Hear the Very First Sounds Ever Recorded on Mars, Courtesy of NASA

Pre­dict­ing the state of the world in 2014 after a vis­it to the 1964 World’s Fair, Isaac Asi­mov wrote that “only unmanned ships will have land­ed on Mars, though a manned expe­di­tion will be in the works and in the 2014 Futu­ra­ma will show a mod­el of an elab­o­rate Mar­t­ian colony.” While we haven’t seen a Futu­ra­ma show in some time (oth­er than the one cre­at­ed by Matt Groen­ing), he was cer­tain­ly right about those unmanned ships, the lat­est of which, four years after the one about which he proph­e­sied, has just picked up the first sounds ever record­ed on the Red Plan­et. You can hear it, prefer­ably with the use of a sub­woofer or a pair of capa­bly bass-repro­duc­ing head­phones, in the video above.

“That’s the sound of winds blow­ing across NASA’s InSight lan­der on Mars, the first sounds record­ed from the red plan­et,” writes the New York Times’ Ken­neth Chang. “It’s all the more remark­able because InSight — which land­ed last week — does not have a micro­phone.”

Instead it picked up this rum­ble, which NASA describes as “caused by vibra­tions from the wind, esti­mat­ed to be blow­ing between 10 to 15 mph (5 to 7 meters a sec­ond),” with its seis­mome­ter and air pres­sure sen­sor right there on Mars’ Ely­si­um Plani­tia where it land­ed. “The winds were con­sis­tent with the direc­tion of dust dev­il streaks in the land­ing area, which were observed from orbit.”

Sci­ence fic­tion enthu­si­asts will note that InSight’s record­ing of Mar­t­ian wind, espe­cial­ly in the more eas­i­ly audi­ble pitched-up ver­sions includ­ed in the video, sounds not unlike the way cer­tain films and tele­vi­sion shows have long imag­ined the son­ic ambi­ence of Mars. NASA did­n’t launch InSight to test the the­o­ries implic­it­ly pre­sent­ed by Hol­ly­wood sound design­ers — rather, to col­lect data on the for­ma­tion of Mars and oth­er rocky plan­ets, as well as to check for the pres­ence of liq­uid water — but they will equip the next Mar­t­ian lan­ders they send out in 2020 with prop­er micro­phones, and not just one but two of them. Among oth­er sci­en­tif­ic tasks, writes Big Think’s Stephen John­son, those micro­phones will be equipped to “lis­ten to what hap­pens when the craft fires a laser at rocks on the sur­face.” Back here on Earth, one ques­tion looms above all oth­ers: which musi­cian will be the first to sam­ple all this?

via Big Think

Relat­ed Con­tent:

NASA Puts Online a Big Col­lec­tion of Space Sounds, and They’re Free to Down­load and Use

NASA Dig­i­tizes 20,000 Hours of Audio from the His­toric Apol­lo 11 Mis­sion: Stream Them Free Online

Hear the Declas­si­fied, Eerie “Space Music” Heard Dur­ing the Apol­lo 10 Mis­sion (1969)

Video: The Min­utes Before & After the Land­ing of the Mars Curios­i­ty Rover

Ray Brad­bury Reads Mov­ing Poem on the Eve of NASA’s 1971 Mars Mis­sion

NASA Releas­es a Mas­sive Online Archive: 140,000 Pho­tos, Videos & Audio Files Free to Search and Down­load

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

How J.R.R. Tolkien Influenced Classic Rock & Metal: A Video Introduction

The influ­ence of J.R.R. Tolkien on met­al is so wide and deep it has become almost cliché. There are count­less Tolkien-themed songs, albums, band names, and an entire sub­genre of Tolkien met­al in which the fan­ta­sy mas­ter’s work has become “the foun­da­tion,” as Loud­wire writes, that such bands “have built their per­sona upon.” After all, “the doomy hellscape of Mor­dor is a set­ting that rivals hell itself, mak­ing it the per­fect fod­der for lyri­cal bru­tal­i­ty.”

Of course, there’s more to the fas­ci­na­tion than doomy hellscape. Mys­ti­cism, mag­ic, and mythol­o­gy; “themes of friend­ship, adven­ture, betray­al, greed, and mor­tal­i­ty.” The Hob­bit and Lord of the Rings tril­o­gy fold lit­er­ary rich­ness and depth into a ful­ly real­ized alter­nate real­i­ty full of swords and sor­cery, gob­lins, orcs, and walk­ing trees. What met­al­head can resist? Even those who might want to have a hard time get­ting away from Tolkien.

He’s in the source code of the genre, in its clas­sic rock chro­mo­somes. The most promi­nent pre­cur­sor of Tolkien met­al, Led Zep­pelin, real­ly loved Tolkien. As Robert Plant put it in a lat­er inter­view, “when I read those books, they kind of dis­solved into me.” In the short video above from Poly­phon­ic, we get a sur­vey of the num­ber of Tolkien ref­er­ences not only in Zep­pelin, but in Gen­e­sis, Rush, and oth­er pro­to-met­al prog-rock bands.

One key fea­ture of Tolkien that makes his work such great mate­r­i­al for epic songs is that the nov­els are already full of epic songs (and poems, in Elvish and oth­er lan­guages). “Music plays an inte­gral role in the very found­ing of Mid­dle Earth.” Tolkien ref­er­ences crop up in Black Sab­bath, Uri­ah Heep, and dozens of 70s pro­gres­sive rock bands whose influ­ence exceeds their fame.

One band the Poly­phon­ic video doesn’t men­tion, The Bea­t­les, aren’t often thought of as Tolkienesque, or as hav­ing much influ­ence on heavy met­al. But they were mas­sive Tolkien fans and even approached the author in the 60s about mak­ing a Lord of the Rings film, with John as Gol­lum, Paul as Fro­do, Ringo as Sam, and George as Gan­dalf. McCart­ney even approached Stan­ley Kubrick to direct.

Report­ed­ly, when McCart­ney told Peter Jack­son the sto­ry, the direc­tor replied, “It’s the songs I feel bad­ly about. You guys could have banged out a few good tunes for this.” Tolkien him­self didn’t think so and turned them down imme­di­ate­ly. We don’t have any record of his thoughts on the 70s rock bands who enthu­si­as­ti­cal­ly adopt­ed him, if he even knew of their exis­tence. But we do know that he didn’t like The Bea­t­les.

Does this mean he wouldn’t care for any of the clas­sic rock and met­al to whom he has inad­ver­tent­ly giv­en so much? Prob­a­bly. But one com­menter in a dis­cus­sion thread on this very ques­tion imag­ines anoth­er reac­tion Tolkien might have to hear­ing “Ram­ble On,” etc.: “I believe he raised a fist into the air and extend­ed the index and lit­tle fin­gers in imi­ta­tion of a horned crea­ture, while vig­or­ous­ly, emphat­i­cal­ly nod­ding his head back and forth, toss­ing his hair to and fro like a fish­ing boat caught in a rag­ing storm.”

Relat­ed Con­tent:

The Lord of the Rings Mythol­o­gy Explained in 10 Min­utes, in Two Illus­trat­ed Videos

Map of Mid­dle-Earth Anno­tat­ed by Tolkien Found in a Copy of Lord of the Rings

The Ori­gins of the Death Growl in Met­al Music

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

The Strange History of Smooth Jazz: The Music We All Know and Love … to Hate

It’s the most unloved and derid­ed of music gen­res, but the his­to­ry of Smooth Jazz is not as bad as you might think. In anoth­er chap­ter of Vox’s excel­lent Ear­worm series (see Chap­ter 1 here and Chap­ter 2 here), Estelle Caswell explores the rise and fall of this mod­ern day ele­va­tor music and asks if it’s worth recon­sid­er­ing.

The undis­put­ed star of smooth jazz has to be the “Song­bird” him­self, the frizzy-hair be-coifed Ken­ny G. (The only part of the video I took issue with is when one fan is quot­ed say­ing “he was the cool white boy.” Ma’am, all due respect, but Ken­ny G was nev­er cool.) The man played along­side Clinton’s inau­gu­ra­tion and once broke a world record by hold­ing a note for 45 min­utes. The smoothest of smooth jazz issued forth from his sopra­no sax and like it or not, his was a read­i­ly iden­ti­fi­able sound in a genre where noth­ing is sup­posed to stand out.

Ear­worm first traces the his­to­ry of the form back to Grover Wash­ing­ton Jr., CTI Records, and oth­er artists like Wes Mont­gomery. While Miles Davis was explor­ing dif­fi­cult son­ic tex­tures, jazz head­ed into free improv ter­ri­to­ry, split­ting from tonal­i­ty in much the same split as befell clas­si­cal music. What emerged was some­thing clos­er to r’n’b and soul with impro­vised melodies over the top, or cov­ers of pop­u­lar pop hits from the ‘60s. This also could be seen as an evo­lu­tion of jazz’s raid­ing of the Great Amer­i­can Song­book along with Broad­way hits. If Coltrane could break “My Favorite Things” into cubism, sure­ly there was a place for Wes Mont­gomery to riff over the groove of “Goin’ Out of My Head” by Lit­tle Antho­ny and the Impe­ri­als.

And from Mont­gomery we get to George Ben­son, silky smooth and unde­ni­ably funky. He even scat sang his solos at the same time as he played them on the gui­tar. His records went plat­inum which meant some­thing in the days of rock’s ascen­dan­cy and jazz’s fall.

But as Ear­worm points out, Smooth Jazz only became a thing when mar­ket­ing stepped in. As freeform sta­tions were bought out by cor­po­ra­tions, mar­ket research firms tar­get­ed audi­ences with focus groups. It was in one of those groups that a woman described the music like Ben­son and Bob James as “smooth jazz,” and the name stuck. 
It’s fit­ting that the west coast was the birth­place in 1987 of the first “smooth jazz” sta­tion, KTWV in Los Ange­les, 94.7 THE WAVE, home of all sorts of laid-back grooves since the very begin­ning of jazz and pop. Oth­er sta­tions would soon fol­low suit, reach­ing a height of pop­u­lar­i­ty in 1994, when Ken­ny G won Best Adult Con­tem­po­rary Artist at the Amer­i­can Music Awards. It was “smooth sounds for a rough world,” as one adman called it, but what it real­ly was com­fort music for office drones.

Iron­i­cal­ly, the forces that put smooth jazz at the top were respon­si­ble for its fall, as new tech­nol­o­gy to mea­sure radio rat­ings found it couldn’t pick out the music from the back­ground sounds. By 2008 and the finan­cial implo­sion, smooth jazz radios sta­tions were on the decline and the great reces­sion killed it off.

It’s fit­ting because smooth jazz was the sound­track to a dream of cap­i­tal­ism, all the rough edges bur­nished away, blink­ered aspi­ra­tions made into melody. But when the dream melt­ed for every­body, smooth jazz evap­o­rat­ed. At least with soft rock you got songs and tales of heartache.

How­ev­er, it would not sur­prise me to see Smooth Jazz make a nos­tal­gic, iron­ic-but-not come­back. If Japan’s City Pop, which trades in sim­i­lar smooth tex­tures, can speak to the dis­af­fect­ed youth about a deep, afflu­ent wish that nev­er came true, Chuck Man­gione can’t be too far behind. And it just feels. so. good.

P.S. If you have a han­kerin’ to hear some smooth­ness right now, Vox has a Spo­ti­fy playlist for what ails you.

Relat­ed Con­tent:

How Youtube’s Algo­rithm Turned an Obscure 1980s Japan­ese Song Into an Enor­mous­ly Pop­u­lar Hit: Dis­cov­er Mariya Takeuchi’s “Plas­tic Love”

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

Jazz Decon­struct­ed: What Makes John Coltrane’s “Giant Steps” So Ground­break­ing and Rad­i­cal?

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.

Movie Accent Expert Analyzes 31 Actors Playing Other Famous People: Jamie Foxx as Ray Charles, Natalie Portman as Jackie Kennedy, Cate Blanchett as Bob Dylan, and More

Well-known fig­ures’ voic­es are often as dis­tinc­tive as their thou­sand-watt smiles and influ­en­tial hair­dos.

While there is some evi­dence as to the accents and idio­syn­crat­ic speech pat­terns of such his­tor­i­cal heavy hit­ters as Thomas Edi­son, Flo­rence Nightin­gale, and Har­ry Hou­di­ni, tech­no­log­i­cal improve­ments have real­ly upped the ante for those charged with imper­son­at­ing real life peo­ple from the mid 20th-cen­tu­ry onward.

Natal­ie Port­man had to sus­tain her Jack­ie Kennedy imper­son­ation for an entire fea­ture-length biopic, a per­for­mance dialect coach Erik Singer gives high marks, above. Port­man, he explains, has tru­ly inter­nal­ized Jackie’s idi­olect, the indi­vid­ual quirks that add yet anoth­er lay­er to such sig­ni­fiers as class and region.

As evi­dence, he sub­mits a side-by-side com­par­i­son of the First Lady’s famous 1962 tele­vised tour of the White House ren­o­va­tions she had spear­head­ed, and Portman’s recre­ation there­of.

Port­man has done her home­work with regard to breath pat­tern, pitch, and the refine­ment that strikes most 21st cen­tu­ry ears as a bit stilt­ed and strange. Most impres­sive to Singer is the way Port­man trans­fers Kennedy’s odd­ly musi­cal elon­ga­tion of cer­tain syl­la­bles to oth­er words in the script. Tis no mere par­rot job.

Jamie Foxx’s Oscar-win­ning turn as Ray Charles suc­ceeds on copi­ous research and his abil­i­ty to inhab­it Charles’ habit­u­al smile. Obvi­ous­ly, the pos­ture in which an indi­vid­ual holds their mouth has a lot to do with the sound of their voice, and Foxx was blessed with plen­ty of source mate­r­i­al.

The 1982 epic Gand­hi pro­vid­ed the ver­sa­tile Ben Kings­ley with the oppor­tu­ni­ty to show­case not one, but two, idi­olects. The adult Gand­hi under­went a dra­mat­ic and well doc­u­ment­ed evo­lu­tion from the British accent he adopt­ed as a young law stu­dent in Lon­don to a proud­ly Indi­an voice bet­ter suit­ed to inspir­ing a nation to uni­fy against its British col­o­niz­ers.

It’s like­ly that many of us have nev­er con­sid­ered the speech-relat­ed build­ing blocks Singer scru­ti­nizes while ana­lyz­ing 29 oth­er per­for­mances for the WIRED video, above—epenthesis, tongue posi­tions, rel­a­tive degrees of emphat­ic mus­cu­lar­i­ty, and retroflex consonants—but it’s easy to see how they play a part.

Singer invites you to expand his research and teach­ing library by record­ing your­self speak­ing extem­po­ra­ne­ous­ly and read­ing from two sam­ple texts here. Pray that who­ev­er plays you in the biopic gets it right.

Relat­ed Con­tent:

Peter Sell­ers Gives a Quick Demon­stra­tion of British Accents

Why Do Peo­ple Talk Fun­ny in Old Movies?, or The Ori­gin of the Mid-Atlantic Accent

Watch Meryl Streep Have Fun with Accents: Bronx, Pol­ish, Irish, Aus­tralian, Yid­dish & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  See her onstage in New York City through Decem­ber 20th in the 10th anniver­sary pro­duc­tion of Greg Kotis’ apoc­a­lyp­tic hol­i­day tale, The Truth About San­ta, and the book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

In 1964, Isaac Asimov Predicts What the World Will Look Like Today: Self-Driving Cars, Video Calls, Fake Meats & More

Paint­ing of Asi­mov on his throne by Rowe­na Morill, via Wiki­me­dia Com­mons

Isaac Asi­mov’s read­ers have long found some­thing prophet­ic in his work, but where did Asi­mov him­self look when he want­ed to catch a glimpse of the future? In 1964 he found one at the New York World’s Fair, the vast exhi­bi­tion ded­i­cat­ed to “Man’s Achieve­ment on a Shrink­ing Globe in an Expand­ing Uni­verse” that his­to­ry now remem­bers as the most elab­o­rate expres­sion of the indus­tri­al and tech­no­log­i­cal opti­mism of Space Age Amer­i­ca. Despite the fan­ci­ful nature of some of the prod­ucts on dis­play, vis­i­tors first saw things there — com­put­ers, for instance — that would become essen­tial in a mat­ter of decades.

“What is to come, through the fair’s eyes at least, is won­der­ful,” Asi­mov writes in a piece on his expe­ri­ence at the fair for the New York TimesBut it all makes him won­der: “What will life be like, say, in 2014 A.D., 50 years from now? What will the World’s Fair of 2014 be like?” His spec­u­la­tions begin with the notion that “men will con­tin­ue to with­draw from nature in order to cre­ate an envi­ron­ment that will suit them bet­ter,” which they cer­tain­ly have, though not so much through the use of “elec­tro­lu­mi­nes­cent pan­els” that will make “ceil­ings and walls will glow soft­ly, and in a vari­ety of col­ors that will change at the touch of a push but­ton.” Still, all the oth­er screens near-con­stant­ly in use seem to pro­vide all the glow we need for the moment.

“Gad­getry will con­tin­ue to relieve mankind of tedious jobs,” Asi­mov pre­dicts, and so it has, though our kitchens have yet to evolve to the point of prepar­ing “ ‘automeals,’ heat­ing water and con­vert­ing it to cof­fee; toast­ing bread; fry­ing, poach­ing or scram­bling eggs, grilling bacon, and so on.” He hits clos­er to the mark when declar­ing that “robots will nei­ther be com­mon nor very good in 2014, but they will be in exis­tence.” He notes that IBM’s exhib­it at the World’s Fair had noth­ing about robots to show, but plen­ty about com­put­ers, “which are shown in all their amaz­ing com­plex­i­ty, notably in the task of trans­lat­ing Russ­ian into Eng­lish. If machines are that smart today, what may not be in the works 50 years hence? It will be such com­put­ers, much minia­tur­ized, that will serve as the ‘brains’ of robots.”

“The appli­ances of 2014 will have no elec­tric cords,” Asi­mov writes, and in the case of our all-impor­tant mobile phones, that has turned out to be at least half-true. But we still lack the “long-lived bat­ter­ies run­ning on radioiso­topes” pro­duced by “fis­sion-pow­er plants which, by 2014, will be sup­ply­ing well over half the pow­er needs of human­i­ty.” The real decade of the 2010s turned out to be more attached to the old ways, not least by cords and cables, than Asi­mov imag­ined. Even the Unit­ed States of Amer­i­ca has­n’t quite mas­tered the art of design­ing high­ways so that “long bus­es move on spe­cial cen­tral lanes” along them, let alone forms of ground trav­el that “take to the air a foot or two off the ground.”

But one advance in trans­porta­tion Asi­mov describes will sound famil­iar to those of us liv­ing in the 2010s: “Much effort will be put into the design­ing of vehi­cles with ‘Robot-brains,’ vehi­cles that can be set for par­tic­u­lar des­ti­na­tions and that will then pro­ceed there with­out inter­fer­ence by the slow reflex­es of a human dri­ver.” Indeed, we hear about few report­ed­ly immi­nent tech­nolo­gies these days as much as we hear about self-dri­ving cars and their poten­tial to get us where we’re going while we do oth­er things, such as engage in com­mu­ni­ca­tions that “will become sight-sound and you will see as well as hear the per­son you tele­phone,” on a screen used “not only to see the peo­ple you call but also for study­ing doc­u­ments and pho­tographs and read­ing pas­sages from books.”

Con­ver­sa­tions with the moon colonies, Asi­mov need­less­ly warns us, “will be a tri­fle uncom­fort­able” because of the 2.5‑second delay. But imme­di­ate­ly there­after comes the much more real­is­tic pre­dic­tion that “as for tele­vi­sion, wall screens will have replaced the ordi­nary set.” Still, “all is not rosy” in the world of 2014, whose pop­u­la­tion will have swelled to 6,500,000,000 — or 7,298,453,033, as it hap­pened. This has many impli­ca­tions for devel­op­ment, hous­ing, and even agri­cul­ture, though the “mock-turkey” and “pseu­dosteak” eat­en today has more to do with lifestyle than neces­si­ty. (“It won’t be bad at all,” Asi­mov adds, “if you can dig up those pre­mi­um prices.”)

Final­ly, and per­haps most impor­tant­ly, “the world of A.D. 2014 will have few rou­tine jobs that can­not be done bet­ter by some machine than by any human being. Mankind will there­fore have become large­ly a race of machine ten­ders.” Asi­mov fore­sees the need for a change in edu­ca­tion to accom­mo­date that, one hint­ed at even in Gen­er­al Elec­tric’s exhib­it in 1964, which “con­sists of a school of the future in which such present real­i­ties as closed-cir­cuit TV and pro­grammed tapes aid the teach­ing process.” His envi­sioned high-school cur­ricu­lum would have stu­dents mas­ter “the fun­da­men­tals of com­put­er tech­nol­o­gy” and get them “trained to per­fec­tion in the use of the com­put­er lan­guage.”

But even with all these devel­op­ments, “mankind will suf­fer bad­ly from the dis­ease of bore­dom, a dis­ease spread­ing more wide­ly each year and grow­ing in inten­si­ty.” The “seri­ous men­tal, emo­tion­al and soci­o­log­i­cal con­se­quences” of that will make psy­chi­a­try an impor­tant med­ical spe­cial­ty, and “the lucky few who can be involved in cre­ative work of any sort will be the true elite of mankind, for they alone will do more than serve a machine.” Though Asi­mov may have been sur­prised by what we’ve come up with in the quar­ter-cen­tu­ry since his death, as well as what we haven’t come up with, he would sure­ly have under­stood the sorts of anx­i­eties that now beset us in the future-turned-present in which we live. But even giv­en all the ways in which his pre­dic­tions in 1964 have proven more or less cor­rect, he did miss one big thing: there was no World’s Fair in 2014.

Relat­ed Con­tent:

Isaac Asi­mov Laments the “Cult of Igno­rance” in the Unit­ed States: A Short, Scathing Essay from 1980

Arthur C. Clarke Pre­dicts in 2001 What the World Will Look By Decem­ber 31, 2100

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Stream 48 Classic & Contemporary German Films Free Online: From Fritz Lang’s Metropolis to Margarethe von Trotta’s Hannah Arendt

If you’re read­ing this, there’s a good chance you’ve seen the Ger­man Expres­sion­ist clas­sic The Cab­i­net of Dr. Cali­gari. As soon as Robert Weine’s 1920 film came out, it was described as essen­tial. Or as one review­er wrote, “so-called cul­tured peo­ple who fail to see it are neglect­ing their edu­ca­tion.” There are dozens more Ger­man films to which that sen­tence might apply. Films from the country’s explo­sive Weimar moment—which also pro­duced Metrop­o­lis, Nos­fer­atu, M, Faust, etc.—to those of the New Ger­man Cin­e­ma move­ment of the 1960s and 70s, which gave the world such enfants ter­ri­bles as Wim Wen­ders, Mar­garethe von Trot­ta, Wern­er Her­zog, and Rain­er Maria Fass­binder. The furi­ous­ly pro­lif­ic Fass­binder died in 1982 at 37, but the for­mer three direc­tors have con­tin­ued to make inter­na­tion­al­ly-known films into the 21st cen­tu­ry.

You may have seen Von Trotta’s Han­nah Arendt (trail­er above), which won mul­ti­ple awards in 2012. Or per­haps you caught Car­o­line Link’s WWII-themed Nowhere in Africa, which won an Oscar that same year. The Nazi era may have laid waste to the Ger­man film industry—whose biggest tal­ents end­ed up exiled in Hol­ly­wood—and the post­war years are often thought of as a “lost decade” (wrong­ly, it seems). But on the whole, Ger­man film­mak­ers have pro­duced some of the most visu­al­ly dis­tinc­tive, nar­ra­tive­ly thrilling, and emo­tion­al­ly raw films in world cin­e­ma since its begin­nings.

WERNER HERZOG TEACHES FILMMAKING. LEARN MORE.

Germany’s cul­tur­al insti­tute, the Goethe Insti­tut, is hon­or­ing the lega­cy of Ger­man film, from its clas­sic to its con­tem­po­rary peri­ods, with 48 films free to stream on Kanopy. (The films include sub­ti­tles in Eng­lish.) The ini­tia­tive is just one part of Wun­der­bar, a cel­e­bra­tion that includes “Goethe Pop Ups in the US,” with film screen­ings, fes­ti­vals, appear­ances by Ger­man film­mak­ers, and an online series of crit­i­cal arti­cles by Ger­man and Amer­i­can experts.

If you haven’t seen Dr. Cali­gari, Nos­fer­atuMetrop­o­lis, or Faust, you can stream them now at the Goethe Institut’s Kanopy. You can also see Han­nah Arendt, Nowhere in Africa, and oth­er acclaimed con­tem­po­rary films. Herzog’s 1971 Aguirre, the Wrath of God is in the col­lec­tion, as is Frank Beyer’s far more obscure Trace of Stones from 1966, a film banned for 25 years by East Ger­man offi­cials after its release.

There are doc­u­men­taries on artists like Joseph Beuys and Ger­hard Richter, on Mar­lene Diet­rich and, nat­u­ral­ly, Ger­man beer. Films by direc­tors Anne Birken­stock, Chris­t­ian Pet­zold, and Tom Tyk­w­er. Berlin Inter­na­tion­al Film Fes­ti­val nom­i­nee Beloved Sis­ters appears. There are films that “so-called cul­tured peo­ple” are expect­ed to have seen, and many more unlike­ly to show up on the syl­labus of a sur­vey course.

Per­haps only one of these movies has been specif­i­cal­ly cred­it­ed with grim­ly pre­dict­ing the future—as Siegfried Kra­cauer alleged in his book Cali­gari to Hitler. But all of these are films that deserve a wide audi­ence out­side their nation­al bor­ders. To view the Goethe Institut’s selec­tion of 48 films, you’ll need to sign up for a free Kanopy account, which you can do with your Google or Face­book logins or with an email address. Then sim­ply set your home library as “Goethe-Insti­tut” and you can stream any or all of the films in the col­lec­tion, from 1920’s Cali­gari to 2017’s Axolotl Overkill, on IOS and Android devices, Apple TV, Roku, Chrome­cast, or your com­put­er.

Relat­ed Con­tent:

10 Great Ger­man Expres­sion­ist Films: From Nos­fer­atu to The Cab­i­net of Dr. Cali­gari

Watch Wern­er Herzog’s Very First Film, Her­ak­les, Made When He Was Only 19-Years-Old (1962)

Film­mak­er Wim Wen­ders Explains How Mobile Phones Have Killed Pho­tog­ra­phy

The Top 100 For­eign-Lan­guage Films of All-Time, Accord­ing to 209 Crit­ics from 43 Coun­tries

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

Andy Kaufman Reads Earnestly from The Great Gatsby and Enrages His Audience

In a 1980 appear­ance on David Let­ter­man, a dead­pan Andy Kauf­man tells a sob sto­ry about his nonex­is­tent fam­i­ly leav­ing him. He then “admon­ish­es the audi­ence for laugh­ing,” writes William Hugh­es at the AV Club, and pan­han­dles for their spare change. “The genius of the bit, as always, is that Kauf­man nev­er blinks. Even as he’s led away by the show’s staff, there’s noth­ing about his unemo­tion­al entreaties that sug­gests that what he’s doing isn’t any­thing but the sober-cold truth.”

He pulled a sim­i­lar stunt the fol­low­ing year, in a guest appear­ance on a short-lived SNL knock­off called Fri­days. After bel­liger­ent­ly break­ing char­ac­ter dur­ing a sketch, he appeared the fol­low­ing week to deliv­er an apol­o­gy, which became a bit­ter, sad sack appeal for sym­pa­thy, while he stared blankly at the cam­era in what his writ­ing part­ner Bob Zmu­da called his “glazed-over hostage look.” Kauf­man was “more of an antag­o­nist of his audi­ence than an ally,” Jake Rossen com­ments at Men­tal Floss.

Rather than punch­ing up or down, he punched out, open­ly exploit­ing our trust and abus­ing our patience. Kauf­man invit­ed us to mock him, only to reroute our respons­es into empa­thy, anger, con­fu­sion, or bore­dom. “Many crowds had streamed into com­e­dy clubs only to endure Kauf­man nap­ping in a sleep­ing bag,” writes Rossen, “or read­ing earnest­ly from The Great Gats­by, threat­en­ing to start all over again if they inter­rupt­ed.” Once giv­en a choice between him read­ing or play­ing a record, a night­club chose the record. “It was the sound of Kauf­man read­ing.”

Just what is the prop­er response to this? The emo­tion­al mis­di­rec­tion works so well because we know we should react a cer­tain way, for exam­ple, to a bro­ken man in great distress—whether he’s ask­ing for spare change or look­ing for all the world like a kid­nap vic­tim. In his Gats­by read­ing, Kauf­man pulls a dif­fer­ent lever—drawing on our innate sense of deco­rum dur­ing a lit­er­ary event, one con­duct­ed by a vague­ly Euro­pean-sound­ing man in a tuxe­do, no less. He incites his audi­ence by mak­ing them laugh at a sit­u­a­tion they would, in its prop­er con­text, try to take seri­ous­ly.

In the clip of Kauf­man read­ing Gats­by at the top, he begins with a cou­ple rus­es and feints: play­ing a snip­pet of a record that makes us think we might be in for a Mighty Mouse-like rou­tine, intro­duc­ing him­self as an actor who plays a screw­ball Amer­i­can com­ic named Andy Kauf­man. Once he launch­es into Gats­by, how­ev­er, and it becomes clear he isn’t going to stop, that the read­ing is the act, the audi­ence becomes incensed, express­ing a pal­pa­ble sense of betray­al.

You came for com­e­dy, he tells them in his Let­ter­man and Fri­days bits; I’m going to give you human­i­ty. You came for com­e­dy, he announces in the Gats­by read­ing; I’m going to give you cul­ture, whether you want it or not. But it’s not me who’s mis­be­hav­ing, he says (in dia­bol­i­cal ver­sions of “stop hit­ting your­self”), it’s you. In the clip above from Man on the Moon, Jim Car­rey draws out the pas­sive aggres­sive impuls­es inher­ent in these maneu­vers, show­ing Andy break­ing out Gats­by as an act of retal­i­a­tion against a crowd who demands that he enter­tain them on their terms.

Relat­ed Con­tent:

Andy Kauf­man Cre­ates May­hem on Late Night TV: When Com­e­dy Becomes Per­for­mance Art (1981)

The Improb­a­ble Time When Orson Welles Inter­viewed Andy Kauf­man (1982)

A Look Back at Andy Kauf­man: Absurd Com­ic Per­for­mance Artist and Endear­ing Weirdo

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

Hunter S. Thompson, Existentialist Life Coach, Presents Tips for Finding Meaning in Life

hst

Image by Steve Ander­son, via Wiki­me­dia Com­mons

At first blush, Hunter S. Thomp­son might be the last per­son you would want to ask for advice. After all, his dai­ly rou­tine involved copi­ous amounts of cocaine, LSD and Chivas Regal. He once raked a neighbor’s house with gun­fire. And he once almost acci­den­tal­ly blew up John­ny Depp. Yet beneath his gonzo per­sona lay a man who thought deeply and often about the mean­ing of it all. He was some­one who spent a life­time star­ing into the abyss.

So in 1958, before he became a counter-cul­ture icon, before he even start­ed writ­ing pro­fes­sion­al­ly, Thomp­son wrote a long let­ter about some of the big ques­tions in life to his friend, Hume Logan, who was in the throes of an exis­ten­tial cri­sis.

While the first cou­ple of para­graphs warns against the dan­gers of seek­ing advice, Hunter then expounds at length on some deep, and sur­pris­ing­ly lev­el-head­ed truths. Below are a few pearls of wis­dom:

  • Whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this!
  • You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.)
  • To put our faith in tan­gi­ble goals would seem to be, at best, unwise. We do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.
  • Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.
  • Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

The let­ter was pub­lished in the 2013 book, Let­ters of Note. You can read it in its entire­ty below.

April 22, 1958
57 Per­ry Street
New York City

Dear Hume,

You ask advice: ah, what a very human and very dan­ger­ous thing to do! For to give advice to a man who asks what to do with his life implies some­thing very close to ego­ma­nia. To pre­sume to point a man to the right and ulti­mate goal— to point with a trem­bling fin­ger in the RIGHT direc­tion is some­thing only a fool would take upon him­self.

I am not a fool, but I respect your sin­cer­i­ty in ask­ing my advice. I ask you though, in lis­ten­ing to what I say, to remem­ber that all advice can only be a prod­uct of the man who gives it. What is truth to one may be dis­as­ter to anoth­er. I do not see life through your eyes, nor you through mine. If I were to attempt to give you spe­cif­ic advice, it would be too much like the blind lead­ing the blind.

“To be, or not to be: that is the ques­tion: Whether ’tis nobler in the mind to suf­fer the slings and arrows of out­ra­geous for­tune, or to take arms against a sea of trou­bles … ” (Shake­speare)

And indeed, that IS the ques­tion: whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this! Think of any deci­sion you’ve ever made which had a bear­ing on your future: I may be wrong, but I don’t see how it could have been any­thing but a choice how­ev­er indi­rect— between the two things I’ve men­tioned: the float­ing or the swim­ming.

But why not float if you have no goal? That is anoth­er ques­tion. It is unques­tion­ably bet­ter to enjoy the float­ing than to swim in uncer­tain­ty. So how does a man find a goal? Not a cas­tle in the stars, but a real and tan­gi­ble thing. How can a man be sure he’s not after the “big rock can­dy moun­tain,” the entic­ing sug­ar-can­dy goal that has lit­tle taste and no sub­stance?

The answer— and, in a sense, the tragedy of life— is that we seek to under­stand the goal and not the man. We set up a goal which demands of us cer­tain things: and we do these things. We adjust to the demands of a con­cept which CANNOT be valid. When you were young, let us say that you want­ed to be a fire­man. I feel rea­son­ably safe in say­ing that you no longer want to be a fire­man. Why? Because your per­spec­tive has changed. It’s not the fire­man who has changed, but you. Every man is the sum total of his reac­tions to expe­ri­ence. As your expe­ri­ences dif­fer and mul­ti­ply, you become a dif­fer­ent man, and hence your per­spec­tive changes. This goes on and on. Every reac­tion is a learn­ing process; every sig­nif­i­cant expe­ri­ence alters your per­spec­tive.

So it would seem fool­ish, would it not, to adjust our lives to the demands of a goal we see from a dif­fer­ent angle every day? How could we ever hope to accom­plish any­thing oth­er than gal­lop­ing neu­ro­sis?

The answer, then, must not deal with goals at all, or not with tan­gi­ble goals, any­way. It would take reams of paper to devel­op this sub­ject to ful­fill­ment. God only knows how many books have been writ­ten on “the mean­ing of man” and that sort of thing, and god only knows how many peo­ple have pon­dered the sub­ject. (I use the term “god only knows” pure­ly as an expres­sion.) There’s very lit­tle sense in my try­ing to give it up to you in the prover­bial nut­shell, because I’m the first to admit my absolute lack of qual­i­fi­ca­tions for reduc­ing the mean­ing of life to one or two para­graphs.

I’m going to steer clear of the word “exis­ten­tial­ism,” but you might keep it in mind as a key of sorts. You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.) But back to the answer. As I said, to put our faith in tan­gi­ble goals would seem to be, at best, unwise. So we do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.

But don’t mis­un­der­stand me. I don’t mean that we can’t BE fire­men, bankers, or doc­tors— but that we must make the goal con­form to the indi­vid­ual, rather than make the indi­vid­ual con­form to the goal. In every man, hered­i­ty and envi­ron­ment have com­bined to pro­duce a crea­ture of cer­tain abil­i­ties and desires— includ­ing a deeply ingrained need to func­tion in such a way that his life will be MEANINGFUL. A man has to BE some­thing; he has to mat­ter.

As I see it then, the for­mu­la runs some­thing like this: a man must choose a path which will let his ABILITIES func­tion at max­i­mum effi­cien­cy toward the grat­i­fi­ca­tion of his DESIRES. In doing this, he is ful­fill­ing a need (giv­ing him­self iden­ti­ty by func­tion­ing in a set pat­tern toward a set goal), he avoids frus­trat­ing his poten­tial (choos­ing a path which puts no lim­it on his self-devel­op­ment), and he avoids the ter­ror of see­ing his goal wilt or lose its charm as he draws clos­er to it (rather than bend­ing him­self to meet the demands of that which he seeks, he has bent his goal to con­form to his own abil­i­ties and desires).

In short, he has not ded­i­cat­ed his life to reach­ing a pre-defined goal, but he has rather cho­sen a way of life he KNOWS he will enjoy. The goal is absolute­ly sec­ondary: it is the func­tion­ing toward the goal which is impor­tant. And it seems almost ridicu­lous to say that a man MUST func­tion in a pat­tern of his own choos­ing; for to let anoth­er man define your own goals is to give up one of the most mean­ing­ful aspects of life— the defin­i­tive act of will which makes a man an indi­vid­ual.

Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.

Nat­u­ral­ly, it isn’t as easy as it sounds. You’ve lived a rel­a­tive­ly nar­row life, a ver­ti­cal rather than a hor­i­zon­tal exis­tence. So it isn’t any too dif­fi­cult to under­stand why you seem to feel the way you do. But a man who pro­cras­ti­nates in his CHOOSING will inevitably have his choice made for him by cir­cum­stance.

So if you now num­ber your­self among the dis­en­chant­ed, then you have no choice but to accept things as they are, or to seri­ous­ly seek some­thing else. But beware of look­ing for goals: look for a way of life. Decide how you want to live and then see what you can do to make a liv­ing WITHIN that way of life. But you say, “I don’t know where to look; I don’t know what to look for.”

And there’s the crux. Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

If I don’t call this to a halt, I’m going to find myself writ­ing a book. I hope it’s not as con­fus­ing as it looks at first glance. Keep in mind, of course, that this is MY WAY of look­ing at things. I hap­pen to think that it’s pret­ty gen­er­al­ly applic­a­ble, but you may not. Each of us has to cre­ate our own cre­do— this mere­ly hap­pens to be mine.

If any part of it doesn’t seem to make sense, by all means call it to my atten­tion. I’m not try­ing to send you out “on the road” in search of Val­hal­la, but mere­ly point­ing out that it is not nec­es­sary to accept the choic­es hand­ed down to you by life as you know it. There is more to it than that— no one HAS to do some­thing he doesn’t want to do for the rest of his life. But then again, if that’s what you wind up doing, by all means con­vince your­self that you HAD to do it. You’ll have lots of com­pa­ny.

And that’s it for now. Until I hear from you again, I remain,

your friend,
Hunter

Note: An ear­li­er ver­sion of this post appeared on our site in Feb­ru­ary 2015.

Relat­ed Con­tent:

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Hunter S. Thompson’s Deca­dent Dai­ly Break­fast: The “Psy­chic Anchor” of His Fre­net­ic Cre­ative Life

How Hunter S. Thomp­son Gave Birth to Gonzo Jour­nal­ism: Short Film Revis­its Thompson’s Sem­i­nal 1970 Piece on the Ken­tucky Der­by

Hunter S. Thomp­son Chill­ing­ly Pre­dicts the Future, Telling Studs Terkel About the Com­ing Revenge of the Eco­nom­i­cal­ly & Tech­no­log­i­cal­ly “Obso­lete” (1967)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

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