Watch the First Trailer for Martin Scorsese’s New Film, Rolling Thunder Revue: A Bob Dylan Story 

Rolling Thun­der Revue: A Bob Dylan Sto­ry “cap­tures the trou­bled spir­it of Amer­i­ca in 1975, and the joy­ous music that Bob Dylan per­formed that fall [dur­ing the Rolling Thun­der Revue tour]. Mas­ter film­mak­er Mar­tin Scors­ese cre­ates a one-of-a-kind movie expe­ri­ence: part doc­u­men­tary, part con­cert film, part fever dream. Fea­tur­ing Joan Baez, Rubin Hur­ri­cane Carter, Sam Shep­ard, Allen Gins­berg, and Bob Dylan giv­ing his first on-cam­era inter­view in over a decade. The film goes beyond mere recla­ma­tion of Dylan’s extra­or­di­nary music—it’s a roadmap into the wild coun­try of artis­tic self-rein­ven­tion.”

Watch the brand new trail­er above, and mark June 12th on your cal­en­dar when the film arrives on Net­flix.

Relat­ed­ly, June 7th is when Dylan will release The Rolling Thun­der Revue: The 1975 Live Record­ings, a 14CD box set that fea­tures all five sets from the Rolling Thun­der Revue tour that were pro­fes­sion­al­ly record­ed.

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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:

Tan­gled Up in Blue: Deci­pher­ing a Bob Dylan Mas­ter­piece

Clas­sic Songs by Bob Dylan Re-Imag­ined as Pulp Fic­tion Book Cov­ers: “Like a Rolling Stone,” “A Hard Rain’s A‑Gonna Fall” & More

Watch Joan Baez Endear­ing­ly Imi­tate Bob Dylan (1972)

Hear Bob Dylan’s New­ly-Released Nobel Lec­ture: A Med­i­ta­tion on Music, Lit­er­a­ture & Lyrics

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Exercise May Prove an Effective Natural Treatment for Depression & Anxiety, New Study Shows

Image by cue­ga­los, via Flickr Com­mons

Maybe it seems intu­itive that exer­cise would be pre­scribed to treat anx­i­ety and depres­sion, low­er stress lev­els, and make peo­ple hap­pi­er. After all, exer­cise and nutri­tion­al inter­ven­tions are reg­u­lar­ly dis­cussed in the con­text of the U.S.’s oth­er major killers: heart dis­ease, dia­betes, var­i­ous can­cers, even Alzheimer’s. How often have we heard about the dan­gers of a seden­tary lifestyle or over-processed foods? Or read about reme­dies from walk­ing, yoga, and spin cycling to the Mediter­ranean diet?

But men­tal health is seem­ing­ly different—the dis­ease mod­el that guid­ed depres­sion research for so long has fal­tered. “We do not have a biol­o­gy for men­tal ill­ness,” writes Derek Beres at Big Think. Researchers lack a med­ical pathol­o­gy for mood dis­or­ders that affect over­all health, careers, rela­tion­ships, and qual­i­ty of life for mil­lions. The anti­de­pres­sants once sold as a cure-all and pre­scribed to dizzy­ing degrees proved to have lim­it­ed effi­ca­cy and unfor­tu­nate side effects. No one seems to know exact­ly how or why or if they work. “Men­tal health scripts are guess­work,” Beres writes, “more of an art than sci­ence.”

Where does this leave the state of men­tal health research these days? One team of sci­en­tists at the Uni­ver­si­ty of Ver­mont found evi­dence that exer­cise sig­nif­i­cant­ly improved mood in patients with severe and chron­ic men­tal ill­ness­es. As Newsweek reports, “a total of 100 patients signed up to par­tic­i­pate in the study,” whose results were pub­lished recent­ly in the jour­nal Glob­al Advances in Health and Med­i­cine. The study vol­un­teers came from “wards that dealt with con­di­tions such as bipo­lar dis­or­der, depres­sion, bor­der­line per­son­al­i­ty dis­or­der, gen­er­al­ized anx­i­ety dis­or­der and schiz­o­phre­nia.”

After a work­out sched­ule that includ­ed car­dio, resis­tance, and flex­i­bil­i­ty train­ing, four times a week for six­ty min­utes at a time, as well as nutri­tion­al pro­grams “tai­lored” for each patient, 95 per­cent of the par­tic­i­pants “said their mood has improved… and 63 per­cent said they were ‘hap­py’ or ‘very hap­py,’ rather than ‘neu­tral,’ ‘sad,’ or ‘very sad.’” 97.6 said they were moti­vat­ed to con­tin­ue work­ing out and eat­ing bet­ter. “The research yield­ed pos­i­tive out­comes in all areas inves­ti­gat­ed,” write authors David Tomasi, Sheri Gates, and Emi­ly Reyns of the study’s results. They con­clude that phys­i­cal exer­cise may con­tribute to “a more bal­anced and inte­grat­ed sense of self.”

The researchers also rec­om­mend exer­cise as a treat­ment before the pre­scrip­tion of psy­chi­atric drugs. There may not yet be a clear med­ical expla­na­tion for why it works. But that may be because mod­ern med­i­cine has only recent­ly begun to see the mind and the body as one, at a time when our cul­tur­al evo­lu­tion sends us hurtling toward a greater arti­fi­cial divide between the two. “We’ve con­struct­ed a world in which most of the pop­u­la­tion sur­vives by per­form­ing min­i­mal phys­i­cal activ­i­ty.” A world soon to be engulfed in VR, AR, self-dri­ving cars, and an “inter­net of things” that promis­es to elim­i­nate the few phys­i­cal tasks we have left.

We are in dan­ger of for­get­ting that our men­tal and emo­tion­al health are direct­ly tied to the needs of our phys­i­cal bod­ies, and that our bod­ies need to move, stretch, and bend in order to stay alive and thrive. Read more sum­ma­ry of the study at Newsweek and see the full results from Glob­al Advances in Health and Med­i­cine here.

via Big Think/Newsweek

Relat­ed Con­tent:

What’s a Sci­en­tif­i­cal­ly-Proven Way to Improve Your Abil­i­ty to Learn? Get Out and Exer­cise

This Is Your Brain on Exer­cise: Why Phys­i­cal Exer­cise (Not Men­tal Games) Might Be the Best Way to Keep Your Mind Sharp

How Stress Can Change Your Brain: An Ani­mat­ed Intro­duc­tion

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

The Giger Bar: Discover the 1980s Tokyo Bar Designed by H. R. Giger, the Same Artist Who Created the Nightmarish Monster in Ridley Scott’s Alien

In 1980s Tokyo, every­thing was pos­si­ble — or at least every­thing was tried out. Hav­ing devel­oped fever­ish­ly since the end of the Sec­ond World War, Japan had by that point inflat­ed an asset bub­ble so enor­mous that, so the sto­ry goes, the land on which the Impe­r­i­al Palace stands was worth more than all of Cal­i­for­nia. Many Japan­ese felt rich, and upward­ly mobile young Toky­oites felt much more so; in the cap­i­tal sprung up count­less estab­lish­ments aim­ing to cash in on their will­ing­ness and abil­i­ty to spend their new mon­ey on expe­ri­ences, espe­cial­ly expe­ri­ences slick, expen­sive, and exot­ic.

And for the high­est-rolling young Toky­oites of the 1980s, con­sumers for whom pieces of Amer­i­ca and Europe would­n’t be exot­ic enough, there was the Giger Bar. Writer on Japan­ese cul­ture W. David Marx recent­ly tweet­ed out a few mag­a­zine clip­pings to do with one of what he calls the “hot yup­pie date spots in Tokyo, 1989: GIGER BAR Bring your date to the Tokyo bar designed by Swiss artist H. R. Giger of Alien fame, where ‘the atmos­phere dif­fers from the usu­al.’ ‘alien eggs’ on the menu at ¥1200, and some­thing called ‘sex­u­al com­mu­nion’ for ¥1500.”

“The Giger Bar in Tokyo was actu­al­ly cre­at­ed against my will,” Giger him­self wrote in 1997. “While I was in Tokyo, I was asked to make a wish, on stage, dur­ing a press con­fer­ence. Spon­ta­neous­ly, I wished for a bar, which was then brought into being even more spon­ta­neous­ly!”

For that bar, Giger designed “tables-for-two in open ele­va­tor cars in the man­ner of glid­ing ele­va­tors that would trav­el up and down the four-sto­ry estab­lish­ment, per­pet­u­al­ly in motion.” But he had­n’t tak­en into con­sid­er­a­tion the rigid­i­ty of Japan­ese fire mar­shals, and already “dri­ven to the brink of mad­ness” by the coun­try’s com­plex earth­quake-relat­ed build­ing codes, Giger ulti­mate­ly stepped back from his design role.

Giger also had­n’t fore­seen the fact that his name­sake Japan­ese bar “was tai­lor-made for the under­world.” Five years after the bar opened, a friend vis­it­ed and told Giger that “it had fall­en into the hands of the Yakuza. He went on to report that he was alone in the bar until 11 o’clock, when it began to fill with the type of unsa­vory char­ac­ters who might have installed a roulette table in the atri­um.” By the time Giger wrote this reflec­tion, the Tokyo Giger Bar had closed its doors entire­ly: “Insid­ers know that a bar in Tokyo rarely sur­vives more than five years!”

But two oth­er Giger Bars live on, not in Japan but in Giger’s native Switzer­land, one in his home­town of Chur (orig­i­nal­ly planned for New York City, a loca­tion that proved too expen­sive for the elab­o­rate design) and the oth­er in Gruyères (adja­cent to the H.R. Giger Muse­um). Those Swiss branch­es, a cou­ple pic­tures of which appear above, car­ry on the Giger Bar’s aes­thet­ic in a man­ner seem­ing­ly more faith­ful to the artist’s grotesque bio­me­chan­i­cal visions than did the Tokyo branch. Whether this could ever prove a sus­tain­able nightlife con­cept else­where in the world remains to be seen, but as Giger’s hard­core fans — the kind who would­n’t hes­i­tate to make the Giger Bar pil­grim­age to Switzer­land — might well ask, who would­n’t want to have a drink in the womb of the alien queen?

via W. David Marx

Relat­ed Con­tent:

H.R. Giger’s Tarot Cards: The Swiss Artist, Famous for His Design Work on Alien, Takes a Jour­ney into the Occult

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

High School Kids Stage Alien: The Play and You Can Now Watch It Online

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.

What If We’re Wrong?: An Animated Video Challenges Our Most Deeply Held Beliefs–With the Help of a Ludwig Wittgenstein Thought Experiment

Philoso­pher Lud­wig Wittgen­stein asked us to imag­ine a rope stretched around the earth at the equa­tor (and imag­ine the earth as a per­fect sphere). Were we to add one more yard to the rope, then stretch it out taut again, would any­one be able to notice the dif­fer­ence? Most of us will intu­it that it couldn’t pos­si­bly be so, a yard would dis­ap­pear in the immen­si­ty of the Earth’s cir­cum­fer­ence.

Some geom­e­try and alge­bra show, in fact, that the rope would hov­er about 6 inch­es off the ground, becom­ing a haz­ardous trip­wire span­ning the globe. The video above from the Cen­ter for Pub­lic Phi­los­o­phy at the Uni­ver­si­ty of Cal­i­for­nia, San­ta Cruz begins with this odd thought exper­i­ment and ends with a call to action: to apply more skep­ti­cism to our polit­i­cal posi­tions.

If we can be so wrong about a prob­lem with a math­e­mat­i­cal proof, we’re asked, “how should an open-mind­ed hon­est per­son regard her own cer­tain­ty in areas where there are often no proofs, like pol­i­tics, phi­los­o­phy, ethics, or aes­thet­ics? Maybe we should be a lot less con­fi­dent in our beliefs. After all, we might be wrong more than we real­ize.” Maybe so. But it seems there’s some slip­pery use of ter­mi­nol­o­gy here.

In any case, the short video is not, we should point out, a rep­re­sen­ta­tion of Wittgenstein’s thought, only a riff on his imag­in­ing a rope around the world. What did Wittgen­stein him­self have to say about skep­ti­cism and cer­tain­ty? It’s com­pli­cat­ed. Attempt­ing to char­ac­ter­ize his thought in brief might be an impos­si­ble task. He can seem like a high­ly con­tra­dic­to­ry thinker, refut­ing the ideas in his first book, the Trac­ta­tus Logi­co-Philo­soph­i­cus, in his posthu­mous­ly pub­lished Philo­soph­i­cal Inves­ti­ga­tions, for exam­ple.

But per­haps it is more so the case—as A.C. Grayling writes of anoth­er posthu­mous­ly pub­lished Wittgen­stein col­lec­tion, On Cer­tain­ty—that the stages of the enig­mat­ic thinker’s career were each “a col­lec­tion of pro­vi­sion­al notes, record­ing a jour­ney not an arrival.” He had begun in the Trac­ta­tus by con­sid­er­ing phi­los­o­phy “a spu­ri­ous enter­prise.” Most famous­ly, Wittgen­stein wrote, “Where­of one can­not speak, there­of one must be silent,” sweep­ing away with one lofty ges­ture all meta­physics and abstract spec­u­la­tion.

In On Cer­tain­ty, he appears to final­ly accept philosophy’s “legit­i­ma­cy.” Any con­flict with his ear­li­er posi­tions does not trou­ble him at all. Wittgen­stein attempts to refute skep­ti­cism, return­ing to the image of a “world pic­ture” that recurs again and again in his work, build­ing his case with apho­risms like “I have a world pic­ture. Is it true or false? Above all it is the sub­stra­tum of all my enquir­ing and assert­ing.” Draw­ing on the foun­da­tion­al­ism of G.E. Moore, Wittgen­stein deploys rhetoric that sounds down­right fun­da­men­tal­ist:

If I say ‘we assume that the earth has exist­ed for many years past’ (or some­thing sim­i­lar), then of course it sounds strange that we should assume such a thing. But in the entire sys­tem of our lan­guage-games it belongs to the foun­da­tions. The assump­tion, one might say, forms the basis of action, and there­fore, nat­u­ral­ly, of thought.

Isn’t the ques­tion this: ‘What if you had to change your opin­ion even on these most fun­da­men­tal things?’ And to that the answer seems to me to be: ‘You don’t have to change. That is just what their being “fun­da­men­tal” is.’

This does not sound like a per­son like­ly to ever change their mind about what one might call their “strong­ly-held beliefs.” Wittgen­stein con­structs anoth­er view at the very same time. His sec­ond argu­ment “is not com­fort­ably con­sis­tent with—perhaps, indeed, under­mines” the first. While defend­ing cer­tain­ty, he argues for “rel­a­tivism… the view that truth and knowl­edge are not absolute or invari­able, but depen­dent upon view­point, cir­cum­stances or his­tor­i­cal con­di­tions.”

Our thoughts about the world, or our “world-pic­ture,” writes Wittgen­stein, “might be part of a kind of mythol­o­gy…. The mythol­o­gy may change back into a state of flux, the riv­er-bed of thoughts may shift.” Our beliefs change as the “lan­guage-game” changes. We put on new dis­cur­sive cloth­ing, con­tin­gent on our present cir­cum­stances. “The dif­fi­cul­ty,” writes the philoso­pher, with almost a hint of sym­pa­thy, “is to real­ize the ground­less­ness of our believ­ing.”

Nei­ther of these positions—that we are jus­ti­fied in believ­ing “fun­da­men­tal,” self-evi­dent propo­si­tions because they’re fun­da­men­tal; or that we change our beliefs because of a change in rel­a­tive “language-games”—fit neat­ly with the idea that we should try to be less cer­tain and more open to chang­ing our minds. Nor is any ref­er­ence in Wittgen­stein like­ly to help resolve our polit­i­cal dis­agree­ments.

We may find it a com­fort, or a deeply unset­tling propo­si­tion, that cer­tain beliefs might be anchored more deeply than proof or skep­ti­cism can reach. Or as Wittgen­stein put it: “And now if I were to say ‘It is my unshake­able con­vic­tion that etc.,’ this means in the present case too that I have not con­scious­ly arrived at the con­vic­tion by fol­low­ing a par­tic­u­lar line of thought, but that it is anchored in all my ques­tions and answers, so anchored that I can­not touch it.” Yet, per­haps it is the case that we share more of these con­vic­tions than we know.

via Aeon

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to Lud­wig Wittgen­stein & His Philo­soph­i­cal Insights on the Prob­lems of Human Com­mu­ni­ca­tion

Hear Wittgenstein’s Trac­ta­tus Logi­co-Philo­soph­i­cus Sung as a One-Woman Opera

Lud­wig Wittgenstein’s Short, Strange & Bru­tal Stint as an Ele­men­tary School Teacher

In Search of Lud­wig Wittgenstein’s Seclud­ed Hut in Nor­way: A Short Trav­el Film

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

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

Some­times I play air drums, when at home before a roar­ing pair of speak­ers. No one would know it, but I’m not half bad. Except when it comes to jazz. Then it’s too ridicu­lous even for soli­tary goof­ing off. But I’m just com­pe­tent enough to fake most basic rock beats… most… that is, but those of the most loud­ly sung drum­mers in clas­sic rock: Kei­th Moon and John Bon­ham.

In cat­e­gories all their own, it’s no sur­prise both drum­mers loved jazz, espe­cial­ly the hyper­ki­net­ic Gene Kru­pa. (Trag­i­cal­ly, they also shared an inter­est in fatal overindul­gence.) They took some com­mon influ­ences, how­ev­er, in very dif­fer­ent direc­tions.

For one thing, Moon hat­ed drum solos, that sta­ple of the jazz drummer’s kit. The one excep­tion to his rule may be Moon’s last appear­ance onstage in 1977, play­ing per­cus­sion in a cameo on Bonham’s solo on “Moby Dick,” one of the Led Zep­pelin drummer’s finest moments. “Bon­ham was known to solo on this song for up to 30 min­utes live!” writes Drum! mag­a­zine. It’s even said he “some­times drew blood per­form­ing ‘Moby Dick’ from using his bare hands to beat his snare and tom toms.”

The live ver­sion above, clock­ing in at a mere 15 min­utes, comes from a 1970 show at Roy­al Albert Hall. Robert Plant intro­duces the drum­mer with his full name, John Hen­ry Bon­ham, before he even names the song. Then, after a minute of Page, Bon­ham, and Jones play­ing the open­ing riff togeth­er, the solo begins.

Bon­ham leads us in slow­ly at first, then, with jaw-drop­ping skill, puts on dis­play what made him “a very spe­cial drum­mer” indeed, as the site Clas­sic Rock writes: “doing things with a bass ped­al that it took two of James Brown’s drum­mers to try and emulate—and they knew a bit about rhythm.”

His “pio­neer­ing use of bass drum triplets” is only a small part of his “impor­tant dis­cov­ery that all drum­ming is just triplets, or should be,” declares Michael Fowler’s rev­er­ent­ly tongue-in-cheek McSweeney’s trib­ute. “The next step, he saw, was in speed­ing up the beat with­out los­ing the basic triplet pat­tern… fly­ing around the kit with blind­ing speed, hit­ting every drum and cym­bal in those neg­li­gi­ble spaces.”

Bonham’s ridicu­lous­ly fast and com­plex patterns—whether deployed in half-hour solos or five-sec­ond drum fills (as above in “Achilles Last Stand” from 1979)—“shouldn’t be human­ly pos­si­ble,” Dave Grohl once said. But they were pos­si­ble for the great John Bon­ham, born on May 31st, 1948.

“Let’s face it,” writes Fowler, “no one else does or ever will” sound like Led Zeppelin’s drum­mer. Cel­e­brate his just-belat­ed birth­day by revis­it­ing more of his great­est live moments at Drum! and, just below, hear Robert Plant sing “Hap­py Birth­day” to his cel­e­brat­ed band­mate in 1973.

Relat­ed Con­tent:

What Makes John Bon­ham Such a Good Drum­mer? A New Video Essay Breaks Down His Inim­itable Style

John Bonham’s Iso­lat­ed Drum Track For Led Zeppelin’s ‘Fool in the Rain’

Kei­th Moon Plays Drums Onstage with Led Zep­pelin in What Would Be His Last Live Per­for­mance (1977)

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

Why You Should Read The Master and Margarita: An Animated Introduction to Bulgakov’s Rollicking Soviet Satire

Which are the essen­tial Russ­ian nov­els? Quite a few unde­ni­able con­tenders come to mind right away: Fathers and SonsCrime and Pun­ish­mentWar and PeaceAnna Karen­i­naThe Broth­ers Kara­ma­zovDr. Zhiva­goOne Day in the Life of Ivan Deniso­vich. But among seri­ous enthu­si­asts of Russ­ian lit­er­a­ture, nov­els don’t come much less deni­able than The Mas­ter and Mar­gari­ta, Mikhail Bul­gakov’s tale of the Dev­il’s vis­it to Sovi­et Moscow in the 1930s. This “sur­re­al blend of polit­i­cal satire, his­tor­i­cal fic­tion, and occult mys­ti­cism,” as Alex Gendler describes it in the ani­mat­ed TED-Ed video above, “has earned a lega­cy as one of the 20th century’s great­est nov­els — and one of its strangest.”

The Mas­ter and Mar­gari­ta con­sists of two par­al­lel nar­ra­tives. In the first, “a meet­ing between two mem­bers of Moscow’s lit­er­ary elite is inter­rupt­ed by a strange gen­tle­man named Woland, who presents him­self as a for­eign schol­ar invit­ed to give a pre­sen­ta­tion on black mag­ic.” Then, “as the stranger engages the two com­pan­ions in a philo­soph­i­cal debate and makes omi­nous pre­dic­tions about their fates, the read­er is sud­den­ly trans­port­ed to first-cen­tu­ry Jerusalem,” where “a tor­ment­ed Pon­tius Pilate reluc­tant­ly sen­tences Jesus of Nazareth to death.”

The nov­el oscil­lates between the sto­ry of the his­tor­i­cal Jesus — though not quite the one the Bible tells — and that of Woland and his entourage, which includes an enor­mous cat named Behe­moth with a taste for chess, vod­ka, wise­cracks, and firearms. Dark humor flows lib­er­al­ly from their antics, as well as from Bul­gakov’s depic­tion of “the USSR at the height of the Stal­in­ist peri­od. There, artists and authors worked under strict cen­sor­ship, sub­ject to impris­on­ment, exile, or exe­cu­tion if they were seen as under­min­ing state ide­ol­o­gy.”

The dev­il­ish Woland plays this over­bear­ing bureau­crat­ic life like a fid­dle, and “as heads are sep­a­rat­ed from bod­ies and mon­ey rains from the sky, the cit­i­zens of Moscow react with pet­ty-self inter­est, illus­trat­ing how Sovi­et soci­ety bred greed and cyn­i­cism despite its ideals.” Such con­tent would nat­u­ral­ly ren­der a book unpub­lish­able at the time, and though Bul­gakov’s ear­li­er satire The Heart of a Dog (in which a sur­geon trans­plants human organs into a dog and then insists he behave as a human) cir­cu­lat­ed in samiz­dat form, he could­n’t even com­plete The Mas­ter and Mar­gari­ta before his death in 1940.

“Bulgakov’s expe­ri­ences with cen­sor­ship and artis­tic frus­tra­tion lend an auto­bi­o­graph­i­cal air to the sec­ond part of the nov­el, when we are final­ly intro­duced to its name­sake,” says Gendler. “The Mas­ter is a name­less author who’s worked for years on a nov­el but burned the man­u­script after it was reject­ed by pub­lish­ers — just as Bul­gakov had done with his own work. Yet the true pro­tag­o­nist is the Master’s mis­tress Mar­gari­ta,” whose “devo­tion to her lover’s aban­doned dream bears a strange con­nec­tion to the dia­bol­i­cal company’s escapades — and car­ries the sto­ry to its sur­re­al cli­max.”

In the event, a cen­sored ver­sion of The Mas­ter and Mar­gari­ta was first pub­lished in the 1960s, and an as-com­plete-as-pos­si­ble ver­sion even­tu­al­ly appeared in 1973. Against the odds, the man­u­script that Bul­gakov left behind sur­vived him to become a mas­ter­piece that has inspired not just oth­er Russ­ian writ­ers, but cre­ators like the Rolling StonesPat­ti Smith, and (in a per­haps less than safe-for-work man­ner) H.R. Giger as well. Per­haps the author him­self had some pre­mo­ni­tion of the book’s poten­tial: man­u­scripts, as he famous­ly has Woland say to the Mas­ter, don’t burn.

Look­ing for free, pro­fes­sion­al­ly-read audio books from Audible.com? (This could include The Mas­ter and Mar­gari­ta.) Here’s a great, no-strings-attached deal. If you start a 30 day free tri­al with Audible.com, you can down­load two free audio books of your choice. Get more details on the offer here.

Relat­ed Con­tent:

Mikhail Bulgakov’s The Mas­ter and Mar­gari­ta, Ani­mat­ed in Two Min­utes

Pat­ti Smith’s Musi­cal Trib­utes to the Russ­ian Greats: Tarkovsky, Gogol & Bul­gakov

Why You Should Read Crime and Pun­ish­ment: An Ani­mat­ed Intro­duc­tion to Dostoevsky’s Moral Thriller

Why Should We Read Ray Bradbury’s Fahren­heit 451? A New TED-Ed Ani­ma­tion Explains

Why You Should Read One Hun­dred Years of Soli­tude: An Ani­mat­ed Video Makes the Case

Watch the Sur­re­al­ist Glass Har­mon­i­ca, the Only Ani­mat­ed Film Ever Banned by Sovi­et Cen­sors (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.

Elton John Takes Us Through the Creative Process of His Early Hit “Tiny Dancer” (1970)

We all have our favorites from Elton John’s vast cat­a­log, and I’ll admit that 1970’s “Tiny Dancer” has nev­er been one of mine.

Call me crass, but I tend to get it con­fused with 1973’s “Can­dle in the Wind,” which John retooled so swift­ly for Princess Diana’s 1997 funer­al.

But then Sir Elton—or “Reg” as close friends and long-time lyri­cist Bernie Taupin call the artist for­mer­ly known as Regi­nald Ken­neth Dwight—has always had a knack for work­ing quick­ly, as Taupin explains above.

I’d nev­er been curi­ous enough to inves­ti­gate, but assumed, cor­rect­ly, that the lyric “seam­stress for the band” referred to an actu­al per­son.

John actu­al­ly seems a bit blasé, explain­ing that it’s about Taupin’s then girl­friend and even­tu­al first wife, Max­ine Feibel­man, whom I must thank for inad­ver­tent­ly sup­ply­ing the title of my favorite track, “The Bitch is Back,” which was her code phrase for “Elton’s in a mood.”

As per Sir Elton, “Tiny Dancer”’s lyrics informed the sound, which is more bal­le­ri­na than pirate smile.

And while the orig­i­nal lin­er notes’ ded­i­ca­tion sug­gests that “Tiny Dancer” is indeed a trib­ute to Feibel­man, three wives lat­er, Taupin revised things a bit, telling author Gavin Edwards:

We came to Cal­i­for­nia in the fall of 1970, and sun­shine radi­at­ed from the pop­u­lace. I was try­ing to cap­ture the spir­it of that time, encap­su­lat­ed by the women we met—especially at the clothes stores up and down the Strip in L.A. They were free spir­its, sexy in hiphug­gers and lacy blous­es, and very ethe­re­al, the way they moved. So dif­fer­ent from what I’d been used to in Eng­land. And they all want­ed to sew patch­es on your jeans. They’d moth­er you and sleep with you—it was the per­fect Oedi­pal com­plex.

Writer-direc­tor Cameron Crowe must’ve absorbed that mes­sage, to go by his mem­o­rable use of the song in Almost Famous’ tour bus scene,

Those com­mu­nal good vibes per­me­ate direc­tor Max Weiland’s win­ning entry in a recent John-spon­sored con­test on The Cut, which, like the open­ing scene of La La Land, gets a lot of mileage from LA’s rep­u­ta­tion for traf­fic jams.

Can tick­et buy­ers expect to find the song fea­tured promi­nent­ly in the just released John biopic, Rock­et­man?

No.

(Just kid­ding. Why else would John and his Rock­et­man dop­pel­gänger, actor Taron Egerton choose that one for a duet at John’s annu­al Oscar par­ty?)

Relat­ed Con­tent:

A New Christ­mas Com­mer­cial Takes You on a Sen­ti­men­tal Jour­ney Through Elton John’s Rich Musi­cal Life

Elton John Sings His Clas­sic Hit ‘Your Song’ Through the Years

Elton John Proves He Can Turn any Text into a Song: Watch Him Impro­vise with Lines from Hen­rik Ibsen’s Play, Peer Gynt

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

The Cure Performed the Entire “Disintegration” Album on the 30th Anniversary of Its Release: Watch The Complete Concert Online

30 years after its orig­i­nal release, The Cure per­formed the entire­ty of their 1989 album Dis­in­te­gra­tion at a con­cert held this past Thurs­day at The Syd­ney Opera House. Dis­in­te­gra­tion remains the band’s best-sell­ing album to date, and it now ranks #326 on Rolling Stone’s list of the “500 Great­est Albums of All Time.” You can watch the show, from start to fin­ish, above. Find a setlist, with time­stamps, below.

17:15 Deliri­ous Night

23:44 Fear of Ghosts

30:45 No Heart

34:20 Esten

38:17 2 Late

41:10 Out of Mind

44:46 Bab­ble

54:42 Plain­song

59:25 Pic­tures of You

1:06:44 Close­down

1:11:00 Lovesong

1:14:40 Last Dance

1:19:52 Lul­la­by

1:24:46 Fas­ci­na­tion Street

1:29:47 Prayers for Rain

1:35:34 The Same Deep Water as You

1:44:47 Dis­in­te­gra­tion

1:53:11 Home­sick

2:00:16 Unti­tled

2:10:55 Burn @​

2:17:52 Three Imag­i­nary Boys

2:21:30 Pirate Ships

via Laugh­ing Squid

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Relat­ed Con­tent:

Watch The Cure’s First TV Appear­ance in 1979 … Before The Band Acquired Its Sig­na­ture Goth Look

Three-Hour Mix­tape Offers a Son­ic Intro­duc­tion to Under­ground Goth Music

Stream 15 Hours of the John Peel Ses­sions: 255 Tracks by Syd Bar­rett, David Bowie, Siouxsie and the Ban­shees & Oth­er Artists

A His­to­ry of Alter­na­tive Music Bril­liant­ly Mapped Out on a Tran­sis­tor Radio Cir­cuit Dia­gram: 300 Punk, Alt & Indie Artists

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