Lou Reed Album With Demos of Velvet Underground Classics Getting Released: Hear an Early Version of “I’m Waiting for the Man”

in Music | June 27th, 2022

In 1965, Lou Reed was a 23-year-old grad­u­ate stalled in a music and art career he wasn’t sure would take off. A few years ear­li­er a doo-wop sin­gle record­ed with high school friends had been released to no avail. More recent­ly, a par­o­dy of dance-craze sin­gles “Do the Ostrich”, cre­at­ed by Reed and per­formed by a pick-up band of musi­cians, had also made its way onto wax and then right out of people’s mem­o­ries. How­ev­er, John Cale was in that pick-up band, and soon the two were fast friends. It was Cale who helped record Reed’s demo tape of songs that year. And it was Reed who took the tape and mailed it back to him­self as a “poor man’s copy­right.”

That demo tape has now been unsealed and these nev­er-before heard record­ings are head­ing to LP and CD and stream­ing. Above you can hear a very ear­ly ver­sion of “I’m Wait­ing for the Man,” that would get rad­i­cal­ly reworked for the Vel­vet Underground’s debut album.

Over rudi­men­ta­ry gui­tar pluck­ing, Reed’s demo is slow­er, has har­monies, and a more decid­ed folk bent. Reed acts out the var­i­ous parts, includ­ing the “Par­don me sir, it’s the fur­thest from my mind” line in a faux-Brit accent. There’s even a Dylan-esque har­mon­i­ca solo.

The demo tape con­tains oth­er future Vel­vet Under­ground clas­sics like “Hero­in” and “Pale Blue Eyes,” but also songs that would turn up on Berlin (“Men of Good For­tune”) and a favorite cov­er “Wrap Your Trou­bles in Dreams” that would pop up in Vel­vets sets. But there’s also songs that were nev­er released in any for­mat: “Stock­pile,” “Buzz Buzz Buzz,” and “But­ter­cup Song.”

Reed had been influ­enced by poet Del­more Schwartz, who he’d stud­ied under at Syra­cuse Uni­ver­si­ty. Schwartz had instilled in Reed the idea that the sim­plest words could have the max­i­mum effect in the right hands. Reed’s style of street doc­u­men­tary and rep­e­ti­tion came out of his rela­tion­ship with Schwartz, whom Reed paid trib­ute to on the first Vel­vets album with “Euro­pean Son.”

The album, all nice­ly remas­tered, will be avail­able in the usu­al for­mats on August 26, includ­ing a bonus ep of ear­li­er demos, includ­ing 1963 home record­ings and a 1958 rehearsal. For now enjoy this glimpse into the mind of an artist about to find his place in the world, and he doesn’t even know it yet.

Relat­ed Con­tent 

Teenage Lou Reed Sings Doo-Wop Music (1958–1962)

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

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

How Drum­mer Moe Tuck­er Defined the Sound of the Vel­vet Under­ground

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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Aldous Huxley to George Orwell: My Hellish Vision of the Future is Better Than Yours (1949)

in Life, Literature | June 25th, 2022

In 1949, George Orwell received a curi­ous let­ter from his for­mer high school French teacher.

Orwell had just pub­lished his ground­break­ing book Nine­teen Eighty-Four, which received glow­ing reviews from just about every cor­ner of the Eng­lish-speak­ing world. His French teacher, as it hap­pens, was none oth­er than Aldous Hux­ley who taught at Eton for a spell before writ­ing Brave New World (1931), the oth­er great 20th cen­tu­ry dystopi­an nov­el.

Hux­ley starts off the let­ter prais­ing the book, describ­ing it as “pro­found­ly impor­tant.” He con­tin­ues, “The phi­los­o­phy of the rul­ing minor­i­ty in Nine­teen Eighty-Four is a sadism which has been car­ried to its log­i­cal con­clu­sion by going beyond sex and deny­ing it.”

Then Hux­ley switch­es gears and crit­i­cizes the book, writ­ing, “Whether in actu­al fact the pol­i­cy of the boot-on-the-face can go on indef­i­nite­ly seems doubt­ful. My own belief is that the rul­ing oli­garchy will find less ardu­ous and waste­ful ways of gov­ern­ing and of sat­is­fy­ing its lust for pow­er, and these ways will resem­ble those which I described in Brave New World.” (Lis­ten to him read a dra­ma­tized ver­sion of the book here.)

Basi­cal­ly while prais­ing Nine­teen Eighty-Four, Hux­ley argues that his ver­sion of the future was more like­ly to come to pass.

In Hux­ley’s seem­ing­ly dystopic World State, the elite amuse the mass­es into sub­mis­sion with a mind-numb­ing drug called Soma and an end­less buf­fet of casu­al sex. Orwell’s Ocea­nia, on the oth­er hand, keeps the mass­es in check with fear thanks to an end­less war and a hyper-com­pe­tent sur­veil­lance state. At first blush, they might seem like they are dia­met­ri­cal­ly opposed but, in fact, an Orwellian world and a Hux­leyan one are sim­ply two dif­fer­ent modes of oppres­sion.

Obvi­ous­ly we are nowhere near either dystopic vision but the pow­er of both books is that they tap into our fears of the state. While Hux­ley might make you look askance at The Bach­e­lor or Face­book, Orwell makes you recoil in hor­ror at the gov­ern­ment throw­ing around phras­es like “enhanced inter­ro­ga­tion” and “sur­gi­cal drone strikes.”

You can read Huxley’s full let­ter below.

Wright­wood. Cal.

21 Octo­ber, 1949

Dear Mr. Orwell,

It was very kind of you to tell your pub­lish­ers to send me a copy of your book. It arrived as I was in the midst of a piece of work that required much read­ing and con­sult­ing of ref­er­ences; and since poor sight makes it nec­es­sary for me to ration my read­ing, I had to wait a long time before being able to embark on Nine­teen Eighty-Four.

Agree­ing with all that the crit­ics have writ­ten of it, I need not tell you, yet once more, how fine and how pro­found­ly impor­tant the book is. May I speak instead of the thing with which the book deals — the ulti­mate rev­o­lu­tion? The first hints of a phi­los­o­phy of the ulti­mate rev­o­lu­tion — the rev­o­lu­tion which lies beyond pol­i­tics and eco­nom­ics, and which aims at total sub­ver­sion of the indi­vid­u­al’s psy­chol­o­gy and phys­i­ol­o­gy — are to be found in the Mar­quis de Sade, who regard­ed him­self as the con­tin­u­a­tor, the con­sum­ma­tor, of Robe­spierre and Babeuf. The phi­los­o­phy of the rul­ing minor­i­ty in Nine­teen Eighty-Four is a sadism which has been car­ried to its log­i­cal con­clu­sion by going beyond sex and deny­ing it. Whether in actu­al fact the pol­i­cy of the boot-on-the-face can go on indef­i­nite­ly seems doubt­ful. My own belief is that the rul­ing oli­garchy will find less ardu­ous and waste­ful ways of gov­ern­ing and of sat­is­fy­ing its lust for pow­er, and these ways will resem­ble those which I described in Brave New World. I have had occa­sion recent­ly to look into the his­to­ry of ani­mal mag­net­ism and hyp­no­tism, and have been great­ly struck by the way in which, for a hun­dred and fifty years, the world has refused to take seri­ous cog­nizance of the dis­cov­er­ies of Mes­mer, Braid, Esdaile, and the rest.

Part­ly because of the pre­vail­ing mate­ri­al­ism and part­ly because of pre­vail­ing respectabil­i­ty, nine­teenth-cen­tu­ry philoso­phers and men of sci­ence were not will­ing to inves­ti­gate the odd­er facts of psy­chol­o­gy for prac­ti­cal men, such as politi­cians, sol­diers and police­men, to apply in the field of gov­ern­ment. Thanks to the vol­un­tary igno­rance of our fathers, the advent of the ulti­mate rev­o­lu­tion was delayed for five or six gen­er­a­tions. Anoth­er lucky acci­dent was Freud’s inabil­i­ty to hyp­no­tize suc­cess­ful­ly and his con­se­quent dis­par­age­ment of hyp­no­tism. This delayed the gen­er­al appli­ca­tion of hyp­no­tism to psy­chi­a­try for at least forty years. But now psy­cho-analy­sis is being com­bined with hyp­no­sis; and hyp­no­sis has been made easy and indef­i­nite­ly exten­si­ble through the use of bar­bi­tu­rates, which induce a hyp­noid and sug­gestible state in even the most recal­ci­trant sub­jects.

With­in the next gen­er­a­tion I believe that the world’s rulers will dis­cov­er that infant con­di­tion­ing and nar­co-hyp­no­sis are more effi­cient, as instru­ments of gov­ern­ment, than clubs and pris­ons, and that the lust for pow­er can be just as com­plete­ly sat­is­fied by sug­gest­ing peo­ple into lov­ing their servi­tude as by flog­ging and kick­ing them into obe­di­ence. In oth­er words, I feel that the night­mare of Nine­teen Eighty-Four is des­tined to mod­u­late into the night­mare of a world hav­ing more resem­blance to that which I imag­ined in Brave New World. The change will be brought about as a result of a felt need for increased effi­cien­cy. Mean­while, of course, there may be a large scale bio­log­i­cal and atom­ic war — in which case we shall have night­mares of oth­er and scarce­ly imag­in­able kinds.

Thank you once again for the book.

Yours sin­cere­ly,

Aldous Hux­ley

via Let­ters of Note

Relat­ed Con­tent:

A Com­plete Read­ing of George Orwell’s 1984: Aired on Paci­fi­ca Radio, 1975

George Orwell Iden­ti­fies the Main Ene­my of the Free Press: It’s the “Intel­lec­tu­al Cow­ardice” of the Press Itself

Aldous Hux­ley Tells Mike Wal­lace What Will Destroy Democ­ra­cy: Over­pop­u­la­tion, Drugs & Insid­i­ous Tech­nol­o­gy (1958)

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

Hear Aldous Hux­ley Nar­rate His Dystopi­an Mas­ter­piece, Brave New World

Aldous Huxley’s Most Beau­ti­ful, LSD-Assist­ed Death: A Let­ter from His Wid­ow

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

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The Only Surviving Manuscript of John Milton’s Paradise Lost Gets Published in Book Form for the First Time

in Books, Literature | June 24th, 2022

In The Mar­riage of Heav­en and Hell, William Blake adds a note to the text that became a famous adage about John Mil­ton’s Par­adise Lost: the 10,000-line, 17th cen­tu­ry blank verse epic about the war between heav­en and hell and the failed test­ing of God’s pre­mi­um prod­uct, human beings. Mil­ton “wrote in fet­ters when he wrote of Angels & God, and at lib­er­ty when he wrote Dev­ils & Hell,” Blake declared, “because he was a true Poet and of the Dev­il’s par­ty with­out know­ing it.” The state­ment inspired “oth­er Roman­tic and Goth­ic writ­ers to view Satan as a hero,” the British Library writes.

Blake him­self illus­trat­ed Par­adise Lost in three sep­a­rate com­mis­sions over the course of his career as an engraver and print­er. His deep admi­ra­tion for the poem helped it become a “Bible of the Roman­tic move­ment,” writes the man­u­script pub­lish­er SP Books in their intro­duc­tion to a rare new book pub­li­ca­tion of the only sur­viv­ing man­u­script of the work.

Only 1,000 num­bered, large for­mat copies of this print­ing are avail­able. (We do hope a sub­se­quent edi­tion will appear, maybe with a tran­scrip­tion and anno­ta­tions. But it will not be as beau­ti­ful as this sky-blue cloth-cov­ered book with Blake’s full-col­or illus­tra­tions.)

The book pre­serves the only part of the poem that sur­vives in man­u­script: 798 lines from Book One of Par­adise Lost. These are not in Mil­ton’s hand — he had been blind since 1652, and the poem was first pub­lished in 1667. He con­ceived the epic in his 50s, his career in gov­ern­ment over after the Eng­lish Civ­il Wars and the brief peri­od of the Cromwells’ Pro­tec­torate end­ed in the Restora­tion of Charles II. “Mil­ton com­posed ‘Par­adise Lost’ aloud, in bed or (per wit­ness­es) ‘lean­ing back­wards oblique­ly in an easy chair,’ ” Lau­ren Chris­tensen writes at The New York Times, “mem­o­riz­ing the stan­zas to be tran­scribed in anoth­er’s hand.”

These first few hun­dred lines show why Satan seems so noble to Mil­ton’s read­ers; speech­es by and about him por­tray his doomed cam­paign as a right­eous assault on heav­en­ly tyran­ny. The Roman­tics’ use of Par­adise Lost reflects their own pre­oc­cu­pa­tions, while also echo­ing con­tem­po­rary sus­pi­cions of the poem. “The author­i­ties were con­cerned,” for exam­ple, Tom Paulin notes at The Lon­don Review of Books, by an image in Book One describ­ing Satan:

as when the sun new ris’n
Looks through the hor­i­zon­tal misty air
Shorn of his beams, or from behind the moon
In dim eclipse dis­as­trous twi­light sheds
On half the nations, and with fear of change

Per­plex­es mon­archs.

“Accord­ing to Mil­ton’s ear­ly biog­ra­ph­er, the Irish repub­li­can John Toland, Charles II’s Licenser for the Press regard­ed these lines as sub­ver­sive,” Paulin points out, “and want­ed to sup­press the whole poem.” It’s sur­pris­ing he was able to pub­lish at all. Mil­ton had vocif­er­ous­ly sup­port­ed the Puri­tan rev­o­lu­tion­ar­ies who over­threw the king’s father, Charles I, and removed his head. Mil­ton lat­er pub­lished sev­er­al pam­phlets in defense of regi­cide. In 1660, when Richard Cromwell’s Pro­tec­torate fell apart and Charles II returned, Mil­ton’s works were banned by roy­al decree and the poet went into hid­ing until a gen­er­al par­don.

Lat­er crit­ics have point­ed to Mil­ton’s polit­i­cal writ­ings as evi­dence that he knew exact­ly whose par­ty he was of. Cal­i­for­nia State Uni­ver­si­ty’s Michael Bryson has gone so far as to argue that Mil­ton was a secret athe­ist. In any case, he was a pas­sion­ate believ­er in the over­throw of kings and the estab­lish­ment of republics (for which he has become a lib­er­tar­i­an hero). Paulin sums up the crit­i­cal case for Par­adise Lost as an alle­go­ry for the “lost cause” of the rev­o­lu­tion:

Mil­ton knew that the poem he was dic­tat­ing to his ama­neuen­sis would be scru­ti­nized by the recent­ly restored monar­ch’s Licenser of the Press, so he cod­ed the Eng­lish peo­ple’s for­ma­tion of a repub­lic as the cre­ation of the “heav­ens and earth.” The idea passed the cen­sor by, just as it has passed by many read­ers, but it was nonethe­less Mil­ton’s found­ing inten­tion in com­pos­ing his epic.

The charge that Mil­ton made Satan a hero is hard to ignore when, read­ing Book One, we find the poet giv­ing the Chief of Fall­en Angels the best lines, as any­one who’s read Par­adise Lost will remem­ber. If you haven’t, just see the clas­sic exam­ple below.

The mind is its own place, and in itself
Can make a Heav’n of Hell, a Hell of Heav’n.
What mat­ter where, if I be still the same,
And what I should be, all but less than he
Whom Thun­der hath made greater? Here at least
We shall be free; th’Almighty hath not built
Here for his envy, will not dri­ve us hence:
Here we may reign secure, and in my choice
To reign is worth ambi­tion though in Hell:
Bet­ter to reign in Hell, than serve in Heav’n.

Learn more about this rare man­u­script edi­tion at The New York Times’ review and pur­chase one (if one remains) at SP Books.

Relat­ed Con­tent:

John Milton’s Hand Anno­tat­ed Copy of Shakespeare’s First Folio: A New Dis­cov­ery by a Cam­bridge Schol­ar

The Oth­er­world­ly Art of William Blake: An Intro­duc­tion to the Vision­ary Poet and Painter

Spenser and Mil­ton (Free Course) 

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

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Color Footage of the Liberation of Paris, Shot by Hollywood Director George Stevens (1944)

in Film, History | June 24th, 2022

The above footage of Paris’ lib­er­a­tion in August 1944 looks and feels not dis­sim­i­lar to a Hol­ly­wood movie. Part of its pow­er owes to its being in col­or, a van­ish­ing­ly rare qual­i­ty in real film of World War II. But we must also cred­it its hav­ing been shot by a gen­uine Hol­ly­wood film­mak­er, George Stevens. Hav­ing got his start in pic­tures as a teenag­er in the ear­ly nine­teen-twen­ties (not long before mak­ing the cin­e­mat­ic-his­tor­i­cal accom­plish­ment of fig­ur­ing out how to get Stan Lau­rel’s light-col­ored eyes to show up on film), Stevens became a respect­ed direc­tor in the fol­low­ing decade. Swing Time, Gun­ga Din, The More the Mer­ri­er: with hits like that, he would seem to have had it made.

But it was just then, as F. X. Feeney tells it in the DGA Quar­ter­ly, that the war became unig­nor­able. “The dan­ger­ous artistry of Leni Riefenstahl’s 1935 valen­tine to Adolf Hitler, Tri­umph of the Will, moved Stevens to vol­un­teer for front­line ser­vice in World War II despite his being old enough to dodge a uni­form and sit things out.”

In vivid col­or, Stevens and his U.S. Army Sig­nal Corps crew shot “the D‑Day land­ings, where he was one of the first ashore; the lib­er­a­tion of Paris; the snowy ruins of bombed-out vil­lages en route to the Bat­tle of the Bulge; and, most unfor­get­tably, the lib­er­a­tion of the death camp at Dachau.” (Even the cel­e­bra­to­ry events in Paris had their har­row­ing moments, such as the sniper attack cap­tured at 11:54.)

Stevens went to war a film­mak­er and came home a film­mak­er. The long post­war act of his career opened with no less acclaimed a pic­ture than I Remem­ber Mama, and went on to include the likes of A Place in the Sun, Shane, and The Diary of Anne Frank, whose mate­r­i­al no doubt res­onat­ed even more with Stevens giv­en what he’d seen in Europe. Not all of it, of course, was the after­math of death and destruc­tion. These Paris lib­er­a­tion clips alone offer glimpses of such admirable fig­ures as resis­tance fight­er Simone Segouin, Gen­er­als de Gaulle and Leclerc, and even Lieu­tenant Colonel Stevens him­self. He appears pre­sid­ing over the shoot just as he must once have done back in Cal­i­for­nia — and, with the war’s end in sight, as he must have known he would do again.

Relat­ed con­tent:

Albert Camus, Edi­tor of the French Resis­tance News­pa­per Com­bat, Writes Mov­ing­ly About Life, Pol­i­tics & War (1944–47)

How France Hid the Mona Lisa & Oth­er Lou­vre Mas­ter­pieces Dur­ing World War II

See Berlin Before and After World War II in Star­tling Col­or Video

Time Trav­el Back to Tokyo After World War II, and See the City in Remark­ably High-Qual­i­ty 1940s Video

31 Rolls of Film Tak­en by a World War II Sol­dier Get Dis­cov­ered & Devel­oped Before Your Eyes

The Gestapo Points to Guer­ni­ca and Asks Picas­so, “Did You Do This?;” Picas­so Replies “No, You Did!”

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.

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Karl Marx & the Flaws of Capitalism: Lex Fridman Talks with Professor Richard Wolff

in Economics | June 24th, 2022

Lex Frid­man, a Russ­ian-Amer­i­can com­put­er sci­en­tist and arti­fi­cial intel­li­gence researcher, hosts a pop­u­lar pod­cast where he often inter­views aca­d­e­mics and helps them reach a sur­pris­ing­ly large audi­ence. In recent weeks, he’s had long and wide-rang­ing con­ver­sa­tions with NYU social psy­chol­o­gist Jonathan Haidt, Prince­ton his­to­ri­an Stephen Kotkin (on the his­to­ry of Rus­sia and the Ukraine war), and Stan­ford his­to­ri­an Nor­man Naimark (on geno­cide). Above you can now find his con­ver­sa­tion with Marx­ist econ­o­mist, Richard Wolff.

Frid­man pref­aces the lengthy con­ver­sa­tion by say­ing, “This is a heavy top­ic, in gen­er­al, and for me per­son­al­ly, giv­en my fam­i­ly his­to­ry in the Sovi­et Union, in Rus­sia and Ukraine. Today, the words Marx­ism, Social­ism and Com­mu­nism are used to attack and divide, much more than to under­stand and learn. With this pod­cast, I seek the lat­ter. I believe we need to study the ideas of Karl Marx, as well as their var­i­ous imple­men­ta­tions through­out the 20th and 21st cen­turies.… We need to con­sid­er seri­ous­ly the ideas we demo­nize, and to chal­lenge the ideas we dog­mat­i­cal­ly accept as true, even when doing so is at times unpleas­ant and dan­ger­ous.”

You can lis­ten to their engag­ing con­ver­sa­tion above, or find it on var­i­ous pod­casts plat­forms. Along the way, Wolff under­scores the glar­ing defi­cien­cies of cap­i­tal­ism, and why pop­ulists on the left and right are now look­ing for alter­na­tives. And Frid­man asks whether cap­i­tal­ism, despite its faults, may still be the best option we have. Wolff and Frid­man undoubt­ed­ly have dif­fer­ent world­views, but the con­ver­sa­tion is civ­il and deep, and worth your time.

Relat­ed Con­tent

A Short Ani­mat­ed Intro­duc­tion to Karl Marx

5 Free Online Cours­es on Marx’s Cap­i­tal from Prof. David Har­vey

Marx­ism by Ray­mond Geuss: A Free Course

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The Oldest House in New York City: Meet the Wyckoff House (1652)

in Architecture, History, Museums, Video - Arts & Culture | June 23rd, 2022

Most 21st-cen­tu­ry Brook­lyn pub­lic ele­men­tary school­ers have tak­en or will take a field trip to the Wyck­off House, a mod­est wood­en cab­in sur­round­ed by tire shops and fast food out­lets.

The old­est build­ing in NYC by a long­shot, it was also the first struc­ture in the five bor­oughs to achieve his­toric land­mark sta­tus.

Pri­ma­ry sources place the orig­i­nal occu­pants, Pieter Clae­sen Wyck­off and his wife, Gri­et­je Van Ness-Wyck­off, in the orig­i­nal part of the house around 1652. A sin­gle room with a packed earth floor, unglazed win­dows, a large open hearth, and doors at either end, it would have been pret­ty tight quar­ters for a fam­i­ly of 13, as host Thi­js Roes of the his­to­ry series New Nether­land Now notes, dur­ing his above tour of the premis­es.

Two par­lors were added in the 18th-cen­tu­ry, and three bed­rooms in the ear­ly 19th. Typ­i­cal Dutch Colo­nial fea­tures include an H frame struc­ture, shin­gled walls, split Dutch doors, and deep, flared “spring” eaves.

Its sur­vival is a mir­a­cle in a metrop­o­lis known for its con­stant flux.

In the ear­ly 20th-cen­tu­ry, descen­dants of Pieter and Gri­et­je part­nered with com­mu­ni­ty activists to save the home from demo­li­tion, even­tu­al­ly donat­ing it to the New York City Parks Depart­ment.

A late 70s fire (pos­si­bly not the first) neces­si­tat­ed major ren­o­va­tions. (And last year, flood­ing from Hur­ri­cane Ida clob­bered its HVAC and elec­tri­cal sys­tem, putting a tem­po­rary kibosh on pub­lic vis­its to the inte­ri­or.)

Back in 2015, Roes’ com­pan­ion, archi­tec­tur­al his­to­ri­an Heleen West­er­hui­js, was invit­ed to inspect the attic, where she dis­cov­ered impres­sive orig­i­nal beams along­side 20th-cen­tu­ry rein­force­ments.

While the direc­tors of the home­stead active­ly rec­og­nize the com­mu­ni­ty that now sur­rounds it with events like an upcom­ing cel­e­bra­tion of Hait­ian cul­ture and Vodou, and hands on activ­i­ties include urban farm­ing and com­post­ing, the orig­i­nal set­tlers of New Nether­land (aka New Ams­ter­dam, aka New York City) remain a major focus.

Any Amer­i­can or Cana­di­an with the sur­name Wyck­off (or one of its more than 50 vari­ants) can and should con­sid­er it their ances­tral home, as they are almost cer­tain­ly descend­ed from Pieter and Gri­et­je. While many thou­sands now bear the name, Pieter was the first. Vol­un­teer geneal­o­gist Lynn Wyck­off explains:

After the Eng­lish assumed con­trol of New Nether­land, res­i­dents prac­tic­ing patronymics (a nam­ing sys­tem that uti­lized one’s father’s name in place of a sur­name) were required to adopt, or freeze, sur­names that could be passed down each gen­er­a­tion. Pieter Clae­sen chose the name Wykhof, which most of his descen­dants have spelled Wyck­off. Despite many unfound­ed claims over the years regard­ing both Pieter’s ances­try and choice of sur­name, there is no record of Pieter’s parent­age; but there is sub­stan­tial evi­dence that he chose the name Wykhof in recog­ni­tion of a farm by the same name out­side of Marien­hafe, Ger­many where his fam­i­ly were like­ly ten­ants.

A hand­ful of Wyck­off fam­i­ly mem­bers left com­ments on the New Nether­land Now video, includ­ing Don­ald, who wrote of his vis­it:

It was an odd  feel­ing to touch the hand-hewn sur­face of a sup­port­ing beam cut and installed by my ances­tor, hun­dreds of years ago.  Since I am a Wyck­off, I was allowed to see some of the “off tour” bits of the house.  I live over 3k miles away, so my feet will prob­a­bly nev­er touch the ground there again.  But I’m glad NY and a lot of won­der­ful peo­ple have main­tained my ances­tral home so well and for so many years.  Hope­ful­ly it has many hun­dreds of years of life remain­ing so that peo­ple can recall a time when Flat­bush was more of a farm than a city.

If you are a Wyck­off (or one of its vari­ants), you’re invit­ed to keep the Wyck­off Association’s fam­i­ly tree up to date by send­ing word of births, deaths, mar­riages, and any per­ti­nent genealog­i­cal details such as edu­ca­tion, mil­i­tary ser­vice, pro­fes­sion, places of res­i­dence and the like.

Explore a col­lec­tion of edu­ca­tion­al activ­i­ties, lessons, and col­or pages relat­ed to the Wyck­off House here.

Relat­ed Con­tent 

Immac­u­late­ly Restored Film Lets You Revis­it Life in New York City in 1911

New York City: A Social His­to­ry (A Free Online Course from N.Y.U

Ani­ma­tions Visu­al­ize the Evo­lu­tion of Lon­don and New York: From Their Cre­ation to the Present Day

- Ayun Hal­l­i­day is the author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Her family’s trips to the Wyck­off House were includ­ed in the lat­est, NYC muse­um-themed issue of her zine, the East Vil­lage Inky. Fol­low her @AyunHalliday.

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Rapper Post Malone Performs a 15-Song Set of Nirvana Songs, Paying Tribute to Kurt Cobain

in Music | June 23rd, 2022

Nir­vana’s cul­tur­al stay­ing pow­er is a tes­ta­ment to the cross-gen­er­a­tional mag­ic that hap­pened when Kurt Cobain, Krist Novoselić, and Dave Grohl played togeth­er for only a hand­ful of years in the 90s. Their influ­ence goes far deep­er than 90s nos­tal­gia for a grunge trend or the celebri­ty sta­tus of the late Cobain. Now almost 30 years after the front­man’s 1994 sui­cide, we see that influ­ence on a gen­er­a­tion born too late to see him live — one influ­enced more by hip hop than gui­tar rock and far less inter­est­ed in chal­leng­ing the cap­i­tal­ist sta­tus quo.

For artists like rap­per Post Mal­one, born July 4, 1995, Cobain is a major song­writ­ing influ­ence, even if Post Mal­one’s music sounds lit­tle like Nir­vana. “I loved Kurt so much,” says Mal­one, “and he’s been such an inspi­ra­tion to me, musi­cal­ly.” To prove his love, he’s tat­tooed Cobain on “two dif­fer­ent parts of his body,”  Shel­don Pearce writes at The New York­er, though Cobain might not have “rec­i­p­ro­cat­ed the love — the rapper’s stint shilling for Bud Light prob­a­bly wouldn’t fly, and Cobain once said white artists should leave rap to Black artists because ‘the white man ripped off the Black man long enough.’ ”

But that’s the thing about idols: once they’re gone, they no longer get a say in who wor­ships them and how. Last year, Post deliv­ered a Nir­vana trib­ute to ben­e­fit the UN’s COVID-19 Sol­i­dar­i­ty Response Fund for the World Health Orga­ni­za­tion. He did so respect­ful­ly. Backed by Travis Bark­er on drums, Bri­an Lee on bass, and Nic Mack on gui­tar, he hon­ored Cobain by don­ning a flower print dress, and by ask­ing his daugh­ter, Fran­cis Bean Cobain, for per­mis­sion to do the 15-song set. “I could nev­er want to offend any­body,” he told Howard Stern, “by try­ing to show sup­port, so I just want­ed to make sure that every­thing was okay — and it was okay, and we raised mon­ey for a good cause, and we got to play some of the most f*cking epic songs ever.”

Court­ney Love expressed sup­port, writ­ing, “Goose­bumps… Go have a mar­gari­ta Post Mal­one. Noth­ing but love from here.” Grohl and Novoselić also gave Mal­one their full approval. The for­mer Nir­vana bassist wrote that he was “hold­ing emo­tions back the whole show.” In a lat­er inter­view, Grohl com­ment­ed, “Even the die-hard Nir­vana peo­ple that I know were like, ‘dude, he’s kind of killing it right now.’ ” And they were right. Above, see the one-off band play “Fran­cis Farmer Will Have Her Revenge on Seat­tle,” “Come As You Are,” “About a Girl,” “Heart-Shaped Box,” and more clas­sic Nir­vana songs. The livestream raised $500,000 (includ­ing match­ing funds from Google) to help fight COVID-19 around the world.

Relat­ed Con­tent:

Watch Nir­vana Per­form as an Open­ing Band, Two Years Before Their Break­out Album Nev­er­mind (1989)

How Nirvana’s Icon­ic “Smells Like Teen Spir­it” Came to Be: An Ani­mat­ed Video Nar­rat­ed by T‑Bone Bur­nett Tells the True Sto­ry

The Record­ing Secrets of Nirvana’s Nev­er­mind Revealed by Pro­duc­er Butch Vig

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

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Computer Scientist Andrew Ng Presents a New Series of Machine Learning Courses–an Updated Version of the Popular Course Taken by 5 Million Students

in Artificial Intelligence, Online Courses, Technology | June 22nd, 2022

Back in 2017, Cours­era co-founder and for­mer Stan­ford com­put­er sci­ence pro­fes­sor Andrew Ng launched a five-part series of cours­es on “Deep Learn­ing” on the edtech plat­form, a series meant to “help you mas­ter Deep Learn­ing, apply it effec­tive­ly, and build a career in AI.” These cours­es extend­ed his ini­tial Machine Learn­ing course, which has attract­ed almost 5 mil­lion stu­dents since 2012, in an effort, he said, to build “a new AI-pow­ered soci­ety.”

Ng’s goals are ambi­tious, to “teach mil­lions of peo­ple to use these AI tools so they can go and invent the things that no large com­pa­ny, or com­pa­ny I could build, could do.” His new Machine Learn­ing Spe­cial­iza­tion at Cours­era takes him sev­er­al steps fur­ther in that direc­tion with an “updat­ed ver­sion of [his] pio­neer­ing Machine Learn­ing course,” notes Cours­er­a’s descrip­tion, pro­vid­ing “a broad intro­duc­tion to mod­ern machine learn­ing.” The spe­cial­iza­tion’s three cours­es include 1) Super­vised Machine Learn­ing: Regres­sion and Clas­si­fi­ca­tion, 2) Advanced Learn­ing Algo­rithms, and 3) Unsu­per­vised Learn­ing, Rec­om­menders, Rein­force­ment Learn­ing. Col­lec­tive­ly, the cours­es in the spe­cial­iza­tion will teach you to:

  • Build machine learn­ing mod­els in Python using pop­u­lar machine learn­ing libraries NumPy and scik­it-learn.
  • Build and train super­vised machine learn­ing mod­els for pre­dic­tion and bina­ry clas­si­fi­ca­tion tasks, includ­ing lin­ear regres­sion and logis­tic regres­sion.
  • Build and train a neur­al net­work with Ten­sor­Flow to per­form mul­ti-class clas­si­fi­ca­tion.
  • Apply best prac­tices for machine learn­ing devel­op­ment so that your mod­els gen­er­al­ize to data and tasks in the real world.
  • Build and use deci­sion trees and tree ensem­ble meth­ods, includ­ing ran­dom forests and boost­ed trees.
  • Use unsu­per­vised learn­ing tech­niques for unsu­per­vised learn­ing: includ­ing clus­ter­ing and anom­aly detec­tion.
  • Build rec­om­mender sys­tems with a col­lab­o­ra­tive fil­ter­ing approach and a con­tent-based deep learn­ing method.
  • Build a deep rein­force­ment learn­ing mod­el.

The skills stu­dents learn in Ng’s spe­cial­iza­tion will bring them clos­er to careers in big data, machine learn­ing, and AI engi­neer­ing. Enroll in Ng’s Spe­cial­iza­tion here free for 7 days and explore the mate­ri­als in all three cours­es. If you’re con­vinced the spe­cial­iza­tion is for you, you’ll pay $49 per month until you com­plete the three-course spe­cial­iza­tion, and you’ll earn a cer­tifi­cate upon com­ple­tion of a hands-on project using all of your new machine learn­ing skills. You can sign up for the Machine Learn­ing Spe­cial­iza­tion 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:

New Deep Learn­ing Cours­es Released on Cours­era, with Hope of Teach­ing Mil­lions the Basics of Arti­fi­cial Intel­li­gence

Cours­era Makes Cours­es & Cer­tifi­cates Free Dur­ing Coro­n­avirus Quar­an­tine: Take Cours­es in Psy­chol­o­gy, Music, Well­ness, Pro­fes­sion­al Devel­op­ment & More Online

Google & Cours­era Launch Career Cer­tifi­cates That Pre­pare Stu­dents for Jobs in 6 Months: Data Ana­lyt­ics, Project Man­age­ment and UX Design

Google Unveils a Dig­i­tal Mar­ket­ing & E‑Commerce Cer­tifi­cate: 7 Cours­es Will Help Pre­pare Stu­dents for an Entry-Lev­el Job in 6 Months       

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

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