. Diag­nosed with a con­di­tion called “vocal pare­sis,” he’s spent the past few years regain­ing his singing abil­i­ties. But, while Simon has ruled out anoth­er reunion, Gar­funkel, for all his ran­cor and regret, holds out hope. “When we get togeth­er,” he told The Tele­graph in 2015, “it’s a delight to both of our ears. A lit­tle bub­ble comes over us and it seems effort­less. We blend. So as far as this half is con­cerned, I would say, ‘Why not, while we’re still alive?’” They may have made a very unhap­py cou­ple, but the mag­ic that brought them togeth­er clear­ly has­n’t suf­fered for it.

Relat­ed Con­tent:

A Paul Simon Feelin’-Very-Groovy Moment

Paul Simon, Then and Now: Cel­e­brat­ing His 70th Birth­day

Art Gar­funkel Lists 1195 Books He Read Over 45 Years, Plus His 157 Favorites (Many Free)

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

Stevie Ray Vaughan Plays the Acoustic Guitar in Rare Footage, Letting Us See His Guitar Virtuosity in Its Purest Form

Ask accom­plished blues and south­ern rock gui­tarists who they lis­ten to and you’ll hear a num­ber of names come up: Duane All­man, Albert King, Bud­dy Guy… the list of gui­tarists’ gui­tarists could go on and on. One name you’ll hear from near­ly every­one: Ste­vie Ray Vaugh­an, the king of Texas blues, before whom even the very best play­ers stand in awe, a gui­tarist whose leg­end has only grown in stature since the music world lost him in a trag­ic, fatal heli­copter crash in 1990.

The most icon­ic gui­tarists get asso­ci­at­ed with their instru­ments of choice, and Vaugh­an is no excep­tion. The Fly­ing V defines the look and sound of Albert King; the cus­tom black Gib­son 335 (“Lucille”) that of B.B. King. And when we think of Vaugh­an, we may imme­di­ate­ly think of “Num­ber One,” the beat up Fend­er Stra­to­cast­er he loved so much he called it the “first wife.” One of a num­ber of Strats Vaugh­an played through­out his too-brief career, “Num­ber One” has become “a cen­ter­piece” at the Texas State His­to­ry Muse­um, and for very good rea­son.

Almost no gui­tarist before or since has ripped such raw emo­tion and sear­ing pow­er from an instru­ment, with the excep­tion per­haps of Vaughan’s hero, Jimi Hen­drix. Like Hen­drix, Vaugh­an is known entire­ly as an elec­tric gui­tarist, his tone so leg­endary it has inspired a cult fol­low­ing all its own. But give SRV, as his fans call him, an acoustic gui­tar and you’ll see right away why the most the dis­tinc­tive fea­ture of that myth­ic tone is how sparkling clean it is.

Vaugh­an need­ed no effects to pro­duce his mas­sive sound, though he used a few on occa­sion (most notably a clas­sic Vox wah ped­al that once belonged to Jimi). The tone, as old­er gui­tarists will for­ev­er tell aspir­ing new­bies, was in his fingers—in the dynam­ics of his pick­ing, his bends and slides, his inti­mate, force­ful engage­ment with the fret­board. In the rare acoustic ses­sions here, see just why Vaugh­an is so revered. Above watch him launch into a six-string 12-bar acoustic blues.

And just above, see Vaugh­an tear it up on a 12-string acoustic gui­tar in his MTV Unplugged appear­ance in 1990, the year of his death. Gui­tarists and seri­ous fans of the blues and coun­try gui­tar will often namecheck Dan­ny Gat­ton—the Wash­ing­ton, DC wun­derkind so incred­i­bly tal­ent­ed that he earned the nick­name “The Humbler”—as the great­est gui­tarist they’ve ever seen. It’s hard to argue with that assess­ment. But Vaugh­an wasn’t just an amaz­ing play­er, he was also a beau­ti­ful­ly under­stat­ed per­former. Here we have the unique oppor­tu­ni­ty to see his show­man­ship and skill stripped to their essence.

via Soci­ety of Rock

Relat­ed Con­tent:

Jimi Hen­drix Plays the Delta Blues on a 12-String Acoustic Gui­tar in 1968, and Jams with His Blues Idols, Bud­dy Guy & B.B. King

B.B. King Changes Bro­ken Gui­tar String Mid-Song at Farm Aid, 1985 and Doesn’t Miss a Beat

Ste­vie Ray Vaughan’s Ver­sion of “Lit­tle Wing” Played on Tra­di­tion­al Kore­an Instru­ment, the Gayageum

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

LinkedIn Co-Founder Reid Hoffman Creates a New Podcast Offering Wisdom on Nurturing & Scaling New Businesses

How do you cre­ate and even­tu­al­ly scale a suc­cess­ful busi­ness? It’s a com­pli­cat­ed ques­tion. And you can do worse than get answers from Reid Hoff­man. He’s cur­rent­ly a part­ner at the ven­ture cap­i­tal firm Grey­lock Part­ners. But you prob­a­bly know him best as the co-founder of LinkedIn, the pro­fes­sion­al social net­work site recent­ly acquired by Microsoft for $26 bil­lion dol­lars. In his new pod­cast, Mas­ters of Scale, Hoff­man looks at how com­pa­nies grow from zero users to a gazil­lion by inter­view­ing fel­low Sil­i­con Val­ley entre­pre­neurs who have crossed that bridge. Guests include Facebook’s Mark Zucker­berg & Sheryl Sand­berg, Netflix’s Reed Hast­ings, and Google’s Eric Schmidt, among oth­ers.

Even if you work in a busi­ness with more mod­est aspi­ra­tions, there’s some wis­dom you can take away from these wide-rang­ing con­ver­sa­tions. Hoff­man’s con­ver­sa­tion with Airbn­b’s CEO Bri­an Chesky (above) about hand-craft­ing cus­tomer expe­ri­ences would help you run almost any busi­ness. You can find the Mas­ters of Scale pod­cast on iTunes, Stitch­erEntrepreneur.com, Spo­ti­fy, and Google Play. Also find cours­es from oth­er sea­soned entre­pre­neurs right below.

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Relat­ed Con­tent:

How to Start a Start-Up: A Free Course from Y Com­bi­na­tor Taught at Stan­ford

Seth Godin’s Start­up School: A Free Mini-Course for New Entre­pre­neurs

Peter Thiel’s Stan­ford Course on Star­tups: Read the Lec­ture Notes Free Online

Start Your Start­up with Free Stan­ford Cours­es and Lec­tures

Down­load Marc Andreessen’s Influ­en­tial Blog (“Pmar­ca”) as a Free eBook

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