The Recorder Played Like You’ve Never Heard it Before: Hear a Stunning Solo from Vivaldi’s Recorder Concerto in C Major

in Music | June 12th, 2019

Owing to its sim­plic­i­ty and inex­pen­sive­ness, the recorder has become one of the most com­mon­ly taught instru­ments in grade-school music class­es. But that very posi­tion has also, per­haps, made it a less respect­ed instru­ment than it could be. We may vivid­ly remem­ber the hours spent fum­bling with the holes on the front of our plas­tic recorders in an attempt to mas­ter the basic melodies assigned to us as home­work, but did we ever learn any­thing of the instru­men­t’s long his­to­ry — or, for that mat­ter, any­thing of what it can sound like in the hands of a vir­tu­oso instead of those of a frus­trat­ed ten-year-old?

The recorder goes back at least as far as the Mid­dle Ages, and with its pas­toral asso­ci­a­tions it remained a pop­u­lar instru­ment through­out the Renais­sance and Baroque peri­ods. But then came a peri­od of wide­spread dis­in­ter­est in the recorder that last­ed at least until the 20th cen­tu­ry, when musi­cians start­ed per­form­ing pieces with instru­ments from the same his­tor­i­cal peri­ods as the music itself.

Despite the instru­men­t’s going in and out of style, the list of com­posers who have writ­ten for the recorder does boast some for­mi­da­ble names, includ­ing Johann Sebas­t­ian Bach, George Frid­er­ic Han­del, Clau­dio Mon­tever­di, Hen­ry Pur­cell, and Anto­nio Vival­di, whose Recorder Con­cer­to in C Major you can see per­formed in the video at the top of the post.

“After a few mea­sures, musi­cian Mau­rice Ste­ger stepped up to the micro­phone and with amaz­ing skill, shred­ded sev­er­al seri­ous solos on the recorder,” Laugh­ing Squid’s Lori Dorn reports of the spec­ta­cle. “Ste­ger rest­ed for a few bars to catch his breath and then start all over again. Sim­ply a won­der to behold.” We also, in the video just above, have Lucie Horsch’s also-vir­tu­osic per­for­mance of Vivaldi’s Flauti­no Con­cer­to in C Major, albeit trans­posed to G major trans­po­si­tion for sopra­no recorder. Even among those who learned to despise the recorder in school, there will be some who now can’t get enough. But even if it has­n’t become your favorite instru­ment, you’ve got to admit that we’re a long way indeed from “Hot Cross Buns.”

via Laugh­ing Squid

Relat­ed Con­tent:

14-Year-Old Girl’s Blis­ter­ing Heavy Met­al Per­for­mance of Vival­di

Why We Love Vivaldi’s “Four Sea­sons”: An Ani­mat­ed Music Les­son

Stream 58 Hours of Free Clas­si­cal Music Select­ed to Help You Study, Work, or Sim­ply Relax

The World Con­cert Hall: Lis­ten To The Best Live Clas­si­cal Music Con­certs for Free

Watch John Bonham’s Blis­ter­ing 13-Minute Drum Solo on “Moby Dick,” One of His Finest Moments Live Onstage (1970)

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

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, on Face­book, or on Insta­gram.

by | Permalink | Make a Comment ( 1 ) |

Leonardo da Vinci’s Huge Notebook Collections, the Codex Forster, Now Digitized in High-Resolution: Explore Them Online

in Art, Museums | June 12th, 2019

It may seem like a bizarre ques­tion, but indulge me for a moment: could it be pos­si­ble that the most famous artist of the Renais­sance and maybe in all of art his­to­ry, Leonar­do da Vin­ci, is an under­rat­ed fig­ure? Con­sid­er the fact that until rel­a­tive­ly recent­ly, a huge amount of his work—maybe a major­i­ty of his draw­ings, plans, sketch­es, notes, con­cepts, the­o­ries, etc.—has been unavail­able to all but spe­cial­ized schol­ars who could access (and read) his copi­ous note­books, span­ning the most pro­duc­tive peri­od of his career.

“Leonar­do seems to have begun record­ing his thoughts in note­books from the mid-1480s,” writes the Vic­to­ria & Albert Muse­um (the V&A), “when he worked as a mil­i­tary and naval engi­neer for the Duke of Milan. None of Leonardo’s pre­de­ces­sors, con­tem­po­raries or suc­ces­sors used paper quite like he did—a sin­gle sheet con­tains an unpre­dictable pat­tern of ideas and inven­tions.” He worked on loose sheets, which were lat­er bound togeth­er in books, or codices, by the artists who inher­it­ed them. As we have been report­ing, these note­book col­lec­tions have been com­ing avail­able online in open, high-res­o­lu­tion dig­i­tal ver­sions.

Now the V&A has announced that all three of its Leonar­do codices, called the Forster Codices after the col­lec­tor who bequeathed them to the muse­um, are avail­able to view “in amaz­ing detail.” Click here to see Codex Forster 1, Codex Forster 2, and Codex Forster 3. Here we see fur­ther evi­dence that Leonar­do was a supreme draughts­man. As Clau­dio Gior­gione, cura­tor at the Leonar­do da Vin­ci Nation­al Sci­ence and Tech­nol­o­gy Muse­um in Milan, points out, “Leonar­do was not the only one to draw machines and to do sci­en­tif­ic draw­ings, many oth­er engi­neers did that,” and many artists as well. “But what Leonar­do did bet­ter than oth­ers is to make a rev­o­lu­tion of the tech­ni­cal draw­ing,” almost defin­ing the field with his metic­u­lous atten­tion to detail.

What’s more, notes Uni­ver­si­ty of Oxford Pro­fes­sor Mar­tin Kemp, “while oth­er artists might have been prob­ing some aspects of anatomy—muscles, bones, tendons—Leonardo took the study to a new lev­el.” Such a lev­el, in fact, that he “can be regard­ed as the father of bio­engi­neer­ing,” argues John B. West in the Amer­i­can Jour­nal of Phys­i­ol­o­gy.

Lit­tle atten­tion has been paid to [Leonar­do] as a phys­i­ol­o­gist. But he was an out­stand­ing engi­neer, and he was one of the first peo­ple to apply the prin­ci­ples of engi­neer­ing to under­stand the func­tion of ani­mals includ­ing humans.

Gior­gione warns against see­ing Leonar­do as a prophet­ic vision­ary for his inno­va­tions. He was not a man out of time; “the artist engi­neer is a known fig­ure in Renais­sance Italy.” But he per­fect­ed the tools and meth­ods of this dual pro­fes­sion with such rest­less inge­nu­ity and skill that we still find it aston­ish­ing over 500 years lat­er. His lengthy expla­na­tions of these excep­tion­al tech­ni­cal draw­ings are writ­ten, nat­u­ral­ly, in his famous mir­ror writ­ing.

Of Leonardo’s odd writ­ing sys­tem, we may learn some­thing new as well, though we may find this part, at least, a lit­tle dis­ap­point­ing. As the V&A points out, his idio­syn­crat­ic method might not have been so unique after all, or have been a sophis­ti­cat­ed device for Leonar­do to hide his ideas from com­peti­tors and future curi­ous read­ers. It might have come about “because he was left-hand­ed and may have found it eas­i­er to write from right to left…. Writ­ing mas­ters at the time would have made demon­stra­tions of mir­ror writ­ing, and his let­ter-shapes are in fact quite ordi­nary.”

Noth­ing else about the man seems to war­rant that descrip­tion. See all three Forster Codices the Vic­to­ria & Albert Muse­um site here: Codex Forster 1, Codex Forster 2, and Codex Forster 3. And see one codex from the col­lec­tion, as the V&A announced on Twit­ter, live in per­son at the British Library’s Leonar­do da Vin­ci: A Mind in Motion exhib­it.

h/t Atze­cLa­dy

Relat­ed Con­tent:

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

A Com­plete Dig­i­ti­za­tion of Leonar­do Da Vinci’s Codex Atlanti­cus, the Largest Exist­ing Col­lec­tion of His Draw­ings & Writ­ings

Leonar­do da Vinci’s Ear­li­est Note­books Now Dig­i­tized and Made Free Online: Explore His Inge­nious Draw­ings, Dia­grams, Mir­ror Writ­ing & More

Why Did Leonar­do da Vin­ci Write Back­wards? A Look Into the Ulti­mate Renais­sance Man’s “Mir­ror Writ­ing”

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

by | Permalink | Make a Comment ( 2 ) |

Meet Gerda Taro, the First Female Photojournalist to Die on the Front Lines

in History, Photography | June 11th, 2019

Ger­da Taro by Anony­mous, via Wiki­me­dia Com­mons

We may know a few names of his­toric women pho­tog­ra­phers, like Julia Mar­garet Cameron, Dorothea Lange, or Diane Arbus, but the sig­nif­i­cant pres­ence of women in pho­tog­ra­phy from its very begin­nings doesn’t get much atten­tion in the usu­al nar­ra­tive, despite the fact that “by 1900,” as pho­tog­ra­ph­er Dawn Oost­er­hoff writes, cen­sus records in Britain and the U.S. showed that “there were more than 7000 pro­fes­sion­al women pho­tog­ra­phers,” a num­ber that only grew as decades passed.

As pho­to­graph­ic equip­ment became small­er, lighter, and more portable, pho­tog­ra­phers moved out into more chal­leng­ing and dan­ger­ous sit­u­a­tions. Among them were women who “fought tra­di­tion and were among the pio­neer pho­to­jour­nal­ists,” work­ing along­side men on the front lines of war zones around the world.

War pho­tog­ra­phers like Lee Miller—former Vogue mod­el, Man Ray muse, and Sur­re­al­ist artist—showed a side of war most peo­ple didn’t see, one in which women war­riors, med­ical per­son­nel, sup­port staff, and work­ers, played sig­nif­i­cant roles and bore wit­ness to mass suf­fer­ing and acts of hero­ism.

Image via Flickr Cre­ative Com­mons

 

Before Miller cap­tured the dev­as­ta­tion at the Euro­pean front, the hor­rors of Dachau, and Hitler’s bath­tub, anoth­er female war pho­tog­ra­ph­er, Ger­da Taro, doc­u­ment­ed the front lines of the Span­ish Civ­il War. “One of the world’s first and great­est war pho­tog­ra­phers,” writes Giles Trent at The Guardian, Taro “died while pho­tograph­ing a chaot­ic retreat after the Bat­tle of Brunete, short­ly after Franco’s troops had one a major vic­to­ry,” just days away from her 27th birth­day. She was the first female pho­to­jour­nal­ist to be killed in action on the front­line and a major star in France at the time of her death.

Woman Train­ing for a Repub­li­can Mili­tia, by Ger­da Taro, via Wiki­me­dia Com­mons

“On 1 August 1937,” notes a Mag­num Pho­tos bio, “thou­sands of peo­ple lined the streets of Paris to mourn the death” of Taro. The “26-year-old Jew­ish émi­gré from Leipzig… was eulo­gized as a coura­geous reporter who had sac­ri­ficed her life to bear wit­ness to the suf­fer­ing of civil­ians and troops…. The media pro­claimed her a left-wing hero­ine, a mar­tyr of the anti-fas­cist cause and a role mod­el for young women every­where.” Taro had fled to France in in 1933, after being arrest­ed by the Nazis for dis­trib­ut­ing anti-fas­cist leaflets in Ger­many. She was deter­mined to con­tin­ue the fight in her new coun­try.

Repub­li­can Sol­diers at the Navac­er­ra­da Pass, by Ger­da Taro, via Wiki­me­dia Com­mons

Taro met anoth­er Jew­ish émi­gré, well-known Hun­gar­i­an pho­tog­ra­ph­er Robert Capa, just get­ting his start at the time. The two became part­ners and lovers, arriv­ing in Barcelona in 1936, “two-and-a-half weeks after the out­break of the war.” Like Miller, Taro was drawn to women on the bat­tle­field. In one of her first assign­ments, she doc­u­ment­ed mili­ti­a­women of the Uni­fied Social­ist Par­ty of Cat­alo­nia train­ing on a beach. “Moti­vat­ed by a desire to raise aware­ness of the plight of Span­ish civil­ians and the sol­diers fight­ing for lib­er­ty,” her clear sym­pa­thies give her work depth and imme­di­a­cy.

Repub­li­can Dina­miteros, in the Cara­banchel Neigh­bor­hood of Madrid, by Ger­da Taro, via Wiki­me­dia Com­mons

Taro’s pho­tographs “were wide­ly repro­duced in the French left­ist press,” points out the Inter­na­tion­al Cen­ter of Pho­tog­ra­phy. She “incor­po­rat­ed the dynam­ic cam­era angles of New Vision pho­tog­ra­phy as well as a phys­i­cal and emo­tion­al close­ness to her sub­ject.” After she was crushed by a tank in 1937, many of her pho­tographs were incor­rect­ly cred­it­ed to Capa, and she sank into obscu­ri­ty. She has achieved renewed recog­ni­tion in recent years, espe­cial­ly after a trove of 4,500 neg­a­tives con­tain­ing work by her and Capa was dis­cov­ered in Mex­i­co City.

Although she had been warned away from the front, Taro “got into this con­vic­tion that she had to bear wit­ness,” says biog­ra­ph­er Jane Rogoys­ka, “The troops loved her and she kept push­ing.” She paid with her life, died a hero, and was for­got­ten until recent­ly. Her lega­cy is cel­e­brat­ed in Rogoyska’s book, a nov­el about her and Capa by Susana Fortes, an Inter­na­tion­al Cen­ter of Pho­tog­ra­phy exhi­bi­tion, film projects in the works, and a Google Doo­dle last August on her birth­day. Learn more about Taro’s life and see many more of her cap­ti­vat­ing images, at Mag­num Pho­tos.

Relat­ed Con­tent:

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

1,600 Rare Col­or Pho­tographs Depict Life in the U.S Dur­ing the Great Depres­sion & World War II

Annie Lei­bovitz Teach­es Pho­tog­ra­phy in Her First Online Course

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

by | Permalink | Make a Comment ( 4 ) |

Oliver Sacks Promotes the Healing Power of Gardens: They’re “More Powerful Than Any Medication”

in Creativity, Health, Nature, Neuroscience | June 11th, 2019

Ear­ly Euro­pean explor­ers left the con­ti­nent with visions of gar­dens in their heads: The Gar­den of Eden, the Gar­den of the Hes­perides, and oth­er myth­ic realms of abun­dance, ease, and end­less repose. Those same explor­ers left sick­ness, war, and death only to find sick­ness, war, and death—much of it export­ed by them­selves. The gar­den became de-mythol­o­gized. Nat­ur­al phi­los­o­phy and mod­ern meth­ods of agri­cul­ture brought gar­dens fur­ther down to earth in the cul­tur­al imag­i­na­tion.

Yet the gar­den remained a spe­cial fig­ure in phi­los­o­phy, art, and lit­er­a­ture, a potent sym­bol of an ordered life and ordered mind. Voltaire’s Can­dide, the riotous satire filled with gar­dens both fan­tas­ti­cal and prac­ti­cal, famous­ly ends with the dic­tate, “we must cul­ti­vate our gar­den.” The ten­den­cy to read this line as strict­ly metaphor­i­cal does a dis­ser­vice to the intel­lec­tu­al cul­ture cre­at­ed by Voltaire and oth­er writ­ers of the peri­od—Alexan­der Pope most promi­nent among them—for whom gar­den­ing was a the­o­ry born of prac­tice.

Exiled from France in 1765, Voltaire retreat­ed to a vil­la in Gene­va called Les Délices, “The Delights.” There, writes Adam Gop­nik at The New York­er, he “quick­ly turned his exile into a desir­able con­di­tion…. When he wrote that it was our duty to cul­ti­vate our gar­den, he real­ly knew what it meant to cul­ti­vate a gar­den.” Enlight­en­ment poets and philoso­phers did not dwell on the sci­en­tif­ic rea­sons why gar­dens might have such salu­tary effects on the psy­che. And nei­ther does neu­rol­o­gist Oliv­er Sacks, who also wrote of gar­dens as health-bestow­ing havens from the chaos and noise of the world, and more specif­i­cal­ly, from the city and bru­tal com­mer­cial demands it rep­re­sents.

For Sacks that city was not Paris or Lon­don but, prin­ci­pal­ly, New York, where he lived, prac­ticed, and wrote for fifty years. Nonethe­less, in his essay “The Heal­ing Pow­er of Gar­dens,” he invokes the Euro­pean his­to­ry of gar­dens, from the medieval hor­tus to grand Enlight­en­ment botan­i­cal gar­dens like Kew, filled with exot­ic plants from “the Amer­i­c­as and the Ori­ent.” Sacks writes of his stu­dent days, where he “dis­cov­ered with delight a very dif­fer­ent garden—the Oxford Botan­ic Gar­den, one of the first walled gar­dens estab­lished in Europe,” found­ed in 1621.

“It pleased me to think,” he recalls, refer­ring to key Enlight­en­ment sci­en­tists, “that Boyle, Hooke, Willis and oth­er Oxford fig­ures might have walked and med­i­tat­ed there in the 17th cen­tu­ry.” In that time, cul­ti­vat­ed gar­dens were often the pri­vate pre­serves of land­ed gen­try. Now, places like the New York Botan­i­cal Gar­den, whose virtues Sacks extolls in the video above, are open to every­one. And it is a good thing, too. Because gar­dens can serve an essen­tial pub­lic health func­tion, whether we’re stressed and gen­er­al­ly fatigued or suf­fer­ing from a men­tal dis­or­der or neu­ro­log­i­cal con­di­tion:

I can­not say exact­ly how nature exerts its calm­ing and orga­niz­ing effects on our brains, but I have seen in my patients the restora­tive and heal­ing pow­ers of nature and gar­dens, even for those who are deeply dis­abled neu­ro­log­i­cal­ly. In many cas­es, gar­dens and nature are more pow­er­ful than any med­ica­tion.

“In forty years of med­ical prac­tice,” the physi­cian writes, “I have found only two types of non-phar­ma­ceu­ti­cal ‘ther­a­py’ to be vital­ly impor­tant for patients with chron­ic neu­ro­log­i­cal dis­eases: music and gar­dens.” A gar­den also represents—for Sacks and for artists like Vir­ginia Woolf—“a tri­umph of resis­tance against the mer­ci­less race of mod­ern life,” as Maria Popo­va writes at Brain Pick­ings, a pace “so com­pul­sive­ly focused on pro­duc­tiv­i­ty at the cost of cre­ativ­i­ty, of lucid­i­ty, of san­i­ty.”

Voltaire’s pre­scrip­tion to tend our gar­dens has made Can­dide into a watch­word for car­ing for and appre­ci­at­ing our sur­round­ings. (It’s also now the name of a gar­den­ing app). Sacks’ rec­om­men­da­tions should inspire us equal­ly, whether we’re in search of cre­ative inspi­ra­tion or men­tal respite. “As a writer,” he says, “I find gar­dens essen­tial to the cre­ative process; as a physi­cian, I take my patients to gar­dens when­ev­er pos­si­ble. The effect, he writes, is to be “refreshed in body and spir­it,” absorbed in the “deep time” of nature, as he writes else­where, and find­ing in it “a pro­found sense of being at home, a sort of com­pan­ion­ship with the earth,” and a rem­e­dy for the alien­ation of both men­tal ill­ness and the grind­ing pace of our usu­al form of life.

via New York Times/Brain Pick­ings

Relat­ed Con­tent:

Oliv­er Sacks’ Rec­om­mend­ed Read­ing List of 46 Books: From Plants and Neu­ro­science, to Poet­ry and the Prose of Nabokov

A First Look at The Ani­mat­ed Mind of Oliv­er Sacks, a Fea­ture-Length Jour­ney Into the Mind of the Famed Neu­rol­o­gist

How the Japan­ese Prac­tice of “For­est Bathing”—Or Just Hang­ing Out in the Woods—Can Low­er Stress Lev­els and Fight Dis­ease

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

by | Permalink | Make a Comment ( 2 ) |

Watch The Meaning of Life: One of the Best Animated Short Films Ever Made Traces the Evolution of Life, the Universe & Beyond

in Animation | June 11th, 2019

They say cre­ativ­i­ty is born of lim­i­ta­tions. If that’s true, then is any ani­ma­tor work­ing today more cre­ative than Don Hertzfeldt? “The stars of his movies are all near-fea­ture­less stick­men with dots for eyes and a sin­gle line for a mouth,” writes The Guardian’s David Jenk­ins in an appre­ci­a­tion of Hertzfeldt, whose “method of mak­ing grand exis­ten­tial state­ments with almost reck­less­ly mod­est means” — ani­mat­ing every­thing him­self, and doing it all with tra­di­tion­al hand-draw­ing-and-film-cam­era meth­ods that at no point involve com­put­er-gen­er­at­ed imagery — “has made his cin­e­mat­ic oeu­vre one of the most fas­ci­nat­ing and enjoy­able of all con­tem­po­rary Amer­i­can direc­tors.”

As an exam­ple Jenk­ins holds up 2005’s The Mean­ing of Life, which “tack­led noth­ing less than the nature of organ­ic life in the known uni­verse, address­ing the painstak­ing devel­op­ment of the human form through a series of (often high­ly amus­ing) Dar­win­ian trans­mu­ta­tions.”

You can glimpse its four-year-long ani­ma­tion process, which appears to have been almost as painstak­ing, in time-lapse mak­ing-of doc­u­men­tary Watch­ing Grass Grow. At Short of the Week, Rob Mun­day writes that, though The Mean­ing of Life takes on “a sub­ject already famil­iar to the for­mat (evo­lu­tion has also been por­trayed in short film by ani­ma­tors Michael Mills, Claude Clouti­er and I’m sure many more),” it also sees Hertzfeldt adding “his own dis­tinct take to pro­ceed­ings with his unmis­tak­able style and injec­tions of dark humor.”

That spe­cial brand of humor has long been famil­iar to the many view­ers who have stum­bled across Hertzfeldt’s ear­li­er Reject­ed, a short com­posed of even short­er shorts orig­i­nal­ly com­mis­sioned — and, yes, reject­ed — by the Fam­i­ly Learn­ing Chan­nel. As one of the first ani­ma­tions to “go viral” in the Youtube era, Reject­ed not only made Hertzfeldt’s name but paved the way for projects at once more ambi­tious, more sur­re­al, more com­ic, and more seri­ous: take the 65-minute It’s Such a Beau­ti­ful Day, which fol­lows one of his sig­na­ture stick­men into pro­longed neu­ro­log­i­cal decline. The Mean­ing of Life might seem pos­i­tive by com­par­i­son, but its cos­mic sweep belies Hertzfeldt’s under­ly­ing cri­tique of all that evo­lu­tion has pro­duced. As Jenk­ins para­phras­es it,  “Were we real­ly worth all that effort?”

The Mean­ing of Life–which Time Out New York named the film one of the “thir­ty best ani­mat­ed short films ever made”–has been added to our list of Free Ani­ma­tions, a sub­set of our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Relat­ed Con­tent:

Free Ani­mat­ed Films: From Clas­sic to Mod­ern 

Watch 66 Oscar-Nom­i­nat­ed-and-Award-Win­ning Ani­mat­ed Shorts Online, Cour­tesy of the Nation­al Film Board of Cana­da

Carl Sagan Explains Evo­lu­tion in an Eight-Minute Ani­ma­tion

Alan Watts Dis­pens­es Wit & Wis­dom on the Mean­ing of Life in Three Ani­mat­ed Videos

Why Man Cre­ates: Saul Bass’ Oscar-Win­ning Ani­mat­ed Look at Cre­ativ­i­ty (1968)

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, on Face­book, or on Insta­gram.

by | Permalink | Make a Comment ( None ) |

Watch 3,000 Films Free Online from the National Film Board of Canada, Including Portraits of Leonard Cohen, Margaret Atwood & Jack Kerouac

in Film | June 10th, 2019

What, exact­ly, is Cana­da? The ques­tion some­times occurs to Amer­i­cans, liv­ing as they do right next door. But it might sur­prise those Amer­i­cans to learn that Cana­di­ans them­selves ask the very same ques­tion, liv­ing as they do in a coun­try that could be defined by any num­ber of its ele­ments — its vast­ness, its mul­ti­cul­tur­al­ism, The Kids in the Hall — but nev­er seems defined by any one of them in par­tic­u­lar. Many indi­vid­u­als and groups through­out Cana­di­an his­to­ry have par­tic­i­pat­ed in the project of explain­ing Cana­da, and indeed defin­ing it. Few have done as much as the Nation­al Film Board of Cana­da and the film­mak­ers it has sup­port­ed, thanks to whom “three thou­sand films, from doc­u­men­taries to nar­ra­tive fea­tures to exper­i­men­tal shorts, are avail­able to stream free of charge, even for Amer­i­cans.”

Those words come from The Out­line’s Chris R. Mor­gan, who writes that, “for the ‘Canuckophile’ (not my coinage but a term I hap­pi­ly own), the NFB’s Screen­ing Room is one of the supreme plea­sures of the inter­net. Since 1939, the NFB has facil­i­tat­ed the telling of Canada’s sto­ry in its people’s own words and images.”

Mor­gan points up to such NFB-sup­port­ed pro­duc­tions as 1965’s Ladies and Gen­tle­men … Mr. Leonard Cohen, which “fol­lows the tit­u­lar 30-year-old poet giv­ing wit­ty read­ings, par­ty­ing, and liv­ing around Mon­tre­al,” and the 2014 Shame­less Pro­pa­gan­da, described at the Screen­ing Room as an exam­i­na­tion of “Canada’s nation­al art form.” That art form devel­oped in the years after the NFB’s found­ing in 1939, a time when its found­ing com­mis­sion­er John Gri­er­son called doc­u­men­taries a “ham­mer to shape soci­ety.”

Not that most of what you’ll find to watch in the NFB’s screen­ing room comes down like a ham­mer — nor does it feel espe­cial­ly pro­pa­gan­dis­tic, as we’ve come to under­stand that term in the 21st cen­tu­ry. Take, for instance, the doc­u­men­tary por­traits of Cana­di­an writ­ers like Mar­garet Atwood and Jack Ker­ouac.

The lat­ter lead a life described by film­mak­er Her­ménégilde Chi­as­son as “a Fran­co-Amer­i­can odyssey,” which will remind even the most Cana­da-unaware Amer­i­cans of one thing that clear­ly sets Cana­da apart: its bilin­gual­ism. That, too, pro­vides mate­r­i­al for a few NFB pro­duc­tions, includ­ing 1965’s Instant French, a short about “the adven­tures of a group of busi­ness­men who are forced into tak­ing French lessons to stay com­pet­i­tive in their field.”

“At first put out by this news,” con­tin­ues the descrip­tion at the Screen­ing Room, “one by one they begin to real­ize that gain­ing flu­en­cy in anoth­er lan­guage has its ben­e­fits.” Hokey though it may sound — “def­i­nite­ly a prod­uct of its time,” as the NFB now says — a film like Instant French offers a glimpse into not just Canada’s past but the vision for soci­ety that has shaped Canada’s present and will con­tin­ue to shape its future. You can browse the NFB’s large and grow­ing online archive by sub­ject (with cat­e­gories includ­ing lit­er­a­ture and lan­guage, music, and his­to­ry) as well as through playlists like “Expo 67: 50 Years Lat­er,” “Extra­or­di­nary Ordi­nary Peo­ple,” — and, of course, “Hock­ey Movies,” which  reminds us that, elu­sive though Cana­di­an cul­ture as a whole may some­times feel, cer­tain impor­tant parts of it aren’t that hard to grasp.

via The Out­line

Relat­ed Con­tent:

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Watch 66 Oscar-Nom­i­nat­ed-and-Award-Win­ning Ani­mat­ed Shorts Online, Cour­tesy of the Nation­al Film Board of Cana­da

200+ Films by Indige­nous Direc­tors Now Free to View Online: A New Archive Launched by the Nation­al Film Board of Cana­da

Lis­ten to Glenn Gould’s Shock­ing­ly Exper­i­men­tal Radio Doc­u­men­tary, The Idea of North (1967)

Glenn Gould Gives Us a Tour of Toron­to, His Beloved Home­town (1979)

William Shat­ner Sings O Cana­da (and Hap­py Cana­da Day)

1,150 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc. 

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, on Face­book, or on Insta­gram.

by | Permalink | Make a Comment ( None ) |

Andy Warhol Explains Why He Decided to Give Up Painting & Manage the Velvet Underground Instead (1966)

in Art, Music | June 10th, 2019

In Good Omens—the six-episode adap­ta­tion of Ter­ry Pratch­ett and Neil Gaiman’s satir­i­cal fan­ta­sy about the Bib­li­cal end of the world—a run­ning joke relies on the viewer’s off­hand knowl­edge of the Vel­vet Underground’s sig­nif­i­cance. A refined, rare book­shop-own­ing angel calls the band “bebop” and has no idea who they are or what they sound like, a for­giv­able sin in the 70s, but seri­ous­ly out of touch decades lat­er in the 21st cen­tu­ry.

The schem­ing super­nat­ur­al agent should prob­a­bly know that the Lou Reed (and briefly Nico)-fronted, Andy Warhol-man­aged late-1960s-70s exper­i­men­tal New York art rock band had an out­sized influ­ence on human affairs. Bridg­ing a divide no one even knew exist­ed between beat poet­ry, avant-garde jazz, psy­che­del­ic garage rock, doo-wop, and Euro­pean folk music, the band is anec­do­tal­ly cred­it­ed with launch­ing thou­sands of others—having as much impact, per­haps, on mod­ern rock as Char­lie Park­er had on mod­ern jazz.

Warhol could not have known any of this when he decid­ed to spon­sor and pro­mote the Vel­vet Under­ground in 1966. He only man­aged the band for a year, in what seemed like both a stunt and a per­for­mance art project, part of his trav­el­ing mul­ti­me­dia show Explod­ing Plas­tic Inevitable, which he calls “the biggest dis­cotheque in the world” in the 1966 inter­view above. Warhol act­ed, and the band react­ed, shap­ing them­selves around his provo­ca­tions. He pro­ject­ed high-con­trast films at them onstage, they put on sun­glass­es. He pushed dead­pan Ger­man mod­el and singer Nico on them, they wrote and record­ed what some con­sid­er the great­est debut album in his­to­ry.

Warhol couldn’t have known how any of it would pan out, but in hind­sight his patron­age can seem like a pre­scient, almost meta­phys­i­cal, act of cul­tur­al subversion—and the work of a guile­less savant com­pelled by vague intu­itions and whims. He pre­ferred to give off the lat­ter impres­sion, then let crit­ics infer the for­mer. Warhol explains that he has aban­doned paint­ing and start­ed man­ag­ing the band because “I hate objects, and I hate to go to muse­ums and see pic­tures of the world, because they look so impor­tant and they don’t real­ly mean any­thing.”

Few peo­ple doubt the man­age­ment of his pub­lic per­sona was at least par­tial­ly cal­cu­lat­ed. But so much of it clear­ly wasn’t—as evi­denced by his own exhaus­tive record­ing of every detail of his life. Despite the amount of cal­cu­la­tion ascribed to him, a qual­i­ty the inter­view­er awk­ward­ly tries to ask him about, he seems to have been stu­pe­fied about his own moti­va­tions much of the time, beyond the fact that he strong­ly liked and dis­liked cer­tain sim­ple things—Elvis, Campbell’s Soup, obscure blonde femme fatales. At oth­er times, Warhol issued apho­risms as cryp­tic and pro­found as an ancient sage or post-war crit­i­cal the­o­rist.

Was the Vel­vet Under­ground more like Warhol’s uncom­pli­cat­ed love of cheese­burg­ers and Bat­man or more like his sophis­ti­cat­ed decon­struc­tion of film, media, and fash­ion, or are these not mutu­al­ly exclu­sive ways of look­ing at his work? The ques­tion may not real­ly con­cern music his­to­ri­ans, for whom Warhol’s ear­ly influ­ence was for­ma­tive, but maybe musi­cal­ly mar­gin­al. But if we think of him as a motive force behind the band’s look and ear­ly sound—a kind of con­scious cre­ative reagent—we might be curi­ous about what he meant by it, if any­thing.

Relat­ed Con­tent:

The Big Ideas Behind Andy Warhol’s Art, and How They Can Help Us Build a Bet­ter World

Watch Footage of the Vel­vet Under­ground Com­pos­ing “Sun­day Morn­ing,” the First Track on Their Sem­i­nal Debut Album The Vel­vet Under­ground & Nico (1966)

Three “Anti-Films” by Andy Warhol: Sleep, Eat & Kiss

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

by | Permalink | Make a Comment ( 5 ) |

Jeff Tweedy Explains How to Learn to Love Music You Hate: Watch a Video Animated by R. Sikoryak

in Animation, Creativity, Life, Music | June 10th, 2019

Punk rock peer pres­sure forced Jeff Tweedy, founder of Wilco, to shun Neil Young and oth­er  “hippie“musical greats.

Ah, youth…

Were Tweedy, now a sea­soned 51-year-old, to deliv­er a com­mence­ment speech, he’d do well to coun­sel younger musi­cians to reject such knee jerk rejec­tion, as he does in the above ani­mat­ed inter­view for Top­ic mag­a­zine.

Not because he’s now one of those grey beards him­self, but rather because he’s come to view influ­ence and taste as liv­ing organ­isms, capa­ble of inter­act­ing in sur­pris­ing ways.

That’s not to say the young­sters are oblig­ed to declare an affin­i­ty for what they hear when ven­tur­ing into the past, just as Tweedy does­n’t fake a fond­ness for much of the new music he checks out on the reg­u­lar.

Think of this prac­tice as some­thing sim­i­lar to one mil­lions of child­ish picky eaters have endured. Eat your veg­eta­bles. Just a taste. You can’t say you don’t like them until you’ve active­ly tast­ed them. Who knows? You may find one you like. Or per­haps it’ll prove more of a slow burn, becom­ing an unfore­seen ingre­di­ent of your matu­ri­ty.

In oth­er words, bet­ter to sam­ple wide­ly from the unend­ing musi­cal buf­fet avail­able on the Inter­net than con­ceive of your­self as a whol­ly orig­i­nal rock god, sprung ful­ly formed from the head of Zeus, capiche?

The nar­ra­tion sug­gests that Tweedy’s got some prob­lems with online cul­ture, but he gives props to the dig­i­tal rev­o­lu­tion for its soft­en­ing effect on the iron­clad cul­tur­al divide of his 70s and 80s youth.

Was it real­ly all just a mar­ket­ing scheme?

Unlike­ly, giv­en the Viet­nam War, but there’s no deny­ing that edu­cat­ing our­selves in our pas­sion includes approach­ing its his­to­ry with an at-least-par­tial­ly open mind.

If you want to snap it shut after you’ve had some time to con­sid­er, that’s your call, though Tweedy sug­gests he’s nev­er com­fort­able writ­ing some­thing off for­ev­er.

If noth­ing else, the stuff he dis­likes teach­es him more about the stuff he loves—including, pre­sum­ably, some of his own impres­sive cat­a­log.

Kudos to direc­tor Kei­th Stack and Augen­blick Stu­dios, ani­ma­tor of so many Top­ic inter­views, for match­ing Tweedy with car­toon­ist R. Siko­ryak, an artist who clear­ly shares Tweedy’s cre­ative phi­los­o­phy as evidenced by such works as Terms and Con­di­tions and Mas­ter­piece Comics. Here is anoth­er who clear­ly knows how to make a meal from mix­ing old and new, tra­di­tion­al and exper­i­men­tal, high and low. One of the bonus joys of this ani­mat­ed life les­son is catch­ing all of Siko­ryak’s musi­cal East­er eggs—includ­ing a cameo by Nip­per, the face of His Mas­ter’s Voice.

Relat­ed Con­tent:

Kurt Cobain Lists His 50 Favorite Albums: Fea­tures LPs by David Bowie, Pub­lic Ene­my & More

The Out­siders: Lou Reed, Hunter S. Thomp­son, and Frank Zap­pa Reveal Them­selves in Cap­ti­vat­ing­ly Ani­mat­ed Inter­views

‘Beast­ie Boys on Being Stu­pid’: An Ani­mat­ed Inter­view From 1985

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist ofthe East Vil­lage Inky zine.  Join her in New York City June 17 for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

by | Permalink | Make a Comment ( 1 ) |

« Go Back — More in this category... »
Quantcast
Open Culture was founded by Dan Colman.