Hear Friedrich Nietzsche’s Classical Piano Compositions: They’re Aphoristic Like His Philosophy

in Music, Philosophy | June 11th, 2015

In March, we fea­tured 43 orig­i­nal tracks of clas­si­cal music by philoso­pher and self-taught com­pos­er Friedrich Niet­zsche, bet­ter known as the author of books like Thus Spoke Zarathus­tra and Beyond Good and Evil. Despite the endur­ing impor­tance of his tex­tu­al out­put, Josh Jones not­ed that “what Niet­zsche loved most was music.” He “found the mun­dane work of pol­i­tics and nation­al­ist con­quest, with its trib­al­ism and moral pre­ten­sions, thor­ough­ly dis­taste­ful. Instead, he con­sid­ered the cre­ative work of artists, writ­ers, and musi­cians, as well as sci­en­tists, of para­mount impor­tance.”

Today we offer more of the eccen­tric, high­ly opin­ion­at­ed 19th-cen­tu­ry Ger­man philoso­pher’s musi­cal side. In the playlist just above, you can hear his piano com­po­si­tions as col­lect­ed on Michael Krück­er’s Friedrich Niet­zsche: Com­plete Solo Piano Works. “Most of the works on this album date from the 1860s, when [Niet­zsche] was a cel­e­brat­ed young pro­fes­sor and philoso­pher,” writes All­Mu­sic’s James Man­heim. “The music is light, often qua­si-impro­visato­ry, and some of it resem­bles the key­board music of the com­pos­er whom Niet­zsche extolled lat­er in life, Georges Bizet. The most sub­stan­tial piece, the 20-minute Hym­nus an die Fre­und­schaft, was essen­tial­ly his last com­po­si­tion, but he lat­er reworked it with texts by his then-love inter­est, Lou Andreas-Salomé; that ver­sion was lat­er arranged for cho­rus and orches­tra by anoth­er com­pos­er.”

Man­heim also notes that this selec­tion of piano pieces, in their brevi­ty, sug­gest that “the apho­ris­tic style of Niet­zsche’s late writ­ings was antic­i­pat­ed by his musi­cal think­ing.” Enthu­si­asts of Niet­zsche’s life and career will cer­tain­ly find them­selves mak­ing even more con­nec­tions between his musi­cal and philo­soph­i­cal work than that. But those look­ing for his moti­va­tion to work in this purest of all arts per­haps need look no fur­ther than this typ­i­cal­ly unequiv­o­cal pro­nounce­ment: “With­out music, life would be a mis­take.”

You can find more Niet­zschean piano com­po­si­tions below, these per­formed by Dorothea Klotz. To hear the music, you will need to down­load Spo­ti­fy’s free soft­ware, if you haven’t already.

Relat­ed Con­tent:

Hear Clas­si­cal Music Com­posed by Friedrich Niet­zsche: 43 Orig­i­nal Tracks

130+ Free Online Phi­los­o­phy Cours­es

The Phi­los­o­phy of Niet­zsche: An Intro­duc­tion by Alain de Bot­ton

A Free Playlist of Music From The Works Of James Joyce (Plus Songs Inspired by the Mod­ernist Author)

The Dig­i­tal Niet­zsche: Down­load Nietzsche’s Major Works as Free eBooks

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

 

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David Bowie, Mick Jagger, Queen & Elvis Presley Star in Delightfully Absurd Musicless Music Videos

in Comedy, Music, Random | June 10th, 2015

Some­time in the last decade, as both YouTube and smart phones became our pri­ma­ry means of cul­tur­al trans­mis­sion, the iso­lat­ed vocal track meme came into being, reach­ing its sum­mit in the sub­lime ridicu­lous­ness of David Lee Roth’s unadorned “Run­ning With the Dev­il” vocal tics. His yelps, howls, and “Whoooohoooos!” pro­duced the very best ver­sion of that vir­tu­al nov­el­ty known as the sound­board app, and wel­comed many a caller to many a kooky voice­mail greet­ing. The iso­lat­ed track has since become a phe­nom­e­non wor­thy of study, and we’ve done our share here of por­ing over var­i­ous voic­es and instru­ments stripped from their song’s con­text and placed before us in ways we’d nev­er heard before.

Per­haps seri­ous analy­sis too shall be the fate of a goofy visu­al meme that also thrives on the ridicu­lous­ness of pop music’s pre­sen­ta­tion: the musi­c­less music video. The idea is a sim­i­lar one, iso­lat­ing the image instead of the sound: pop­u­lar videos, already weird­ly over the top, become exer­cis­es in chore­o­graphed awk­ward­ness or voy­ages into uncan­ny val­leys as we watch their stars pose, preen, and con­tort them­selves in weird cos­tumes for seem­ing­ly no rea­son, accom­pa­nied only by the mun­dane sounds of their shuf­fling feet and grunts, belch­es, ner­vous laugh­ter, etc. Take the par­tic­u­lar­ly fun­ny exam­ples here: Mick Jag­ger and David Bowie pranc­ing through the bizarre “Danc­ing in the Streets” video (orig­i­nal here); the mem­bers of Queen per­form­ing domes­tic chores in “I Want to Break Free” (orig­i­nal); Elvis Pres­ley squeak­ing and spas­ming onstage in a TV take of “Blue Suede Shoes”; Nir­vana mop­ing and sway­ing in that high school gym while a near­by cus­to­di­an goes about his busi­ness…..

Though these skewed re-eval­u­a­tions of famous moments in pop his­to­ry make use of a sim­i­lar premise as the iso­lat­ed track, the sounds we hear are not—as they some­times seem—vérité audio record­ings from the videos’ sets. They are the cre­ation of Aus­tri­an sound design­er, edi­tor, and mix­er Mario Wienerroither, who, The Dai­ly Dot informs us, “works from a sound library that he’s spent years amass­ing.” The results, as you will hear for your­self, “range from humor­ous to dis­turb­ing and every­where in between.” Musi­c­less music videos remind us of how sil­ly and arti­fi­cial these kinds of staged, mimed pseu­do-per­for­mances real­ly are—they only become con­vinc­ing to us through the mag­i­cal edit­ing togeth­er sound and image on cue and on beat.

Wienerroither began his project with the Queen video, inspired when he caught it play­ing while his TV was on mute. The moment, he says, was “a vital spark.” Since then, dozens of musi­c­less music videos, and TV and film clips, have popped up on YouTube (see a size­able playlist here.) One of the most awk­ward, The Prodi­gy’s “Firestarter,” helped rock­et the phe­nom­e­non into major pop­u­lar­i­ty. Imi­ta­tors have since post­ed musi­c­less videos of the Friends intro and Miley Cyrus’ “Wreck­ing Ball.” What can we learn from these videos? Noth­ing, per­haps, we did­n’t already know: that pop cul­ture’s most endur­ing moments are also its most absurd, that nos­tal­gia is a dish best served remixed, that the internet—a pow­er­ful force for good as well as ill—is often at its best when it is a pow­er­ful force for weird. Though the medi­um may be friv­o­lous, these are mes­sages worth remem­ber­ing.

Relat­ed Con­tent:

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

Kurt Cobain’s Iso­lat­ed Vocal Track From ‘Smells Like Teen Spir­it,’ 1991

Hear Iso­lat­ed Gui­tar Tracks From Some of Rock’s Great­est: Slash, Eddie Van Halen, Eric Clap­ton & More

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

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The John Lennon Sketchbook, a Short Animation Made of Lennon’s Drawings

in Animation, Music | June 9th, 2015

In 1986, Yoko Ono com­mis­sioned the Oscar-win­ning ani­ma­tor John Cane­mak­er to bring to life the draw­ings and doo­dles of John Lennon (1940–1980), cul­mi­nat­ing in the release of a short film called The John Lennon Sketch­book. Almost 30 years lat­er, that film has now been offi­cial­ly released on YouTube.

A prod­uct of Liv­er­pool’s art schools, John Lennon drew through­out his life, illus­trat­ing two of his books with play­ful draw­ings, and draw­ing Christ­mas Cards for Oxfam, just to cite two exam­ples. You can see Lennon’s visu­al tal­ents on full dis­play in The John Lennon Sketch­book, a short ani­ma­tion that is pret­ty whim­si­cal and fun — until the very end, when Lennon seem­ing­ly pre­dicts his own vio­lent death in the audio record­ing that serves as the film’s sound­track.

The John Lennon Sketch­book will be added to the Ani­ma­tion sec­tion of our larg­er col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More. 

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!

via Car­toon Brew

Relat­ed Con­tent:

I Met the Wal­rus: An Ani­mat­ed Film Revis­it­ing a Teenager’s 1969 Inter­view with John Lennon

The Bea­t­les: Why Music Mat­ters in Two Ani­mat­ed Min­utes

John Lennon Illus­trates Two of His Books with Play­ful Draw­ings (1964–1965)

Bed Peace Revis­its John Lennon & Yoko Ono’s Famous Anti-Viet­nam Protests

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Brazilian Man Sings The Beatles’ “Yesterday” as Doctors Perform Brain Surgery on Him

in Music | June 7th, 2015

It’s a bit­ter­sweet scene. Actu­al­ly, more bit­ter than sweet. The video above doc­u­ments a recent oper­a­tion where doc­tors removed a brain tumor from Antho­ny Kulkamp, a 33 year old Brazil­ian banker, all while he sang and played The Bea­t­les’ “Yes­ter­day” on the gui­tar. Clear­ly the song was­n’t an arbi­trary pick, not with lyrics like:

Yes­ter­day, all my trou­bles seemed so far away
Now it looks as though they’re here to stay
oh, I believe in yes­ter­day

Sud­den­ly, I’m not half the man I used to be
There’s a shad­ow hang­ing over me
Oh, yes­ter­day came sud­den­ly.

There was a point to singing “Yes­ter­day” and oth­er songs. Sur­geons were able to mon­i­tor Kulkam­p’s cere­bral activ­i­ty and ensure that his sen­so­ry, motor, and speech areas remained unharmed dur­ing the oper­a­tion. Dr Jean Abreu Macha­do, a clin­i­cal direc­tor at the hos­pi­tal in Brazil, told The Tele­graph: “By keep­ing the patient awake dur­ing surgery, these areas [of the brain] can be mon­i­tored in real time. A kind of map­ping of impor­tant areas can be done.”

Mr. Kulkamp was dis­charged from the hos­pi­tal last Wednes­day, and we hope to see him play­ing some­thing opti­mistic before too long. Maybe a lit­tle “Here Comes the Sun” …

Relat­ed Con­tent:

The Sci­ence of Singing: New, High-Speed MRI Machine Images Man Singing ‘If I Only Had a Brain’

This is Your Brain on Jazz Impro­vi­sa­tion: The Neu­ro­science of Cre­ativ­i­ty

The 10-Minute, Nev­er-Released, Exper­i­men­tal Demo of The Bea­t­les’ “Rev­o­lu­tion” (1968)

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Hip Hop Hits Sung Wonderfully in Sign Language: Eminem’s “Lose Yourself,” Wiz Khalifa’s “Black and Yellow” & More

in Language Lessons, Music | June 5th, 2015

The first time I went to see David Sedaris read some of his hilar­i­ous essays live, I end­ed up laugh­ing much more than I expect­ed. By luck of seat­ing, I found myself at the right of the stage, fac­ing his sign lan­guage inter­preter. She didn’t just quick­ly parse what he said. No, she also became a sort of dou­ble act with the author, throw­ing her whole body and facial expres­sions into mak­ing Sedaris’ prose sing. Espe­cial­ly when he came to some sex­u­al idiom or turn of phrase, we all became aware of the audience’s gaze shift­ing right­ward to see what his sign­er would do. (The won­drous Inter­net has not revealed her name–possibly one of our read­ers knows.)

That’s a pre­am­ble to say that the lat­est YouTube sen­sa­tion above, Shel­by Mitchus­son, who signs her way through Eminem’s “Lose Your­self,” should come as no sur­prise to those who have encoun­tered such live­ly inter­pre­ta­tion, turn­ing lan­guage for the deaf into a per­for­mance art. Mitchus­son admits she’s still a begin­ner, but her 3 mil­lion views says she has made fans of the deaf and hear­ing alike. (And for once the YouTube com­ments don’t make you sad for human­i­ty.)

But Mitchusson’s “hit” leads to a whole world of Amer­i­can Sign Lan­guage (ASL) stars once you jump down the YouTube rab­bit hole. Just over a year ago, Jim­my Kim­mel had on three ASL inter­preters to com­pete in a rap bat­tle to Wiz Khalifa’s “Black and Yel­low” which you can see below.

One of them, the pink-haired Amber Gal­loway Gal­lego, had her own time in the viral video lime­light back in 2013. Her spir­it­ed ver­sions of Snoop Lion, Kendrick Lamar, and oth­ers dur­ing Lol­la­palooza earned her many Inter­net views, no doubt for her las­civ­i­ous per­for­mance of rap and r’n’b’s smut­ti­est lyrics. She even received cov­er­age in Rolling Stone, where the San Anto­nio, TX native tells sto­ries of sign­ing “Baby Got Back” at a bar­be­cue at the begin­ning of her career. Her YouTube chan­nel fea­tures her own ver­sions of all the cur­rent pop hits (Tay­lor Swift, Car­ly Rae Jepsen) and clas­sics (The Human League, Celine Dion).

The his­to­ry of sign lan­guage is long and deep, with a rough guess at 137 rec­og­nized ver­sions around the globe, accord­ing to Eth­no­logue. (But as deaf com­mu­ni­ties often devel­op their own dialects, it’s hard to tell.)

And the Inter­net, specif­i­cal­ly YouTube–along with the beat-heavy genre of hip hop–has brought a sub­cul­ture into the main­stream, some­thing that years of advo­ca­cy by deaf groups could­n’t quite man­age to do. Thanks again, Inter­net!

You can find some online ASL lessons here, or in our meta col­lec­tion of Free Lan­guage Lessons.

Relat­ed con­tent:

Learn 48 Lan­guages Online for Free: Span­ish, Chi­nese, Eng­lish & More

Helen Keller & Annie Sul­li­van Appear Togeth­er in Mov­ing 1930 News­reel

Baba Brinkman: The Rap Guide to Evo­lu­tion

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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The Animated Franz Kafka Rock Opera

in Literature, Music, Random | June 3rd, 2015

“The Franz Kaf­ka Rock Opera” comes from Sea­son 1 of a 1999 video series called Home Movies. In this episode, we find the char­ac­ter Dwayne writ­ing a rock opera based on Kafka’s famous novel­la The Meta­mor­pho­sis. It’s not Tom­my or Quadrophe­nia — two of the great­est rock operas ever made. But it does, true to form, fea­ture lyrics and song. You can watch a seg­ment of the rock opera above.

· Kaf­ka Song #1: Intro­duc­tion
He is Franz Kaf­ka!
Franz Kaf­ka!
Be care­ful if you get him pissed…
Franz! Franz Kaf­ka!
He’ll smite you with metaphor fists!
Writ­ing all he can, he’s just a man
A war­rior of words tak­ing a stand
He is Franz Kaf­ka!
Spo­ken: Oh look, but there he is, what will he say?
I’m a lone­ly German…a lone­ly Ger­man from Prague!
Kaf­ka! Kaf­ka! Kaf­ka!

· Kaf­ka Song #2: Turn­ing into a bug
I don’t know what’s wrong with me I think I’m turn­ing into a bug
I see dou­ble what I see I think I’m turn­ing into a bug
I ain’t got no self-esteem I think I’m turn­ing into a bug
Bet you fifty dol­lars I’m a man, I’m a schol­ar and I’m turn­ing into a bug
Mom­ma like a dad­dy like a baby like a baby like I’ll turn into a bug
Yeah! Yeah!
He is Franz Kaf­ka!

· Kaf­ka Song #3: Liv­ing like a bug ain’t easy
Liv­ing like a bug ain’t easy
My old clothes don’t seem to fit me
I got lit­tle tiny bug feet
I don’t real­ly know what bugs eat
Don’t want no one step­ping on me
Now I’m sym­pa­thiz­ing with fleas
Liv­ing like a bug ain’t easy…

· Kaf­ka Song #4: End­ing
Spo­ken: Wel­come to heav­en Franz! My name is God! I think you’re going to like it here!
He is Franz Kaf­ka!

· Louis, Louis End Rap
Well, I’m, cur­ing dis­ease
Help­ing blind peo­ple read
Don’t drink that milk with­out talk­ing to me (Oh yeah!)
I’m sav­ing those who can’t see with their eyes
Don’t mess with me you’ll get pas­teur­ized!
Yeah! Come on! Come on! Louis Louis in the house! Break it down!
(Jason does a human beat­box)

· Kaf­ka End Song
Right now he can
He’s just a man
A war­rior of words
Tak­ing a stand
He grew up very poor
He’s steel, it’s to the core
Born in 1883 died in 1924
He is Franz Kaf­ka!

Relat­ed Con­tent:

Four Franz Kaf­ka Ani­ma­tions: Enjoy Cre­ative Ani­mat­ed Shorts from Poland, Japan, Rus­sia & Cana­da

Franz Kafka’s Kafkaesque Love Let­ters

Vladimir Nabokov Makes Edi­to­r­i­al Tweaks to Franz Kafka’s Novel­la The Meta­mor­pho­sis

The Art of Franz Kaf­ka: Draw­ings from 1907–1917

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13-Year-Old Jimmy Page Plays Guitar on TV in 1957, an Early Moment in His Spectacular Career

in Music | June 3rd, 2015

These days, most of our pop stars seem to come pre-print­ed from child-star fac­to­ries, their looks and sound care­ful­ly craft­ed for max­i­mum appeal. But every gen­er­a­tion has its child stars, espe­cial­ly since the advent of radio and tele­vi­sion, and many greats of the past got their start as kids, even if they made their way in a more indi­vid­u­al­ized fash­ion. Elvis made his first pub­lic appear­ance onstage at a state fair at ten years of age, fol­lowed by a local radio appear­ance when he was twelve. Ste­vie Won­der made his pub­lic debut on TV at age twelve, show­ing off his har­mon­i­ca skills at the Apol­lo the­ater and on the Ed Sul­li­van Show. And Jim­my Page—he of Yard­birds and Led Zep­pelin fame—first caught the public’s eye as the thir­teen-year old mem­ber of a skif­fle band on the BBC’s All Your Own in 1957. See the shy, fresh-faced young “James Page” above.

Page dis­cuss­es with the show’s host Huw Whel­don not just his musi­cal ambi­tions, but his aca­d­e­m­ic ones, specif­i­cal­ly his inter­est in find­ing a cure for can­cer, “if it isn’t cov­ered by then.” Page stuck with his bio­log­i­cal research, for a while, then went to art school for two years. But through it all there was the gui­tar, his true pas­sion and life’s work. By 1963, Page was work­ing full time as a ses­sion gui­tarist and seemed eager to dis­cuss his new career in the recent­ly re-dis­cov­ered tele­vi­sion inter­view above. It was at this point, as he recount­ed to jour­nal­ist Steven Rosen in 1977, that he reached a “cross­roads,” as he called it: “is it an art career or is it going to be music?”

Page obvi­ous­ly sort­ed out it out quick­ly. He may not have cured can­cer, but he did re-invent rock and roll. Last year saw the pub­li­ca­tion of Jim­my Page by Jim­my Page, a 512-page auto­bi­og­ra­phy in pho­tographs, each one cho­sen by Page him­self. His ear­ly teenage skif­fle and ses­sion years are cov­ered, all the way through his 2012 recep­tion at the White House, and every­thing in-between. In Novem­ber of 2014, Page sat down with super­star pop artist Jeff Koons at New York’s 92nd Street Y to dis­cuss the book and his life­long love of the gui­tar, includ­ing that “very embar­rass­ing” 1957 TV appear­ance. “When you’ve had a whole life­time full of music,” Page says, “there are cer­tain things that sort of come up and haunt you, and that is one of them… but it’s got a charm about it.” Indeed it does, and there are cer­tain­ly worse things that could haunt an artist of Page’s stature. See Page and Koons’ full con­ver­sa­tion above, and watch Page dis­cuss his “auto­bi­og­ra­phy with pho­tographs” below.

Relat­ed Con­tent:

Jim­my Page Tells the Sto­ry of “Stair­way to Heav­en”: How the Most Played Rock Song Came To Be

Jim­my Page Gives Com­mence­ment Address at Berklee; Stu­dents Per­form Led Zep Clas­sics for Him

Jim­my Page and Robert Plant Reunite in Exot­ic Mar­rakesh, 1994

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

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David Bowie Launches His Acting Career in the Avant-Garde Play Pierrot in Turquoise (1967)

in Music, Theatre | June 2nd, 2015

We’ve post­ed plen­ty here from David Bowie the singer, which stands to rea­son, giv­en his promi­nence in the set of all pos­si­ble David Bowies. But rock-and-rol­l’s best-known shapeshifter has worked in oth­er fields as well: a huge num­ber of peo­ple love Bowie the singer, of course, but Bowie the actor has also accrued devot­ed fans of his own. Many con­tin­ue to dis­cov­er him through such “cult clas­sic” films as Nico­las Roeg’s The Man Who Fell to Earth and Nag­isa Oshi­ma’s Mer­ry Christ­mas, Mr. Lawrence. Here, we’ve pre­vi­ous­ly fea­tured his turns along­side Ricky Ger­vais and as Bertolt Brecht’s Baal. Plen­ty of suc­cess­ful musi­cians start up high-pro­file side careers as actors, but Bowie the actor got his break before Bowie the singer did.

“With hind­sight, you can see where his career was going,” writes Dan­ger­ous Minds’ Paul Gal­lagher, “but by 1967, the teenager’s first record­ing career had come to a halt after the release of his odd­ment Laugh­ing Gnome after which, Bowie didn’t release a record for anoth­er two years.” Hav­ing stud­ied under Lind­say Kemp, Bowie placed him­self well to appear in the famed Eng­lish mime’s 1967 pro­duc­tion of Pier­rot in Turquoise or, The Look­ing Glass Mur­ders. Bowie did­n’t just act in it, but also wrote and per­formed its music. You can watch sev­er­al clips of a 1969 pro­duc­tion of the show cap­tured by Scot­tish tele­vi­sion, includ­ing the songs “Columbine,” “The Mir­ror,” and “Three­pen­ny Pier­rot.” (This Youtube playlist rounds up all the Bowie music from the show avail­able.)

As much work as the young Bowie took on for Pier­rot in Turquoise, he did­n’t star in it. The title role of the Com­me­dia del­l’Arte’s beloved sad clown went to Kemp him­self, though in 1976, Bowie declared him­self as play­ing it in his career as a whole, through all his var­i­ous per­son­ae: “I’m Pier­rot. I’m Every­man. What I’m doing is the­atre, and only the­atre. What you see on stage isn’t sin­is­ter. It’s pure clown. I’m using myself as a can­vas and try­ing to paint the truth of our time.” So we per­haps can’t speak of “Bowie the singer” and “Bowie the actor” after all — if they were insep­a­ra­ble back then, sure­ly they’ve always been. And if Zig­gy Star­dust (in whose con­certs Kemp per­formed) does­n’t count as the­atre, what does?

via Dan­ger­ous Minds

Relat­ed Con­tent:

Ricky Ger­vais Cre­ates Out­landish Com­e­dy with David Bowie

David Bowie Stars in a Clas­sic Per­for­mance of Bertolt Brecht’s Baal (1982)

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

Col­in Mar­shall writes on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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