1000+ Barbie Commercials Provides Context for This Summer’s Pinkest Blockbuster (1959–2023)

in Design, Film, Gender, K-12 | July 28th, 2023

The Barbie movie has captured the popular imagination in a big way.

The New York Times can’t get enough of the recently opened summer blockbuster. Between reviews, fashion round ups, interviews, box office reports and op eds, it has published over two dozen pieces tied to this massive cultural moment.

Even those who don’t feel a burning need to catch Barbie at the multiplex are likely aware of the Barbenheimer phenom.

But what about those who grew up in feminist homes, or sisterless cis-males of a certain age?

Will a lack of hands-on experience diminish the cinematic pleasures of Barbie?

Not if you immerse yourself in BarbieCollectors’ chronological playlist of Barbie commercials before ticketing up. That’s over a thousand ads, spanning more than six decades.

The 1959 ad, above, that introduced the glamorous “teen age fashion doll” to the public clears up the misperception that pink has always been Barbie’s de facto color. It’s black-and-white, but so is the diagonal striped swimsuit the film’s star, Margot Robbie models in the film’s opener, a tongue in cheek homage to 2001: A Space Odyssey.

(Astute observers may note the similarities between some of the sophisticated ensembles original flavor Barbie sports here and the outfits Robbie donned for the pink carpet prior to the Screen Actors Guild strike.)

In the battle between pink and historical record, pink is destined to come out on top in the Barbie movie. Director Greta Gerwig and her design team punch up Barbie’s early 80’s Western look with a wide pink brush, lowering the neckline but keeping the wink.

The doll came with a working autograph stamp Robbie may consider adopting, should Barbie mania continue on into fall.

One of the most thrilling design elements of the movie is the human scale Dreamhouses occupied by Barbie and her friends, the majority of whom are also named Barbie.

The Dreamhouse has taken many architectural forms over the years — townhouse, cottage, mansion — but it always comes without a fourth wall.

Another cinematic treat is the roll call of vehicles Barbie commandeers on her journey to the real world with her hapless boyfriend, Ken.

Some of the film’s deeper cuts are jokes at the expense of misguided releases, Barbie sidekicks so ill-conceived that they were quickly discontinued, although 1993’s Earring Magic Ken became a bestseller, thanks to his popularity in the gay community.

Look for Barbie’s pregnant pal, Midge, her yellow Labrador retriever, Tanner (whose scoopable excrement was quickly deemed a choking hazard) and Growing up Skipper, the little sister who goes through puberty with a twist of the arm … “which is something you can’t do,” the commercial’s narrator taunts in a rare reversal of the “girls can be anything” ethos Mattel insists is part of the brand.

Of course, one can only cram so many knowingly-placed products into one feature-length film.

Are those of you who grew up with Barbie hurting from any glaring omissions? (Asking as a child of the Malibu Barbie era…)

Those who didn’t grow up with Barbie can play along too by sampling from BarbieCollectors’ massive chronological commercial playlist, then nominating your favorites in the comments.

The New David Bowie Barbie Doll Released to Commemorate the 50th Anniversary of “Space Oddity”

– Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto and Creative, Not Famous Activity Book. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 6 ) |

Oppenheimer’s Secret City: The Story Behind the Stealthy Creation of Los Alamos, New Mexico

in History, Physics | July 27th, 2023

We think of the atomic bomb as a destroyer of cities, namely Hiroshima and Nagasaki. But its development also produced a city: Los Alamos, New Mexico, an officially non-existent community in which the necessary research could be conducted in secret. More recently, it became a major shooting location for Oppenheimer, Christopher Nolan’s new movie about the titular theoretical physicist remembered as the father (or one of the fathers) of the atomic bomb based on his work as the director of the Los Alamos Laboratory. You can learn more about that laboratory, and the town of 6,000 constructed to support it, in the new Vox video above.

Los Alamos was necessary to the Manhattan Project, as the R&D of the world’s first nuclear weapon was code-named, but it wasn’t sufficient: other secret sites involved included “a nuclear reactor under a University of Chicago football field”; “the Alabama Ordinance Works, for producing heavy water”; “a large plant for the enrichment of uranium and production of some plutonium” in Oak Ridge, Tennessee”; and the Hanford Engineer Works in Washington State, which produced even more plutonium.

But the bomb itself was created in Los Alamos, into whose isolation Oppenheimer recruited the likes of Enrico Fermi, Edward Teller, Richard Feynman, and other powerful scientific minds — who brought their wives and children along.

As a 1944 Medical Corp memo warned, the “intellectuals” at Los Alamos would “seek more medical care than the average person”; at the same time, one-fifth of the married women there were pregnant, so up went maternity wards as well. The population of Los Alamos grew so rapidly that “hutments were a common form of accommodation,” though “apartment buildings were also available.” The housing sat alongside “facilities for graphite fabrication, and the cyclotron and Van de Graaff machines.” Less than 250 miles south lay what, in the summer of 1945, would become the site of the Trinity test. It was there, gazing upon the explosion of the unprecedented nuclear weapon whose development he’d overseen, that Oppenheimer saw not merely a destroyer of cities, but a destroyer of worlds.

Related content:

Oppenheimer: The Man Behind the Bomb

Watch Chilling Footage of the Hiroshima & Nagasaki Bombings in Restored Color

J. Robert Oppenheimer Explains How, Upon Witnessing the First Nuclear Explosion, He Recited a Line from the Bhagavad Gita: “Now I Am Become Death, the Destroyer of Worlds”

See Every Nuclear Explosion in History: 2153 Blasts from 1945–2015

Learn How Richard Feynman Cracked the Safes with Atomic Secrets at Los Alamos

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 ) |

How a 1930s Architectural Masterpiece Harnesses the Sun to Keep Warm in the Winter & Cool in the Summer

in Architecture | July 27th, 2023

Keeping the summer sun out and the winter sun in has figured prominently among the tasks of architecture ever since antiquity. As Aeschylus said, “only primitives and barbarians lack knowledge of houses turned to face the winter sun,” and he’d never even lived through a Chicago winter. Two and a half millennia later, in the suburb of Schaumburg, Illinois, the architect Paul Schweikher built a house not just turned to face the winter sun, but ingeniously and elegantly designed naturally to stay warm in the cold months and cool in the hot months. Architectural design educator Stewart Hicks explains how in the video above, an introduction to what’s now known as the Paul Schweikher House and Studio.

What will strike most visitors to the Schweikher House, which now operates as a museum, has less to do with its comfortable temperatures than with its look and feel. “The house doesn’t give all its secrets away at once,” says the site of design and furnishing company Trystcraft.

“Instead, the visitor is teased with hints that lead you under and past a carport, along a long board and batten wall around the perimeter of a lush courtyard with a magnificent tree — providing a wonderful contrast to the linearity of the structures surrounding it.” This “entry sequence” also introduces the house’s main materials: brick, most visibly, but also redwood now weathered to “a range of beautiful dark browns and grays.”

Schweikher used these materials and others to construct what Hicks calls a “direct gain passive solar system,” whose openings and overhangs are “positioned so that it lets in winter sun, while blocking the summer sun,” which beats down at a slightly different angle. “Elevated, operable openings on the other side of the building allow warm air to rise, and draw in air from outside,” in addition to other features that maintain a temperate interior climate without the use of any electrical or even mechanical apparatus. Having designed this residence for himself and his wife in 1937 put him on the vanguard of what would later be recognized as the American interpretation of mid-century modernism, as well as what’s now called “solar home” building technology. Arguably, Schweikher’s techniques are even more valuable today: the climate may change, after all, but the sun’s seasonal angles stay the same.

What Frank Lloyd Wright’s Unusual Windows Tell Us About His Architectural Genius

George Bernard Shaw’s Famous Writing Hut, Which Could Be Rotated 360 Degrees to Catch the Sun All Day

What Is the House of the Rising Sun?: An Introduction to the Origins of the Classic Song

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 ) |

How the Ancient Greeks Invented the First Computer: An Introduction to the Antikythera Mechanism (Circa 87 BC)

in History, Technology | July 26th, 2023

At the center of Indiana Jones and the Dial of Destiny is a device quite like the real ancient Greek artifact known as the Antikythera mechanism, which has been called the world’s oldest computer. “Every Indiana Jones adventure needs an exotic MacGuffin,” writes Smithsonian.com’s Meilan Solly, and in this latest and presumably last installment in its series, “the hero chases after the Archimedes Dial, a fictionalized version of the Antikythera mechanism that predicts the location of naturally occurring fissures in time.” After undergoing Indiana Jonesification, in other words, the Antikythera mechanism becomes a time machine, a function presumably not included in even the least responsible archaeological speculations about its still-unclear set of functions.

But according to Jo Marchant, author of Decoding the Heavens: Solving the Mystery of the World’s First Computer, the Antikythera mechanism really is “a time machine in a sense. When you turn the handle on the side, you are moving backward in time, you’re controlling time. You’re seeing the universe either being fast-forwarded or reversed, and you’re choosing the speed and can set it to any moment in history that you want.”

She refers to the fact that a handle on the side of the mechanism controls gears within it, which engage to compute and display “the positions of celestial bodies, the date, the timing of athletic games. There’s a calendar, there’s an eclipse prediction dial, and there are inscriptions giving you information about what the stars are doing.”

It seems that the Antikythera mechanism could tell you “everything you need to know about the state and workings of the cosmos,” at least if you’re an ancient Greek. But it also tells us something important about the ancient Greeks themselves: specifically, that they’d developed much more sophisticated mechanical engineering than we’d known before the early twentieth century, when the device was discovered in a shipwreck. According to the BBC video above on the details of the Antikythera mechanism’s known capabilities, Arthur C. Clarke thought that “if the ancient Greeks had understood the capabilities of the technology, then they would have reached the moon within 300 years.” A grand old civilization that turns out to have been on a course for outer space: now there’s a viable premise for the next big architectural adventure film franchise.

How the World’s Oldest Computer Worked: Reconstructing the 2,200-Year-Old Antikythera Mechanism

Researchers Develop a Digital Model of the 2,200-Year-Old Antikythera Mechanism, “the World’s First Computer”

How the Ancient Greeks Shaped Modern Mathematics: A Short, Animated Introduction

Modern Artists Show How the Ancient Greeks & Romans Made Coins, Vases & Artisanal Glass

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 ( 1 ) |

A Collection of Hokusai’s Drawings Are Being Carved Onto Woodblocks & Printed for the First Time Ever

in Art | July 26th, 2023

If you know anything about the ukiyo‑e masters of eighteenth- and nineteenth-century Japan like Kitagawa Utamaro, Utagawa Hiroshige, and Katsushika Hokusai, you know that they became renowned through woodblock prints. But in almost all cases, a woodblock print begins in another medium: the medium of the drawing, where the artist works out the image before committing (or having it committed) to a block of wood for printing. This process, as Tokyo-based Canadian printmaker David Bull explains in the video above, entailed the destruction of the original drawing — or at least it did a couple of centuries ago, before the advent of copy machines, let alone high-resolution digital scanners.

Our time has not only these technologically advanced tools, but also, as previously featured here on Open Culture, a wealth of rediscovered drawings by Hokusai himself. “The existence of these exquisite small drawings had been forgotten,” says the site of the British Museum. “Last publicly recorded at a Parisian auction in 1948, they are said to have been in a private collection in France before resurfacing in 2019.”

Having acquired the 103 images that constitute this Great Picture Book of Everything, the British Museum has entered into a collaboration with Bull, whose workshop Mokuhankan is taking a selection of these drawings — never printed in Hokusai’s day — and carving them into woodblocks for the first time ever.

You can enjoy this project, called Hokusai Reborn, by following its progress on Bull’s Youtube channel; the first two episodes of the series appear just above. You can also purchase a subscription to receive copies of the actual prints now being made from Hokusai’s drawings at Mokuhankan. “The prints will be 13.5 x 18.5 cm in format (slightly larger than 5 x 7 inches),” says the page at the studio’s site with more information on that, “and will be made on a thin version of our usual hosho washi, made in the workshop of Iwano Ichibei,” one of Japan’s officially designated Living National Treasures. This sales model is in keeping with the commercial model of ukiyo‑e in the Edo period of the seventeenth through the nineteenth century, when a burgeoning merchant class formed a robust customer base for its artisans. Here we have an unexpected opportunity to become one of those customers — and, perhaps, to own the next Great Wave Off Kanagawa.

via Metafilter

The Great Wave Off Kanagawa by Hokusai: An Introduction to the Iconic Japanese Woodblock Print in 17 Minutes

Thirty-Six Views of Mount Fuji: A Deluxe New Art Book Presents Hokusai’s Masterpiece, Including The Great Wave Off Kanagawa

The Evolution of The Great Wave off Kanagawa: See Four Versions That Hokusai Painted Over Nearly 40 Years

Watch the Making of Japanese Woodblock Prints, from Start to Finish, by a Longtime Tokyo Printmaker

Get Free Drawing Lessons from Katsushika Hokusai, Who Famously Painted The Great Wave of Kanagawa: Read His How-To Book, Quick Lessons in Simplified Drawings

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 ) |

Home Taping Is Killing Music: When the Music Industry Waged War on the Cassette Tape During the 1980s, and Punk Bands Fought Back

in Music, Technology | July 25th, 2023

The first time I saw the infamous Skullcassette-and-Bones logo was on holiday in the UK and purchased the very un-punky Chariots of Fire soundtrack. It was on the inner sleeve. “Home Taping Is Killing Music” it proclaimed. It was? I asked myself. “And it’s illegal” a subhead added. It is? I also asked myself. (Ironically, this was a few months before I came into possession of my first combination turntable-cassette deck.)

Ten years and racks and racks of homemade cassette dubs on my shelves later, music seemed to be doing very well. (Later, by going digital, the music industry killed itself, and I had absolutely nothing to do with it.)

British record collectors will no doubt remember this campaign that started in 1981, another business-backed “moral” panic. And funnily enough it had nothing to do with dubbing vinyl.

Instead, the British Phonographic Industry (BPI) were taking aim at people who were recording songs off the radio instead of purchasing records. With the rise of the cassette tape in popularity, the BPI saw pounds and pence leaving their pockets.

Now, figuring out lost profits from home taping could be a fools’ errand, but let’s focus on the “illegal” part. Technically, this is true. Radio stations pay licensing fees to play music, so a consumer taping that song off the radio is infringing on the song’s copyright. Britain has very different “fair use” laws than America. In addition, digital radio and clearer signals have complicated matters over the years.

In practice, however, the whole thing was bunkum. Radio recordings are historic. Mixtapes are culture. I have my tapes of John Peel’s BBC shows, which I recorded for the music. Now, I listen to them for Peel’s intros and outros.

Seriously, the Napalm Death Peel Sessions *only* make sense with his commentary. Whoever taped this is an unknown legend:

The post-punk crowd knew the campaign was bunkum too. Malcolm McLaren, always the provocateur, released Bow Wow Wow’s cassette-only-single C‑30 C‑60 C‑90 Go with a blank B‑side that urged consumers to record their own music. EMI quickly dropped the band.

The Dead Kennedys also repeated the black b‑side gimmick with In God We Trust, Inc. (I would be interested in anybody who picks up a copy used of either to see what *is* on the b‑side).

And then there were the parodies. The metal group Venom used “Home Taping Is Killing Music; So Are Venom” on an album; Peter Principle offered “Home Taping Is Making Music”: Billy Bragg kept it Marxist: “Capitalism is killing music — pay no more than £4.99 for this record”. For the industry, music was the product; for the regular folks, music was communication, it was art, it was a language.

The campaign never did much damage. Attempts to levy a tax on blank cassettes didn’t get traction in the UK. And BPI’s director general John Deacon was frustrated that record companies didn’t want to splash the Jolly Roger on inner sleeves. The logo lives on, however, as part of torrent site Pirate Bay’s sails:

Just after the hysteria died down, compact discs began their rise, planting the seeds for the digital revolution, the mp3, file sharing, and now streaming.

(Wait, is it possible to record internet streams? Why, yes.)

If you have any stories about how you helped “kill music” by recording your favorite DJs, confess your crimes in the comments.

Note: An earlier version of this post appeared on our site in 2019.

If you would like to sign up for Open Culture’s free email newsletter, please find it here. Or follow our posts on Threads, Facebook and BlueSky.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

The Devilish History of the 1980s Parental Advisory Sticker: When Heavy Metal & Satanic Lyrics Collided with the Religious Right

75 Post-Punk and Hardcore Concerts from the 1980s Have Been Digitized & Put Online: Fugazi, GWAR, Lemonheads, Dain Bramage (with Dave Grohl) & More

Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.

by OC | Permalink | Make a Comment ( 41 ) |

How Streaming Led to the TV Writers Strike: Four TV Writers Explain the Logic of the Strike

in Business, Television | July 25th, 2023

Though it’s too early to know what will turn out to be the defining cultural experience of the twenty-twenties, I’d put my money on first hearing of an acclaimed television show from one of its devoted fans only after it’s already been on the air for months or even years, if not after its lamented cancellation. Part of this has to do with a change in quantity, laid out by television writer Warren Leight in the Vox video above: “There used to be 80 shows in a year. Now you’re up to 500, 550 shows in a year,” many of them created not for traditional broadcast networks but for newer, content-hungrier online streaming platforms. “For writers, it was good because it gave people entry.”

Writing for streaming, Leight explains, “you didn’t have to worry about commercial breaks” and their dramatic disruptions. Instead, “you get to write a different structure. Maybe it’s just an organic three-act structure to an hour.” And in shorter streaming seasons, “you could arc a story across eight episodes. You can go a little darker, you can go a little deeper.”

But “as the episode orders have shrunk,” says Leight’s colleague Julia Yorks, “what used to be 40 weeks of the year that you were working is now 20 weeks,” with an at-least-concomitant reduction in paychecks. Whatever its artistic shortcomings, the old “network model” guaranteed a certain degree of stability for those who wrote its shows — a stability disrupted by the age of streaming.

Hence the ongoing Writers Guild of America strike, and the centrality to the WGA’s demands of improved residuals (that is, payments made for a production after its initial run) from streaming media. But the professionals interviewed for this video also express concerns about what happens to the shows themselves when their writing gets separated from their production, which has become increasingly common in recent years. On the likes of Law and Order or Friends, says Yorks, “your show was being filmed concurrently when you were in the writers’ room,” creating natural opportunities for continuous cross-disciplinary interaction and collaboration. We may live in a “golden age of television,” but left unchecked, the strain of this fragmentation, as well as the financial difficulties imposed on writers, could very well take the shine off of it.

Raymond Chandler: There’s No Art of the Screenplay in Hollywood

How Breaking Bad Crafted the Perfect TV Pilot: A Video Essay

10 Tips From Billy Wilder on How to Write a Good Screenplay

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 ) |

Steely Dan’s Lost Jingle for a Schlitz Beer Commercial (Circa 1973)

in Music | July 24th, 2023

Somewhere between the recording of their first and second albums (1972–1973), Steely Dan wrote a jingle to promote Schlitz, “the beer that made Milwaukee famous.” According to American Songwriter, the jingle “features Steely Dan jazz fusion along with Fagen singing Once around life / Once around livin’ / Once around beer / And you’ll keep around Schlitz.”

Schlitz never ultimately used the track. The song included lyrics that Fagen translated from Spanish to English: When I get home from a hard day’s work / He says he likes to grab for all the gusto he can get / ‘Cause you only go around one time.” Apparently the word “grab” came from the Spanish word “coger,” which is also a Spanish slang word for sexual intercourse. Schlitz seemingly cold feet, and the jingle never reached the public. Until now.

via American Songwriter

If you would like to sign up for Open Culture’s free email newsletter, please find it here. Or follow our posts on Threads, Facebook and BlueSky.

If you would like to support the mission of Open Culture, consider making a donation to our site. It’s hard to rely 100% on ads, and your contributions will help us continue providing the best free cultural and educational materials to learners everywhere. You can contribute through PayPal, Patreon, and Venmo (@openculture). Thanks!

How Steely Dan Wrote “Deacon Blues,” the Song Audiophiles Use to Test High-End Stereos

How Steely Dan Went Through Seven Guitarists and Dozens of Hours of Tape to Get the Perfect Guitar Solo on “Peg”

by OC | Permalink | Make a Comment ( 5 ) |

1000+ Barbie Commercials Provides Context for This Summer’s Pinkest Blockbuster (1959–2023)

Oppenheimer’s Secret City: The Story Behind the Stealthy Creation of Los Alamos, New Mexico

How a 1930s Architectural Masterpiece Harnesses the Sun to Keep Warm in the Winter & Cool in the Summer

How the Ancient Greeks Invented the First Computer: An Introduction to the Antikythera Mechanism (Circa 87 BC)

A Collection of Hokusai’s Drawings Are Being Carved Onto Woodblocks & Printed for the First Time Ever

Home Taping Is Killing Music: When the Music Industry Waged War on the Cassette Tape During the 1980s, and Punk Bands Fought Back

How Streaming Led to the TV Writers Strike: Four TV Writers Explain the Logic of the Strike

Steely Dan’s Lost Jingle for a Schlitz Beer Commercial (Circa 1973)

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