Relax with 8 Hours of Classical Space Music: From Richard Strauss & Haydn, to Brian Eno, Philip Glass & Beyond

If I had one piece of advice to pass on to a younger gen­er­a­tion it would be this: lis­ten to more space rock. The 60s/70s sub­genre of progressive/psychedelic rock gets its name as much from its sub­ject mat­ter as from its loose, hyp­not­ic, futur­is­tic son­ic character—“Third Stone from the Sun,” “Space Odd­i­ty,” “Inter­stel­lar Over­drive,” “Dark Side of the Moon,” “Sil­ver Machine”… you know…. It mel­lows you out, man, some­thing every­one could use right now, and inspires visions of a groovi­er future, though not with­out the occa­sion­al dystopic edge.

Alter­nate­ly, I would rec­om­mend that every­one acquire a col­lec­tion of cos­mic jazz, the Afro­fu­tur­ist genre pio­neered by Sun Ra and John and Alice Coltrane. But maybe you don’t like space rock or free jazz, yet you still dream about space? Maybe you pre­fer more clas­si­cal, min­i­mal­ist, or ambi­ent fare? Nev­er fear, we’ve got a sound­track for you—one sure to mel­low you out and inspire you, who­ev­er you are.

Cre­at­ed to cel­e­brate Stephen Hawking’s 75th birth­day this past Jan­u­ary, the “Space-Themed Clas­si­cal Music” Playlist below draws togeth­er pieces you’ll rec­og­nize from clas­sic sci-fi films, like Richard Strauss’s Also sprach Zarathus­tra; pieces writ­ten espe­cial­ly for such films—such as John Williams’ E.T. score and Jer­ry Goldsmith’s main title for Alien; and music inspired by space themes, such as Bri­an Eno’s “Under Stars” and Judith Lang Zaimont’s Jupiter’s Moons. The Spo­ti­fy playlist con­tains a total of 75 tracks of space-themed or inspired clas­si­cal works. (If you need Spo­ti­fy’s free soft­ware down­load it here.) The YouTube ver­sion at the top only has 62 of those tracks.

The com­pi­la­tion does give a lit­tle nod to space rock with the inclu­sion, at the very end, of Pink Floyd’s “Keep Talk­ing” from The Divi­sion Bell. And the penul­ti­mate track nods to the very space-inspired genre of trip-hop, with John D. Boswell’s Carl Sagan- and Stephen Hawk­ing-sam­pling “A Glo­ri­ous Dawn.” I don’t know about you, but Sagan’s mel­liflu­ous voice—autotuned or no—never fails to bright­en my mood and make me more curi­ous about what’s out there.

Of course, apart from sci-fi sound­tracks, there is a long tra­di­tion of com­posers writ­ing space-inspired music, stretch­ing back before sci­en­tists like Sagan and his Russ­ian coun­ter­parts helped send astro­nauts and satel­lites into orbit. Clas­si­cal sta­tion WQXR has put togeth­er a list of 11 such com­posers: from the 18th cen­tu­ry Franz Joseph Haydn to the 20th cen­tu­ry Karl­heinz Stock­hausen.

Then there’s Gus­tav Holst, who wrote a suite about all 8 plan­ets between 1914 and 1916—before Pluto’s dis­cov­ery (and lat­er dis­qual­i­fi­ca­tion). I’ve always been par­tial to the bom­bas­tic “Jupiter,” above. Even if you haven’t heard it, Holst’s suite will sound very famil­iar, hav­ing inspired every­thing from video game music, to the Rug­by World Cup theme, to the score for Brave­heart. It has also—showing that clas­si­cal space music is a bona fide sub­genre in con­ver­sa­tion with itself—directly influ­enced John Williams’ Star Wars music and the main theme of Bat­tlestar Galac­ti­ca. In what­ev­er form it takes, I think we could all do with a lot more space music in our lives. Lis­ten, for exam­ple, to the excerpt from Alan Sil­vestri’s score for the 2014 Cos­mos reboot, below, and tell me oth­er­wise. For anoth­er fla­vor of a space­man’s sound­track, check out Space.com’s “Astro­naut’s Playlist” here.

Relat­ed Con­tent:

The Clas­si­cal Music in Stan­ley Kubrick’s Films: Lis­ten to a Free, 4 Hour Playlist

Pink Floyd’s “Echoes” Pro­vides a Sound­track for the Final Scene of Kubrick’s 2001: A Space Odyssey

The His­to­ry of Spir­i­tu­al Jazz: Hear a Tran­scen­dent 12-Hour Mix Fea­tur­ing John Coltrane, Sun Ra, Her­bie Han­cock & More

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

Why Catchy Songs Get Stuck in Our Brains: New Study Explains the Science of Earworms

What’s your cur­rent ear­worm?

For obvi­ous yet sad rea­sons, “Rasp­ber­ry Beret” and “Ash­es to Ash­es” have tun­neled into my brain in the past year. Can’t seem to shake ‘em loose, though it cer­tain­ly could be worse. Wan­der through a shop­ping mall (while they still exist), go to a chain restau­rant or gro­cery store. You may pick up an unwant­ed passenger—the tune of a song you loathe, yet can­not for the life of you for­get.

But can the Prince/Bowie sound­track in my mind prop­er­ly be called an “ear­worm”? Accord­ing to researchers at Durham Uni­ver­si­ty, Gold­smiths, Uni­ver­si­ty of Lon­don, and the Uni­ver­si­ty of Tub­in­gen, this is a sci­en­tif­ic ques­tion. Music psy­chol­o­gist Kel­ly Jakubows­ki of Durham Uni­ver­si­ty and her col­leagues pub­lished a study last year titled “Dis­sect­ing an Ear­worm: Melod­ic Fea­tures of Song Pop­u­lar­i­ty Pre­dict Invol­un­tary Musi­cal Imagery.” In it, they define the prop­er­ties of songs that pro­duce “invol­un­tary” recall.

You can read the study your­self here. It begins with a sum­ma­ry of the pre­vi­ous research on “the con­cepts of musi­cal ‘catch­i­ness’ and song ‘hooks,’” as well as the advice suc­cess­ful musi­cians often give for writ­ing “hooks” that will stick with lis­ten­ers for life. It’s not as easy as it looks, though one of the hall­marks of a suc­cess­ful ear­worm is sim­plic­i­ty. As Joan­na Klein writes at the New York Times, Jakubows­ki and her col­leagues “found that ear­worm songs tend­ed to be fast, with a com­mon, sim­ple melod­ic struc­ture that gen­er­al­ly went up and down and repeat­ed, like ‘Twin­kle Twin­kle Lit­tle Star.’”

How­ev­er, ear­worms also unset­tle our expec­ta­tions of sim­ple melodies, with “sur­pris­ing, unusu­al inter­vals,” as in the cho­rus of Lady Gaga’s insid­i­ous “Bad Romance” or, bane of every gui­tar store employ­ee, Deep Purple’s “Smoke on the Water.” Research on ear­worms began, notes Klein, in 2001, “when James Kel­laris, a mar­ket­ing researcher and com­pos­er at the Uni­ver­si­ty of Cincin­nati trans­lat­ed the Ger­man word for ear­wig, Ohrwürmer, into that ‘cog­ni­tive itch’ he called an ‘ear­worm.’”

Kel­laris esti­mat­ed that around “98 per­cent of peo­ple expe­ri­ence this phe­nom­e­non at some point in time.” In order to ana­lyze the ear­worm, Jakubows­ki and her team col­lect­ed lists of songs from 3,000 study par­tic­i­pants. They attempt­ed to iso­late vari­ables such as “pop­u­lar­i­ty and recen­cy” that “could affect the like­li­hood of the song becom­ing stuck in the mind.” Before con­trol­ling for these fac­tors, “Bad Romance” appeared at the top of a list of “Songs Most Fre­quent­ly Named as Invol­un­tary Musi­cal Imagery (INMI).”

It’s a tune that might—under cer­tain cir­cum­stances, be used as a weapon—along with two oth­er Gaga songs at num­bers 8 and 9. See the full list below:

1. “Bad Romance,” Lady Gaga
2. “Can’t Get You Out of My Head,” Kylie Minogue
3. “Don’t Stop Believ­ing,” Jour­ney
4. “Some­body That I Used to Know,” Gotye
5. “Moves Like Jag­ger,” Maroon 5
6. “Cal­i­for­nia Gurls,” Katy Per­ry
7. “Bohemi­an Rhap­sody,” Queen
8. “Ale­jan­dro,” Lady Gaga
9. “Pok­er Face,” Lady Gaga

The study goes on, in some tech­ni­cal detail, to account for chart posi­tion, length of time on the charts, etc. Unless you’re famil­iar with the meth­ods and jar­gon of this par­tic­u­lar kind of psy­cho­log­i­cal research, it’s a bit dif­fi­cult to fol­low. But Klein sum­ma­rizes some of the upshot: “While it may feel like ear­worms exist only to annoy you, researchers say they may actu­al­ly serve a pur­pose.… ear­worms could be rem­nants of how we learned before writ­ten lan­guage, when infor­ma­tion was more often passed through song.”

The sur­vival of this mech­a­nism can be used for good or ill—as was so humor­ous­ly illus­trat­ed in my favorite scene from Pixar’s psy­cho-dram­e­dy for kids, Inside Out. Adver­tis­ing jin­gles, annoy­ing pop songs that we mind­less­ly buy and stream because we can’t stop singing them, and—not least—perhaps the most effec­tive ear­worms of all time, TV sit­com theme songs.

The hey­day of unfor­get­table theme songs, the 80s, left us with some real gems: Klein names Grow­ing Pains (“show me that smile again!”). But I’m guess­ing we could get togeth­er in the thou­sands for an impromp­tu cho­rus of Cheers, Charles in Charge, Fam­i­ly Ties, Fam­i­ly Mat­ters, Step by Step, or my new ear­worm Sil­ver Spoons (thanks YouTube). As these examples—and so many hun­dreds more—prove, musi­cal ear­worms have been used by clever hacks to hack into our brains for quite some time now. When song­writ­ers we like do it, we can at least enjoy the invol­un­tary intru­sions.

Feel free to share your own unshake­able ear­worms in the com­ments sec­tion below.

via The New York Times

Relat­ed Con­tent:

Hear “Weight­less,” the Most Relax­ing Song Ever Made, Accord­ing to Researchers (You’ll Need It Today)

Music That Helps You Sleep: Min­i­mal­ist Com­pos­er Max Richter, Pop Phe­nom Ed Sheer­an & Your Favorites

The Neu­ro­science & Psy­chol­o­gy of Pro­cras­ti­na­tion, and How to Over­come It

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

Watch Matthew McConaughey’s Audition Tape for Richard Linklater’s Dazed and Confused, the Indie Comedy That Made Him a Star

In 1992, Richard Lin­klater faced one of the most for­mi­da­ble chal­lenges in the life of any suc­cess­ful film­mak­er: fol­low­ing up on his break­through. The pre­vi­ous year he’d become an art-house star with Slack­er, an exam­i­na­tion of the var­i­ous lives aim­less­ly but amus­ing­ly lived at the Generation‑X periph­ery of Austin, Texas, a film whose delib­er­ate­ly wan­der­ing form per­fect­ly matched its sub­stance. That got him enough of a pro­file to com­mand the rel­a­tive­ly huge bud­get of $8 mil­lion (ver­sus Slack­er’s $23,000) to make Dazed and Con­fused, the sto­ry of a bunch of Austin teenagers on the last day of high school in 1976. While the movie hard­ly turned block­buster, it did help solid­i­fy Lin­klater’s place among the Amer­i­can auteurs — and almost acci­den­tal­ly launched the career of one of today’s biggest movie stars.

Matthew McConaugh­ey stole Dazed and Con­fuseds show, as many crit­ics and fans saw it, as David Wood­er­son, an ear­ly-twen­tysome­thing who still prefers the com­pa­ny of high-school­ers. You can watch a piece of his orig­i­nal audi­tion tape, made avail­able by the Cri­te­ri­on Col­lec­tion, at the top of the post. “He is a char­ac­ter we’re all too famil­iar with in the movies,” wrote the Austin Chron­i­cle’s Mar­jorie Baum­garten, “but McConaugh­ey nails this guy with­out a hint of con­de­scen­sion or whim­sy, claim­ing this char­ac­ter for all time as his own.”

Some of the most mem­o­rable moments of his per­for­mance, which you can see in its final form in the clips just above and below, owe to its impro­visato­ry nature: orig­i­nal­ly a small part with just a cou­ple of lines, the char­ac­ter of Wood­er­son grew with every res­o­nant on-set inven­tion.

“Of the many great peo­ple I met in the process of cast­ing this movie, you were select­ed because I had a gut impulse about you,” wrote Lin­klater in the let­ter that accom­pa­nied the 1970s mix­tape he sent out to inspire Dazed and Con­fused’s cast. “Know your char­ac­ter so we can for­get about it and build some­thing new, some­thing spe­cial, in its like­ness. As I’ve said before, if the final movie is 100% word-for-word what’s in the script, it will be a mas­sive under­achieve­ment.” And in a sense, McConaugh­ey’s cast­ing itself, as he and cast­ing direc­tor Don Phillips told it in a Texas Month­ly oral his­to­ry of the movie, hap­pened impro­vi­sa­tion­al­ly as well. It came as the result of a chance encounter at an Austin hotel, where Phillips spot­ted “this real­ly good-look­ing girl at the end of the bar with this pret­ty cool-look­ing guy.”

That cool-look­ing guy was, of course, McConaugh­ey, who’d turned up for the drink dis­count from the bar­tender, his film-school bud­dy. “Hey, man, the guy down at the end of the bar is in town pro­duc­ing a film,” said the bar­tender to the aspir­ing actor by way of a tip, and before they know it, in McConaugh­ey’s words, “We’re talk­ing about life and women and some great golf hole he’s played.” By the time of their ejec­tion from the bar, they’d devel­oped enough instant cama­raderie for Phillips to offer McConaugh­ey an audi­tion: “Maybe we’ll put you on tape to see what you look like.” Though Lin­klater at first balked at his fel­low Tex­an’s exces­sive hand­some­ness, he even­tu­al­ly came to real­ize his suit­abil­i­ty for the part, and the rest — up to and includ­ing McConaugh­ey’s reprisal as a fortysome­thing but oth­er­wise unchanged Wood­er­son in the music video for The Black Wid­ows’ “Syn­the­siz­ers” — is cin­e­ma his­to­ry.

Relat­ed Con­tent:

Hear the Great Mix­tapes Richard Lin­klater Cre­at­ed to Psych Up the Actors in Dazed and Con­fused and Every­body Wants Some!!

Watch Free Online: Richard Linklater’s Slack­er, the Clas­sic Gen‑X Indie Film

Scenes from Wak­ing Life, Richard Linklater’s Philo­soph­i­cal, Fea­ture-Length Ani­mat­ed Film (2001)

In Dark PSA, Direc­tor Richard Lin­klater Sug­gests Rad­i­cal Steps for Deal­ing with Tex­ters in Cin­e­mas

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.

Hayao Miyazaki Picks His 50 Favorite Children’s Books

Once upon a time, books served as the de fac­to refuge of the “phys­i­cal­ly weak” child. For ani­ma­tion leg­end, Hayao Miyaza­ki, above, they offered an escape from the grim­mer real­i­ties of post-World War II Japan.

Many of the 50 favorites he select­ed for a 2010 exhi­bi­tion hon­or­ing pub­lish­er Iwana­mi Shoten’s “Boy’s Books” series are time-test­ed West­ern clas­sics.

Lon­ers and orphans–The Lit­tle Prince, The Secret Gar­denfig­ure promi­nent­ly, as do talk­ing ani­mals (The Wind in the Wil­lows, Win­nie-the-Pooh, The Voy­ages of Doc­tor Dolit­tle).

And while it may be a com­mon­ly-held pub­lish­ing belief that boys won’t read sto­ries about girls, the young Miyaza­ki seemed to have no such bias, rank­ing Hei­di and Lau­ra Ingalls Wilder right along­side Tom Sawyer and Trea­sure Island’s pirates.

Sev­er­al of the titles that made the cut were ones he could only have encoun­tered as a grown up, includ­ing 1967’s From the Mixed-Up Files of Mrs. Basil E. Frankweil­er and When Marnie Was There, the lat­ter even­tu­al­ly serv­ing as source mate­r­i­al for a Stu­dio Ghi­b­li movie, as did Miyazaki’s top pick, Mary Norton’s The Bor­row­ers.

We invite you to take a nos­tal­gic stroll through Miyazaki’s best-loved children’s books. Read­ers, how many have you read?

Hayao Miyazaki’s Top 50 Children’s Books

  1. The Bor­row­ers — Mary Nor­ton
  2. The Lit­tle Prince — Antoine de Saint-Exupéry
  3. Chil­dren of Noisy Vil­lage — Astrid Lind­gren
  4. When Marnie Was There — Joan G. Robin­son
  5. Swal­lows and Ama­zons — Arthur Ran­some
  6. The Fly­ing Class­room — Erich Käst­ner
  7. There Were Five of Us — Karel Poláček
  8. What the Neigh­bours Did, and Oth­er Sto­ries — Ann Philip­pa Pearce
  9. Hans Brinker, or The Sil­ver Skates — Mary Mapes Dodge
  10. The Secret Gar­den — Frances Hodg­son Bur­nett
  11. Eagle of The Ninth — Rose­mary Sut­cliff
  12. The Trea­sure of the Nibelungs — Gus­tav Schalk
  13. The Three Mus­ke­teers — Alexan­dre Dumas, père
  14. A Wiz­ard of Earth­sea — Ursu­la K. Le Guin
  15. Les Princes du Vent — Michel-Aime Bau­douy
  16. The Flam­bards Series — K. M. Pey­ton
  17. Sou­venirs ento­mologiques — Jean Hen­ri Fab­re
  18. The Long Win­ter — Lau­ra Ingalls Wilder
  19. A Nor­we­gian Farm — Marie Ham­sun
  20. Hei­di — Johan­na Spyri
  21. The Adven­tures of Tom Sawyer — Mark Twain
  22. Lit­tle Lord Fauntleroy — Frances Hodg­son Bur­nett
  23. Tis­tou of the Green Thumbs — Mau­rice Druon
  24. The Adven­tures of Sher­lock Holmes — Arthur Conan Doyle
  25. From the Mixed-Up Files of Mrs. Basil E. Frankweil­er — E. L. Konigs­burg
  26. The Otter­bury Inci­dent — Cecil Day-Lewis
  27. Alice’s Adven­tures in Won­der­land — Lewis Car­roll
  28. The Lit­tle Book­room — Eleanor Far­jeon
  29. The For­est is Alive or Twelve Months — Samuil Yakovle­vich Mar­shak
  30. The Restau­rant of Many Orders — Ken­ji Miyaza­wa
  31. Win­nie-the-Pooh — A. A. Milne
  32. Nihon Ryōi­ki – Kyokai
  33. Strange Sto­ries from a Chi­nese Stu­dio — Pu Songling
  34. Nine Fairy Tales: And One More Thrown in For Good Mea­sure — Karel Čapek
  35. The Man Who Has Plant­ed Welsh Onions — Kim So-un
  36. Robin­son Cru­soe — Daniel Defoe
  37. The Hob­bit — J. R. R. Tolkien
  38. Jour­ney to the West — Wu Cheng’en
  39. Twen­ty Thou­sand Leagues Under the Sea — Jules Verne
  40. The Adven­tures of the Lit­tle Onion — Gian­ni Rodari
  41. Trea­sure Island — Robert Louis Steven­son
  42. The Ship that Flew — Hil­da Winifred Lewis
  43. The Wind in the Wil­lows — Ken­neth Gra­hame
  44. The Lit­tle Hump­backed Horse — Pyotr Pavlovich Yer­shov (Ershoff)
  45. The Lit­tle White Horse — Eliz­a­beth Goudge
  46. The Rose and the Ring — William Make­peace Thack­er­ay
  47. The Radi­um Woman — Eleanor Door­ly
  48. City Neigh­bor, The Sto­ry of Jane Addams — Clara Ingram Jud­son
  49. Ivan the Fool — Leo Tol­stoy
  50. The Voy­ages of Doc­tor Dolit­tle — Hugh Loft­ing

Relat­ed Con­tent:

The Essence of Hayao Miyaza­ki Films: A Short Doc­u­men­tary About the Human­i­ty at the Heart of His Ani­ma­tion

Hayao Miyaza­ki Tells Video Game Mak­ers What He Thinks of Their Char­ac­ters Made with Arti­fi­cial Intel­li­gence: “I’m Utter­ly Dis­gust­ed. This Is an Insult to Life Itself”

Build Your Own Minia­ture Sets from Hayao Miyazaki’s Beloved Films: My Neigh­bor Totoro, Kiki’s Deliv­ery Ser­vice & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  She’ll be appear­ing onstage in New York City this June as one of the clowns in Paul David Young’s Faust 3. Fol­low her @AyunHalliday.

Artificial Intelligence: A Free Online Course from MIT

Today we’re adding MIT’s course on Arti­fi­cial Intel­li­gence to our ever-grow­ing col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties. That’s because, to para­phrase Ama­zon’s Jeff Bezos, arti­fi­cial intel­li­gence (AI) is “not just in the first inning of a long base­ball game, but at the stage where the very first bat­ter comes up.” Look around, and you will find AI everywhere–in self dri­ving cars, Siri on your phone, online cus­tomer sup­port, movie rec­om­men­da­tions on Net­flix, fraud detec­tion for your cred­it cards, etc. To be sure, there’s more to come.

Fea­tur­ing 30 lec­tures, MIT’s course “intro­duces stu­dents to the basic knowl­edge rep­re­sen­ta­tion, prob­lem solv­ing, and learn­ing meth­ods of arti­fi­cial intel­li­gence.” It includes inter­ac­tive demon­stra­tions designed to “help stu­dents gain intu­ition about how arti­fi­cial intel­li­gence meth­ods work under a vari­ety of cir­cum­stances.” And, by the end of the course, stu­dents should be able “to devel­op intel­li­gent sys­tems by assem­bling solu­tions to con­crete com­pu­ta­tion­al prob­lems; under­stand the role of knowl­edge rep­re­sen­ta­tion, prob­lem solv­ing, and learn­ing in intel­li­gent-sys­tem engi­neer­ing; and appre­ci­ate the role of prob­lem solv­ing, vision, and lan­guage in under­stand­ing human intel­li­gence from a com­pu­ta­tion­al per­spec­tive.”

Taught by Prof. Patrick Hen­ry Win­ston, the lec­tures can all be viewed above. Or watch them on YouTube and iTunes. Relat­ed course mate­ri­als (includ­ing a syl­labus) can be found on this MIT web­site. The text­book, avail­able on Ama­zon, was writ­ten by Pro­fes­sor Win­ston.

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:

Free Online Com­put­er Sci­ence Cours­es

Hayao Miyaza­ki Tells Video Game Mak­ers What He Thinks of Their Char­ac­ters Made with Arti­fi­cial Intel­li­gence: “I’m Utter­ly Dis­gust­ed. This Is an Insult to Life Itself”

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

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

Noam Chom­sky Explains Where Arti­fi­cial Intel­li­gence Went Wrong

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The Sounds of Blade Runner: How Music & Sound Effects Became Part of the DNA of Ridley Scott’s Futuristic World

Blade Run­ner, among its many oth­er achieve­ments, stands as quite pos­si­ble the only 35-year-old sci­ence-fic­tion movie whose visu­al effects still hold up. Direc­tor Rid­ley Scott and his col­lab­o­ra­tors’ thor­ough­ly real­ized vision of 2019 Los Ange­les rewards a seem­ing­ly infi­nite num­ber of view­ings, reveal­ing some­thing new to the view­er each and every time. Yet the sheer amount to look at can also dis­tract from all there is to lis­ten to. For a visu­al medi­um, movies stand or fall to a sur­pris­ing extent on the qual­i­ty and design of their sound, and if Blade Run­ner remains con­vinc­ing and com­pelling, it does so in large part not because of what see when we watch it, but what we hear.

This in addi­tion to all it makes us think about, some of which the video essay­ist Evan Puschak, bet­ter known as Nerd­writer, explained in Blade Run­ner: The Oth­er Side of Moder­ni­ty.” Appar­ent­ly as big a fan of the film as we here at Open Cul­ture, Puschak has also made anoth­er video essay focus­ing on the mas­ter­piece’s aur­al dimen­sion, “Lis­ten­ing to Blade Run­ner.”

As every­one inter­est­ed in its mak­ing knows, Blade Run­ner would­n’t quite have been Blade Run­ner with­out its music by Van­ge­lis, a com­pos­er who used syn­the­siz­ers (espe­cial­ly the leg­endary Yahama CS80) in a way sel­dom if ever heard at that time. But as Puschak points out, “the score isn’t laid on top of the visu­als. It’s not a guide or an addi­tion” but “baked into the DNA of the movie itself.”

Every piece of audio in Blade Run­ner, “includ­ing score, sound design, and dia­logue,” is tight­ly inte­grat­ed: “each blurs into the oth­ers.” Puschak shows us how, as in the scene above, the film keeps the audi­ence unaware of “where the music ends and the world begins,” by match­ing the qual­i­ties of the music to the qual­i­ties of the space and light, incor­po­rat­ing “faint computer‑y nois­es,” and apply­ing still-new dig­i­tal rever­ber­a­tion tech­nol­o­gy Van­ge­lis uses on both the music and the dia­logue to “fold sep­a­rate audio sources into one mas­ter track,” cre­at­ing a “cohe­sive acoustic envi­ron­ment” that empha­sizes dif­fer­ent dimen­sions of sound at dif­fer­ent times in dif­fer­ent ways — in ser­vice, of course, to dif­fer­ent ele­ments of the sto­ry.

Though still active as a com­pos­er, Van­ge­lis, alas, has­n’t returned to do the score for Blade Run­ner 2049, Den­nis Vil­leneu­ve’s much-antic­i­pat­ed sequel com­ing out lat­er this year. But the son­ic world he cre­at­ed in 1982 has had a more recent trib­ute paid to it in the form of the unof­fi­cial so-called “Esper edi­tion” of the Blade Run­ner sound­track. The exist­ing edi­tions, say the two fans who assem­bled it, “nev­er ‘got it right’ in terms of chronol­o­gy‚ or thor­ough­ness,” so, “like tak­ing pieces from a puz­zle‚ we decid­ed to sim­ply ‘cut and paste’ from all the excit­ing releas­es…‚ 1982 video‚ 1992 direc­tors cut… and con­struct some­thing fresh.” The near­ly two-hour lis­ten­ing expe­ri­ence will under­score just how much putting in the right music and sound can do for a movie.

Con­verse­ly, watch­ing the five min­utes of Har­ri­son Ford’s now-excised voiceovers from the orig­i­nal the­atri­cal release below will under­score how much tak­ing out cer­tain sounds can do for one as well:

Relat­ed Con­tent:

Stream 72 Hours of Ambi­ent Sounds from Blade Run­ner: Relax, Go to Sleep in a Dystopi­an Future

How Rid­ley Scott’s Blade Run­ner Illu­mi­nates the Cen­tral Prob­lem of Moder­ni­ty

The Art of Mak­ing Blade Run­ner: See the Orig­i­nal Sketch­book, Sto­ry­boards, On-Set Polaroids & More

Watch an Ani­mat­ed Ver­sion of Rid­ley Scott’s Blade Run­ner Made of 12,597 Water­col­or Paint­ings

The Blade Run­ner Sketch­book Fea­tures The Orig­i­nal Art of Syd Mead & Rid­ley Scott (1982)

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 Clouds Roil Through the Grand Canyon: A Beautiful Timelapse Film Captures a Rare Full Cloud Inversion

From pro­duc­er and edi­tor Harun Mehmedi­novic comes a pret­ty breath­tak­ing time­lapse film of a rare phe­nom­e­non at the Grand Canyon. Writes Mehmedi­novic:

Mil­lions of vis­i­tors a year come to Ari­zon­a’s Grand Canyon Nation­al Park, one of the sev­en nat­ur­al won­ders of the world and the most vis­it­ed nation­al park in the west­ern Unit­ed States. How­ev­er, on extreme­ly rare days when cold air is trapped in the canyon and topped by a lay­er of warm air, which in com­bi­na­tion with mois­ture and con­den­sa­tion, form the phe­nom­e­non referred to as the full cloud inver­sion. In what resem­bles some­thing between ocean waves and fast clouds, Grand Canyon is com­plete­ly obscured by fog, mak­ing the vis­i­tors feel as if they are walk­ing on clouds.

This video was filmed as part of SKYGLOW (skyglowproject.com), an ongo­ing crowd­fund­ed quest to explore the effects and dan­gers of urban light pol­lu­tion in con­trast with some of the most incred­i­ble dark sky areas in North Amer­i­ca. This project is being pro­duced in col­lab­o­ra­tion with Inter­na­tion­al Dark-Sky Asso­ci­a­tion (darksky.org), a non-prof­it fight­ing for the preser­va­tion of night skies around the globe.

The film was shot on Canon 5DSR & 5DIII cam­eras and lens­es. You can down­load high res­o­lu­tion stills via this zip file. Enjoy.

via Twist­ed Sifter

Relat­ed Con­tent:

Mes­mer­iz­ing Time­lapse Film Cap­tures the Won­der of Bees Being Born

Google Street View Takes You on a Panoram­ic Tour of the Grand Canyon

Albert Ein­stein Sports a Native Amer­i­can Head­dress and a Peace Pipe at the Grand Canyon, 1931

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How Finland Created One of the Best Educational Systems in the World (by Doing the Opposite of U.S.)

Every con­ver­sa­tion about edu­ca­tion in the U.S. takes place in a mine­field. Unless you’re a bil­lion­aire who bought the job of Sec­re­tary of Edu­ca­tion, you’d bet­ter be pre­pared to answer ques­tions about racial and eco­nom­ic equi­ty, dis­abil­i­ty issues, pro­tec­tions for LGBTQ stu­dents, teacher pay and unions, reli­gious char­ter schools, and many oth­er press­ing con­cerns. These issues are not mutu­al­ly exclu­sive, nor are they dis­tinct from ques­tions of cur­ricu­lum, test­ing, or achieve­ment. The ter­rain is lit­tered with pos­si­ble explo­sive con­flicts between edu­ca­tors, par­ents, admin­is­tra­tors, leg­is­la­tors, activists, and prof­i­teers.

The needs of the most deeply invest­ed stake­hold­ers, as they say, the stu­dents them­selves, seem to get far too lit­tle con­sid­er­a­tion. What if we in the U.S., all of us, actu­al­ly want­ed to improve the edu­ca­tion­al expe­ri­ences and aca­d­e­m­ic out­comes for our children—all of them? Where might we look for a mod­el? Many peo­ple have looked to Fin­land, at least since 2010, when the doc­u­men­tary Wait­ing for Super­man con­trast­ed strug­gling U.S. pub­lic schools with high­ly suc­cess­ful Finnish equiv­a­lents.

The film, a pos­i­tive spin on the char­ter school move­ment, received sig­nif­i­cant back­lash for its cher­ry-picked exam­ples and blam­ing of teach­ers’ unions for America’s fail­ing schools. By con­trast, Finland’s schools have been described by William Doyle, an Amer­i­can Ful­bright Schol­ar who stud­ies them, as “the ‘ulti­mate char­ter school net­work’ ” (a phrase, we’ll see, that means lit­tle in the Finnish con­text.) There, Doyle writes at The Hechinger Report, “teach­ers are not strait-jack­et­ed by bureau­crats, scripts or exces­sive reg­u­la­tions, but have the free­dom to inno­vate and exper­i­ment as teams of trust­ed pro­fes­sion­als.”

Last year, Michael Moore fea­tured many of Finland’s inno­v­a­tive edu­ca­tion­al exper­i­ments in his humor­ous, hope­ful trav­el­ogue Where to Invade Next. In the clip above, you can hear from the country’s Min­is­ter of Edu­ca­tion, Krista Kiu­ru, who explains to him why Finnish chil­dren do not have home­work; hear also from a group of high school stu­dents, high school prin­ci­pal Pasi Majas­sari, first grade teacher Anna Hart and many oth­ers. Short­er school hours—the “short­est school days and short­est school years in the entire West­ern world”—leave plen­ty of time for leisure and recre­ation. Kids bake, hike, build things, make art, con­duct exper­i­ments, sing, and gen­er­al­ly enjoy them­selves.

“There are no man­dat­ed stan­dard­ized tests,” writes Lyn­Nell Han­cock at Smith­son­ian, “apart from one exam at the end of stu­dents’ senior year in high school… there are no rank­ings, no com­par­isons or com­pe­ti­tion between stu­dents, schools or regions.” Yet Finnish stu­dents have, in the past sev­er­al years, con­sis­tent­ly ranked in the top ten among mil­lions of stu­dents world­wide in sci­ence, read­ing, and math. “If there was one thing I kept hear­ing over and over again from the Finns,” says Moore above, “it’s that Amer­i­ca should get rid of stan­dard­ized tests,” should stop teach­ing to those tests, stop design­ing entire cur­ric­u­la around mul­ti­ple-choice tests. Han­cock describes the results of the Finnish sys­tem, and its costs:

Nine­ty-three per­cent of Finns grad­u­ate from aca­d­e­m­ic or voca­tion­al high schools, 17.5 per­cent­age points high­er than the Unit­ed States, and 66 per­cent go on to high­er edu­ca­tion, the high­est rate in the Euro­pean Union. Yet Fin­land spends about 30 per­cent less per stu­dent than the Unit­ed States.

Moore’s cam­era reg­is­ters the shock on Finnish edu­ca­tors’ faces when they hear that many U.S. schools elim­i­nat­ed music, art, poet­ry and oth­er pur­suits in order to focus almost exclu­sive­ly on test­ing. Though light­heart­ed in tone, the seg­ment real­ly dri­ves home the depress­ing degree to which so many U.S. stu­dents receive an impov­er­ished education—one bare­ly wor­thy of the name—unless they luck into a vouch­er for a high-end char­ter school or have the inde­pen­dent means for an expen­sive pri­vate one. In Fin­land, says the Min­is­ter of Edu­ca­tion, “all the schools are equal. You nev­er ask where the best school is.”

It’s also ille­gal in Fin­land to prof­it from school­ing. Wealthy par­ents have to ensure that neigh­bor­hood schools can give their kids the best edu­ca­tion pos­si­ble, because they are the only option. Many peo­ple in the U.S. object to com­par­isons like Moore’s by not­ing that soci­eties like Fin­land are “homoge­nous” next to what may seem to them like mad­den­ing cul­tur­al diver­si­ty in the U.S. How­ev­er, Fin­land has incor­po­rat­ed (not with­out dif­fi­cul­ty) large immi­grant and refugee pop­u­la­tions—even as its schools con­tin­ue to improve. The gov­ern­ment has respond­ed in part to ris­ing immi­gra­tion with edu­ca­tion­al solu­tions such as this one, a “nation­al ini­tia­tive to rein­force Finnish high­er edu­ca­tion insti­tu­tions (HEIs) as sig­nif­i­cant stake­hold­ers in migrants’ inte­gra­tion.”

The sub­tan­tive dif­fer­ences between the two coun­tries’ edu­ca­tion­al sys­tems may have less to do with demog­ra­phy and more to do with eco­nom­ics and the train­ing and social sta­tus of teach­ers.

In Fin­land, writes Doyle, no teacher “is allowed to lead a pri­ma­ry school class with­out a master’s degree in edu­ca­tion, with spe­cial­iza­tion in research and class­room prac­tice.” Teach­ing “is the most admired job in Fin­land next to med­ical doc­tors.” And as Dana Gold­stein points out at The Nation—a fact Wait­ing for Super­man failed to mention—Finnish teach­ers are “gasp!—unionized and grant­ed tenure.” Per­haps an even more sig­nif­i­cant dif­fer­ence the doc­u­men­tary glossed over: in Fin­land, “fam­i­lies ben­e­fit from a cra­dle-to-grave social wel­fare sys­tem that includes uni­ver­sal day­care, preschool and health­care, all of which are proven to help chil­dren achieve bet­ter results at school.”

Hun­dreds of stud­ies in recent years sub­stan­ti­ate this claim. It would seem intu­itive that stress­es asso­ci­at­ed with hunger and pover­ty would have a per­ni­cious effect on learn­ing, espe­cial­ly when poor­er schools are so egre­gious­ly under-resourced. And the data says as much, to vary­ing degrees. And yet, we are now in the U.S. slash­ing break­fast and lunch pro­grams that feed hun­gry chil­dren and decid­ing whether to unin­sure mil­lions of fam­i­lies as mil­lions more still lack basic health cov­er­age. Most every Amer­i­can par­ent knows that qual­i­ty day­cares and preschools can cost as much per year as a decent uni­ver­si­ty edu­ca­tion in this coun­try.

It seems to many of us that the atro­cious state of the U.S. edu­ca­tion­al sys­tem can only be attrib­uted to an act of will on the part our polit­i­cal elite, who see schools as com­pe­ti­tion for fun­da­men­tal­ist belief sys­tems, oppor­tu­ni­ties to pun­ish their oppo­nents out of spite, or as rich fields for pri­vate prof­it. But it needn’t be so. It took 40 years for the Finns to cre­ate their cur­rent sys­tem. In the 1960s, their schools ranked on the very low end—along with those in the U.S. By most accounts, they’ve since shown there can be sys­tems that, while sure­ly imper­fect in their own way, work for all kids, embed­ded with­in larg­er sys­tems that prize their teach­ers and fam­i­lies.

Relat­ed Con­tent:

Study Shows That Teach­ing Young Kids Phi­los­o­phy Improves Their Aca­d­e­m­ic Per­for­mance, Mak­ing Them Bet­ter at Read­ing & Math

In Japan­ese Schools, Lunch Is As Much About Learn­ing As It’s About Eat­ing

Med­i­ta­tion is Replac­ing Deten­tion in Baltimore’s Pub­lic Schools, and the Stu­dents Are Thriv­ing

Mal­colm Glad­well Asks Hard Ques­tions about Mon­ey & Mer­i­toc­ra­cy in Amer­i­can High­er Edu­ca­tion: Stream 3 Episodes of His New Pod­cast

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

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