The Beatles’ 8 Pioneering Innovations: A Video Essay Exploring How the Fab Four Changed Pop Music

in History, Music | August 18th, 2021

In modern society, some facts are simply accepted: one plus one equals two, the Earth revolves around the Sun, and The Beatles are the greatest band in history. “So obviously dazzling was The Beatles’ achievement that few have questioned it,” writes Ian MacDonald in his study of the band Revolution in the Head. “Agreement on them is all but universal: they were far and away the best-ever pop group and their music enriched the lives of millions.” Today, just as half a century ago, most Beatles fans never rigorously examine the basis of the Fab Four’s stature in not just music but culture more broadly. Suffice it to say that no band has ever been as influential, and — more than likely — no band ever will be again.

To each new generation of Beatles fans, however, this very influence has made the band’s innovations more difficult to sense. For decade after decade, practically every major rock and pop band has performed in sports stadia and on international television, made use in the studio of guitar feedback and automatically double-tracked vocals, and shot music videos.

But the Beatles made all these now-common moves first, and others besides, as recounted in the video essay above, “8 Things The Beatles Pioneered.” Its creator David Bennett explains the musical, technological and cultural importance of all these strategies, which have since become so common that they’re seldom named among The Beatles’ many signature qualities.

Not absolutely everyone loves The Beatles, of course. But even those who don’t particularly enjoy their records must acknowledge their Shakespearean, even Biblical super-canonical status in popular music today. This can actually make it somewhat intimidating to approach the music of The Beatles, despite its very popularity, and especially for those of us who weren’t drawn to it growing up. I myself only recently listened through the Beatles canon, at the age of 35, an experience I’d deferred for so long knowing it would send me down an infinitely deep rabbit hole of associated reading. If you, too, consider yourself a candidate for late-onset Beatlemania, consider starting with the half-hour video just above, which tells the story of the band’s origins — and thus the origin, in a sense, of the pop culture that still surrounds us.

Hear the Beautiful Isolated Vocal Harmonies from the Beatles’ “Something”

Is “Rain” the Perfect Beatles Song?: A New Video Explores the Radical Innovations of the 1966 B‑Side

A Virtual Tour of Every Place Referenced in The Beatles’ Lyrics: In 12 Minutes, Travel 25,000 Miles Across England, France, Russia, India & the US

A 17-Hour Chronological Playlist of Beatles Songs: 338 Tracks Let You Hear the Musical Evolution of the Iconic Band

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 or on Facebook.

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Banksy’s Great British Spraycation: The Artist Spray Paints England’s Favorite Summer-Holiday Destinations

in Art, Travel | August 18th, 2021

“We’re all going on a summer holiday / no more working for a week or two,” sings Cliff Richard in one of his most famous songs. “Fun and laughter on a summer holiday / no more worries for me or you.” Like The Beatles’ ultra-northern “When I’m Sixty-Four,” with its cottage rentals on the Isle of Wight (“if it’s not too dear”), Richard’s “Summer Holiday” dates from a time in Britain when tourism was, as a rule, domestic. And so it has become again over the past couple of years, what with the coronavirus pandemic and its severe curtailment of international travel. Ever tuned in to current events, the pseudonymous graffiti artist Banksy has taken the opportunity to go on a “Great British Spraycation.”

This was a busman’s holiday for Banksy, who appears to have had a detailed plan of exactly which east-coast resort towns to visit, and exactly where in each of them to surreptitiously create another of his signature pieces of high-contrast satirical art.

“The stenciled pieces are often integrated with repurposed objects from the area, highlighting the pre-planned and perfectly positioned nature of the work,” writes Designboom’s Kat Barandy. “In Lowestoft, a massive seagull dines on a box of ‘chips’ rendered by a dumpster filled with insulation material. Nearby a child is depicted building a sandcastle with a crowbar, fronted by a mound of sand on the pavement.”

That work, Arts University Bournemouth professor Paul Gough tells the BBC for its guide to the Great British Spraycation, may be a reference to the 1968 Paris student uprising and its slogan “Sous les pavés, la plage!” You can see these and other fresh works documented in the video at the top of the post, which also catches the reactions of passing locals and tourists. “That looks all like mindless vandalism, that,” says one woman, articulating a common assessment of Banksy’s artistic statements. “It looks a lot better from far away than it does when you get this close,” says another. But the most telling comment, in a variety of respects, comes from a man regarding Banksy’s addition of a cartoonish tongue and ice cream cone to the statue of 19th-century mayor Frederick Savage in King’s Lynn: “Yeah, someone’s done that, ain’t they?”

Banksy Strikes Again in London & Urges Everyone to Wear Masks

The Joy of Painting with Bob Ross & Banksy: Watch Banksy Paint a Mural on the Jail That Once Housed Oscar Wilde

Banksy Strikes Again in Venice

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 or on Facebook.

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Hear 45 Minutes of Funky Old Soundtracks from 1960s-70s Japanese Films & TV Shows

in Film, Music, Television | August 17th, 2021

The life of a Japanese film composer in the 1960s and 70s was very different from their American counterparts. “For Hollywood movies, there is a three-month period to write the music after the film has been finished,” says legendary film and television composer Chumei Watanabe. When Watanabe first began working for Shintoho studios, “at first, they gave us five days. Of course, it would usually be shortened…. One time, there was a Toei movie being filmed in Kyoto. The next day was the recording day for the music…. I had less than 24 hours to write the music!”

Despite the immense pressures on composers for films and TV shows, even those primarily for children, “I kept in mind that I would not compose childish music,” says Watanabe, who worked well into his 90s composing for TV. “That’s why people in their 40s and 50s still listen to my songs and sing them at karaoke.” His music is as widely beloved as that of his prolific contemporary, Dragon Ball Z composer Shunsuke Kikuchi, who passed away this year at 89.

“Over the course of his career,” writes Okay Player, “Kikuchi wrote the music for a number of popular anime series and live-action television shows, including Abarenbo Shogun (800 episodes over 30 years,) Doraemon (26 years on the air,) and Kamen Rider, Key Hunter, and G‑Men ’75.” So iconic was Kikuchi’s music that his “Urami Bushi” — the theme for 1972 Japanese exploitation film Female Prisoner 701: Scorpion — was given pride of place in Quentin Tarantino’s Kill Bill Vol. 2.

If you aren’t familiar with the music of late-20th century Japanese genre film and television, you’ll be forgiven for thinking the mix at the top of the post comes from Tarantino’s films. Described by its YouTube poster Tripmastermonk as “45 minutes of various funky old japanese soundtrack, samples, breaks, and beats. (all killer, no filler),” it includes classic compositions from Watanabe, Kikuchi, and many other composers from the period who worked as hard on anime series as they did on so-called “pink films” like the “Female Prisoner” series, a vehicle for Japanese star Meiko Kaji (of Lady Snowblood fame), who sang “Urami Bushi” and turned the song into a major hit.

Dig the funky music of Japanese action films from the 60s and 70s in the mix, full name: “Tripmastermonk — Knocksteady Zencast Vol. 2: Ninja Funk & Gangster Ballads: Ode to the Brotherland.” And find more of Tripmastermonk’s musical concoctions on Soundcloud.

Hear Enchanting Mixes of Japanese Pop, Jazz, Funk, Disco, Soul, and R&B from the 70s and 80s

Sonic Explorations of Japanese Jazz: Stream 8 Mixes of Japan’s Jazz Tradition Free Online

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

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Introduction to Ancient Greek History: A Free Online Course by Yale Historian Donald Kagan (RIP)

in History, Online Courses, Yale | August 17th, 2021

Earlier this month, Yale historian Donald Kagan passed away at age 89 in Washington D.C. In their obituary, The New York Times writes:

Professor Kagan was considered among the country’s leading historians. His four-volume account of the Peloponnesian War, from 431 B.C. to 404 B.C., was hailed by the critic George Steiner as “the foremost work of history produced in North America in the 20th century.”

He was equally renowned for his classroom style, in which he peppered nuanced readings of ancient texts with references to his beloved New York Yankees and inventive, sometimes comic exercises in class participation, like having students form a hoplite phalanx to demonstrate how Greek soldiers marched into combat.

If you never sat in Kagan’s classroom, you can still experience his teaching style online. Recorded in 2007, Kagan’s course Introduction to Ancient Greek History traces “the development of Greek civilization as manifested in political, intellectual, and creative achievements from the Bronze Age to the end of the classical period.” You can watch the 24 video lectures above, or find them on YouTube. The lectures also appear on iTunes in audio and video. Find the texts used in the course below. More information about the course, including the syllabus, can be found on this Yale website.

Pomeroy, Burstein, Donlan and Roberts. Ancient Greece. Oxford University Press: New York, 1999.
Kagan, Donald. “Problems in Ancient History.” In The Ancient Near East and Greece. 2nd ed., vol. 1. Prentice-Hall: New York, 1975.
Herodotus, The Histories.
Plutarch, The Rise and Fall of the Athens.
Thucydides, The Peloponnesian War.

Introduction to Ancient Greek History will be added to our collection of Free Online History courses, a subset of our collection, 1,700 Free Online Courses from Top Universities.

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Roman Architecture: A Free Online Course from Yale University

The Ancient Greeks: A Free Online Course from Wesleyan University

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Inside MK-Ultra, the CIA’s Secret Program That Used LSD to Achieve Mind Control (1953–1973)

in History | August 17th, 2021

If the CIA ever wants to change its motto to something hip and trendy that the kids’ll like, may I suggest “f*ck around and find out”? Because in this above mini-doc on the secret LSD mind-control experiments known as MK-Ultra (1953–1973), they were certainly doing a lot of the former, and then they took a lot of the latter and sent it down the old memory hole.

Could the Soviets be developing mind-control programs? The CIA, as several of these accounts tell us, became convinced they were. However, it’s never specified why they were convinced. Could it be a bit of guilt for hiring some ex-Nazi (and/or Nazi supporting) German scientists through Operation Paperclip? Or was this all just a cover because the CIA really wanted to experiment with mind control? I mean, it’s 70 years later, you can admit it. There were all these new drugs being developed that altered the mind, so why not start there?

Top among the cornucopia of pharmacologica was lysergic acid diethylamide, and the man who knew LSD the best was Dr. Sidney Gottlieb, the “Poisoner in Chief” as his biographer Stephen Kinzer calls him. (See his book: Poisoner in Chief: Sidney Gottlieb and the CIA Search for Mind Control.) Raised in the Bronx, Gottlieb’s love of chemistry and science earned him a prestigious place at CalTech. By the end of the 1940s he had been recruited by the CIA.

Gottlieb’s paradox was his love of LSD. He took it more than 200 times. He tended towards Buddhism, not surprising for those whose mind has been expanded by psychedelics. And he lived like a proto-hippie, growing his own vegetables and living “off the grid” for a while with his family. Yet at the same time, he had no problems with absolute devilish behavior. Once he convinced the CIA to buy up the world’s supply of LSD, he set to work. He’d dose colleagues with massive amounts and only tell them afterwards. He’d conduct experiments on sex workers, prisoners, or people with terminal illness. Many didn’t know what they were signing up for. The LSD in heavy doses were meant to annihilate the mind, and allow a new mind to be put in place. That didn’t work out that well, but Gottlieb and associates kept trying, under the aegis of then-CIA director Allen Dulles and Chief of Operations Richard Helms. In reality, Dulles and others high up in the CIA had a hands-off approach. Better not to know what Gottlieb was up to, especially when it went against the Nuremberg Code of experimenting on people against their will–the very things the Nazis did.

There were many victims too, corpses that were the cost of doing business in the Cold War, and so many we will not know about. The highest profile death—and what pulled MK-Ultra out of obscurity—was government scientist Frank Olsen. His jump from a NYC hotel room was ruled a suicide by the government, a result of work stress. (The whole Olsen affair forms the backbone of Errol Morris’ 2017 documentary series Wormwood.) The uncovering of the truth helped expose the history of MK-Ultra to a mid-‘70s America that had lost faith in its government and was ripe for conspiracy theories to take hold.

Yes, MK-Ultra was an actual thing. But because Gottlieb and his bosses had destroyed most of the records, conspiracy theories filled in the gaps. Were Lee Harvey Oswald and Sirhan Sirhan MK-Ultra experiments gone wrong? What about Charles Manson, who author Tim O’Neill discovered was a “lab rat” for CIA experiments? Mobster Whitey Bulger was part of a LSD experiment and the FBI let him continue to commit crimes. The future Unabomber Ted Kaczynski had taken part in “brutal” psychological experiments while at Harvard.

On the other hand, the MK-Ultra experiments also affected culture in a good way. Allen Ginsberg tried his first dose in Northern California, as did Ken Kesey, who came out of it a proponent of LSD and formed the nascent hippie movement.

Gottlieb retired in 1972, and MK-Ultra’s results were lacking in any practical results. In 1999, Gottlieb passed away from unknown causes. Possibly a heart attack…but who knows, right?

Ken Kesey’s First LSD Trip Animated

Artist Draws 9 Portraits While on LSD: Inside the 1950s Experiments to Turn LSD into a “Creativity Pill”

When Michel Foucault Tripped on Acid in Death Valley and Called It “The Greatest Experience of My Life” (1975)

Ken Kesey Talks About the Meaning of the Acid Tests

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.

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Listen to Plato Invent the Myth of Atlantis (360 B.C)

in History, Philosophy | August 17th, 2021

Myths emerge from the murky depths of human prehistory, leaving their sources shrouded in mystery. But on rare occasions, we can trace them to a single point of origin. The myth of Atlantis, for example, the ancient civilization that supposedly sank into the sea, has one and only one source — Plato — who told the story in both the Timaeus and Critias, sometime around 360 BC, as an allegory for corruption and civilizational decay.

Plato puts the tale of Atlantis nesos, the “island of Atlas,” in the mouth of the aged Critias, a character in both dialogues, who says he heard the story second-hand from Solon — “not only the wisest of men, but also the noblest of poets” — who in turn brought it from Egypt, where he supposedly heard it from a priest in a city called Sais.

As you can hear in the dialogue that bears his name, read above in the Voices of the Past video, Critias gives a lengthy description of the island’s size (in Timaeus it is “larger than Libya and Asia put together”), its location (“the Pillars of Heracles”), and its geography, cities, peoples, and so forth. In Timaeus, Socrates declares that this tale (unlike his imaginary republics) “has the very great advantage of being fact not fiction.”

But there was never such a place in the ancient world. While islands have disappeared after earthquakes or volcanoes, “I don’t think there’s any question,” says geologist Patrick Nunn, “that the story of Atlantis is a myth.” Plato made up the lost civilization and formidable rival to Athens, who soundly defeated the Atlanteans, as a dramatic foil. “It’s a story that captures the imagination,” says Bard College professor of classics James Romm. Its purpose is illustrative, not historical.

[Plato] was dealing with a number of issues, themes that run throughout his work. His ideas about divine versus human nature, ideal societies, the gradual corruption of human society — these ideas are all found in many of his works. Atlantis was a different vehicle to get at some of his favorite themes.

Why has there been so much desire to find Plato’s account credible? Early modern European readers of Plato like Francis Bacon and Thomas More — authors of The New Atlantis and Utopia, respectively — treated Atlantis as philosophical allegory, a fiction like their own invented societies. But later interpreters believed it, from amateur scholars to colonial adventurers, explorers, and treasure hunters. Atlantis, wherever it is, some thought, must be full of sunken gold.

National Geographic quotes Charles Orser, curator of history at the New York State Museum in Albany, who says, “Pick a spot on the map, and someone has said that Atlantis was there. Every place you can imagine.” Yet whatever similarities it may have had to a real place, Plato’s yarn was strictly parable: Its inhabitants were once divine. “Sired and ruled over by Poseidon, and thus half-gods and half-mortals,” writes Aeon, they “despised everything but virtue.”

But Atlantis grew corrupt in time, Critias tells us, “when the divine portion began to fade away, and became diluted too often and too much with the mortal admixture, and the human nature got the upper hand, they then, being unable to bear their fortune, behaved unseemly, and to him who had an eye to see grew visibly debased, for they were losing the fairest of their precious gifts; but to those who had no eye to see the true happiness, they appeared glorious and blessed at the very time when they were full of avarice and unrighteous power.”

Ancient Philosophy: Free Online Course from the University of Pennsylvania

Orson Welles Narrates Animations of Plato’s Cave and Kafka’s “Before the Law,” Two Parables of the Human Condition

What is the Good Life? Plato, Aristotle, Nietzsche, & Kant’s Ideas in 4 Animated Videos

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

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Pompeii Rebuilt: A Tour of the Ancient City Before It Was Entombed by Mount Vesuvius

in Architecture, History | August 16th, 2021

We can’t regard the ruins of Pompeii, however unusually well-preserved they are, without trying to imagine what the place looked like before 79 AD. It was in that year, of course, that Mount Vesuvius erupted, entombing the ancient Roman city in ash and pumice. The exhumed Pompeii has taught modern humanity a great deal about first-century urban planning as practiced by the Roman Empire. But it’s one thing to walk the paths Pompeiians walked, and quite another to see the built environment that they must have seen. The latter experience is available in the eighteen-minute video above, which uses computer graphics to create a tour of a rebuilt Pompeii.

This production, in fact, provides views of Pompeii that Pompeiians themselves could never have seen, including drone-like flights along its streets and around its famous structures like the Temple of Apollo, the Basilica, and the Forum. But even more than its grand public buildings, the city’s private dwellings — many of them grand in their own way — have influenced the way we’ve built in recent centuries.

“With their unmistakable style, they have inspired architects of all times,” says the video’s narrator. Even as urbanization reduced the size of Pompeiian houses, they gained “richness in decorations,” reflecting the sensibility of the local culture.

“Temples, basilicas, spas, houses, and a refined, high-level lifestyle make Pompeii one of the most famous cities of the Roman Empire of the first century,” says the narrator. “All of this, however, is about to end abruptly.” We all know what happened next, but the extent of the destruction wrought by Mount Vesuvius takes a vivid form in the video just above, which compares its own CGI reconstructions of these same buildings to the ruins of today. In its time, Pompeii’s refinement made it a well-known city, and something of a showcase of Roman civilization. But nearly two millennia after its destruction, it has become much more famous as a symbol of civilization itself: its surprising continuity, but also its deceptive fragility.

How the Survivors of Pompeii Escaped Mount Vesuvius’ Deadly Eruption: A TED-Ed Animation Tells the Story

See the Expansive Ruins of Pompeii Like You’ve Never Seen Them Before: Through the Eyes of a Drone

High-Resolution Walking Tours of Italy’s Most Historic Places: The Colosseum, Pompeii, St. Peter’s Basilica & More

Archaeologists Discover an Ancient Roman Snack Bar in the Ruins of Pompeii

How Ancient Scrolls, Charred by the Eruption of Mount Vesuvius in 79 AD, Are Now Being Read by Particle Accelerators, 3D Modeling & Artificial Intelligence

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 or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Take a Trip to the LSD Museum, the Largest Collection of “Blotter Art” in the World

in Art, Chemistry, History, Museums, Random | August 16th, 2021

When Ken Kesey and his Merry Pranksters kicked off Haight-Ashbury’s counterculture in the 1960s, LSD was the key ingredient in their potent mix of drugs, the Hell’s Angels, the Beat poets, and their local band The Warlocks (soon to become The Grateful Dead). Kesey administered the drug in “Acid Tests” to find out who could handle it (and who couldn’t) after he stole the substance from Army doctors, who themselves administered it as part of the CIA’s MKUltra experiments. Not long afterward, Grateful Dead soundman Owsley “Bear” Stanley synthesized “the purest form of LSD ever to hit the street,” writes Rolling Stone, and became the country’s biggest supplier, the “king of acid.”

Whatever uses it might have had in psychiatric settings — and there were many known at the time — LSD was made illegal in 1968 by the U.S. government, repressing what the government had itself helped bring into being. But it has since returned with newfound respectability. “Once dismissed as the dangerous dalliances of the counterculture,” writes Nature, psychedelic drugs are “gaining mainstream acceptance” in clinical treatment. Psilocybin, MDMA, and LSD “have been steadily making their way back into the lab,” notes Scientific American. “Scientists are rediscovering what many see as the substances’ astonishing therapeutic potential.”

None of this comes as news to San Francisco fixture Mark McCloud. “In the same moralistic manner many San Franciscans pontificate on the health benefits of marijuana,” writes Gregory Thomas at Mission Local, “McCloud and his friends tout the merits of acid.” Next to curing “anxiety, depression and ‘marital problems,’” it is also an important source of folk art, says McCloud, the owner and sole proprietor of the informally-named “LSD Museum” housed in his three-story Victorian home in San Francisco.

His mission in creating and maintaining the museum formally called the Institute of Illegal Images, he says, is to “preserve a ‘skeletal’ remnant of San Francisco’s drug-induced 1960s legacy, ‘so maybe our children can better understand us.’”

Specifically, as Culture Trip explains, McCloud preserves the art on sheets of blotter acid. As is clear from the many pop cultural references on blotter art — like Beavis and Butthead and techno artist Plastikman (who named his debut album Sheet One) — the 60s blotter acid legacy extended far beyond its founders’ vision in underground scenes throughout the 70s, 80s, 90s, and oughts.

Also known as the Blotter Barn or the Institute of Illegal Images, McCloud’s house is located on 20th Street between Mission and Capp. The house preserves over 33,000 sheets of LSD blotter, treating them like tiny little works of art. Most of the sheets are framed and hanging on McCloud’s walls, decorating the home with vibrant colors and patterns, and the rest are kept safe in binders. The house also features a perforation board, allowing McCloud to turn any work of art sized 7.5 by 7.5 inches into 900 pieces, as is typical for LSD blotter sheets.

McCloud has faced intense scrutiny from the FBI, and on a couple of occasions — in 1992 and again in 2001 — arrest and trial by “not very sympathetic” juries, who nonetheless acquitted him both times. Despite the fact that he has a larger collection of blotter acid sheets than the DEA, he and his museum have withstood prosecution and attempts to shut them down, since all the sheets in his possession have either never been dipped in LSD or have become chemically inactive over time. (The museum’s website explains the origins of “blotter” paper as a means of preparing LSD doses after the drug was criminalized in California in 1966.)

“What fascinates me about blotter is what fascinates me about all art. It changes your mind,” says McCloud in the Wired video at the top of the post. None of his museum’s artwork will change your mind in quite the way it was intended, but the mere association with hallucinogenic experiences is enough to inspire the artists “to build the myriad of subject matter appearing on the blotters,” Atlas Obscura writes, “ranging from the spiritual (Hindu gods, lotus flowers) to whimsical (cartoon characters), as well as cultural commentary (Gorbachev) and the just plain demented (Ozzy Osbourne).”

The museum does not keep regular hours and was only open by appointment before COVID-19. These days, it’s probably best to make a virtual visit at blotterbarn.com, where you’ll find dozens of images of acid blotter paper like those above and learn much more about the history and culture of LSD during long years of prohibition — a condition that seems poised to finally end as governments give up the wasteful, punishing War on Drugs and allow scientists and psychonauts to study and explore altered states of consciousness again.