The Making of the Famous Jive Talk Scenes from Airplane!

Like films by the Marx broth­ers, Air­plane! cre­ates a feel­ing of gid­dy, exu­ber­ant anar­chy by hurl­ing a non-stop bar­rage of jokes at you. It is the sort of movie that view­ers risk hyper­ven­ti­lat­ing from laugh­ing so much. Yet among the all gags and one-lin­ers — “I picked the wrong week to stop sniff­ing glue.”– pos­si­bly the most mem­o­rable is the famous jive talk­ing bit. You can watch it above.

The gag fea­tures two African Amer­i­can guys speak­ing with each oth­er in an impen­e­tra­ble patois of jive. Lat­er, one of the guys — the char­ac­ters are sim­ply cred­it­ed as First Jive Dude and Sec­ond Jive Dude — is suf­fer­ing from a stom­ach ail­ment. When the stew­ardess can’t under­stand what they are say­ing, Bar­bara Billings­ley – A.K.A. June Clever, A.K.A the whitest lady on the plan­et – stands up and starts to talk to the guys in flu­ent jive. It’s a jar­ring and hilar­i­ous moment. Jim Abra­hams and David and Jer­ry Zuck­er, the writ­ers and direc­tors of the movie talk, about that scene below.

“The whole notion for jive dia­logue orig­i­nat­ed from when we saw Shaft,” said Abra­ham. “We went and saw it and didn’t under­stand what they were say­ing. So we did our best as three nice Jew­ish boys from Mil­wau­kee to write jive talk for the script.”

Dur­ing the audi­tion, Nor­man Alexan­der Gibbs and Al White, old high school friends, deliv­ered a spot on exchange in jive. They were imme­di­ate­ly cast as First Jive Dude and Sec­ond Jive Dude respec­tive­ly. “We had to apol­o­gize for what we had writ­ten,” said David Zuck­er.

“We came up with the indi­vid­ual dia­logue in the movie,” said White. “They want­ed jive as a lan­guage, which it is not. Jive is only a word here or a phrase there.”

“We actu­al­ly cre­at­ed a lan­guage,” said Gibbs.

“I was sent the script and I thought it was the cra­zi­est script I’ve ever read,” recalled Billings­ley in an inter­view you can see below. “My part wasn’t writ­ten. It just said I talked jive. I met the pro­duc­er and I said I would do it. I met the two black fel­lows that taught me jive. … It wasn’t hard for me to learn.”

Thanks to Erik R. for send­ing this our way.

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.

A Fun Parody of Downton Abbey Features George Clooney & the Cast of the Show

Sea­son 5 of Down­ton Abbey will begin (in the US) on Jan­u­ary 4th. But before the main course, we get a lit­tle appe­tiz­er, which comes in the form of a nine-minute par­o­dy star­ring George Clooney, Jere­my Piv­en and the cast of Down­ton Abbey. Bor­row­ing from It’s a Won­der­ful Life, the fun film asks us to imag­ine dai­ly life at the Abbey with­out Lord Grantham in the pic­ture. That’s when we get to see Lady Grantham cavort­ing with George Clooney, the Mar­quis of Hol­ly­wood (who kind of resem­bles Gomez from the Addams Fam­i­ly). And then the rest of the fam­i­ly and staff let­ting their hair loose.

The par­o­dy was made for Text San­ta, an ini­tia­tive that sup­ports UK char­i­ties dur­ing the Christ­mas peri­od. You can learn how to donate here.

Thanks Kim L. for the tip!

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

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

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Young John Belushi Imitates Truman Capote & Performs Live on Second City Stage (1972)

The tow­er­ing giants of 80s comedy—Harold Ramis, Cather­ine O’Hara, Mar­tin Short, John Can­dy, Rick Mora­nis, Gil­da Rad­ner, Dan Aykroyd, Bill Murray—seem to have emerged as ful­ly-formed genius­es on the sound­stages of Sat­ur­day Night Live and in major com­e­dy films and TV shows. Like­wise more recent names like Bob Odenkirk, Tina Fey, Steve Car­rell, Amy Sedaris, and Stephen Col­bert. But the fact is, like most artists, these stars got their start on hum­bler stages—those of the Sec­ond City improv the­ater, the longest run­ning troupe of its kind in the U.S. and Cana­da. Oper­at­ing in Chica­go, L.A., and Toron­to, Sec­ond City began with a small group of Uni­ver­si­ty of Chica­go actors, includ­ing the late Mike Nichols and his com­e­dy part­ner Elaine May. The first the­ater opened in 1959, and dur­ing the six­ties Sec­ond City nur­tured actors and comics like Alan Arkin, Del Close, Joan Rivers, and Peter Boyle.

Among the mind-bog­gling wealth of tal­ent Sec­ond City pro­duced, one come­di­an stands out both because of his leg­endary phys­i­cal com­e­dy and his untime­ly and trag­ic death. And though these descrip­tions apply equal­ly to Sec­ond City alum Chris Far­ley, today we’re focus­ing in on John Belushi, who joined Sec­ond City in 1971, four years before the debut of Sat­ur­day Night Live and his sub­se­quent turns in The Blues Broth­ers and Ani­mal House. In the clip at the top, see Belushi play “the humil­i­at­ed son of a father who died a less-than-respectable death.” Join­ing him onstage are Joe Flaherty—best known for his work on Sec­ond City’s SCTV—and Harold Ramis, Jim Fish­er, Judy Mor­gan, and Euge­nie Ross-Lem­ing. Just above, the same cast sur­rounds Belushi as he does his Tru­man Capote impres­sion.

Both per­for­mances date from 1972, and though the video and audio qual­i­ty leave much to be desired, they’re well worth watch­ing, espe­cial­ly Belushi’s Capote. Remem­bered more per­haps for his bizarre comedic vio­lence, it’s easy to for­get the over two-dozen char­ac­ters Belushi imper­son­at­ed while on SNL, includ­ing Hen­ry Kissinger, Tip O’Neil, Eliz­a­beth Tay­lor, John Lennon, and William Shat­ner. Par­tic­u­lar­ly poignant now, as we look back on the career of Joe Cock­er, who died yes­ter­day, is Belushi’s famous impres­sion of the spir­it­ed British singer, above. When Cock­er saw it, he “became hys­ter­i­cal,” say­ing, “You can’t not laugh at this.” It’s a fit­ting trib­ute to Belushi, a true fan of Cock­er’s art, and to Cock­er, who had the humil­i­ty and good humor to appre­ci­ate a good joke at his expense.

You can watch a longer video of old Sec­ond City per­for­mances on this page. It runs about 40 min­utes.

Relat­ed Con­tent:

John Belushi’s Impro­vised Screen Test for Sat­ur­day Night Live (1975)

John Belushi and Dan Aykroyd Get Bri­an Wil­son Out of Bed and Force Him to Go Surf­ing, 1976

Lorne Michaels Intro­duces Sat­ur­day Night Live and Its Bril­liant First Cast for the Very First Time (1975)

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

Ayn Rand’s Reviews of Children’s Movies: From Bambi to Frozen

white rand

Warm and fuzzy, she was­n’t. But that’s part­ly why it’s fun to imag­ine the acer­bic Ayn Rand tak­ing a crack at review­ing chil­dren’s movies. And that’s why it’s fun to read Mal­lo­ry Ort­berg’s par­o­dy in The New York­er, which fea­tures 17 Ran­di­an reviews of clas­sic kids films, begin­ning with Snow White and the Sev­en Dwarfs:

An indus­tri­ous young woman neglects to charge for her house­keep­ing ser­vices and is right­ly exploit­ed for her naïveté. She dies with­out ever hav­ing sought her own hap­pi­ness as the high­est moral aim. I did not fin­ish watch­ing this movie, find­ing it impos­si­ble to sym­pa­thize with the main char­ac­ter. —No stars.

Get the remain­ing movie reviews — and a few more laughs — right here.

Relat­ed Con­tent:

Flan­nery O’Connor: Friends Don’t Let Friends Read Ayn Rand (1960)

Ayn Rand Adamant­ly Defends Her Athe­ism on The Phil Don­ahue Show (Cir­ca 1979)

Ayn Rand Trash­es C.S. Lewis in Her Mar­gin­a­lia: He’s an “Abysmal Bas­tard”

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Noam Chomsky Almost Appeared on Saturday Night Live During the 90s

Noam_Chomsky_2

Image by jean­bap­tis­teparis

There are those guest hosts on Sat­ur­day Night Live who imme­di­ate­ly become exem­plary cast mem­bers they fit in so well. I’m think­ing most­ly of Alec Bald­win. Then there are those—certain pop stars and athletes—who are too awk­ward even to make for unin­ten­tion­al humor. Some­times the show will choose a host for obvi­ous cul­tur­al or polit­i­cal rea­sons, whether or not that per­son has any sense of humor what­so­ev­er. Lorne Michaels even once con­sid­ered ask­ing noto­ri­ous­ly stiff then-pres­i­den­tial can­di­date Mitt Rom­ney to host in 2012, a prospect that excit­ed no one except maybe Rom­ney.

Giv­en the show’s many ques­tion­able choic­es, it’s maybe not too sur­pris­ing that it would con­sid­er ask­ing an aca­d­e­m­ic to host. Some extro­vert­ed pub­lic intel­lec­tu­als, like Cor­nell West and Slavoj Zizeck, are nat­ur­al enter­tain­ers. But that they would think of Noam Chom­sky—known for his rum­pled sweaters and inci­sive, unspar­ing geopo­lit­i­cal analy­sis, deliv­ered in the dri­est monot­o­ne this side of Ben Stein’s Fer­ris Bueller’s Day Off char­ac­ter—is, well, pret­ty odd.

It does make a lit­tle bit more sense con­sid­er­ing that they only asked Pro­fes­sor Chom­sky to play him­self on the show, not deliv­er a mono­logue or do imper­son­ations. Accord­ing to his assis­tant Bev Stohl, the show called some­time in the late 90s and told her that the “writ­ers had writ­ten a loose script for Noam. The only thing he need­ed to do was show up on the set and play it straight, answer­ing the ques­tions that were put to him. Sort of like, ‘I’m Noam Chom­sky, and I play myself on TV.’” Most­ly, writes Stohl on her blog, “I liked the idea of Noam appear­ing in main­stream media, some­thing that was just begin­ning to hap­pen in small ways in the 1990’s.”

And how did Chom­sky him­self feel about the request? It seems he was vague­ly famil­iar with the show and open to the idea. His wife, on the oth­er hand, was not. “After a brief exchange” with her, writes Crit­i­cal The­o­ry, “he informed Stohl that ‘Car­ol says no.’” We’ll nev­er know if we were “robbed of either the great­est SNL skit ever” or spared “anoth­er ter­ri­bly unfun­ny seg­ment,” but the ques­tion of whether Chom­sky can be fun­ny is still an open one. Matthew Alford at The Guardian writes that dur­ing the Q&A after a lec­ture he attend­ed, “Chom­sky was suc­cess­ful not only at con­vey­ing his rad­i­cal polit­i­cal mes­sage but also at rais­ing bel­ly laughs from the audi­ence with dark-laced, insight­ful humour about his pol­i­tics.” Alford says he mea­sured “a laugh every cou­ple of minutes—very high for a pub­lic intel­lec­tu­al but of course not close to the pro­fes­sion­al comic’s bench­mark of one gag every 20 sec­onds.” He offers some typ­i­cal Chom­sky-an one-lin­ers, such as:

“[The Bush administration’s] moral val­ues are very explic­it: shine the boots of the rich and pow­er­ful, kick every­one else in the face, and let your grand­chil­dren pay for it.”

“If you’ve resist­ed the temp­ta­tion to tell the teacher ‘you’re an ass­hole’ which maybe he or she is, and if you don’t say ‘that’s idi­ot­ic’ when you get a stu­pid assign­ment… you will end up at a good col­lege and even­tu­al­ly with a good job.”

And “It’s to the point where Ronald Rea­gan could put on his cow­boy boots and cow­boy hat and declare a nation­al emer­gency because the nation­al secu­ri­ty of the Unit­ed States was in dan­ger from the gov­ern­ment of Nicaragua… whose troops were two days from Texas.”

Above, you can catch a glimpse of the lighter side of Chom­sky.

via Crit­i­cal The­o­ry

Relat­ed Con­tent:

Noam Chom­sky Went Gang­nam Style … Ever So Briefly?

Film­mak­er Michel Gondry Presents an Ani­mat­ed Con­ver­sa­tion with Noam Chom­sky

Noam Chom­sky Spells Out the Pur­pose of Edu­ca­tion

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

Animated Louis CK Shows Demonstrates How “Animation Lets You Do Anything”

Father­hood is a fer­tile sub­ject for come­di­an Louis C.K.

Kids do say the darnedest things, but Louis’ obser­va­tions reveal the depth of his invest­ment.

He lit out after stan­dard­ized test­ing and the Com­mon Core on Twit­ter.

He made a pas­sion­ate case against giv­ing kids smart­phones to Conan O’Brien.

Is it any won­der that the “dumb­er, fun­nier” ver­sion of him­self he cre­at­ed for his TV show is pre­oc­cu­pied and often thwart­ed by his respon­si­bil­i­ties as the sin­gle dad of two young daugh­ters?

(Real life may pro­vide inspi­ra­tion, but the writer and star dis­plays appro­pri­ate bound­aries when he says that his actu­al daugh­ters are marked­ly dif­fer­ent char­ac­ters than their TV coun­ter­parts.)

But the knife of father­hood cuts both ways. Louis’ trou­bled rela­tion­ship with his own dad gets less atten­tion than the father-daugh­ter bond, but it’s there in his work. The prospect of spend­ing time with his estranged father caus­es the fic­tion­al Louis to vom­it at the din­ner table in sea­son three.

The ani­mat­ed approach seen above, gives Louis more con­trol over the sit­u­a­tion. Ani­ma­tion, like read­ing, makes pos­si­ble flights of fan­cy where­in children—including grown ones like Louis—can do “absolute­ly any­thing.” Fly­ing and using a rain­bow as a slide are among the fan­tas­ti­cal activ­i­ties the 2‑D Louis sam­ples. Mean­while, the qual­i­ty of his nar­ra­tion con­veys an under­ly­ing dis­taste for the sort of canned “imag­i­na­tive” sug­ges­tions foist­ed on chil­dren by well-mean­ing edu­ca­tion­al pro­gram­mers.

Left to their own devices, most kids will come up with sce­nar­ios and pow­ers far weird­er than any­thing ped­dled to them by an adult. Why “swim through the ocean like a fish” when you can anthro­po­mor­phize your elder­ly father as a malev­o­lent spi­der, lodged in your chest, poop­ing out reg­u­lar lit­tle “infes­ta­tions of hate”?

Ani­ma­tion lets you go all the way, and C.K. cer­tain­ly does, lop­ping off heads, and (SPOILER!) inad­ver­tent­ly Bon­nie and Clyd­ing him­self from with­in.

Someone’s made a lot of progress since the 90’s, when he used his time on Dr. Katz’s ani­mat­ed couch to dis­cuss K‑Mart and Chips Ahoy.

Relat­ed Con­tent: 

The Sur­re­al Short Films of Louis C.K., 1993–1999

Sein­feld, Louis C.K., Chris Rock, and Ricky Ger­vais Dis­sect the Craft of Com­e­dy (NSFW)

20-Year-Old Louis CK Per­forms Stand Up (1987)

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Thug Notes Demystifies 60 Literary Classics (from Shakespeare to Gatsby) with a Fresh Urban Twist

Gen­tle read­er, if you feel your knee jerk­ing at Thug Notes, may I sug­gest tak­ing a moment to gaze beyond the gold bling and du-rag favored by its fic­ti­tious host, lit­er­a­ture lover Sparky Sweets, PhD.

Or do we think YA author John Green should hold the monop­oly on wit­ty, break­neck decon­struc­tions of clas­sic lit­er­a­ture? No shade towards Green. The Crash Course empire he’s cre­at­ed with his sci­en­tist broth­er, Hank, pro­vides a great and enter­tain­ing ser­vice to stu­dents of all ages. His cute-nerd vibe makes him an appeal­ing host.

But there’s more than one way to skin a cat.

A poor choice of metaphor, giv­en the fic­ti­tious Dr. Sweets’ soft spot for baby felines. It’s not some­thing he talks about on the show, but he fre­quent­ly tweets pho­tos of him­self in their oh-so-cud­dly com­pa­ny, tag­ging them #kit­ten­ther­a­py.

He (or per­haps head writer / pro­duc­er Jared Bauer) also turns to Twit­ter to dis­sem­i­nate quotes by the likes of Cer­vantes (“Dili­gence is the moth­er of good for­tune”) and Orwell (“Either we all live in a decent world, or nobody does”).

Thug Notes’ tagline “clas­sic lit­er­a­ture, orig­i­nal gangs­ta” may be its punch­line, but the humor of incon­gruity is not its sole aim.

Come­di­an Greg Edwards, who plays Sparky Sweets, told The New York Times that the project is “triv­i­al­iz­ing academia’s attempt at mak­ing lit­er­a­ture exclu­sion­ary by show­ing that even high­brow aca­d­e­m­ic con­cepts can be com­mu­ni­cat­ed in a clear and open fash­ion.”

Amen. As Sparky Sweets observes fol­low­ing Simon’s mur­der in the Lord of the Flies above, “Whoo, this $hit (is) get­tin’ real!”

Is there a dan­ger that white teenage boys who love com­e­dy and hip hop, who are indif­fer­ent to lit­er­a­ture, and who know few black peo­ple and/or urban dwellers, might run around imi­tat­ing their favorite parts of these videos, not real­iz­ing that their attempt to embody the char­ac­ter is per­pet­u­at­ing a stereo­type in a bad way?

Yes.

Is there an equal or greater dan­ger that a reluc­tant stu­dent might be prod­ded in a pos­i­tive direc­tion by Sparky’s zesty, insight­ful take on their assigned read­ing?

Resound­ing­ly, yes.

Thug Notes’ dis­cus­sion of racism as por­trayed in To Kill a Mock­ing­bird is not the longest I’ve ever heard, but it is the most straight­for­ward and brac­ing. It got my blood going! I’m inspired to drag my dog eared paper­back copy out and give it anoth­er read! (Maybe I’ll have a Scotch and play some clas­si­cal music. Sparky does that too.)

I’m hop­ing the kids at the high school a cou­ple of blocks away — who, for the record, look and sound far more like Sparky than they do me — will be encour­aged to sup­ple­ment their read­ing of this book, and oth­ers, with Thug Notes.

As an out-of-char­ac­ter Greg Edwards, bear­ing as much resem­blance to Sparky Sweets as Stephen Col­bert does to his most famous cre­ation, told inter­view­er Tavis Smi­ley:

We don’t want to stop kids from read­ing the book. We just want to open up doors. Maybe teach­ers can use it. It’s hard being a teacher nowa­days. You’re under­paid, you’re over­worked, the class­rooms are full, the kids are crazy, so throw this on and maybe it’ll spark one kid’s atten­tion.

As of this writ­ing, Thug Notes has tack­led dozens of titles (you can watch them all here, or right below), a heap­ing help­ing of banned books, and four of Shakespeare’s plays (above).

New titles will be added every oth­er Tues­day. I can’t wait.

Relat­ed Con­tent:

Alexan­der Hamil­ton: Hip-Hop Hero at the White House Poet­ry Evening

The Can­ter­bury Tales Remixed: Baba Brinkman’s New Album Uses Hip Hop to Bring Chaucer Into the 21st Cen­tu­ry, Yo

Do Rap­pers Have a Big­ger Vocab­u­lary Than Shake­speare?: A Data Sci­en­tist Maps Out the Answer

Ayun Hal­l­i­day is an author, home­school­er, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Neil Gaiman Reads Bad, Fake Neil Gaiman Stories

The Amer­i­can Pub­lic Media show, “Wits,” asked its lis­ten­ers to write their “poor­est imi­ta­tions of Neil Gaiman’s writ­ing.” And then they got Gaiman him­self to read the best/worst sub­mis­sions. You can watch the results above, and hear the com­plete radio show here.

To watch/listen to Gaiman read­ing sto­ries that he actu­al­ly wrote, see this col­lec­tion where Neil reads eight works, includ­ing the entire­ty of The Grave­yard Book.

via @Electric Lit­er­a­ture

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

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

Relat­ed Con­tent:

Neil Gaiman’s Free Short Sto­ries

Neil Gaiman Gives Grad­u­ates 10 Essen­tial Tips for Work­ing in the Arts

Where Do Great Ideas Come From? Neil Gaiman Explains

1,000 Free Audio Books: Down­load Great Books for Free

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