Hear Charlie Watts Inimitable Isolated Drum Tracks on “Gimme Shelter,” “Beast of Burden,” and “Honky Tonk”

When I was a kid in New Jer­sey, if you were look­ing for work, there’d be ads for musi­cians. In the mid-60s and 70s, they would invari­ably say: “Want­ed: Char­lie Watts type drum­mer” — Max Wein­berg

Since Char­lie Watts passed away last month, trib­ute upon trib­ute has poured in to cel­e­brate his style, his aus­tere sim­plic­i­ty, his role as the calm, steady eye of the Rolling Stones’ roil­ing storm. “Drum­ming is often ugly,” Aman­da Petru­sich wrote at The New York­er, “but Watts looked so beau­ti­ful when he played … His pos­ture alone sug­gest­ed a preter­nat­ur­al ele­gance … there is always poet­ry in restraint.”

This is the way Watts’ play­ing looks to non-musi­cians, and most Rolling Stones fans are not musi­cians, and do not lis­ten to rock drum­ming alone. “It’s pos­si­ble to find Watts’s iso­lat­ed drum tracks online,” Petru­sich writes, “If you’re into that sort of thing. They’re not always per­fect in the tech­ni­cal sense, but they are deeply per­fect in oth­er, less quan­tifi­able ways.” Watts him­self described his drum­ming as non-tech­ni­cal and decried his lack of train­ing. It was all about the band, he said repeat­ed­ly.

But ask oth­er drum­mers to quan­ti­fy Watts’ per­fec­tion and they’ll do so hap­pi­ly. Watts taught him­self to play by lis­ten­ing to his favorite jazz drum­mers, writes Max Wein­berg, “among them the great Eng­lish jazz drum­mer Phil Sea­men, and Dave Tough, an Amer­i­can drum­mer who even looked like Char­lie: a fas­tid­i­ous dress­er, appar­ent­ly with the most incred­i­ble groove and sound.” Wein­berg, who incor­po­rat­ed Watts’ influ­ence on Spring­steen songs like “Born to Run,” elab­o­rates fur­ther.

One way Watts com­mand­ed a room, he says, was as a pro­po­nent “of a style of rock drum­ming pop­u­lar­ized by the late, great Al Jack­son, the famous Stax drum­mer, where you delib­er­ate­ly play behind the direct back­beat. The way you do that — which is a lit­tle tech­ni­cal — is not by focus­ing on the two and the four beat, but the one and the three. Anoth­er exam­ple is James Brown’s music, which is heav­i­ly focused on land­ing on the one. It takes a long time to be able to do that.” He devel­oped the skill as a blues and jazz drum­mer even before Mick and Kei­th seduced him to the Stones.

Anoth­er drum celebri­ty admir­er, Stew­art Copeland, writes about Watts’ unique dynam­ics. As a rock drum­mer trained on jazz, he “went for groove, and derived pow­er from relax­ation. Most rock drum­mers are try­ing to kill some­thing; they’re chop­ping wood. Jazz drum­mers instead tend to be very loose to get that jazz feel, and he had that qual­i­ty.” While Mick strut­ted and dripped across the stage, Char­lie “hard­ly broke a sweat.” From this, Copeland learned that “you can actu­al­ly get a bet­ter sound out of your drums, and a bet­ter groove, if you relax.”

In the clas­sic drum tracks here, lis­ten for some of Watts’ dis­tinc­tive, sub­tle moves, and read more about his tech­nique in Copeland and Weinberg’s rem­i­nisces here. It’s fair to say that every rock drum­mer who came after Char­lie Watts learned some­thing from Char­lie Watts, whether they knew it or not. But while “you can ana­lyze Char­lie Watts,” Copeland writes, “that still won’t get you to his feel and his dis­tinct per­son­al­i­ty. It’s an X‑factor, it’s a charis­ma, it’s an unde­fin­able gift of God.” Petru­sich con­cludes her trib­ute with a sim­i­lar expres­sion of non-tech­ni­cal awe: “Watch­ing Watts play is still one of the best ways I know to check in with the rid­dle and thrill of art — to wit­ness some­thing mirac­u­lous but not to under­stand it.”

Relat­ed Con­tent: 

Say­ing Good­bye to Char­lie Watts (RIP), the Engine of the Rolling Stones for Half a Cen­tu­ry

A Char­lie Watts-Cen­tric View of the Rolling Stones: Watch Mar­tin Scorsese’s Footage of Char­lie & the Band Per­form­ing “Jumpin’ Jack Flash” and “All Down the Line”

Rolling Stones Drum­mer Char­lie Watts Writes a Children’s Book Cel­e­brat­ing Char­lie Park­er (1964)

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

100 Days of Dante: Join the Largest Divine Comedy Reading Group in the World (Starts September 8)

This year marks the 700th anniver­sary of Dante Alighier­i’s death — which means it also marks the 701st anniver­sary of his great work the Div­ina Com­me­dia, known in Eng­lish as the Divine Com­e­dy. We’ve all got to go some time, and it’s some­how suit­able that Dante went not long after telling the tale of his own jour­ney through the after­life, com­plete with stops in Hell, Pur­ga­to­ry, and Par­adise. It remains a jour­ney we can all take and re-take — and inter­pre­tive­ly grap­ple with — still these sev­en cen­turies lat­er. Start­ing this month, you can take it as a group tour, so to speak, by join­ing 100 Days of Dante, the largest Dante read­ing group in the world.

A project of Bay­lor Uni­ver­si­ty’s Hon­ors Col­lege (with sup­port from sev­er­al oth­er Amer­i­can edu­ca­tion­al insti­tu­tions), 100 Days of Dante has launched a web site “through which mod­ern seek­ers and pil­grims can fol­low the great epic poem with free video pre­sen­ta­tions three times a week.”

So writes Aleteia’s John Burg­er, who explains that “the three books of the Divine Com­e­dy, known in Ital­ian as Infer­noPur­ga­to­rio, and Par­adiso, are divid­ed into 33 chap­ters known as can­tos. [Infer­no actu­al­ly had 34.] Each video will present one can­to, with com­men­tary on it from lead­ing experts in Dante stud­ies.” You can also read the entire work on 100 Days of Dan­te’s web site, in Eng­lish or Ital­ian — a lan­guage Dan­te’s own poet­ry did much to shape.

Nobody inter­est­ed in the lan­guage of Italy, let alone the coun­try’s his­to­ry and cul­ture, can do with­out expe­ri­enc­ing the Divine Com­e­dy. One of 100 Days of Dante’s aims is a re-empha­sis of its nature as a thor­ough­ly reli­gious work, one that ren­ders in vivid, some­times har­row­ing detail the world­view held by Chris­tians of Dan­te’s place and time. But believ­er or oth­er­wise, you can join in the read­ing from when it begins on Sep­tem­ber 8, to when it con­cludes on East­er 2022. You may well find, as the long Italy-res­i­dent Eng­lish writer and trans­la­tor Tim Parks observes, that Dante has a way of slip­ping through con­ve­nient inter­pre­ta­tive frame­works cul­tur­al, his­tor­i­cal, and even reli­gious. “Long after the fires of Hell have burned them­selves out,” he writes, “the debate about the Div­ina Com­me­dia rages on.” Find more edu­ca­tion­al resources on Dante and The Divine Com­e­dy below.

Relat­ed Con­tent:

A Free Online Course on Dante’s Divine Com­e­dy from Yale Uni­ver­si­ty

An Illus­trat­ed and Inter­ac­tive Dante’s Infer­no: Explore a New Dig­i­tal Com­pan­ion to the Great 14th-Cen­tu­ry Epic Poem

A Dig­i­tal Archive of the Ear­li­est Illus­trat­ed Edi­tions of Dante’s Divine Com­e­dy (1487–1568)

Visu­al­iz­ing Dante’s Hell: See Maps & Draw­ings of Dante’s Infer­no from the Renais­sance Through Today

Explore Divine Com­e­dy Dig­i­tal, a New Dig­i­tal Data­base That Col­lects Sev­en Cen­turies of Art Inspired by Dante’s Divine Com­e­dy

Why Should We Read Dante’s Divine Com­e­dy? An Ani­mat­ed Video Makes the Case

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.

Google Data Analytics Certificate: 8 Courses Will Help Prepare Students for an Entry-Level Job in 6 Months

Dur­ing the pan­dem­ic, Google launched a series of Career Cer­tifi­cates that will “pre­pare learn­ers for an entry-lev­el role in under six months.” The new career ini­tia­tive includes cer­tifi­cates con­cen­trat­ing on Project Man­age­ment and UX Design. And now also Data Ana­lyt­ics, a bur­geon­ing field that focus­es on “the col­lec­tion, trans­for­ma­tion, and orga­ni­za­tion of data in order to draw con­clu­sions, make pre­dic­tions, and dri­ve informed deci­sion mak­ing.”

Offered on the Cours­era plat­form, the Data Ana­lyt­ics Pro­fes­sion­al Cer­tifi­cate con­sists of eight cours­es, includ­ing “Foun­da­tions: Data, Data, Every­where,” “Pre­pare Data for Explo­ration,” “Data Analy­sis with R Pro­gram­ming,” and “Share Data Through the Art of Visu­al­iza­tion.” Over­all this pro­gram “includes over 180 hours of instruc­tion and hun­dreds of prac­tice-based assess­ments, which will help you sim­u­late real-world data ana­lyt­ics sce­nar­ios that are crit­i­cal for suc­cess in the work­place. The con­tent is high­ly inter­ac­tive and exclu­sive­ly devel­oped by Google employ­ees with decades of expe­ri­ence in data ana­lyt­ics.”

Upon com­ple­tion, students–even those who haven’t pur­sued a col­lege degree–can direct­ly apply for jobs (e.g., junior or asso­ciate data ana­lyst, data­base admin­is­tra­tor, etc.) with Google and over 130 U.S. employ­ers, includ­ing Wal­mart, Best Buy, and Astreya. You can start a 7‑day free tri­al and explore the cours­es here. If you con­tin­ue beyond the free tri­al, Google/Coursera will charge $39 USD per month. That trans­lates to about $235 after 6 months, the time esti­mat­ed to com­plete the cer­tifi­cate.

Explore the Data Ana­lyt­ics Cer­tifi­cate by watch­ing the video above. Learn more about the over­all Google career cer­tifi­cate ini­tia­tive here. And find oth­er Google pro­fes­sion­al cer­tifi­cates here.

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es and pro­grams, it helps sup­port Open Cul­ture.

Relat­ed Con­tent:

Online Degrees & Mini Degrees: Explore Mas­ters, Mini Mas­ters, Bach­e­lors & Mini Bach­e­lors from Top Uni­ver­si­ties.

Google Intro­duces 6‑Month Career Cer­tifi­cates, Threat­en­ing to Dis­rupt High­er Edu­ca­tion with “the Equiv­a­lent of a Four-Year Degree”

Cours­era and Google Launch an Online Cer­tifi­cate Pro­gram to Help Stu­dents Become IT Pro­fes­sion­als & Get Attrac­tive Jobs

Google’s UX Design Pro­fes­sion­al Cer­tifi­cate: 7 Cours­es Will Help Pre­pare Stu­dents for an Entry-Lev­el Job in 6 Months

Become a Project Man­ag­er With­out a Col­lege Degree with Google’s Project Man­age­ment Cer­tifi­cate

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ABBA Set to Release Their First Album in 40 Years: Hear Two New Tracks, and Get a Glimpse of Their Digital Live Show

45 years ago, ABBA’s music was inescapable. 25 years ago, it had become a seem­ing­ly unwel­come reminder of the inani­ties of the 1970s in gen­er­al and the days of dis­co in par­tic­u­lar. But now, it’s revered: rare is the 21st-cen­tu­ry music crit­ic who absolute­ly refus­es to acknowl­edge the Swedish four­some’s mas­tery of pure pop song­writ­ing and stu­dio pro­duc­tion. With cur­rent musi­cians, too, nam­ing ABBA among their inspi­ra­tions with­out embar­rass­ment, the time has sure­ly come for ABBA them­selves to return to the spot­light — a spot­light that first illu­mi­nat­ed them for the world in 1974, when their per­for­mance of “Water­loo” won the Euro­vi­sion Song Con­test.

ABBA’s streak last­ed until the ear­ly 1980s, end­ing in a hia­tus that ulti­mate­ly stretched out to some 40 years. Pop cul­ture has changed quite a bit in that time, but tech­nol­o­gy much more so. The band have thus put togeth­er a thor­ough­ly mod­ern come­back involv­ing not just a new album, but also a live show star­ring com­put­er-gen­er­at­ed ver­sions of mem­bers Björn Ulvaeus, Ben­ny Ander­s­son, Agnetha Fält­skog, and Anni-Frid Lyn­gstad — “Abbatars,” as Ulvaeus calls them.

Begin­ning next year, they’ll play ABBA’s hits in a cus­tom-built 3,000-seat are­na in Lon­don’s Olympic park, engi­neered to accom­pa­ny each song with their own elab­o­rate light show. Ani­mat­ed with motion-cap­tured per­for­mances by the real ABBA, their appear­ance has been mod­eled after the way the band looked in the 1970s (if not quite the way they dressed).

Titled Voy­age, this dig­i­tal ABBA expe­ri­ence will open in 2022, thus solv­ing the prob­lem of tour­ing that had long dis­cour­aged a reunion. “We would like peo­ple to remem­ber us as we were,” Ulvaeus said in the late 2000s. “Young, exu­ber­ant, full of ener­gy and ambi­tion.” But with all four now-sep­tu­a­ge­nar­i­an mem­bers still alive and able to make music, remain­ing whol­ly inac­tive seems to have start­ed feel­ing like a shame. They made their return to the stu­dio in 2018, record­ing the new songs “I Still Have Faith in You” and “Don’t Shut Me Down,” both of which will appear on the new album, also called Voy­age, com­ing out in Novem­ber. All this will bring back mem­o­ries for long­time fans, as well as pro­vide a thrilling expe­ri­ence for their many lis­ten­ers too young to have expe­ri­enced an ABBA show or album release before. But I can’t be the only mem­ber of my gen­er­a­tion won­der­ing if, twen­ty years from now, we’ll be buy­ing tick­ets for a dig­i­tal­ly re-cre­at­ed Ace of Base.

Relat­ed Con­tent:

How ABBA Won Euro­vi­sion and Became Inter­na­tion­al Pop Stars (1974)

When ABBA Wrote Music for the Cold War-Themed Musi­cal, Chess: “One of the Best Rock Scores Ever Pro­duced for the The­atre” (1984)

Lis­ten to ABBA’s “Danc­ing Queen” Played on a 1914 Fair­ground Organ

This Man Flew to Japan to Sing ABBA’s “Mam­ma Mia” in a Big Cold Riv­er

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.

How Mushroom Time-Lapses Are Filmed: A Glimpse Into the Pioneering Time-Lapse Cinematography Behind the Netflix Documentary Fantastic Fungi

Mush­rooms are hav­ing a moment, thanks in part to pio­neer­ing time-lapse cin­e­matog­ra­ph­er Louie Schwartzberg’s doc­u­men­tary Fan­tas­tic Fun­gi.

Now stream­ing on Net­flix, the film has giv­en rise to a bumper crop of funghi fantat­ics, who sprang up like, well, mush­rooms, to join the exist­ing ranks of cit­i­zen sci­en­tistsculi­nary fansweek­end for­agersama­teur grow­ers, and spir­i­tu­al seek­ers.

Schwartzberg, who ear­li­er visu­al­ized pol­li­na­tion from the flower’s point of view in the Meryl Streep-nar­rat­ed Wings of Life, is a true believ­er in the pow­er of mush­rooms, cit­ing funghi’s role in soil cre­ation and health, and their poten­tial for rem­e­dy­ing a num­ber of press­ing glob­al prob­lems, as well as a host of human ail­ments.

Fan­tas­tic Funghi focus­es on sev­en pil­lars of ben­e­fits brought to the table by the fun­gal king­dom and its Inter­net-like under­ground net­work of myceli­um:

  1. Bio­di­ver­si­ty

A num­ber of projects are explor­ing the ways in which the myceli­um world can pull us back from the bring of  deser­ti­za­tion, water short­age, food short­age, bee colony col­lapsetox­ic con­t­a­m­i­nants, nuclear dis­as­ters, oil spills, plas­tic pol­lu­tion, and glob­al warm­ing.

  1. Inno­va­tion

Mush­room-relat­ed indus­tries are eager to press funghi into ser­vice as envi­ron­men­tal­ly sus­tain­able faux leatherbuild­ing mate­ri­als, pack­ag­ing, and meat alter­na­tives.

  1. Food

From fine din­ing to for­ag­ing off-the-grid, mush­rooms are prized for their culi­nary and nutri­tion­al ben­e­fits.

  1. Phys­i­cal Health and Well­ness

Will the hum­ble mush­room prove mighty enough to do an end run around pow­er­ful drug com­pa­nies as a source of inte­gra­tive med­i­cine to help com­bat dia­betes, liv­er dis­ease, inflam­ma­tion, insom­nia and cog­ni­tive decline?

  1. Men­tal Health

Researchers at Johns Hop­kinsUCLA, and NYU are run­ning clin­i­cal tri­als on the ben­e­fits of psy­che­del­ic psilo­cy­bin mush­rooms as a tool for treat­ing addic­tion, depres­sion, anx­i­ety, PTSD and sui­ci­dal ideation.

  1. Spir­i­tu­al­i­ty

Of course, there’s also a rich tra­di­tion of reli­gions and indi­vid­ual seek­ers deploy­ing mind alter­ing psy­choac­tive mush­rooms as a form of sacra­ment or a tool for plumb­ing the mys­ter­ies of life.

  1. The Arts

Direc­tor Schwartzberg under­stand­ably views mush­rooms as muse, a fit­ting sub­ject for pho­tog­ra­phy, music, film, poet­ry, art and oth­er cre­ative endeav­ors.

 

With regard to this final pil­lar, many view­ers may be sur­prised to learn how much of the 15 years Schwartzberg ded­i­cat­ed to cap­tur­ing the exquis­ite cycle of fun­gal regen­er­a­tion and decom­po­si­tion took place indoors.

As he explains in the Wired video above, his pre­ci­sion equip­ment excels at cap­tur­ing devel­op­ment that’s invis­i­ble to the human eye, but is no match for such nat­ur­al world dis­rup­tions as insects and wind.

Instead, he and his team built con­trolled grow­ing envi­ron­ments, where high­ly sen­si­tive time lapse cam­eras, dol­lies, timed grow lights, and more cin­e­mat­ic light­ing instru­ments could be left in place.

Set dress­ings of moss and logs, cou­pled with a very short depth of field helped to bring the Great Out­doors onscreen, with occa­sion­al chro­makeyed panora­mas of the nat­ur­al world fill­ing in the gaps.

Even in such lab-like con­di­tions, cer­tain ele­ments were nec­es­sar­i­ly left to chance. Mush­rooms grow noto­ri­ous­ly quick­ly, and even with con­stant mon­i­tor­ing and cal­cu­la­tions, there was plen­ty of poten­tial for one of his stars to miss their mark, shoot­ing out of frame.

Just one of the ways that mush­rooms and humans oper­ate on rad­i­cal­ly dif­fer­ent time­lines. The direc­tor bowed to the shrooms, return­ing to square one on the fre­quent occa­sions when a sequence got away from him.

Pro­vid­ing view­ers an immer­sive expe­ri­ence of the under­ground myceli­um net­work required high pow­ered micro­scopes, a sol­id cement floor, and a bit of movie mag­ic to finesse. What you see in the final cut is the work of CGI ani­ma­tors, who used Schwartzberg’s footage as their blue­print.

Net­flix sub­scribers can stream Fan­tas­tic Fun­gi for free.

From Octo­ber 15 — 17, film­mak­er Louie Schwartzberg is host­ing a free, vir­tu­al Fan­tas­tic Fun­gi Glob­al Sum­mit. Reg­is­ter here.

You can also browse his col­lec­tion of com­mu­ni­ty mush­room recipes and sub­mit your own, down­load Fan­tas­tic Fungi’s Stoned Ape poster, or have a ram­ble through a trove of relat­ed videos and arti­cles in the Mush Room.

Relat­ed Con­tent: 

John Cage Had a Sur­pris­ing Mush­room Obses­sion (Which Began with His Pover­ty in the Depres­sion)

Alger­ian Cave Paint­ings Sug­gest Humans Did Mag­ic Mush­rooms 9,000 Years Ago

The Gold­en Guide to Hal­lu­cino­genic Plants: Dis­cov­er the 1977 Illus­trat­ed Guide Cre­at­ed by Harvard’s Ground­break­ing Eth­nob­otanist Richard Evan Schultes

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Brood X Cicadas are her mush­rooms. Fol­low her @AyunHalliday.

The Brilliant 19th-Century Astronomical Drawings of Étienne Léopold Trouvelot


The first pho­to of the moon was tak­en in 1850 by Louis Daguerre, from whom the daguer­rotype gets its name. We have no idea what that first image looked like as it was lost in a stu­dio fire. But the need to cat­a­log the heav­ens with mod­ern tools had start­ed, and was both fas­ci­nat­ing as it was lack­ing. Into this evo­lu­tion of sci­ence and art stepped Éti­enne Léopold Trou­velot, the French immi­grant, liv­ing in the States, an ama­teur sci­en­tist and an illus­tra­tor. He would dis­miss pho­tog­ra­phy of the heav­ens as “so blurred and indis­tinct that no details of any great val­ue can be secured.” And by illus­trat­ing instead by he saw through tele­scopes, he secured a place in art *and* sci­ence his­to­ry.

Trou­velot might have thought his sci­en­tif­ic papers would be his lega­cy. He wrote fifty in his life­time. Instead it is his rough­ly 7,000 illus­tra­tions of plan­ets, comets, and oth­er phe­nom­e­na that still please us to this day. The New York Pub­lic Library has put 15 of his best up on their site, and over at this page, you can com­pare what Trou­velot saw—-the great astronomer Emma Con­verse called Trou­velot the “prince of observers”—-to pho­tos from NASA’s archive.

Even if his Mars is a bit fan­ci­ful, look­ing translu­cent like a fish egg, his under­stand­ing of the plan­et echoes in the fol­low­ing cen­tu­ry of sci-fi para­noia. Some­thing strange must be there, he sug­gests.

Har­vard hired him to sketch at their college’s obser­va­to­ry, and he used pas­tels to bring the plan­ets to life. Engrav­ing or ink would not have worked as well as these soft shapes and deter­mined lines. His ren­der­ing of the moon sur­face is accu­rate but also fan­ci­ful, like whipped cream. And his sun spots might not be accu­rate, but they repli­cat­ed the god-like forces at work on its tumul­tuous sur­face. His Sat­urn is the most real­is­tic of them all. Even the NASA image doesn’t look too dif­fer­ent to Trouvelot’s art.

These images also help reha­bil­i­tate Trouvelot’s oth­er legacy—-the dread­ed Gyp­sy Moth. Before his stint as ama­teur sci­en­tist, he was also an ama­teur ento­mol­o­gist, and while research­ing silk­worms and silk pro­duc­tion, acci­den­tal­ly let Euro­pean gyp­sy moths into North Amer­i­ca, where they wreaked hav­oc on the forests of North Amer­i­ca. Saturn’s rings may look the same back then as they do now, but so does the dam­age of the gyp­sy moth, which accord­ing to Wikipedia is up to $868 mil­lion in dam­ages per year.

via Kot­tke

Relat­ed Con­tent:

A 9th Cen­tu­ry Man­u­script Teach­es Astron­o­my by Mak­ing Sub­lime Pic­tures Out of Words

Joce­lyn Bell Bur­nell Changed Astron­o­my For­ev­er; Her Ph.D. Advi­sor Won the Nobel Prize for It

A 16th-Cen­tu­ry Astron­o­my Book Fea­tured “Ana­log Com­put­ers” to Cal­cu­late the Shape of the Moon, the Posi­tion of the Sun, and More

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.

The Velvet Underground: Get a First Glimpse of Todd Haynes’ Upcoming Documentary on the Most Influential Avant-Garde Rockers

To the ques­tion of the most influ­en­tial band formed in the 1960s a list of easy answers unfolds, begin­ning with the Bea­t­les, the Beach Boys, and the Rolling Stones. As three of the mak­ers of the best-sell­ing records of all time, those bands all lay fair claim to the title. But even with­in the com­mer­cial dynamo of post­war Amer­i­ca, it was also pos­si­ble to exert great influ­ence with­out top­ping the charts, or indeed with­out even reach­ing them. This is proven by the sto­ry of avant-garde rock­ers the Vel­vet Under­ground, whose mea­ger suc­cess in their day as com­pared with their for­mi­da­ble cul­tur­al lega­cy inspired Bri­an Eno to sum them up with a quip now so well-known as to have become a cliché.

But not even a mind like Eno’s can tru­ly sum up the Vel­vet Under­ground. Bet­ter to tell the band’s sto­ry — the sto­ry, in its way, of art and pop­u­lar cul­ture in mid-to-late 20th-cen­tu­ry Amer­i­ca — in a fea­ture-length doc­u­men­tary, as Todd Haynes has done with The Vel­vet Under­ground, which pre­miered at this year’s Cannes Film Fes­ti­val and debuts on AppleTV+ on Octo­ber 15th.

“Haynes appears to have vac­u­umed up every last pho­to­graph and raw scrap of home-movie and archival footage of the band that exists and stitched it all into a cor­us­cat­ing doc­u­ment that feels like a time-machine kalei­do­scope,” writes Vari­ety crit­ic Owen Gleiber­man. He intro­duces the Vel­vets and their asso­ciates “by play­ing their words off the flick­er­ing black-and-white images of their Warhol screen tests.”

The Vel­vets were, in a sense, a prod­uct of Warhol’s Fac­to­ry. The pop-art icon man­aged the band him­self ear­ly on, con­nect­ing them with the singer who would become the sec­ond tit­u­lar fig­ure on their debut The Vel­vet Under­ground & Nico and design­ing that album’s oft-visu­al­ly-ref­er­enced banana-stick­er cov­er. Hav­ing died in 1987, Warhol could­n’t grant Haynes an inter­view; hav­ing fol­lowed Warhol the next year, nei­ther could Nico. Band leader Lou Reed, too, has now been gone for the bet­ter part of a decade, but he does have plen­ty to say in the 1986 South Bank Show doc­u­men­tary above. Haynes’ The Vel­vet Under­ground includes Reed in archival footage, but also fea­tures new rem­i­nis­cences from sur­viv­ing mem­bers like Mau­reen Tuck­er and John Cale. Like all human beings, the Vel­vets are mor­tal; but their expan­sion of rock­’s son­ic pos­si­bil­i­ties will out­last us all.

Relat­ed Con­tent:

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

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

A Sym­pho­ny of Sound (1966): Vel­vet Under­ground Impro­vis­es, Warhol Films It, Until the Cops Turn Up

The Vel­vet Under­ground Cap­tured in Col­or Con­cert Footage by Andy Warhol (1967)

Watch The Vel­vet Under­ground Per­form in Rare Col­or Footage: Scenes from a Viet­nam War Protest Con­cert (1969)

Hear The Vel­vet Underground’s “Leg­endary Gui­tar Amp Tapes,” Which Show­cas­es the Bril­liance & Inno­va­tion of Lou Reed’s Gui­tar Play­ing (1969)

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.

The Evolutionary History of Fat: Biologists Explain Why It’s Necessary for Our Survival & Why We’re Biased Against It

The Fat Accep­tance move­ment may seem like a 21st cen­tu­ry phe­nom­e­non, ris­ing to pub­lic con­scious­ness with the suc­cess of high-pro­file writ­ers, actors, film­mak­ers, and activists in recent years. But the move­ment can date its ori­gins to 1967, when WBAI radio per­son­al­i­ty Steve Post held a “fat-in” in Cen­tral Park, bring­ing 500 peo­ple togeth­er to protest, cel­e­brate, and burn diet books and pho­tos of Twig­gy. “That same year,” notes the Cen­ter for Dis­cov­ery, “a man named Llewe­lyn ‘Lew’ Loud­er­back wrote an arti­cle for the Sat­ur­day Evening Post titled, ‘More Peo­ple Should be FAT.’” These ear­ly sal­lies led to the found­ing of the Nation­al Asso­ci­a­tion to Advance Fat Accep­tance (NAAFA) two years lat­er and more rad­i­cal groups in the 70s like the Fat Under­ground.

There would be no need for fat activism, of course, if there were no bias­es against fat peo­ple. This rais­es the ques­tion: where did those bias­es come from? They are not innate, says Har­vard Uni­ver­si­ty evo­lu­tion­ary biol­o­gist Daniel Lieber­man in the Slate video above, but are a prod­uct of a his­to­ry that tracks, coin­ci­den­tal­ly, with the rise of mass mar­ket­ing and mass con­sumerism. We have been sold the idea that thin bod­ies are bet­ter, health­i­er, more attrac­tive, and more desir­able, and that fat is some­thing to be warred against. “How­ev­er, as an evo­lu­tion­ary biol­o­gist, “says Lieber­man, I’ve come to appre­ci­ate that with­out fat, we’d be dead. Humans wouldn’t real­ly be the way we are. Fat is real­ly life.”

A quick perusal of art his­to­ry shows us that larg­er bod­ies have been val­ued around the world in much of human his­to­ry. We now asso­ciate fat with poor health, but it has also sig­naled the oppo­site — a store­house of caloric wealth and healthy fer­til­i­ty. “Our bod­ies have all sorts of tricks to make sure we nev­er run out of ener­gy,” says Lieber­man, “and the main way that we store ener­gy is fat.” Leiber­man and oth­er biol­o­gists in the video sur­vey the role of fat in human sur­vival and thriv­ing. “Fat is an organ,” and sci­en­tists are learn­ing how it com­mu­ni­cates with oth­er sys­tems in the body to reg­u­late ener­gy con­sump­tion and feed our com­par­a­tive­ly enor­mous brains.

Among ani­mals, “humans are espe­cial­ly adapt­ed to be fat.” Even the thinnest among us are cor­pu­lent com­pared to most pri­mates. Still, the aver­age human did not have any oppor­tu­ni­ty to become obese until rel­a­tive­ly recent his­tor­i­cal devel­op­ments — in the grand evo­lu­tion­ary scheme of things — like agri­cul­ture, heavy indus­try, and the sci­ence to pre­serve and store food. When Euro­peans dis­cov­ered sug­ar, then mass pro­duced it on plan­ta­tions and export­ed it around the world, sug­ar con­sump­tion mag­ni­fied expo­nen­tial­ly. The aver­age Amer­i­can now eats 100 pounds of sug­ar per year. The aver­age hunter-gath­er­er might have strug­gled the eat “a pound or two a year” from nat­ur­al sources.

The over-abun­dance of calo­ries has led to a type-II dia­betes epi­dem­ic world­wide that is close­ly relat­ed to sug­ar con­sump­tion. It isn’t nec­es­sar­i­ly relat­ed to hav­ing a larg­er body, although fat deposits in the heart and else­where can wors­en insulin resis­tance (and heart dis­ease); the prob­lem is almost cer­tain­ly linked to excess sug­ar, the con­stant avail­abil­i­ty of high-calo­rie foods, and low incen­tives to exer­cise. Our hunger for sweets and love of com­fort are not char­ac­ter flaws, how­ev­er. They are evo­lu­tion­ary dri­ves that allow us to acquire and con­serve ener­gy, oper­at­ing in a food econ­o­my that often pun­ish­es us for those very dri­ves. Diet­ing not only does­n’t work, as neu­ro­sci­en­tist San­dra Aamodt explains in her TED Talk above, but it often back­fires, mak­ing us even hun­gri­er because our brains per­ceive us as deprived.

As sci­en­tists like Lieber­man gain a bet­ter under­stand­ing of the role of fat in human biol­o­gy, those in the med­ical com­mu­ni­ty are real­iz­ing that doc­tors and nurs­es are hard­ly free from the soci­etal bias­es against fat. Stud­ies show those bias­es can trans­late to poor­er med­ical care and bad advice about diet­ing, a vicious cycle in which health con­di­tions unre­lat­ed to weight go untreat­ed, and are then blamed on weight. Evo­lu­tion­ary biol­o­gy explains the role of fat in human devel­op­ment, and human his­to­ry explains its increase, but the ques­tion of where the hatred of fat comes from is a trick­i­er one for these sci­en­tists to answer. They bare­ly men­tion the role of adver­tis­ing and enter­tain­ment.

In 1979, activists in the “Fat Lib­er­a­tion Man­i­festo” iden­ti­fied the prob­lem as fat people’s “mis­treat­ment by com­mer­cial and sex­ist inter­ests” that have “exploit­ed our bod­ies as objects of ridicule, there­by cre­at­ing an immense­ly prof­itable mar­ket sell­ing the false promise of avoid­ance of, or relief from, that ridicule.” Despite decades of resis­tance, the diet indus­try thrives. A Google search of the phrase “body fat” yields page upon page of unsci­en­tif­ic advice about ide­al body fat per­cent­ages, as though remind­ing the major­i­ty of Amer­i­cans (7 in 10 are clas­si­fied as over­weight or obese) that they should feel there’s some­thing wrong with them.

Blame, shame, and ridicule won’t solve med­ical prob­lems, say the biol­o­gists in the video above, and it cer­tain­ly doesn’t help peo­ple lose weight, if that’s what they need to do. If we bet­ter under­stood the role of fat in keep­ing us healthy, hap­py, and alive, maybe we could over­come our hatred of it and accept oth­ers, and our­selves, in what­ev­er bod­ies we’re in.

Relat­ed Con­tent: 

How the Food We Eat Affects Our Brain: Learn About the “MIND Diet”

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

Why Sit­ting Is The New Smok­ing: An Ani­mat­ed Expla­na­tion

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

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