Study Less, Study Smart: A Longtime Psych Professor Explains How to Study (or Do Any Intellectual Work) Effectively

If you’ve left for­mal edu­ca­tion, you no doubt retain a few good mem­o­ries from your years as a stu­dent. None of them, safe to say, involve study­ing — assum­ing you man­aged to get any study­ing done in the first place. The unfor­tu­nate fact is that few of us ever real­ly come to grips with what it means to study, apart from sit­ting by one­self with a text­book for hours on end. Despite its obvi­ous inef­fi­cien­cy as a learn­ing method, we’ve all found our­selves doing that kind of “study­ing” at one time or anoth­er. Hav­ing taught psy­chol­o­gy class­es for 40 years, Pierce Col­lege pro­fes­sor Mar­ty Lob­dell has seen thou­sands of stu­dents labor­ing, indeed suf­fer­ing, under sim­i­lar study­ing-relat­ed assump­tions, and in his 8.7‑million-times-viewed talk “Study Less, Study Smart,” he sets out to cor­rect them. He has also dis­pensed his wis­dom in a book by the same title.

Not many of us can get much out of a text­book after a few hours with it, or indeed, after more than about thir­ty min­utes. It’s thus at such an inter­val that Lob­dell sug­gests tak­ing a reg­u­lar five-minute break to lis­ten to music, play a game, talk to a friend, med­i­tate — to do any­thing but study — in order to recharge your abil­i­ty to focus and head off these dimin­ish­ing returns of absorp­tion. At the end of each entire study ses­sion, you’d do well to sched­ule a big­ger reward in order to rein­force the behav­ior of engag­ing in study ses­sions in the first place. Ide­al­ly, you’ll enjoy this reward in a dif­fer­ent place than you do your study­ing, which itself should­n’t be a room that comes with its own dis­tract­ing pri­ma­ry use, like the bed­room, kitchen, or liv­ing room.

Even if you have a ded­i­cat­ed study area (and bet­ter yet, a ded­i­cat­ed study lamp that you turn on only while hit­ting the books), you won’t get much accom­plished there if you rely on sim­ply read­ing texts over and over again in hopes of even­tu­al­ly mem­o­riz­ing their con­tents. Lob­dell rec­om­mends focus­ing pri­mar­i­ly on not facts but the broad­er con­cepts that orga­nize those facts. An effec­tive means of check­ing whether you under­stand a con­cept is to try explain­ing it in your own words: Richard Feyn­man premised his “note­book tech­nique” for learn­ing, pre­vi­ous­ly fea­tured here on Open Cul­ture, on just such a process. You’ll also want to make use of the notes you take in class, but only if you take them in a use­ful way, which neces­si­tates a process of expan­sion and revi­sion imme­di­ate­ly after each class.

Lob­dell has much more advice to offer through­out the full, hour­long talk. In it he also cov­ers the val­ue of study groups; the more ques­tion­able val­ue of high­light­ing; gen­uine remem­ber­ing ver­sus sim­ple recog­ni­tion; the neces­si­ty of a good night’s sleep; the “sur­vey, ques­tion, read, recite, review” approach to text­books; and the use­ful­ness of mnemon­ics (even, or per­haps espe­cial­ly, sil­ly ones). If you’re a stu­dent, you can make use of Lob­del­l’s tech­niques right away, and if you once were a stu­dent, you may find your­self wish­ing you’d known about them back then. But prop­er­ly adapt­ed, they can ben­e­fit the intel­lec­tu­al work you do at any stage of life. Nev­er, after all, does con­cen­tra­tion become less valu­able, and nev­er can we claim to have learned some­thing unless we can first make it under­stood to oth­ers – or indeed, to our­selves.

If you want the cliff notes ver­sion of the Study Less, Study Smart lec­ture, watch the video below:

Relat­ed Con­tent:

The Craft of Writ­ing Effec­tive­ly: Essen­tial Lessons from the Long­time Direc­tor of UChicago’s Writ­ing Pro­gram

How to Speak: Watch the Lec­ture on Effec­tive Com­mu­ni­ca­tion That Became an MIT Tra­di­tion for Over 40 Years

The Cor­nell Note-Tak­ing Sys­tem: Learn the Method Stu­dents Have Used to Enhance Their Learn­ing Since the 1940s

Richard Feynman’s “Note­book Tech­nique” Will Help You Learn Any Subject–at School, at Work, or in Life

The “Feyn­man Tech­nique” for Study­ing Effec­tive­ly: An Ani­mat­ed Primer

Richard Feynman’s Tech­nique for Learn­ing Some­thing New: An Ani­mat­ed Intro­duc­tion

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

Wyn­ton Marsalis Gives 12 Tips on How to Prac­tice: For Musi­cians, Ath­letes, or Any­one Who Wants to Learn Some­thing New

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Watch the Oscar-Winning “Gerald McBoing-Boing” (1950): It’s Ranked as the 9th Greatest Cartoon of All Time

To under­stand how rev­o­lu­tion­ary this short film from 1950 was to con­tem­po­rary view­ers, just con­sid­er the pre­vi­ous four decades (or so) of ani­mat­ed films. There were talk­ing ani­mals, singing ani­mals, bounc­ing ani­mals, and in Dis­ney films humans based on roto­scop­ing live action. From its hum­ble and humor­ous begin­nings, ani­ma­tion was strid­ing towards real­ism as fast as it could. But in the first minute of this adap­ta­tion of a Theodor “Dr. Seuss” Geisel sto­ry, you can see that’s all been tossed out the win­dow, a win­dow shaped like a trape­zoid.

This ani­ma­tion from the rene­gade stu­dio Unit­ed Pro­duc­tions of Amer­i­ca (UPA) ush­ered in the space age look that suit­ed the dynam­ic post-war Amer­i­can econ­o­my. The pace of life was fran­tic, sleek, mod­ern, and the ani­mat­ed char­ac­ters and back­grounds fol­low suit: laws of per­spec­tive are gone. Back­grounds are sug­gest­ed with one or two objects, and col­or is impres­sion­is­tic, not real­is­tic. The char­ac­ters are cute, but drawn with an econ­o­my of line.

Which would all suit a sto­ry by Dr. Seuss that already exist­ed as a children’s record, told in his famil­iar rhyth­mic rhyming style.

The Ger­ald of the title is a young boy who doesn’t speak in words, but in sound effects. His par­ents freak out, a doc­tor can’t help, and his class­mates and school reject him. But like many a Dr. Seuss sto­ry, Gerald’s prob­lem is actu­al­ly a gift, and the film con­cludes in a pos­i­tive way, cel­e­brat­ing dif­fer­ence. The film went on to win the Oscar for Best Ani­mat­ed Short that year, beat­ing out the estab­lished stu­dios of Warn­er Bros., MGM, and Dis­ney. It paved the way for the more min­i­mal ani­ma­tion of Han­na-Bar­bera (Gerald’s dad has a pro­to-George Jet­son look) and opened the door for more abstract films from the Nation­al Film Board of Cana­da, and influ­ence the Klasky Csupo stu­dio and oth­ers in the 1990s ani­ma­tion rebirth.

UPA was formed from the exo­dus of sev­er­al top Dis­ney ani­ma­tors after a cre­ators’ strike in 1941. Head among them was John Hub­ley, a lay­out artist who bris­tled against Disney’s real­ism and want­ed to branch out. At first known as Indus­tri­al Film and Poster Ser­vice, the stu­dio made films for the Unit­ed Auto Work­ers and for the Army, mak­ing edu­ca­tion­al films for young pri­vates with the Pri­vate Sna­fu series after Warn­er Bros stepped aside. Chuck Jones helped direct these shorts. Anti-Com­mu­nist sen­ti­ment put an end to gov­ern­ment work, and, so by the late 1940s, UPA decid­ed to take on the big stu­dios with the­atri­cal shorts and after “Ger­ald McBo­ing-Boing” was a hit, they con­tin­ued with the Mr. Magoo series, sev­er­al McBo­ing­Bo­ing sequels, and a TV ver­sion of Dick Tra­cy.

The stu­dio dried up in the 1960s and instead of ani­ma­tion teamed up with Toho Stu­dios in Japan and helped intro­duce a gen­er­a­tion of Amer­i­can audi­ences to kai­ju (giant mon­ster) films like Godzil­la by re-cut­ting and dis­trib­ut­ing many of their films.

Along with its Oscar, “Ger­ald McBo­ing-Boing” is now part of the Library of Con­gress’ Film Reg­istry as a sig­nif­i­cant Amer­i­can Film and often gets vot­ed as one of the great­est ani­mat­ed films of the 20th Cen­tu­ry. (It was vot­ed the 9th best ani­ma­tion of all time, by 1,000 ani­ma­tion pro­fes­sion­als.)

Last­ly, Gerald’s last name lives on as the inspi­ra­tion for the “hap­py mutants” zine and web­site, boingboing.net.

Relat­ed Con­tent:

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

Chuck Jones’ 9 Rules For Draw­ing Road Run­ner Car­toons, or How to Cre­ate a Min­i­mal­ist Mas­ter­piece

Leg­endary Ani­ma­tor Chuck Jones Cre­ates an Oscar-Win­ning Ani­ma­tion About the Virtues of Uni­ver­sal Health Care (1949)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

When Italian Futurists Declared War on Pasta (1930)

We must fight against pud­dles of sauce, dis­or­dered heaps of food, and above all, against flab­by, anti-vir­ile pas­ta­s­ciut­ta. —poet Fil­ip­po Tom­ma­so Marinet­ti

Odds are Fil­ip­po Tom­ma­so Marinet­ti, the father of Futur­ism and a ded­i­cat­ed provo­ca­teur, would be crest­fall­en to dis­cov­er how close­ly his most incen­di­ary gas­tro­nom­i­cal pro­nounce­ment aligns with the views of today’s low-carb cru­saders.

In denounc­ing pas­ta, “that absurd Ital­ian gas­tro­nom­ic reli­gion,” his inten­tion was to shock and crit­i­cize the bour­geoisie, not reduce bloat and inflam­ma­tion.

He did, how­ev­er, share the pop­u­lar 21st-cen­tu­ry view that heavy pas­ta meals leave din­ers feel­ing equal­ly heavy and lethar­gic.

As he declared in 1930 in The Futur­ist Cook­book:

Futur­ist cook­ing will be free of the old obses­sions with vol­ume and weight and will have as one of its prin­ci­ples the abo­li­tion of pas­ta­s­ciut­ta. Pas­ta­s­ciut­ta, how­ev­er agree­able to the palate, is a passéist food because it makes peo­ple heavy, brutish, deludes them into think­ing it is nutri­tious, makes them skep­ti­cal, slow, pes­simistic… Any pas­tas­cuit­tist who hon­est­ly exam­ines his con­science at the moment he ingur­gi­tates his biquo­tid­i­an pyra­mid of pas­ta will find with­in the gloomy sat­is­fac­tion of stop­ping up a black hole. This vora­cious hole is an incur­able sad­ness of his. He may delude him­self, but noth­ing can fill it. Only a Futur­ist meal can lift his spir­its. And pas­ta is anti-vir­ile because a heavy, bloat­ed stom­ach does not encour­age phys­i­cal enthu­si­asm for a woman, nor favour the pos­si­bil­i­ty of pos­sess­ing her at any time.

Bom­bast came nat­u­ral­ly to him. While he tru­ly believed in the tenets of Futur­ismspeed, indus­try, tech­nol­o­gy, and the cleans­ing effects of war, at the expense of tra­di­tion and the pasthe glo­ried in hyper­bole, absur­di­ty, and showy pranks.

The Futur­ist Cook­book reflects this, although it does con­tain actu­al recipes, with very spe­cif­ic instruc­tions as to how each dish should be served. A sam­ple:

RAW MEAT TORN BY TRUMPET BLASTS: cut a per­fect cube of beef. Pass an elec­tric cur­rent through it, then mar­i­nate it for twen­ty-four hours in a mix­ture of rum, cognac and white ver­mouth. Remove it from the mix­ture and serve on a bed of red pep­per, black pep­per and snow. Each mouth­ful is to be chewed care­ful­ly for one minute, and each mouth­ful is divid­ed from the next by vehe­ment blasts on the trum­pet blown by the eater him­self.

Intre­pid host Trevor Dun­sei­th doc­u­ments his attempt to stage a faith­ful Futur­ist din­ner par­ty in the above video.

Guests eat sal­ad with their hands for max­i­mum “pre-labi­al tac­tile plea­sure” before bal­anc­ing oranges stuffed with antipas­to on their heads to ran­dom­ize the selec­tion of each mouth­ful. While not all of the fla­vors were a hit, the par­ty agreed that the expe­ri­ence wasas intend­edtotal­ly nov­el (and 100% pas­ta free).

Marinetti’s anti-pas­ta cam­paign chimed with Prime Min­is­ter Ben­i­to Mussolini’s goal of elim­i­nat­ing Italy’s eco­nom­ic depen­dence on for­eign mar­ketsthe Bat­tle for Grain. North­ern farm­ers could pro­duce ample sup­plies of rice, but nowhere near the amount of wheat need­ed to sup­port the pop­u­lace’s pas­ta con­sump­tion. If Ital­ians couldn’t grow more wheat, Mus­soli­ni want­ed them to shift from pas­ta to rice.

F.T. Marinet­ti by W. Sel­dow, 1934

Marinet­ti agreed that rice would be the “patri­ot­ic” choice, but his desired ends were root­ed in his own avant-garde art move­ment:

… it is not just a ques­tion of replac­ing pas­ta with rice, or of pre­fer­ring one dish to anoth­er, but of invent­ing new foods. So many mechan­i­cal and sci­en­tif­ic changes have come into effect in the prac­ti­cal life of mankind that it is also pos­si­ble to achieve culi­nary per­fec­tion and to orga­nize var­i­ous tastes, smells and func­tions, some­thing which until yes­ter­day would have seemed absurd because the gen­er­al con­di­tions of exis­tence were also dif­fer­ent. We must, by con­tin­u­al­ly vary­ing types of food and their com­bi­na­tions, kill off the old, deeply root­ed habits of the palate, and pre­pare men for future chem­i­cal food­stuffs. We may even pre­pare mankind for the not-too-dis­tant pos­si­bil­i­ty of broad­cast­ing nour­ish­ing waves over the radio.

Futurism’s ties to fas­cism are not a thing to brush off light­ly, but it’s also impor­tant to remem­ber that Marinet­ti believed it was the artist’s duty to put for­ward a bold pub­lic per­son­ae. He lived to ruf­fle feath­ers.

Mis­sion accom­plished. His anti-pas­ta pro­nounce­ments result­ed in a tumult of pub­lic indig­na­tion, both local­ly and in the States.

The Duke of Bovi­no, may­or of Naples, react­ed to Marinetti’s state­ment that pas­ta is “com­plete­ly hos­tile to the viva­cious spir­it and pas­sion­ate, gen­er­ous, intu­itive soul of the Neapoli­tans” by say­ing, “The angels in Heav­en eat noth­ing but ver­mi­cel­li al pomodoro.” Proof, Marinet­ti sniped back, of “the unap­pe­tiz­ing monot­o­ny of Par­adise and of the life of the Angels.”

He agi­tat­ed for a futur­is­tic world in which kitchens would be stocked with ”atmos­pher­ic and vac­u­um stills, cen­trifu­gal auto­claves (and) dia­lyz­ers.”

His recipes, as Trevor Dun­sei­th dis­cov­ered, func­tion bet­ter as one-time per­for­mance art than go-to dish­es to add to one’s culi­nary reper­toire.

There is a rea­son why Julia Child’s Coq a Vin and Tarte Tatin endure while Marinet­ti’s  Excit­ed Pig and Black Shirt Snack have fall­en into dis­use.

Uh… progress?

As Daniel A. Gross writes in the Sci­ence His­to­ry Institute’s Dis­til­la­tions:

Marinet­ti sup­port­ed Fas­cism to the extent that it too advo­cat­ed progress, but his alle­giance even­tu­al­ly wavered. To Marinet­ti, Roman ruins and Renais­sance paint­ings were not only bor­ing but also anti­thet­i­cal to progress. To Mus­soli­ni, by con­trast, they were polit­i­cal­ly use­ful. The dic­ta­tor drew on Ital­ian his­to­ry in his quest to build a new, pow­er­ful nation—which also led to a nation­al cam­paign in food self-suf­fi­cien­cy, encour­ag­ing the grow­ing and con­sump­tion of such tra­di­tion­al foods as wheat, rice, and grapes. The gov­ern­ment even fund­ed research into the nutri­tion­al ben­e­fits of wheat, with one sci­en­tist claim­ing whole-wheat bread boost­ed fer­til­i­ty. In short, the pre­war dream of futur­ist food was tabled yet again.

Get your own copy of Fil­ip­po Tom­ma­so Marinetti’s The Futur­ist Cook­book here.

via Men­tal Floss

Relat­ed Con­tent: 

Sal­vador Dalí’s 1973 Cook­book Gets Reis­sued: Sur­re­al­ist Art Meets Haute Cui­sine

MoMA’s Artists’ Cook­book (1978) Reveals the Meals of Sal­vador Dalí, Willem de Koon­ing, Andy Warhol, Louise Bour­geois & More

Recipes from the Kitchen of Geor­gia O’Keeffe

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. See her as a French Cana­di­an bear who trav­els to New York City in search of food and mean­ing in Greg Kotis’ short film, L’Ourse.  Fol­low her @AyunHalliday.

The Art of Traditional Japanese Wood Joinery: A Kyoto Woodworker Shows How Japanese Carpenters Created Wood Structures Without Nails or Glue

Any­one can devel­op basic wood­work­ing skills — and, per the advice of Nick Offer­man, per­haps every­one should. Those who do learn that things of sur­pris­ing func­tion­al­i­ty can be made just by cut­ting pieces of wood and nail­ing or glu­ing them togeth­er. Few­er, how­ev­er, have the patience and ded­i­ca­tion to mas­ter wood­work­ing with­out nails or glue, an art that in Japan has been refined over many gen­er­a­tions. Tra­di­tion­al Japan­ese car­pen­ters put up entire build­ings using wood alone, cut­ting the pieces in such a way that they fit togeth­er as tight­ly as if they’d grown that way in the first place. Such unfor­giv­ing join­ery is sure­ly the truest test of wood­work­ing skill: if you don’t do it per­fect­ly, down comes the tem­ple.

“At the end of the 12th cen­tu­ry, fine wood­work­ing skills and knowl­edge were brought into Japan from Chi­na,” writes Yamanashi-based wood­work­er Dylan Iwaku­ni. “Over time, these join­ery skills were refined and passed down, result­ing in the fine wood joiner­ies Japan is known for.”

As it became a tra­di­tion in Japan, this car­pen­try devel­oped a canon of join­ing meth­ods, sev­er­al of which Iwaku­ni demon­strates in the video at the top of the post. Can it be a coin­ci­dence that these most trust­wor­thy joints — and the oth­ers fea­tured on Iwaku­ni’s join­ery playlist, includ­ing the seem­ing­ly “impos­si­ble” shi­hou kama tsu­gi — are also so aes­thet­i­cal­ly pleas­ing, not just in their cre­ation but their fin­ished appear­ance?

In addi­tion to his Youtube chan­nel, Iwaku­ni main­tains an Insta­gram account where he posts pho­tos of join­ery not just in the work­shop but as employed in the con­struc­tion and main­te­nance of real build­ings. “Joiner­ies can be used to replace a dam­aged part,” he writes, “allow­ing the struc­ture to stand for anoth­er hun­dreds of years.” To do it prop­er­ly requires not just a painstak­ing­ly honed set of skills, but a per­pet­u­al­ly sharp­ened set of tools — in Iwaku­ni’s case, the vis­i­ble sharp­ness of which draws aston­ished com­ment from wood­work­ing afi­ciona­dos around the world. “Blimey,” as one Metafil­ter user writes, “it’s hard enough get­ting a knife sharp enough to slice onions.” What an audi­ence Iwaku­ni could com­mand if he expand­ed from wood­work­ing Youtube into cook­ing Youtube, one can only imag­ine.

Relat­ed Con­tent:

Mes­mer­iz­ing GIFs Illus­trate the Art of Tra­di­tion­al Japan­ese Wood Join­ery — All Done With­out Screws, Nails, or Glue

See How Tra­di­tion­al Japan­ese Car­pen­ters Can Build a Whole Build­ing Using No Nails or Screws

Watch Japan­ese Wood­work­ing Mas­ters Cre­ate Ele­gant & Elab­o­rate Geo­met­ric Pat­terns with Wood

20 Mes­mer­iz­ing Videos of Japan­ese Arti­sans Cre­at­ing Tra­di­tion­al Hand­i­crafts

Nick Offer­man Explains the Psy­cho­log­i­cal Ben­e­fits of Woodworking–and How It Can Help You Achieve Zen in Oth­er Parts of Your Life

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Buddhist Monk Covers Metallica’s ”Enter Sandman,” Then Meditates

Since the start of the pan­dem­ic, we’ve peri­od­i­cal­ly fea­tured Kos­san, a Japan­ese Bud­dhist monk who has a pen­chant for singing punk, met­al and rock clas­sics, accom­pa­nied by gongs, drums and oth­er instru­ments. In the past, he’s cov­ered the Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” and the Bea­t­les’ “Yel­low Sub­ma­rine”–not to men­tion Judas Priest’s “Break­ing the Law.” In his lat­est clip, Kos­san offers a unique take on Metal­li­ca’s 1991 clas­sic “Enter Sand­man,” then winds down, of course, with a lit­tle med­i­ta­tion. Enjoy.

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!

via Laugh­ing Squid

Relat­ed Con­tent:

Japan­ese Bud­dhist Monk Cov­ers Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” Bea­t­les’ “Yel­low Sub­ma­rine” & More

Bud­dhist Monk Cov­ers Judas Priest’s “Break­ing the Law,” Then Breaks Into Med­i­ta­tion

Japan­ese Priest Tries to Revive Bud­dhism by Bring­ing Tech­no Music into the Tem­ple: Attend a Psy­che­del­ic 23-Minute Ser­vice

Med­i­ta­tion for Begin­ners: Bud­dhist Monks & Teach­ers Explain the Basics

by | Permalink | Make a Comment ( 3 ) |

Jimi Hendrix’s Home Audio System & Record Collection Gets Recreated in His London Flat

A vis­it to William Faulkner’s house once con­vinced me I’d seen his ghost. Mil­lions of peo­ple com­mune with Elvis’s spir­it at Grace­land each year. Some lucky per­son will end up with Toni Morrison’s per­son­al library, and maybe also her Tribeca con­do. No mat­ter how well we think we know a favorite artist, there’s noth­ing like con­nect­ing with the spaces and things they left behind. Since 2016, Jimi Hen­drix devo­tees have been able to make a pil­grim­age to the Lon­don apart­ment he shared with his girl­friend, Kathy Etch­ing­ham, between 1968 and 1969.

The flat on 23 Brook Street has been set up the way it was when Hen­drix lived there, thanks to Han­del & Hen­drix in Lon­don, who also main­tain the house of George Frid­er­ic Han­del just next door. The only oth­er con­nec­tion between the two artists is Hendrix’s own­er­ship of two copies of Handel’s Mes­si­ah, “both of which show signs of wear and tear,” the foun­da­tion notes, and “which would have been uncan­ny lis­ten­ing so near to where it was com­posed.” Jimi taste­ful­ly dec­o­rat­ed the apart­ment to his tastes, and told Etch­ing­ham it was “my first real home of my own.”

Hendrix’s home was made com­plete by a 100-plus col­lec­tion of LPs and a high-end audio sys­tem that has recent­ly been recre­at­ed in col­lab­o­ra­tion with the mak­ers of the orig­i­nal com­po­nents: Bang & Olufsen, Lowther, and LEAK sup­ply the same or sim­i­lar mod­els of turntable, speak­er, and ampli­fi­er, respec­tive­ly, on which Jimi lis­tened to Han­del next door to the ghost of Han­del. Hear­ing those records in Jimi’s space, the way he heard them, says Nabi­hah Iqbal in a video that debuted on Hendrix’s birth­day, Novem­ber 27th, is “a time-trav­el­ing expe­ri­ence.”

Iqbal choos­es her favorites from the collection—Bob Dylan, Ravi Shankar, Mud­dy Waters, Djan­go Reinhardt—discussing them as they qui­et­ly play in the back­ground. For the full Hen­drix expe­ri­ence, we’d need to crank the vin­tage ampli­fi­er to 11. He liked to lis­ten loud. Etch­ing­ham “recalled that they had to ‘stick a ha’penny with sel­l­otape onto the turntable arm… oth­er­wise it would jump up and down the loud­er it got.” He would occa­sion­al­ly blow the rein­forced speak­ers dur­ing par­ties and have to take them in for repair.

The flat also func­tioned as a com­po­si­tion room, and Hendrix’s friends stopped by to jam. (Richie Havens debuted his “anti-war anthem ‘Hand­some John­ny’ to a small par­ty in the flat on Hendrix’s Epi­phone acoustic gui­tar.”) Han­del & Hen­drix in Lon­don have revived the prac­tice with their Hen­drix Flat Ses­sions, invit­ing musi­cians to play in the space. Above, Mar­cus Macha­do talks about what Hen­drix means to him and jams a ver­sion of “Voodoo Child (Slight Return)” while sit­ting on Hendrix’s bed.

See sev­er­al more Hen­drix Flat Ses­sions here. The records in Hen­drix’s col­lec­tion “cov­er blues, jazz, folk, rock, psy­che­delia and even a hand­ful of clas­si­cal LPs.” See Iqbal’s selec­tions, with anno­ta­tions from Han­del & Hen­drix in Lon­don, here. The Hen­drix Flat is cur­rent­ly open to the pub­lic on Sat­ur­days.

via Vinyl Fac­to­ry

Relat­ed Con­tent:  

Watch Rare Footage of Jimi Hen­drix Per­form­ing “Voodoo Child” in Maui, Plus a Trail­er for a New Doc­u­men­tary on Jimi Hendrix’s Leg­endary Maui Per­for­mances (1970)

How Sci­ence Fic­tion Formed Jimi Hen­drix

Behold Moe­bius’ Many Psy­che­del­ic Illus­tra­tions of Jimi Hen­drix

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

Comic Book Writer Fred Van Lente Touts “Comic Supremacy” on Pretty Much Pop: A Culture Podcast #72

Fred Van Lente has writ­ten for more than 15 years for his own Evil Twin Comics, Mar­vel and oth­er out­lets. In this episode of Pret­ty Much Pop, he joins your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt to dis­cuss comics as an idio­syn­crat­ic form of lit­er­a­ture.

In the realm of non-fic­tion, Ryan start­ed with the beloved Action Philoso­phers! series in 2004 with illus­tra­tor Ryan Dunlavey, and this team has gone on to cre­ate the very suc­cess­ful Com­ic Book His­to­ry of Comics, plus more recent­ly Action Pres­i­dents, Action Activists (avail­able free in asso­ci­a­tion with the NYC Depart­ment of Edu­ca­tion’s Civics for All pro­gram), and have just begun releas­ing The Com­ic Book His­to­ry of Ani­ma­tion. While the non-fic­tion comics for­mat is com­mon in places like Japan, and has a sto­ried his­to­ry in Amer­i­ca, hav­ing been used to train sol­diers in World War II, this is still some­thing of a nov­el­ty in Amer­i­ca as comics still strug­gle to over­come their rep­u­ta­tion in (as Ryan puts it) “trash for morons.” Giv­en that visu­al con­tent is well known to help peo­ple learn as com­pared to text alone, the use of tools like Action Pres­i­dents in class­rooms should­n’t be sur­pris­ing.

The inter­view also gets into Ryan’s fic­tion work, from Cow­boys & Aliens, which was turned into a 2011 Jon Favreau/Steven Spiel­berg film entire­ly with­out Ryan’s involve­ment, to titles like Mar­vel Zom­bies and X‑Men Noir which use alter­nate dimen­sion ver­sions of pop­u­lar char­ac­ters to tell sto­ries too dark and/or whim­si­cal to have much pos­si­bil­i­ty of ever being trans­ferred to the screen. Despite comics’ rep­u­ta­tion as being basi­cal­ly like elab­o­rate film sto­ry-boards, their low over­head is exact­ly what dis­tin­guish­es them so strong­ly from film: Their cre­ativ­i­ty is unlim­it­ed by bud­get, and cre­ators can take tremen­dous risks. What­ev­er the main­stream palata­bil­i­ty of (alter­nate dimen­sion) Peter Park­er eat­ing Aunt May’s brain, this has been one of the most pop­u­lar things that Ryan’s been involved with among com­ic book read­ers.

Learn more about Fred’s work at fredvanlente.com. You can read there about how Fred con­structs scripts; the one Mark refers to with the mys­te­ri­ous­ly changed coat is right there high­light­ed at the top of this page, and there are also sev­er­al sam­ple scripts includ­ing the one for Action Philoso­phers: Immanuel Kant that demon­strates Fred’s meth­ods for vivid­ly explain­ing a com­plex idea.

Hear more of this pod­cast at prettymuchpop.com. This episode includes bonus dis­cus­sion you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

Are You Happy, David Lynch?

Film­mak­er David Lynch answers a basic life ques­tion from Mary Anne Hobbs, BBC Radio 6 DJ, dur­ing a fan Q&A. The accom­pa­ny­ing video appar­ent­ly comes from The Art Life doc­u­men­tary trail­er.

The source of Lynch’s hap­pi­ness? Most like­ly med­i­ta­tion. Find more on that below.

Relat­ed Con­tent:

David Lynch Explains How Med­i­ta­tion Boosts Our Cre­ativ­i­ty (Plus Free Resources to Help You Start Med­i­tat­ing)

David Lynch Visu­al­izes How Tran­scen­den­tal Med­i­ta­tion Works with Sharpie & Big Pad of Paper

David Lynch Mus­es About the Mag­ic of Cin­e­ma & Med­i­ta­tion in a New Abstract Short Film

David Lynch Cre­ates a Very Sur­re­al Plug for Tran­scen­den­tal Med­i­ta­tion

An Ani­mat­ed David Lynch Explains Where He Gets His Ideas

by | Permalink | Make a Comment ( 1 ) |

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.