Watch a Marathon Streaming of All 856 Episodes of Mister Rogers Neighborhood, and the Moving Trailer for the New Documentary, Won’t You Be My Neighbor?

The bom­bast, arro­gance and bloviation–maybe you need a break from it all. You may need exact­ly the opposite–a lit­tle Fred Rogers. If so, we’ve got two things for you. First, head over to Twitch.TV where they’re cur­rent­ly livestream­ing all 856 episodes of Mis­ter Rogers Neigh­bor­hood (for a lim­it­ed time). It’s a grand way of cel­e­brat­ing what would have been Fred’s 90th birth­day this week. And then, above, watch the brand new trail­er for Won’t You Be My Neigh­bor?, the upcom­ing doc­u­men­tary by Oscar-win­ning direc­tor Mor­gan Neville (20 Feet from Star­dom). Due out in June, the film “takes us beyond the zip-up cardi­gans and the land of make-believe, and into the heart of a cre­ative genius who inspired gen­er­a­tions of chil­dren with com­pas­sion and lim­it­less imag­i­na­tion.” As you watch the trail­er, you’ll be remind­ed that Rogers worked his mag­ic dur­ing oth­er peri­ods of chaos and dis­con­tent, and how sore­ly his calm­ing pres­ence is miss­ing today.

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Relat­ed Con­tent:

Mis­ter Rogers Turns Kids On to Jazz with Help of a Young Wyn­ton Marsalis and Oth­er Jazz Leg­ends (1986)

Watch Mr. Rogers Per­suade Con­gress to Stop Cut­ting PBS Bud­get in 1969 : Would It Stop Trump from Defund­ing PBS & NEA Today?

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

All of the Songs Played on “WKRP in Cincinnati” in One Spotify Playlist: Stream 202 Classic Tracks

I don’t know how many peo­ple still watch WKRP in Cincin­nati (appar­ent­ly it is stream­ing on Hulu), or how well the jokes have aged, but there is a small but ded­i­cat­ed fan base out there. Part of it might be nos­tal­gia not just for the sit­com itself, but for a time when radio sta­tions were idio­syn­crat­ic things, not just part of vast media con­glom­er­ates that have a song playlist you could fit onto a thumb dri­ve. Ask any boomer and they’ll recall their own favorite real-life ver­sions of rock DJ John­ny Fever (Howard Hes­se­man) and funk/soul DJ Venus Fly­trap (Tim Reid).

Recent­ly, one ded­i­cat­ed fan went through the first sea­son and iden­ti­fied every song played on the shows, and pro­duced this spread­sheet first men­tioned on Boing­Bo­ing. That then led to some­body wish­ing for a Spo­ti­fy playlist and of course the Inter­net has pro­vid­ed. Find the playlist and stream all 202 tracks below.

What to make of the choic­es? DJ John­ny Fever starts off with Ted Nugent’s “Queen of the For­est” to announce the station’s switch from muzak to a rock/Top 40 for­mat in the first episode. A major­i­ty of the songs are major label selec­tions, with the Rolling Stones the favorite choice through the sea­son with five songs total. Oth­er bands are still sta­ples of clas­sic rock for­mat sta­tions to this day: Bob Seger, Boston, Styx, Van Mor­ri­son, For­eign­er, The Grate­ful Dead, Blondie, The Doors. Venus Flytrap’s selec­tions aren’t as com­mon, but they are also a famil­iar cross-sec­tion of the dis­co era: Chic, A Taste of Hon­ey, Eve­lyn Cham­pagne King, and Mar­vin Gaye.

One inter­est­ing appear­ance was Michael Des Bar­res, for­mer front­man of the rock band Detec­tive (who were signed to Led Zeppelin’s Swan Song label), and post-Robert Palmer front­man of Pow­er Sta­tion. He was cast as the lead singer of the punk band “Scum of the Earth” in one WKRP episode, where he sang three Detec­tive tunes. (The band actu­al­ly came dressed in busi­ness suits, so I’m not sure how “punk” they were). Now, the pro­duc­ers must have liked Michael Des Bar­res, because when the ill-fat­ed sequel The New WKRP in Cincin­nati pre­miered in 1991, he played one half of a morn­ing show team.

Cre­ator Hugh Wil­son explains in this video how cost­ly some of the orig­i­nal rights usages could be, where maybe “I could get 17 sec­onds of Pink Floyd for $3,000.” But as the show grew in pop­u­lar­i­ty, record com­pa­nies start­ed to treat the show “like a real sta­tion” and pro­vid­ing music and mer­chan­dise to dress the sets.

The use of actu­al radio hits (and not “sounda­likes”) became a prob­lem for the show in syn­di­ca­tion. When it was time to renew the rights, the var­i­ous media com­pa­nies want­ed 10 times as much. As Wil­son says, that was the end of WKRP in syn­di­ca­tion.

The Shout Fac­to­ry DVD box set was able to repro­duce most of Sea­son one with 80 per­cent of the orig­i­nal music intact, and it’s pos­si­bly why only one sea­son is out there.

That also may be why that $3,000 worth of Pink Floyd only exists as a very blur­ry YouTube video up at the top of the post.

Relat­ed Con­tent:

Hear the Only Instru­men­tal Ever Banned from the Radio: Link Wray’s Seduc­tive, Raunchy Song, “Rum­ble” (1958)

A His­to­ry of Rock ‘n’ Roll in 100 Riffs

Rick Wake­man Tells the Sto­ry of the Mel­lotron, the Odd­ball Pro­to-Syn­the­siz­er Pio­neered by the Bea­t­les

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.

Infographics Show How the Different Fields of Biology, Chemistry, Mathematics, Physics & Computer Science Fit Together

Ask any­one who’s pur­sued a career in the sci­ences what first piqued their inter­est in what would become their field, and they’ll almost cer­tain­ly have a sto­ry. Gaz­ing at the stars on a camp­ing trip, rais­ing a pet frog, fool­ing around with com­put­ers and their com­po­nents: an expe­ri­ence sparks a desire for knowl­edge and under­stand­ing, and the pur­suit of that desire even­tu­al­ly deliv­ers one to their spe­cif­ic area of spe­cial­iza­tion.

Or, as they say in sci­ence, at least it works that way in the­o­ry; the real­i­ty usu­al­ly unrolls less smooth­ly. On such a jour­ney, just like any oth­er, it might help to have a map.

Enter the work of sci­ence writer and physi­cist Dominic Wal­li­man, whose ani­mat­ed work on the Youtube chan­nel Domain of Sci­ence we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture. (See the “Relat­ed Con­tent” sec­tion below for the links.)

Wal­li­man’s videos astute­ly explain how the sub­fields of biol­o­gy, chem­istry, math­e­mat­ics, physics, and com­put­er sci­ence relate to each oth­er, but now he’s turned that same mate­r­i­al into info­graph­ics read­able at a glance: maps, essen­tial­ly, of the intel­lec­tu­al ter­ri­to­ry. He’s made these maps, of biol­o­gy, chem­istry, math­e­mat­ics, physics, and com­put­er sci­ence, freely avail­able on his Flickr account: you can view them all on a sin­gle page here along with a few more of his info­graph­ics..

As much use as Wal­li­man’s maps might be to sci­ence-mind­ed young­sters look­ing for the best way to direct their fas­ci­na­tions into a prop­er course of study, they also offer a help­ful reminder to those far­ther down the path — espe­cial­ly those who’ve strug­gled with the blind­ers of hyper­spe­cial­iza­tion — of where their work fits in the grand scheme of things. No mat­ter one’s field, sci­en­tif­ic or oth­er­wise, one always labors under the threat of los­ing sight of the for­est for the trees. Or the realm of life for the bioin­for­mat­ics, bio­physics, and bio­math­e­mat­ics; the whole of math­e­mat­ics for the num­ber the­o­ry, the dif­fer­en­tial geom­e­try, and the dif­fer­en­tial equa­tions; the work­ings of com­put­ers for the sched­ul­ing, the opti­miza­tion, and the boolean sat­is­fi­a­bil­i­ty.

Relat­ed Con­tent:

The Map of Biol­o­gy: Ani­ma­tion Shows How All the Dif­fer­ent Fields in Biol­o­gy Fit Togeth­er

The Map of Com­put­er Sci­ence: New Ani­ma­tion Presents a Sur­vey of Com­put­er Sci­ence, from Alan Tur­ing to “Aug­ment­ed Real­i­ty”

The Map of Math­e­mat­ics: Ani­ma­tion Shows How All the Dif­fer­ent Fields in Math Fit Togeth­er

The Map of Physics: Ani­ma­tion Shows How All the Dif­fer­ent Fields in Physics Fit Togeth­er

The Map of Chem­istry: New Ani­ma­tion Sum­ma­rizes the Entire Field of Chem­istry in 12 Min­utes

The Art of Data Visu­al­iza­tion: How to Tell Com­plex Sto­ries Through Smart Design

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

Bertrand Russell’s Advice to People Living 1,000 Years in the Future: “Love is Wise, Hatred is Foolish”

In these times of high anx­i­ety, bat­tles over “free speech”—on col­lege cam­pus­es, in cor­po­rate offices, on air­waves and the internet—can seem extreme­ly myopic from a cer­tain per­spec­tive. The per­spec­tive I mean is one in which a dis­turb­ing num­ber of mes­sages broad­cast per­pet­u­al­ly to mil­lions of peo­ple bear lit­tle rela­tion­ship to sci­en­tif­ic, his­tor­i­cal, or social facts, so that it becomes increas­ing­ly dif­fi­cult for many peo­ple to tell fact from fic­tion. Debat­ing whether or not such speech is “free” out­side of any con­sid­er­a­tion for what pur­pose it serves, who it harms, and why it should drown out oth­er speech because it appeals to wide­spread prej­u­dices or pow­er­ful, monied inter­ests seems gross­ly irre­spon­si­ble at best.

Most philoso­phers who have con­sid­ered these mat­ters have stressed the impor­tant rela­tion­ship between rea­son and ethics. In the clas­si­cal for­mu­la, per­sua­sive speech was con­sid­ered to have three dimen­sions: logos—the use of facts and log­i­cal argu­ments; ethos—the appeal to com­mon stan­dards of val­ue; and pathos—a con­sid­er­a­tion for the emo­tion­al res­o­nance of lan­guage. While the force­ful dialec­ti­cal rea­son­ing of Pla­to and his con­tem­po­raries val­ued par­rhe­sia—which Michel Fou­cault trans­lates as “free speech,” but which can also means “bold” or “can­did” speech—classical thinkers also val­ued social har­mo­ny and did not intend that philo­soph­i­cal debate be a scorched-earth war with the inten­tion to win at all costs.

Bertrand Rus­sell, the bril­liant math­e­mati­cian, philoso­pher, and anti-war activist, invoked this tra­di­tion often (as in his let­ter declin­ing a debate with British fas­cist Oswald Mosley). In the video above he answers the ques­tion, “what would you think it’s worth telling future gen­er­a­tions about the life you’ve lived and the lessons you’ve learned from it.” His answer may not val­i­date the prej­u­dices of cer­tain par­ti­sans, but nei­ther does it evince any kind of spe­cial par­ti­san­ship itself. Rus­sell breaks his advice into two, inter­de­pen­dent cat­e­gories, “intel­lec­tu­al and moral.”

When you are study­ing any mat­ter or con­sid­er­ing any phi­los­o­phy, ask your­self only what are the facts and what is the truth that the facts bear out. Nev­er let your­self be divert­ed either by what you wish to believe, or by what you think would have benef­i­cent social effects if it were believed. But look only, and sole­ly, at what are the facts.

The moral thing I should wish to say to them is very sim­ple. I should say love is wise, hatred is fool­ish. In this world, which is get­ting more and more inter­con­nect­ed, we have to learn to tol­er­ate each oth­er, we have to learn to put up with the fact that some peo­ple say things that we don’t like. We can only live togeth­er in that way. And if we are to live togeth­er and not die togeth­er, we should learn the kind of tol­er­ance which is absolute­ly vital to the con­tin­u­a­tion of human life on this plan­et.

The gist: our speech should con­form to the facts of the mat­ter; rather than wish­ful think­ing, we should accept that peo­ple will say things we don’t like, but if we can­not love but only hate each oth­er, we’ll prob­a­bly end up destroy­ing our­selves.

The video above, from the BBC pro­gram Face-to-Face, was record­ed in 1959.

Relat­ed Con­tent:

Bertrand Rus­sell Writes an Art­ful Let­ter, Stat­ing His Refusal to Debate British Fas­cist Leader Oswald Mosley (1962)

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

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

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

A Free Online Course Helps Us Identify Hoaxes, Rumors & Misinformation in the News

In ear­ly Feb­ru­ary, we high­light­ed for you A Field Guide to Fake News and Oth­er Infor­ma­tion Dis­or­ders, a free man­u­al pub­lished by First Draft, a non-prof­it based at Har­vard’s Shoren­stein Cen­ter that sup­ports truth and trust in news.

This month, First Draft has fol­lowed up with Ver­i­fi­ca­tion Train­ing, a free online course designed to help “teach­ers, jour­nal­ists and the gen­er­al pub­lic [learn] how to ver­i­fy online media, so that they don’t fall for hoax­es, rumors and mis­in­for­ma­tion.” The handy and time­ly course was devel­oped by Claire War­dle, First Draft’s exec­u­tive direc­tor. You can sign up here.

Ver­i­fi­ca­tion Train­ing will be added to our meta col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

A Field Guide to Fake News and Oth­er Infor­ma­tion Dis­or­ders: A Free Man­u­al to Down­load, Share & Re-Use

Han­nah Arendt Explains How Pro­pa­gan­da Uses Lies to Erode All Truth & Moral­i­ty: Insights from The Ori­gins of Total­i­tar­i­an­ism

Down­load Theft! A His­to­ry of Music, a New Free Graph­ic Nov­el Explor­ing 2,000 Years of Musi­cal Bor­row­ing

An Artist Visits Stonehenge in 1573 and Paints a Charming Watercolor Painting of the Ancient Ruins

The pur­pose of the mon­u­men­tal druidi­cal struc­ture known as Stone­henge has been lost to us, but many the­o­ries abound, “from the ratio­nal to the irra­tional to the mag­i­cal.” On the mag­i­cal end of the scale, we have the giant stones asso­ci­at­ed with King Arthur and the wiz­ard Mer­lin. On the more ratio­nal side, spec­u­la­tion that the struc­ture func­tioned as a cal­en­dar for reli­gious cer­e­monies or agri­cul­tur­al sea­sons.

While the search for answers may be irre­sistible, we may nev­er know exact­ly what the builders of Stone­henge intend­ed. But we learn much by study­ing how oth­ers have approached the ancient mon­u­ment in the past. Exis­tent stud­ies of Stone­henge with illus­tra­tions date back to the 14th cen­tu­ry. These Medieval rep­re­sen­ta­tions tried to sit­u­ate the stones in a “Chris­t­ian view of world his­to­ry,” as Art His­to­ry pro­fes­sor Sam Smiles writes at the British Library.

A cen­tu­ry lat­er, draw­ings of the stones show more of an inter­est in its archi­tec­tur­al fea­tures. One man­u­script includes “a tiny illus­tra­tion of four trilithons (two ver­ti­cal stones sup­port­ing a lin­tel).” Remark­ably, writes Smiles, “the artist has under­stood how the lin­tels were fixed to the uprights by a mor­tise and tenon joint.” The draw­ing may rep­re­sent “the ear­li­est sur­viv­ing rep­re­sen­ta­tion of Stone­henge based on direct obser­va­tion.”

The prac­tice of draw­ing Stone­henge from life con­tin­ued, and in the water­col­or above by Flem­ish painter Lucas de Heere, dat­ing from cir­ca 1573, we see “a more topo­graph­i­cal approach.” Relat­ed to oth­er sim­i­lar images cre­at­ed around the same time, the paint­ing shows us an ear­ly exam­ple of what came to be called “chorog­ra­phy,” which archae­ol­o­gist Michael Shanks describes as refer­ring to “anti­quar­i­an works that dealt in topog­ra­phy, place, com­mu­ni­ty, his­to­ry, mem­o­ry.”

Rather than con­sid­er­ing it only as a mys­ti­cal or sacred site or an archi­tec­tur­al mar­vel, de Heere’s depic­tion of Stone­henge folds both of these inter­ests into a larg­er con­cern with Eng­lish land­scape and his­to­ry, of the kind exem­pli­fied by William Camden’s 1586 Bri­tan­nia, a choro­graph­i­cal sur­vey of Britain and Ire­land. Works like de Heere’s and Camden’s are part of the “Re-Dis­cov­ery of Eng­land,” as his­to­ri­an R.C. Richard­son argues, that took place under the reign of Eliz­a­beth I, and which pro­duced a new nation­al his­to­ry, “designed to extend the bound­aries of knowl­edge and under­stand­ing.”

As chorog­ra­phy devel­oped as a dis­ci­pline, Stone­henge and oth­er ancient mon­u­ments con­tin­ued to exert a fas­ci­na­tion for their his­tor­i­cal, topo­graph­i­cal, and arche­o­log­i­cal fea­tures. By the “last quar­ter of the 18th cen­tu­ry,” Smiles tells us, “pre­his­toric mon­u­ments began to be reg­u­lar­ly includ­ed in topo­graph­i­cal sur­veys,” such as Thomas Hearne’s 1779 Antiq­ui­ties of Great Britain, which includ­ed the engrav­ing just above as its final plate. Learn more about the devel­op­ment of topog­ra­phy and its inter­est in ancient British mon­u­ments, and see many more of these his­toric images, at the British Library’s site.

Relat­ed Con­tent:

How Illu­mi­nat­ed Medieval Man­u­scripts Were Made: A Step-by-Step Look at this Beau­ti­ful, Cen­turies-Old Craft

1,000-Year-Old Man­u­script of Beowulf Dig­i­tized and Now Online

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

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

The Story of How David Jones Became David Bowie Gets Told in a New Graphic Novel

What, exact­ly, turned David Jones into David Bowie? Observers have been ask­ing that ques­tion ever since the artis­ti­cal­ly inclined rock star — who, we might say, made rock star­dom into a viable art form in the first place — began his high-pro­file exper­i­men­ta­tion with his own image in the ear­ly 1970s. Hav­ing put out his first big hit “Space Odd­i­ty” a few years before that, in 1969, he spent the peri­od in between liv­ing, with his then-wife Ang­ie, at a Vic­to­ri­an vil­la in South Lon­don called Had­don Hall. “The cou­ple rent­ed a ground-floor flat for £7 a week – the Spi­ders from Mars were, I think, sequestered around an upstairs land­ing – and in one of its cav­ernous rooms, their ceil­ings paint­ed sil­ver, Ang­ie cut David’s hair and stitched the first Zig­gy out­fit.”

Those words come from the Guardian’s Rachel Cooke, review­ing the bio­graph­i­cal graph­ic nov­el Had­don Hall: When David Invent­ed Bowie. “Its author, the Tunisian-born French car­toon­ist Nejib, puts Bowie’s lost house cen­tre stage, David and Ang­ie hav­ing fall­en instant­ly in love with its dis­creet decrepi­tude, its tow­ers and mould­ings and pre­pos­ter­ous­ly long cor­ri­dors,” she writes. “Nejib is won­der­ful­ly alive to the influ­ences on Bowie in this cru­cial peri­od, from the final ill­ness of his father, John, to Stan­ley Kubrick’s 1971 film adap­ta­tion of A Clock­work Orange (leav­ing the cin­e­ma after see­ing it, the still strug­gling Bowie sud­den­ly sees what he should be: a rock star ‘who’s all destruc­tion and the future’).”

A Bowie schol­ar could argue that his and Ang­ie’s Had­don Hall years pro­vid­ed the space for the most cru­cial ges­ta­tion peri­od and space in his career. In an inter­view with the Her­ald, Nejib relates his dis­sat­is­fac­tion with extant Bowie biogra­phies, and how one biog­ra­ph­er even admits that writ­ing a sat­is­fy­ing one may be “rather impos­si­ble because Bowie is a fic­tion cre­at­ed by David Jones, a very secret man. I loved that idea and I con­sid­er Bowie as one of the most pow­er­ful fic­tion­al cre­ations of this peri­od. That was very lib­er­at­ing for me to make this ‘por­trait’ of Bowie in a graph­ic nov­el,” which he describes as “not a doc­u­men­tary, but a fic­tion,” based on more than just facts and as a result “a mix of many things.”

More fas­ci­nat­ed by “fragili­ty and doubt than suc­cess and star­dom,” Nejib — whose art style brings to mind car­toons seen in mag­a­zines of the late 1960s and ear­ly 1970s — focus­es on a “gap” in Bowie’s life as its sto­ry has pre­vi­ous­ly been told: “The man is close to becom­ing the genius we know, but he is full of doubt. I was inspired by an inter­view in which he said that he felt that all his influ­ences were merg­ing and he felt that it was the moment for him to make the big jump!” And make the big jump he did, not just once but over and over again through­out the course of his life, rein­vent­ing him­self both musi­cal­ly and as a per­sona when­ev­er nec­es­sary. What­ev­er impor­tance any giv­en Bowie fan grants his time in Had­don Hall, they’ve got to admit that those years make for a tale best told visu­al­ly.

You can pick up your own copy of Nejib’s graph­ic nov­el, Had­don Hall: When David Invent­ed Bowie.

via Hyper­al­ler­gic

Relat­ed Con­tent:

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

David Bowie & Bri­an Eno’s Col­lab­o­ra­tion on “Warsza­wa” Reimag­ined in a Com­ic Ani­ma­tion

96 Draw­ings of David Bowie by the “World’s Best Com­ic Artists”: Michel Gondry, Kate Beat­on & More

50 Years of Chang­ing David Bowie Hair Styles in One Ani­mat­ed GIF

How Leonard Cohen & David Bowie Faced Death Through Their Art: A Look at Their Final Albums

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

Bill Murray Reads the Poetry of Lawrence Ferlinghetti, Wallace Stevens, Emily Dickinson, Billy Collins, Lorine Niedecker, Lucille Clifton & More

Who among us wouldn’t want the inef­fa­bly mel­low, wit­ty, and wise Bill Mur­ray to crash their par­ty, wed­ding, or White House press brief­ing room? Maybe you’re one of the few who could resist his com­ic charms. But could you throw him out if he brought along a cel­list and read Lawrence Ferlinghetti’s poem “Dog”? Not I.

Mur­ray appeared at SXSW on Mon­day and read the poem as part of the pro­mo­tion­al cam­paign for Wes Anderson’s new stop-motion ani­ma­tion film Isle of Dogs. And it can seem when we look back at Murray’s many pub­lic appear­ances over the last few years, that the one thing he’s done more than crash oth­er peo­ple’s par­ties and star in Wes Ander­son films has been read poet­ry in pub­lic.

Mur­ray, as Ayun Hal­l­i­day point­ed out in a pre­vi­ous post, is a “doc­u­ment­ed poet­ry nut,” who once wrote poet­ry him­self as a much younger man. He’s been “wise enough,” writes Gavin Edwards at Rolling Stone “not to share it with the world.”  Per­haps we’re miss­ing out.

But we do have many, many clips of Mur­ray read­ing his favorites from oth­er poets he admires, like Fer­linghet­ti, and like Wal­lace Stevens, whose “The Plan­et on The Table” and “A Rab­bit as King of the Ghosts,” he reads above at New York’s Poets House, an insti­tu­tion he has whole­heart­ed­ly sup­port­ed.

Wal­lace Stevens is a famous­ly dif­fi­cult poet, but he is also quite fun­ny, in an oblique­ly droll way, and its no won­der Mur­ray likes his verse. Poets House direc­tor Lee Bric­oc­cetti observes that there is “an align­ment between com­e­dy and poet­ry… a pre­ci­sion in the way you han­dle lan­guage.” Some of my own favorite poets—like Frank O’Hara and the “will­ful­ly ridicu­lous” Ste­vie Smith—are also some of the fun­ni­est writ­ers I’ve ever encoun­tered in any form. Murray’s own poet­ic efforts, were we ever to hear them, may not mea­sure up to the work of his favorites, but he is undoubt­ed­ly “a mas­ter of lin­guis­tic con­trol and pac­ing.”

We also know that he can turn in fine­ly nuanced dra­mat­ic per­for­mances when he wants to, and his mas­tery of the spo­ken word con­tributes just as much to mood­i­er poets like Emi­ly Dick­in­son, whom he reads above in a sur­prise per­for­mance for con­struc­tion work­ers at work on the new Poets House home in 2009. You might agree, how­ev­er, that he real­ly shines with com­ic fare, like Bil­ly Collins “Anoth­er Rea­son I Don’t Keep a Gun in the House” and Lorine Niedecker’s major­ly con­densed “Poet’s Work.”

Any of these read­ings should grant Mur­ray admis­sion into the most uptight of lit­er­ary affairs. If any­one still doubts his skill in the craft of read­ing lit­er­a­ture well in public—which, any writer will you, is no easy thing by far—then hear him read Lucille Clifton’s uplift­ing “What the Mir­ror Said” (above), or Sarah Manguso’s “What We Miss,” Bil­ly Collins’ “For­get­ful­ness,” and Cole Porter’s song “Brush Up on Your Shake­speare.” Hear him read from Huck­le­ber­ry Finn and mum­ble his way through Bob Dylan’s “Shel­ter from the Storm,” in char­ac­ter in the film St. Vin­cent.

Oh, but does the mul­ti­tal­ent­ed Bill Mur­ray, “mas­ter of lin­guis­tic con­trol and pac­ing,” sing show tunes? Does he ever….

Find these poet­ry read­ings added to OC’s col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free

Relat­ed Con­tent:

Hear Bill Murray’s Favorite Poems Read Aloud by Mur­ray Him­self & Their Authors

Bill Mur­ray Gives a Delight­ful Read­ing of Twain’sHuckleberry Finn (1996)

The Phi­los­o­phy of Bill Mur­ray: The Intel­lec­tu­al Foun­da­tions of His Comedic Per­sona

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

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