Judd Apatow Teaches the Craft of Comedy: A New Online Course from MasterClass

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

School just got fun. And fun­ny. Days after announc­ing that New York­er author Mal­colm Glad­well will teach his first online course on writ­ing, Mas­ter­Class revealed that Judd Apa­tow, the direc­tor of umpteen fun­ny films (The 40-Year-Old Vir­ginKnocked Up, This Is 40, etc.), will present his own course on com­e­dy, offer­ings lessons on how to “cre­ate hilar­i­ous sto­ry­lines, write great stand-up, and direct come­dies that leave audi­ences laugh­ing.”

In 32 video lessons, stu­dents will learn how to: find comedic inspi­ra­tion; mine your life for mate­r­i­al; out­line and struc­ture sto­ries for film and TV; write stand-up mate­r­i­al; write com­ic dia­logue; pitch projects to stu­dios and net­works; work with actors; and nav­i­gate the enter­tain­ment indus­try. Now open for enroll­ment, the course will offi­cial­ly get start­ed this spring. Any­one look­ing to study com­e­dy can also imme­di­ate­ly get start­ed with an exist­ing com­e­dy course taught by Steve Mar­tin.

Each Mas­ter­Class course costs $90. But, for $180, you can get an annu­al pass to every course in the Mas­ter­Class cat­a­logue.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Watch Steve Mar­tin Make His First TV Appear­ance: The Smoth­ers Broth­ers Com­e­dy Hour (1968)

Bill Hicks’ 12 Prin­ci­ples of Com­e­dy

Steve Mar­tin & Robin Williams Riff on Math, Physics, Ein­stein & Picas­so in a Heady Com­e­dy Rou­tine (2002)

New York City Buskers Sound Just Like the Beatles

From Matt Whit­lock comes a tweet fea­tur­ing Amiri and Rahiem Tay­lor, two New York City buskers, singing a spot-on ver­sion of The Bea­t­les’ “Eight Days a Week.” Close your eyes and imag­ine lis­ten­ing to John and Paul.

Accord­ing to their web­site, Amiri and Rahiem are twins from Bed Stuy, Brook­lyn. And although they grew up “sur­round­ed by hip hop cul­ture and all it’s glo­ry,” they had expo­sure to pop and funk, and they’ve steadi­ly built up a Bea­t­les reper­toire. You can find plen­ty oth­er Bea­t­les cov­ers by the twins on YouTube. Enjoy.

via Digg

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Neil Young Busk­ing in Glas­gow, 1976: The Sto­ry Behind the Footage

80s Pop Singer Jim­my Somerville Sur­pris­es Ger­man Street Musi­cian as the Busker Sings Somerville’s Hit

Bono and Glen Hansard Busk­ing in Dublin on Christ­mas Eve

Get Free Drawing Lessons from Katsushika Hokusai, Who Famously Painted The Great Wave of Kanagawa: Read His How-To Book, Quick Lessons in Simplified Drawings

Even if you don’t know eigh­teenth and nine­teenth cen­tu­ry Japan­ese art, you def­i­nite­ly know the work of eigh­teenth and nine­teenth cen­tu­ry Japan­ese artist Kat­sushi­ka Hoku­sai — specif­i­cal­ly his Great Wave off Kana­gawa. (And if you’d like to know a lit­tle more about it, have a look at this short video from PBS’ The Art Assign­ment.) But if that so often repro­duced, imi­tat­ed, and par­o­died 1830s wood­block print stands for Hoku­sai’s oeu­vre, it also obscures it, for in his long life he cre­at­ed not just many oth­er works of art but works that helped, and con­tin­ue to help, oth­ers cre­ate art as well.

Hoku­sai’s bib­li­og­ra­phy, writes a Metafil­ter user by the name of Theodo­lite, includes “a lit­tle-known how-to book: 略画早指南, or Quick Lessons in Sim­pli­fied Draw­ings, a man­u­al in three parts. Vol­ume I breaks every draw­ing down into sim­ple geo­met­ric shapes; vol­ume II decom­pos­es them into frag­men­tary con­tours; and vol­ume III neat­ly dia­grams each stroke and the order in which they were drawn.”

Fol­low those links and you can read each of the books page-by-page, and not to wor­ry if you don’t read Japan­ese; the artist ren­ders his exam­ples so clear­ly that the astute stu­dent can eas­i­ly fol­low them.

Not that an under­stand­ing of Japan­ese would­n’t enrich the read­ing expe­ri­ence: “Those are not all con­tours — they’re often char­ac­ters,” notes anoth­er Mefite in the com­ments. “On page 4, there are draw­ings based on の, no, and the cranes start with ふ, fu. On page 9, the draw­ing of the man on the right is elab­o­rat­ed from み, mi. The hill on page 12 comes from 山, san, ‘moun­tain.’ The rocks on page 19 are from 石, ishi, ‘stone.’ ” These pages thus pro­vide the espe­cial­ly astute stu­dent a way to learn Hoku­sai’s style of draw­ing and the ele­ments of the writ­ten Japan­ese lan­guage at once.

In addi­tion to the Quick Lessons books, adds Theodo­lite, Hoku­sai’s “oth­er ped­a­gog­i­cal works include his Draw­ing Meth­ods, Quick Pic­to­r­i­al Dic­tio­naryDance Instruc­tion Man­u­al, and the love­ly, three-col­or Pic­tures Drawn in One Stroke.” Con­sid­er­ing the immense respect accord­ed to Hoku­sai today from all cor­ners of the world — up to and includ­ing sub­tle trib­utes paid in major motion pic­tures — it sur­pris­es some to learn that he con­sid­ered him­self a “mere” com­mer­cial artist. But per­haps that very atti­tude endowed him with a rel­a­tive­ly com­mon touch, of the kind that enabled him to share his tech­niques with the read­ing pub­lic so open­ly, and so ele­gant­ly.

(via Metafil­ter)

Relat­ed Con­tent:

Enter a Dig­i­tal Archive of 213,000+ Beau­ti­ful Japan­ese Wood­block Prints

Down­load 2,500 Beau­ti­ful Wood­block Prints and Draw­ings by Japan­ese Mas­ters (1600–1915)

Down­load Hun­dreds of 19th-Cen­tu­ry Japan­ese Wood­block Prints by Mas­ters of the Tra­di­tion

1,000+ His­toric Japan­ese Illus­trat­ed Books Dig­i­tized & Put Online by the Smith­son­ian: From the Edo & Meji Eras (1600–1912)

How to Draw in the Style of Japan­ese Man­ga: A Series of Free & Wild­ly Pop­u­lar Video Tuto­ri­als from Artist Mark Cril­ley

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.

Watch Jack Nicholson Get Maniacally Into Character for The Shining’s Iconic Axe Scene

“C’mon you f#ck! C’mon death! Die! Axe mur­der­er! Kill!!”

That’s my best tran­scrip­tion of Jack Nicholson’s loopy warm up dia­log seen in the above clip, tak­en from “Mak­ing The Shin­ing.” Direc­tor Stan­ley Kubrick let his then 17-year-old daugh­ter Vivian wan­der the set dur­ing the mak­ing of this clas­sic film, and cap­tures a lot of the mag­ic that went on. This scene of Nichol­son warm­ing up, Method-style, is a brief high­light.

I’m tick­led that Nichol­son is in his own mad lit­tle world, while the crew at Elstree Stu­dios (where most of the film was shot), go about their busi­ness, occa­sion­al­ly swerv­ing aside–careful with that axe, Eugene! I mean, Jack!

This is, of course, a warm up for the now icon­ic scene where Jack Tor­rance chops his way into the bath­room where his wife Wendy is hid­ing. And has there been a bet­ter axe in the door scene since? Can any film do so now with­out ref­er­enc­ing Kubrick? I would say no.

If that piqued your inter­est, there’s even more behind the scenes footage kick­ing around YouTube, includ­ing Kubrick typ­ing away, Nichol­son schmooz­ing it up, Shel­ley Duvall point­ing out her hair is com­ing out from the stress of film­ing, Kubrick’s mom vis­it­ing the set, the ear­ly use of Steadicam and video assist, Kubrick being kind of a dick to Duvall, and much more, includ­ing this obser­va­tion from Nichol­son: “The aver­age celebri­ty meets in one year ten times the amount of peo­ple that the aver­age per­son meets in their entire life.”

via Boing­Bo­ing

Relat­ed Con­tent:

How Stan­ley Kubrick Became Stan­ley Kubrick: A Short Doc­u­men­tary Nar­rat­ed by the Film­mak­er

How Stan­ley Kubrick Made His Mas­ter­pieces: An Intro­duc­tion to His Obses­sive Approach to Film­mak­ing

93 Films Stan­ley Kubrick Real­ly Liked

Go Inside the First 30 Min­utes of Kubrick’s The Shin­ing with This 360º Vir­tu­al Real­i­ty Video

Jack Nichol­son Puts His Star Pow­er Behind “Green” Cars, 1978

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.

Pablo Neruda’s Poem, “The Me Bird,” Becomes a Short, Beautifully Animated Film

From 18bis, a Brazil­ian design & motion graph­ics stu­dio, comes this: an ani­mat­ed inter­pre­ta­tion of “The Me Bird,” a poem by the Nobel Prize-win­ning poet Pablo Neru­da. Writes 18bis, “The inspi­ra­tion in the stra­ta sten­cil tech­nique helps con­cep­tu­al­ize the rep­e­ti­tion of lay­ers as the past of our move­ments and actions. The frames depict­ed as jail and the past as a bur­den serve as the back­ground for the sto­ry of a bal­le­ri­na on a jour­ney towards free­dom. A diver­si­fied artis­tic exper­i­men­ta­tion recre­ates the tem­pest that con­nects bird and dancer.” It’s all pret­ty won­der­ful.

Bonus mate­r­i­al: You can watch The Mak­ing of The Me Bird here. And find the orig­i­nal text of the Neru­da poem here. We have more poet­ry put to ani­ma­tion below.

Note: An ear­li­er ver­sion of this post appeared on our site in 2013.

Relat­ed Con­tent:

Poems as Short Films: Langston Hugh­es, Pablo Neru­da and More

Watch an Ani­mat­ed Film of Emi­ly Dickinson’s Poem ‘I Start­ed Early–Took My Dog’

The Ani­ma­tion of Bil­ly Collins’ Poet­ry: Every­day Moments in Motion

Four Charles Bukows­ki Poems Ani­mat­ed

Neil Gaiman’s Dark Christ­mas Poem Ani­mat­ed

Harvard Launches a Free Online Course to Promote Religious Tolerance & Understanding

It is dif­fi­cult to have dis­cus­sions in our cur­rent pub­lic square with­out becom­ing forced into false choic­es. Fol­low­ing Mar­shall McLuhan, we might think that the nature of the dig­i­tal medi­um makes this hap­pen, as much as the con­tent of the mes­sages. But some mes­sages are more polar­iz­ing than others—with argu­ments over reli­gion seem­ing­ly primed for bina­ry oppo­si­tions.

That many nuanced posi­tions exist between deny­ing the valid­i­ty of every reli­gion and pro­claim­ing a spe­cif­ic ver­sion as the only one true path shows how durable and flex­i­ble reli­gious thought can be. The wide­spread diver­si­ty among reli­gions can­not mask the sig­nif­i­cant degree of com­mon­al­i­ty between them, in all human soci­eties, lead­ing schol­ars like anthro­pol­o­gist Pas­cal Boy­er to con­clude, as he writes in Reli­gion Explained, that “the expla­na­tion for reli­gious beliefs and behav­iors is to be found in the way all human minds work….”

I real­ly mean all human minds not the just the minds of reli­gious peo­ple or some of them. I am talk­ing about human minds, because what mat­ters here are prop­er­ties of minds that are found in all mem­bers of our species with nor­mal brains.

Famed Stan­ford biol­o­gist Robert Sapol­sky, who hap­pens to be an athe­ist, claims that some­where around 95% of the human pop­u­la­tion believes in some sort of super­nat­ur­al agency or reli­gious set of expla­na­tions, and that such faith has “unde­ni­able health ben­e­fits,” and is thus bio­log­i­cal­ly moti­vat­ed.

The real ques­tion, he reluc­tant­ly admits, is not why so many peo­ple believe, but “what’s up with the 5% of athe­ists who don’t do that?” The ques­tion needn’t imply there’s any­thing abnor­mal, infe­ri­or, or supe­ri­or, about athe­ists. Vari­a­tions don’t come with inher­ent val­ues, though they may even­tu­al­ly become the norm.

But if we accept the well-sup­port­ed the­sis that reli­gion is a phe­nom­e­non root­ed in and nat­u­ral­ly expressed by the human mind, like art, lan­guage, and lit­er­a­ture, we would be neg­li­gent in remain­ing will­ful­ly igno­rant of its expres­sions. And yet, Diane Moore, direc­tor of Har­vard Divin­i­ty School’s Reli­gious Lit­er­a­cy Project, tells the Huff­in­g­ton Post, “wide­spread illit­er­a­cy about reli­gion… spans the globe” and “fuels big­otry and prej­u­dice and hin­ders capac­i­ties for coop­er­a­tive endeav­ors in local, nation­al, and glob­al are­nas.”

Har­vard aims to help change atti­tudes with their Reli­gious Lit­er­a­cy Project, which offers free online cours­es on the world’s five major reli­gions—Chris­tian­i­ty, Islam, Judaism, Bud­dhism, and Hin­duism—through their edX plat­form. The first course of the series, taught by Moore, is self paced. “Reli­gious Lit­er­a­cy: Tra­di­tions and Scrip­tures” sur­veys the method­ol­o­gy of the project as a whole, explor­ing “case stud­ies about how reli­gions are inter­nal­ly diverse, how they evolve and change through time, and how reli­gions are embed­ded in all dimen­sions of human expe­ri­ence.” (See a pro­mo video at the top and a teas­er for the project as a whole above.)

Under­stand­ing reli­gion as both a uni­ver­sal phe­nom­e­non and a set of cul­tur­al­ly and his­tor­i­cal­ly spe­cif­ic events resolves mis­un­der­stand­ings that result from over­sim­pli­fied, sta­t­ic stereo­types. Study­ing the his­tor­i­cal, the­o­log­i­cal, and geo­graph­i­cal vari­eties of Islam, for exam­ple, makes it impos­si­ble to say any­thing defin­i­tive about one sin­gu­lar, mono­lith­ic “Islam,” and there­fore about Mus­lims in gen­er­al. The same goes for Chris­tians, Hin­dus, Jews, Bud­dhists, etc. The fact that reli­gion is embed­ded in near­ly every facet of human expe­ri­ence, writes Moore in an intro­duc­to­ry essay for the project, means that we can cred­it it with the “full range of agency from the heinous to the hero­ic,” rather than flip­ping between these extremes to score chau­vin­ist points or inval­i­date entire realms of social life.

We’ve pre­vi­ous­ly fea­tured one of the cours­es from the big five series of class­es, “Bud­dhism through its Scrip­tures.” The method there applies to each course, which all engage rig­or­ous­ly with pri­ma­ry sources and schol­ar­ly com­men­tary to get stu­dents as close as pos­si­ble to under­stand­ing reli­gious prac­tice from both the inside and the out­side. Grant­ed this canon­i­cal approach ignores the prac­tices of mil­lions of peo­ple out­side the big five cat­e­gories, but one could osten­si­bly apply a sim­i­lar aca­d­e­m­ic rubric to the study of syn­cretisms and indige­nous reli­gions all over the world.

Pro­fes­sor Moore’s “Reli­gious Lit­er­a­cy” class—which you can audit free of charge or take for a cer­tifi­cate for $50—promises to give stu­dents the tools they need to under­stand how to sur­vey reli­gions crit­i­cal­ly, yet sym­pa­thet­i­cal­ly, and to “inter­pret the roles reli­gions play in con­tem­po­rary and his­toric con­texts.” Like it or not, reli­gions of every kind remain per­va­sive and seem­ing­ly intractable. Rather than fight­ing over this fact of life, we would all do bet­ter to try and under­stand it. Begin to enlarge your own under­stand­ing by sign­ing up for “Reli­gious Lit­er­a­cy: Tra­di­tions and Scrip­tures” for free.

Relat­ed Con­tent:

Take Harvard’s Intro­duc­to­ry Course on Bud­dhism, One of Five World Reli­gions Class­es Offered Free Online

Athe­ist Stan­ford Biol­o­gist Robert Sapol­sky Explains How Reli­gious Beliefs Reduce Stress

Free Online Reli­gion Cours­es 

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

Hear Music Played on the Viola Organista, a Piano That Sounds Like a Violin, Which Leonardo da Vinci Invented, But Never Heard

The most illus­tri­ous of inven­tors, Leonar­do da Vin­ci, was not moved by con­ven­tion­al ideas about suc­cess. He took com­mis­sion after com­mis­sion from his wealthy, aris­to­crat­ic patrons, cre­at­ed metic­u­lous plans, then moved on to the next thing with­out finishing—as if he had learned all he need­ed and had no more use for the project. The works we remem­ber him for were a tiny hand­ful among thou­sands of planned designs and art­work. They have the dis­tinc­tion of being his major mas­ter­pieces because they hap­pen to be com­plet­ed.

Had Leonar­do fin­ished all of his pro­posed projects, they would fill the Lou­vre. He was con­tent to leave many of his paint­ings unpaint­ed, sculp­tures unsculpt­ed, and inven­tions unbuilt—sketched out in the­o­ry in his copi­ous note­books, pro­tect­ed from theft by his inge­nious cryp­tog­ra­phy, and left for future gen­er­a­tions to dis­cov­er.

One such inven­tion, the Vio­la Organ­ista, might have changed the course of musi­cal his­to­ry had Leonar­do had the where­with­al or desire to build one in his life­time. Or it might have remained a minor curios­i­ty; there is no way to know.

Sketched out in note­book pages con­tained in the Codex Atlanti­cus, the design showed “an out­line of a con­struc­tion con­cept for a bowed string instru­ment which at the same time is a key­board instru­ment.” A vio­lin that is also a piano, sort of…. Hav­ing built a ver­sion of the instru­ment 500 years after its inven­tion, Pol­ish con­cert pianist Sla­womir Zubrzy­c­ki describes it as hav­ing “the char­ac­ter­is­tics of three [instru­ments] we know: the harp­si­chord, the organ and the vio­la da gam­ba.”

Zubrzy­c­ki spent four years work­ing on his Vio­la Organ­ista. A few years back, we fea­tured a brief per­for­mance, his first pub­lic debut of the instru­ment in 2012. Now, we have much more audio of this incred­i­ble musi­cal inven­tion to share, includ­ing a longer per­for­mance from Zubrzy­c­ki at the top of the post, Marin Marais’ Suite in B Minor, per­formed in 2014 at the Coper­ni­cus Fes­ti­val in Krakow. (You can see the full con­cert just above.) Despite these notable per­for­mances, and his notable cre­ation, Zubrzy­c­ki is not the first to build a Vio­la Organ­ista.

In 2011, Eduar­do Pani­agua, anoth­er musi­cian devot­ed to Leonardo’s instrument—which does indeed sound like a “one per­son string ensem­ble,” as a com­menter at this MetaFil­ter post noted—released a disc of 19 songs by Baroque com­posers, con­tem­po­raries of Leonar­do, played on a Vio­la Organ­ista built by Japan­ese mak­er Akio Obuchi. (Hear the full album on Spo­ti­fy above.) Accom­pa­ny­ing the album, writes Span­ish site Musi­ca Antigua (quot­ed in Eng­lish here via Google trans­late), is “a pro­fuse­ly illus­trat­ed book­let with eleven of the organ­ist vio­la pro­to­types that Leonar­do him­self devised,” with descrip­tions of the instrument’s oper­a­tion by Pani­agua.

Though Leonar­do him­self nev­er built, nor heard, the instru­ment, it did attract inter­est not long after his death. “The old­est sur­viv­ing mod­el,” notes Musi­ca Antigua, “is in El Esco­r­i­al and is dat­ed at the begin­ning of the sev­en­teenth cen­tu­ry.” Every ver­sion of the Vio­la Organ­ista worked from orig­i­nal design specs like those in Leonardo’s hand above, using wheels to bow the strings when the keys are pressed, rather than ham­mers to strike them.

It’s an inge­nious solu­tion to a prob­lem musi­cians had sought for many years to solve: cre­at­ing a key­board with rich dynam­ics and sus­tain. Whether Leonardo’s design is supe­ri­or to oth­er attempts, like the clavi­chord or, for that mat­ter, the piano, I leave to musi­col­o­gists to debate. We might all agree that the sound of his instru­ment, as played by Pani­agua and Zubrzy­c­ki, is tru­ly orig­i­nal and total­ly cap­ti­vat­ing.

Relat­ed Con­tent:

Watch Leonar­do da Vinci’s Musi­cal Inven­tion, the Vio­la Organ­ista, Being Played for the Very First Time

Leonar­do da Vinci’s Vision­ary Note­books Now Online: Browse 570 Dig­i­tized Pages

Leonar­do da Vinci’s Bizarre Car­i­ca­tures & Mon­ster Draw­ings

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

Tattoos Can Now Start Monitoring Your Medical Conditions: Harvard and MIT Researchers Innovate at the Intersection of Art & Medicine

Once reserved for rebels and out­liers, tat­toos have gone main­stream in the Unit­ed States. Accord­ing to recent sur­veys, 21% of all Amer­i­cans now have at least one tat­too. And, among the 18–29 demo­graph­ic, the num­ber ris­es to 40%. If that num­ber sounds high, just wait until tat­toos go from being aes­thet­ic state­ments to bio­med­ical devices.

At Har­vard and MIT, researchers have devel­oped “smart tat­too ink” that can mon­i­tor changes in bio­log­i­cal and health con­di­tions, mea­sur­ing, for exam­ple, when the blood sug­ar of a dia­bet­ic ris­es too high, or the hydra­tion of an ath­lete falls too low. Pair­ing biosen­si­tive inks with tra­di­tion­al tat­too designs, these smart tat­toos could con­ceiv­ably pro­vide real-time feed­back on a range of med­ical con­di­tions. And also raise a num­ber of eth­i­cal ques­tions: what hap­pens when your health infor­ma­tion gets essen­tial­ly worn on your sleeve, avail­able for all to see?

To learn more about smart tat­toos, watch the Har­vard video above, and read the cor­re­spond­ing arti­cle in the Har­vard Gazette.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Meet Amer­i­ca & Britain’s First Female Tat­too Artists: Maud Wag­n­er (1877–1961) & Jessie Knight (1904–1994)

Browse a Gallery of Kurt Von­negut Tat­toos, and See Why He’s the Big Goril­la of Lit­er­ary Tat­toos

A Daz­zling Gallery of Clock­work Orange Tat­toos

Free Online Biol­o­gy Cours­es 

« Go BackMore in this category... »
Quantcast