When Edward Gorey Designed Book Covers for Classic Novels: See His Ironic-Gothic Take on Dickens, Conrad, Poe & More

Twen­ty years after his death, it’s cool­er than ever to like Edward Gorey. This is evi­denced not just by the fre­quent post­ing of his inten­sive­ly cross­hatched, Vic­to­ri­an- and Edwar­dian-peri­od-inflect­ed, grim­ly com­ic art on social media, but by the num­ber of artists who now claim him as an influ­ence. Where, one won­ders, did they come across Gorey in the first place? Hav­ing pub­lished more than a hun­dred books in his life­time (if often in small runs from obscure press­es), he cer­tain­ly put the work out there to be found.

But it was the much more well-known books of oth­er writ­ers like Charles Dick­ens, Joseph Con­rad, T.S. Eliot, and Her­man Melville that first prop­a­gat­ed Gorey’s sen­si­bil­i­ty of, as The New York Times’ Steven Kurutz puts it, “camp-macabre, iron­ic-goth­ic or dark-whim­sy.”

Gorey designed the cov­ers for these books and oth­ers between 1953 to 1960, when he worked at the art depart­ment of pub­lish­ers Dou­ble­day Anchor. He had been tasked specif­i­cal­ly with their new series of paper­backs meant to be “seri­ous,” as opposed to the abun­dance of cheap, low­brow, and often sala­cious­ly pack­aged nov­els that had inspired the term “pulp fic­tion.”

Of the first 200 titles in this series, says Goreyo­g­ra­phy, “about a fourth of these have line drawn cov­ers by Gorey.” Even when oth­er artists (the line­up of whom includ­ed Leonard Baskin, Mil­ton Glaser, Philippe Julian, and Andy Warhol) drew the illus­tra­tion, “Gorey then designed the fin­ished prod­uct lend­ing a uni­form appear­ance to the whole line.” You can see a vari­ety of Gorey’s Dou­ble­day Anchor paper­back cov­ers at Lithub, the most Goreyesque of which (such as Joseph Con­rad’s The Secret Agent at the top of the post) not only bear his illus­tra­tions but con­tain noth­ing not drawn by Gorey, text and colophon includ­ed.

“When these cov­ers first appeared against the back­drop of mass-mar­ket cov­ers in gen­er­al,” accord­ing to Goreyo­g­ra­phy, “they were hailed as ‘mod­ern’ and ‘arty.’ Print mag­a­zine praised ‘a feel­ing of uni­ty… a qual­i­ty of their own.’ ” The end of Gorey’s time at Dou­ble­day did­n’t mean the end of his work on oth­ers’ books: in the 1970s, for exam­ple, he con­tributed suit­ably eerie cov­er and inte­ri­or art to John Bel­lairs’ young-adult nov­el The House with a Clock in Its Walls and five of the sequels that would fol­low it. It was in Bel­lairs’ books that I first encoun­tered the visions of Edward Gorey. More than a few read­ers of my gen­er­a­tion and the gen­er­a­tions since could say the same — and also that we’ve been plea­sur­ably haunt­ed by them ever since.

See more cov­ers over at Lithub.

Relat­ed Con­tent:

Edward Gorey Illus­trates H.G. Wells’ The War of the Worlds in His Inim­itable Goth­ic Style (1960)

Lemo­ny Snick­et Reveals His Edward Gorey Obses­sion in an Upcom­ing Ani­mat­ed Doc­u­men­tary

Edward Gorey Talks About His Love Cats & More in the Ani­mat­ed Series, “Goreytelling”

The Best of the Edward Gorey Enve­lope Art Con­test

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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.

What Is a “Blerd?” Pretty Much Pop: A Culture Podcast #56 Discusses Nerd Culture and Race with The Second City’s Anthony LeBlanc

The Inter­im Exec­u­tive Pro­duc­er of The Sec­ond City joins your hosts Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt to dis­cuss the scope of black nerd-dom: what nerdy prop­er­ties pro­vide to those who feel “oth­ered,” using sci-fi to talk about race, Black Pan­ther and oth­er heroes, afro­fu­tur­ism, black ani­me fans, Star Trek, Key & Peele, Get Out vs. Us, and more.

A few arti­cles you might enjoy:

Some rel­e­vant videos and pod­casts:

Learn more at prettymuchpop.com. This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

The Strange Costumes of the Plague Doctors Who Treated 17th Century Victims of the Bubonic Plague

In the 17th and 18th cen­turies, what we know of as The Age of Enlight­en­ment or ear­ly moder­ni­ty, Euro­peans tra­versed the globe and returned to pub­lish trav­el accounts that cast the natives they encoun­tered as child­like beings, des­ti­tute sav­ages, or lit­er­al mon­sters. Unable to make sense of alien lan­guages and cul­tures, they mis­took every­thing they saw.

Mean­while, the bubon­ic plague swept Europe, and plague doc­tors wan­dered towns and coun­try­side in a “fan­ci­ful-look­ing cos­tume [that] typ­i­cal­ly con­sist­ed of a head-to-toe leather or wax-can­vas gar­ment,” writes the Pub­lic Domain Review, “large crys­tal glass­es; and a long snout or bird beak, con­tain­ing aro­mat­ic spices (such as cam­phor, mint, cloves, and myrrh), dried flow­ers (such as ros­es or car­na­tions), or a vine­gar sponge.”

More­over, the plague doctor—as you can see from illus­tra­tions of this bizarre character—also car­ried with him a wand, “with which to issue instruc­tions,” one schol­ar writes, “such as order­ing dis­ease-strick­en hous­es filled with spi­ders or toads ‘to absorb the air’ and com­mand­ing the infect­ed to inhale ‘bot­tled wind’ or take urine baths, purga­tives, or stim­u­lants.” The wand was also used to force­ful­ly fend off patients.

Vis­it­ing trav­el­ers from else­where might be jus­ti­fied in think­ing the plague doc­tor rep­re­sent­ed some strange, prim­i­tive reli­gious cus­tom: per­haps a monstrous—and most­ly ineffective—exorcism rit­u­al. The “ear­ly-mod­ern haz­mat suit” is per­fect­ly rea­son­able, of course, if you under­stand the reign­ing the­o­ry of “mias­mas,” which posit­ed that dis­ease is spread through “bad air.” Not entire­ly wrong, as our cur­rent masked exis­tences show, but in the case of the plague, mias­ma the­o­ry was only very par­tial­ly explana­to­ry.

Which is to say the cos­tume wasn’t entire­ly use­less. “The ankle-length gown and herb-filled beak… would also have offered some pro­tec­tion against germs,” espe­cial­ly since its herbs were some­times lit on fire and allowed to smol­der, send­ing bil­low­ing smoke from the plague doctor’s face. (The satir­i­cal engrav­ing above from 1700 mocks this prac­tice.) “The appear­ance of one of these human-sized birds on a doorstep could only mean that death was near.”

This par­tic­u­lar design has been cred­it­ed to a French doc­tor, Charles de Lorme, said to have invent­ed it in 1619. “De Lorme thought the beak shape of the mask would give the air suf­fi­cient time to be suf­fused by the pro­tec­tive herbs before it hit the plague doc­tors’ nos­trils and lungs.” Often mis­tak­en for Medieval or Renais­sance garb, the plague doc­tor cos­tume is, in fact, a mod­ern piece of kit.

Much has been made of the bird mask, but as one skep­ti­cal his­to­ry writer has effec­tive­ly shown, there are good rea­sons to doubt the wide­spread adop­tion of the beak. It may have been a rar­i­ty; most plague doc­tors prob­a­bly wore what would look to us today like Klan robes and hoods. All the more rea­son for plague doc­tor cos­tumes to seem shock­ing once again, as a British teen dis­cov­ered when he decid­ed in May to dress the part of the clas­sic beaked fig­ure. (Res­i­dents found it “ter­ri­fy­ing” and police offered stern “words of advice.”)

No mat­ter how wide­spread the beak was his­tor­i­cal­ly, its icon­ic sta­tus as part of the plague doc­tor cos­tume remains inscribed in art and cul­ture. “The look was so icon­ic in Italy that the ‘plague doc­tor’ became a sta­ple of Ital­ian com­me­dia dell’arte and car­ni­val cel­e­bra­tions,” Erin Blake­more writes at Nation­al Geo­graph­ic. Giv­en the asso­ci­a­tions a more authen­tic cos­tume would evoke, no one seems to be clam­or­ing to replace beaked masks with point­ed hoods in rep­re­sen­ta­tions of plague doc­tors. The beak also sym­bol­i­cal­ly con­veys an impor­tant fact about plague doc­tors: they were not healers—they were most­ly wit­ness­es of death.

Few of their reme­dies had any effect. Rather, on the government’s pay­roll, plague doctors—often sec­ond or third-rate prac­ti­tion­ers attempt­ing to build a career—recorded demo­graph­ic data, wit­nessed wills, and per­formed autop­sies. They were like weird avian aliens come to observe the cus­toms of a continent’s dying pop­u­la­tion, appear­ing in what came to be wide­ly under­stood as the “cos­tume of death,” as the illus­tra­tion above puts it. See more rep­re­sen­ta­tions of the plague doc­tor cos­tume at the Pub­lic Domain Review.

Relat­ed Con­tent:  

The His­to­ry of the Plague: Every Major Epi­dem­ic in an Ani­mat­ed Map

Down­load Clas­sic Works of Plague Fic­tion: From Daniel Defoe & Mary Shel­ley, to Edgar Allan Poe

Isaac New­ton Con­ceived of His Most Ground­break­ing Ideas Dur­ing the Great Plague of 1665

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

How John Woo Makes His Intense Action Scenes: A Video Essay

The world does not lack action movies, but well-made ones have for most of cin­e­ma his­to­ry been few and far between. Despite long under­stand­ing that action sells, Hol­ly­wood sel­dom man­ages to get the most out of the gen­re’s mas­ter crafts­men. Hence the excite­ment in the ear­ly 1990s when fans of Hong Kong gang­ster pic­tures learned that John Woo, that coun­try’s pre­em­i­nent action auteur, was com­ing state­side. His streak of Hong Kong hits at that point includ­ed A Bet­ter Tomor­rowThe KillerBul­let in the Head, and Hard Boiled, most of which starred no less an action icon than Chow Yun-fat. For Woo’s Amer­i­can debut Hard Tar­get, star­ring a Bel­gian mus­cle­man called Jean-Claude Van Damme, it would prove a hard act to fol­low.

Hard Tar­get, Evan Puschak (bet­ter known as the Nerd­writer) dri­ly puts it in the video essay above, is “not quite a mas­ter­piece.” Woo “bat­tled a mediocre script, stu­dio pres­sure, and a star who could­n’t real­ly act,” and then “the stu­dio re-edit­ed a lot of the movie to get an R rat­ing, and to make it more palat­able for Amer­i­can movie­go­ers, dilut­ing Woo’s sig­na­ture style in the process.”

But despite being a weak spot in Woo’s fil­mog­ra­phy, it makes for an illu­mi­nat­ing case study in his cin­e­mat­ic style. Puschak calls its action scenes “absurd­ly cre­ative” in a way that has “grown more impres­sive over time”: in them Woo employs slow motion — a sig­na­ture tech­nique “he weaves it into his high­ly kinet­ic sequences like an expert com­pos­er” — and oth­er forms of time dila­tion to “height­en the expe­ri­ence of impact.”

Like most action movies, Hard Tar­get offers a great many impacts: punch­es, kicks, improb­a­ble leaps, gun­shots, and explo­sions aplen­ty. Under Woo’s direc­tion they feel even more plen­ti­ful than they are, giv­en that he “often repeats things two or three times so that the impact has an echo­ing effect.” Yet unlike in run-of-the mill exam­ples of the genre, we feel each and every one of those impacts, owing to such rel­a­tive­ly sub­tle edit­ing strate­gies as pre­sent­ing the fir­ing of a gun and the bul­let hit­ting its tar­get as “two dis­tinct moments.” (Sev­er­al such gun­shots, as Puschak shows us using delet­ed footage, were among the stu­dio-man­gled sequences.) “This is unlike any tra­di­tion­al films in the States,” Woo lat­er said of Hard Tar­get’s dis­ap­point­ing per­for­mance, “so the audi­ence didn’t under­stand what’s going on with these tech­niques.” More than a quar­ter-cen­tu­ry lat­er, West­ern audi­ences have more of a grasp of Woo’s cin­e­mat­ic lan­guage, but few oth­er film­mak­ers have come close to mas­ter­ing it.

Relat­ed Con­tent:

Watch The Hire: 8 Short Films Shot for BMW by John Woo, Ang Lee & Oth­er Pop­u­lar Film­mak­ers (2002)

The Dark Knight: Anato­my of a Flawed Action Scene

Why Is Jack­ie Chan the King of Action Com­e­dy? A Video Essay Mas­ter­ful­ly Makes the Case

How Ser­gio Leone Made Music an Actor in His Spaghet­ti West­erns, Cre­at­ing a Per­fect Har­mo­ny of Sound & Image

How One Sim­ple Cut Reveals the Cin­e­mat­ic Genius of Yasu­jirō Ozu

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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.

Dessert Recipes of Iconic Thinkers: Emily Dickinson’s Coconut Cake, George Orwell’s Christmas Pudding, Alice B. Toklas’ Hashish Fudge & More

Image via Wiki­me­dia Com­mons

Of all the desserts to attain cul­tur­al rel­e­vance over the past cen­tu­ry, can any hope to touch Alice B. Tok­las’ famous hashish fudge? Call­ing for such ingre­di­ents as black pep­per­corns, shelled almonds, dried figs, and most vital of all Cannabis sati­va, the recipe first appeared in 1954’s The Alice B. Tok­las Cook Book. (Tok­las would read the recipe aloud on the radio in the ear­ly 1960s, a time when the fudge’s key ingre­di­ent had become an object of much more intense pub­lic inter­est.) More than a how-to on Tok­las’ favorite dish­es, the book is also a kind of mem­oir, includ­ing rec­ol­lec­tions of her life with Gertrude Stein — her­self the author of the osten­si­ble Auto­bi­og­ra­phy of Alice B. Tok­las.

This puts us in the realm of seri­ous lit­er­a­ture where sweets, you might assume, are scarce­ly to be found. But bak­ing con­sti­tut­ed a part of the cre­ative process of no less a lit­er­ary mind than Emi­ly Dick­in­son, whose hand­writ­ten recipe for coconut cake appears above.

That same sheet of a paper’s reverse side, which you can see in our ear­li­er post about it, bears the first lines of her poem “The Things that nev­er can come back, are sev­er­al.” Dick­in­son also, as we’ve pre­vi­ous­ly post­ed here on Open Cul­ture, had her very own recipes for gin­ger­bread, donuts, and some­thing requir­ing five pounds of raisins called “black cake.”

It may seem obvi­ous that women like Tok­las and Dick­in­son, born and raised in the 19th cen­tu­ry, would have been expect­ed to learn this sort of thing. But a fair few of the lit­er­ary men of gen­er­a­tions past knew some­thing of their way around the kitchen as well. George Orwell, for instance, wrote an essay on “British cook­ery,” ear­ly in which he states that “in gen­er­al, British peo­ple pre­fer sweet things to spicy things.” While describ­ing “sweet dish­es and con­fec­tionery – cakes, pud­dings, jams, bis­cuits and sweet sauces” as the “glo­ry of British cook­ery,” he admits that “the nation­al addic­tion to sug­ar has not done the British palate any good.” And so he includes the recipe for a Christ­mas pud­ding which, sub­tle by that stan­dard, calls for only half a pound of the stuff.

Born a gen­er­a­tion after Orwell, Roald Dahl made no secret of his own sug­ar-addict­ed British palate. In his book Char­lie and the Choco­late Fac­to­ry Dahl had “daz­zled young read­ers with visions of Cav­i­ty-Fill­ing Caramels, Ever­last­ing Gob­stop­pers, and snozzber­ry-fla­vored wall­pa­per,” writes Open Cul­ture’s own Ayun Hal­l­i­day. But his own can­dy of choice was “the more pedes­tri­an Kit-Kat bar. In addi­tion to savor­ing one dai­ly (a lux­u­ry lit­tle Char­lie Buck­et could but dream of, pri­or to win­ning that most gold­en of tick­ets) he invent­ed a frozen con­fec­tion called ‘Kit-Kat Pud­ding,’ ” whose sim­ple recipe is as fol­lows: “Stack as many Kit-Kats as you like into a tow­er, using whipped cream for mor­tar, then shove the entire thing into the freez­er, and leave it there until sol­id.”

If you’re look­ing for a slight­ly more chal­leng­ing dessert that still comes with a cul­tur­al fig­ure’s impri­matur, you might give Nor­mal Rock­well’s favorite oat­meal cook­ies a try. Going deep­er into Amer­i­can his­to­ry, we’ve also got Thomas Jef­fer­son­’s recipe for ice cream, the taste for which he picked up while liv­ing in France in the 1780s. That same coun­try’s cui­sine also inspired Ernest Hem­ing­way’s fruit pie, meant for sum­mer-camp­ing with one’s pals: “If your pals are French­men,” Hem­ing­way adds, “they will kiss you.” Alas, if any­one has deter­mined the exact recipe for the most famous dessert in all of French lit­er­a­ture, Mar­cel Proust’s mem­o­ry-trig­ger­ing madeleines, they haven’t released it to the hun­gry pub­lic.

Relat­ed Con­tent:

The Recipes of Icon­ic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Mar­quis de Sade & More

Ernest Hemingway’s Sum­mer Camp­ing Recipes

82 Vin­tage Cook­books, Free to Down­load, Offer a Fas­ci­nat­ing Illus­trat­ed Look at Culi­nary and Cul­tur­al His­to­ry

His­toric Mex­i­can Recipes Are Now Avail­able as Free Dig­i­tal Cook­books: Get Start­ed With Dessert

Wagashi: Peruse a Dig­i­tized, Cen­turies-Old Cat­a­logue of Tra­di­tion­al Japan­ese Can­dies

Ani­mat­ed Noir: Key Lime Pie

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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.

When We All Have Pocket Telephones (1923)

From Eng­land’s Dai­ly Mir­ror (Jan­u­ary 23, 1923).

Find more time­ly pre­dic­tions in the Relat­eds below.

via Neil Gaiman

Relat­ed Con­tent:

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

Niko­la Tesla’s Pre­dic­tions for the 21st Cen­tu­ry: The Rise of Smart Phones & Wire­less, The Demise of Cof­fee, The Rule of Eugen­ics (1926/35)

In 1911, Thomas Edi­son Pre­dicts What the World Will Look Like in 2011: Smart Phones, No Pover­ty, Libraries That Fit in One Book

In 1964, Isaac Asi­mov Pre­dicts What the World Will Look Like Today: Self-Dri­ving Cars, Video Calls, Fake Meats & More

Jules Verne Accu­rate­ly Pre­dicts What the 20th Cen­tu­ry Will Look Like in His Lost Nov­el, Paris in the Twen­ti­eth Cen­tu­ry (1863)

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The Wine Windows of Renaissance Florence Dispense Wine Safely Again During COVID-19

Every­thing old is new again and Tuscany’s buchette del vino—wine windows—are def­i­nite­ly rolling with the times.

As Lisa Har­vey ear­li­er report­ed in Atlas Obscu­rabuchette del vino became a thing in 1559, short­ly after Cosi­mo I de’ Medici decreed that Flo­rence-dwelling vine­yard own­ers could bypass tav­erns and wine mer­chants to sell their prod­uct direct­ly to the pub­lic. Wealthy wine fam­i­lies eager to pay less in tax­es quick­ly fig­ured out a workaround that would allow them to take advan­tage of the edict with­out requir­ing them to actu­al­ly open their palace doors to the rab­ble:

Any­one on the street could use the wood­en or met­al knock­er … and rap on a wine win­dow dur­ing its open hours. A well-respect­ed, well-paid ser­vant, called a can­ti­niere and trained in prop­er­ly pre­serv­ing wine, stood on the oth­er side. The can­ti­niere would open the lit­tle door, take the customer’s emp­ty straw-bot­tomed flask and their pay­ment, refill the bot­tle down in the can­ti­na (wine cel­lar), and hand it back out to the cus­tomer on the street.

Sev­en­ty years fur­ther on, these lit­er­al holes-in-the-walls served as a means of con­tact­less deliv­ery for post-Renais­sance Ital­ians in need of a drink as the sec­ond plague pan­dem­ic raged.

Schol­ar Francesco Rondinel­li (1589–1665) detailed some of the extra san­i­ta­tion mea­sures put in place in the ear­ly 1630s:

A met­al pay­ment col­lec­tion scoop replaced hand-to-hand exchange

Imme­di­ate vine­gar dis­in­fec­tion of all col­lect­ed coins

No exchange of emp­ty flasks brought from home

Cus­tomers who insist­ed on bring­ing their own reusable bot­tles could do self-serve refills via a met­al tube, to pro­tect the essen­tial work­er on the oth­er side of the win­dow.

Sound famil­iar?

After cen­turies of use, the win­dows died out, falling vic­tim to flood, WWII bomb­ings, fam­i­ly relo­ca­tions, and archi­tec­tur­al ren­o­va­tion.

The nov­el coro­n­avirus pan­dem­ic has def­i­nite­ly played a major role in putting wine win­dows back on the public’s radar, but Babae, a casu­al year-old restau­rant gets cred­it for being the first to reac­ti­vate a dis­used buchet­ta del vino for its intend­ed pur­pose, sell­ing glass­es of red for a sin­gle hour each day start­ing in August 2019.

Now sev­er­al oth­er authen­tic buchette have returned to ser­vice, with menus expand­ed to accom­mo­date serv­ings of ice cream and cof­fee.

Giv­en this suc­cess, per­haps they’ll take a cue from Japan’s 4.6 mil­lion vend­ing machines, and begin dis­pens­ing an even wider array of items.

They may even take a page from the past, and send some of the mon­ey they take in back out, along with food and yes—wine—to sus­tain needy mem­bers of the com­mu­ni­ty.

The Buchette del Vino Asso­ci­azi Cul­tur­ale cur­rent­ly lists 146 active and inac­tive wine win­dows in Flo­rence and the sur­round­ing regions, accom­pa­ny­ing their find­ings with pho­tos and arti­cles of his­tor­i­cal rel­e­vance.

Via Atlas Obscu­ra

Relat­ed Con­tent: 

Quar­an­tined Ital­ians Send a Mes­sage to Them­selves 10 Days Ago: What They Wish They Knew Then

Ital­ians’ Night­ly Sin­ga­longs Prove That Music Soothes the Sav­age Beast of Coro­n­avirus Quar­an­tine & Self-Iso­la­tion

A Free Course from MIT Teach­es You How to Speak Ital­ian & Cook Ital­ian Food All at Once

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

Classic Punk Rock Sketches from Saturday Night Live, Courtesy of Fred Armisen

Come­di­an Fred Armisen is best known for his years on Sat­ur­day Night Live, his eight sea­sons of sur­re­al sketch com­e­dy (with Car­rie Brown­stein) on Port­landia, and his unnerv­ing com­mand of region­al accents and impres­sions. True fans also know that for much of his career he’s also been a musi­cian, pri­mar­i­ly a drum­mer, since col­lege. Start­ing in high school, he’s been in var­i­ous bands, includ­ing Trench­mouth, the Blue Man Group, and some­times sit­ting in with Seth Mey­ers’ house band.

So the above skit from SNL is fun because Armisen gets to indulge his love of punk music. It’s a basic set-up, a 40-some­thing groom and his best buds “get­ting the band back togeth­er” to play one more song at a wed­ding. But here the band used to be a polit­i­cal punk band along the lines of Fear, The Dead Kennedys, and Sui­ci­dal Ten­den­cies, and the anti-Rea­gan lyrics (you too, Alexan­der Haig, you fas­cist!) have been pre­served in amber.

Like most SNL sketch­es it unfolds kind of how you expect (and just kinda…ends), but man, this must have been fun to shoot. And yes, that’s the Foo Fighters/Nirvana’s Dave Grohl on drums.

If that skit was a trib­ute to Amer­i­can punk, then this oth­er one is a nod to the Sex Pis­tols and the steady right­ward drift of John Lydon. Armisen plays lead singer Ian Rub­bish (you know, of Ian Rub­bish and the Bizarros) whose lyrics decry and attack everything…except for Mar­garet Thatch­er. The Queen? She’s use­less (and oth­er words we can’t write on Open Cul­ture), but Mag­gie? Ian has a soft spot.

This 2013 skit came short­ly after Thatch­er died and Amer­i­cans were treat­ed to videos of some Britons (not all, but *a lot*) cel­e­brat­ing her death much as you would the death of Hitler or Mus­soli­ni. Good­bye, good rid­dance, and let me know where she’s locat­ed so we can pee on her grave. That sor­ta thing. And if that’s where you’re at, you might find the turn this sketch takes a bit too nice. But kudos to ex-Pis­tol Steve Jones for turn­ing up and doing the Rut­les-like thing. There’s even a nice par­o­dy of the infa­mous Bill Grundy inter­view.

(Bonus info: Ian Rub­bish and the Bizarros played some actu­al shows.)

Armisen had anoth­er crack, by the way, at the reunion joke. In Sea­son 8 of Port­landia, the “Band Reunion” skit brought togeth­er Hen­ry Rollins (Black Flag), Krist Novosel­ic (Nir­vana), and Bren­dan Canty (Fugazi) to bring back Armisen’s character’s band “Riot Spray” and record one more time. (Brown­stein only fig­ures a bit in the skit, but her reac­tion is price­less). The humor is just a lit­tle bit more mel­low, a bit more empa­thet­ic, and hurts just that lit­tle bit more.

Relat­ed Con­tent:

The Sex Pis­tols Make a Scan­dalous Appear­ance on the Bill Grundy Show & Intro­duce Punk Rock to the Star­tled Mass­es (1976)

The Sex Pis­tols’ 1976 Man­ches­ter “Gig That Changed the World,” and the Day the Punk Era Began

The Sex Pis­tols Play in Dal­las’ Long­horn Ball­room; Next Show Is Mer­le Hag­gard (1978)

Ian Rub­bish (aka Fred Armisen) Inter­views the Clash in Spinal Tap-Inspired Mock­u­men­tary
Nev­er Mind the Bol­locks, Here’s … John Lydon in a But­ter Com­mer­cial?

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

The Golden Age of Berlin Comes to Life in the Classic, Avant-Garde Film, Berlin: Symphony of a Metropolis (1927)

The redis­cov­ery of Berlin began thir­ty years ago this Novem­ber, with the demo­li­tion of the wall that had long divid­ed the city’s west­ern and east­ern halves. Specif­i­cal­ly, the Berlin Wall had stood since 1961, mean­ing the younger gen­er­a­tion of West and East Berlin­ers had no mem­o­ry of their city’s being whole. In anoth­er sense, the same could be said of their par­ents’ gen­er­a­tion, who saw near­ly a third of Berlin destroyed in the Sec­ond World War. Only the most ven­er­a­ble Berlin­ers would have remem­bered the social and indus­tri­al gold­en age the undi­vid­ed city enjoyed back in the 1920s — an age exhil­a­rat­ing­ly pre­sent­ed in the film Berlin: Sym­pho­ny of a Metrop­o­lis.

An ear­ly exam­ple of the silent-era “city sym­phonies” that showed off the cap­i­tals of the world on film (sev­er­al of which you can watch here on Open Cul­ture), Berlin takes the view­er along streets and water­ways, through parks, onto trains and ele­va­tors, on roller coast­ers, and into fac­to­ries, build­ing sites, cabarets, and skies. Shot over a year and com­pressed into less than an hour, this avant-garde doc­u­men­tary cap­tures the expe­ri­ence of Berlin in the 1920s — or rather it cap­tures, in that might­i­ly indus­tri­al age, expe­ri­ence at the inter­sec­tion of human and machine. Direc­tor Walther Ruttmann “charts the move­ments of crowds of chil­dren, work­ers, swim­mers, row­ers, and so on,” writes Pop­mat­ters’ Chad­wick Jenk­ins, “but only occa­sion­al­ly focus­es on a per­son as an indi­vid­ual. More­over, many of the most strik­ing scenes in the film avoid the intru­sion of peo­ple alto­geth­er, con­cen­trat­ing instead on the oper­a­tion of mechan­i­cal devices.”

Absent explana­to­ry nar­ra­tion or title cards, the film invites a vari­ety of read­ings. Chad­wick sees it as “the defam­a­to­ry dehu­man­iza­tion of the human, the dero­ga­tion of human auton­o­my and domin­ion over a world of indif­fer­ent mat­ter, a reduc­tion of the divine spark in humankind to the sta­tus of anoth­er mere thing.” This same qual­i­ty drove away one of Ruttman­n’s key col­lab­o­ra­tors on Berlin, the writer Carl May­er. Ruttmann, for his part, described his own moti­va­tion as “the idea of mak­ing some­thing out of life, of cre­at­ing a sym­phon­ic film out of the mil­lions of ener­gies that com­prise the life of a big city.”

A pri­ma­ry inter­est in move­ment itself is per­haps to be expect­ed from a film­mak­er who had pre­vi­ous­ly dis­tin­guished him­self as an abstract ani­ma­tor. (What his lat­er work as an assis­tant to Leni Riefen­stahl on Tri­umph of the Will indi­cates is anoth­er mat­ter.) But if Berlin: Sym­pho­ny of a Metrop­o­lis “dehu­man­izes,” writes Jenk­ins, it does so as a delib­er­ate artis­tic strat­e­gy to show that “the city is more than its var­i­ous com­po­nents, includ­ing its human com­po­nents,” and to “pro­vide an insight into the emer­gent qual­i­ties that make a city what it is, beyond being a mere com­pos­ite of the ele­ments with­in its geo­graph­i­cal bound­aries,” how­ev­er those bound­aries get drawn and redrawn over time.

Berlin: Sym­pho­ny of a Metrop­o­lis will be added to our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Relat­ed Con­tent:

Watch Samuel Beck­ett Walk the Streets of Berlin Like a Boss, 1969

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

Dra­mat­ic Col­or Footage Shows a Bombed-Out Berlin a Month After Germany’s WWII Defeat (1945)

Berlin Street Scenes Beau­ti­ful­ly Caught on Film (1900–1914)

Watch 1920s “City Sym­phonies” Star­ring the Great Cities of the World: From New York to Berlin to São Paulo

The First Avant Garde Ani­ma­tion: Watch Wal­ter Ruttmann’s Licht­spiel Opus 1 (1921)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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.

Winston Churchill Praises the Virtue of “Brevity” in Memos to His Staff: Concise Writing Leads to Clearer Thinking

George Orwell and Win­ston Churchill didn’t agree on much. For exam­ple, while Orwell wrote with deep sym­pa­thy about coal min­ers in The Road to Wigan Pier, Churchill, as home sec­re­tary, bru­tal­ly crushed a miner’s strike in Wales. Orwell’s ear­ly years as “an appa­ratchik in the last days of the empire… left him with a hatred of author­i­ty and impe­ri­al­ism,” writes Richard Eil­ers. Churchill was a com­mit­ted impe­ri­al­ist all his life, instru­men­tal in pro­long­ing a famine in British India that killed “at least three mil­lion peo­ple.”

Impor­tant­ly for history’s sake, they agreed on the need to con­front, rather than appease, the Nazis, against both the British left and right of the 1930s. “At a time not unlike today,” says jour­nal­ist Tom Ricks, “when peo­ple were won­der­ing whether democ­ra­cy was sus­tain­able, when a lot of peo­ple thought you need­ed author­i­tar­i­an rule, either from the right or the left, Orwell and Churchill, from their very dif­fer­ent per­spec­tives, come togeth­er on a key point. We don’t have to have author­i­tar­i­an gov­ern­ment.”

Maybe some­what less important—but stren­u­ous­ly agreed upon nonethe­less by these two figures—was the need for clear, con­cise prose that avoids obfus­ca­tion. In Pol­i­tics and the Eng­lish Lan­guage—an essay rou­tine­ly taught in col­lege com­po­si­tion classes—Orwell describes polit­i­cal­ly mis­lead­ing writ­ing as over­stuffed with “pre­ten­tious dic­tion” and “mean­ing­less words.” These are, he writes, signs of a “deca­dent… civ­i­liza­tion.” Churchill has had at least as much influ­ence as Orwell on a cer­tain kind of polit­i­cal writ­ing, though not the kind most of us read often.

In 1940, Churchill issued a memo to his staff titled “Brevi­ty.” He did not express con­cerns about creep­ing fas­cism in bureau­crat­ic com­mu­niques, but decried the prob­lem of wast­ed time, “while ener­gy has to be spent in look­ing for the essen­tial points.” He ends up, how­ev­er, say­ing some of the same things as Orwell, in few­er words.

I ask my col­leagues and their staffs to see to it that their Reports are short­er.

  1. The aim should be Reports which set out the main points in a series of short, crisp para­graphs.
  2. If a Report relies on detailed analy­sis of some com­pli­cat­ed fac­tors, or on sta­tis­tics, these should be set out in an Appen­dix.
  3. Often the occa­sion is best met by sub­mit­ting not a full-dress Report, but an Aide-mem­oire con­sist­ing of head­ings only, which can be expand­ed oral­ly if need­ed.
  4. Let us have an end of such phras­es as these: “It is also of impor­tance to bear in mind the fol­low­ing con­sid­er­a­tions…,” or “Con­sid­er­a­tion should be giv­en to the pos­si­bil­i­ty of car­ry­ing into effect….” Most of these wool­ly phras­es are mere padding, which can be left out alto­geth­er, or replaced by a sin­gle word. Let us not shrink from using the short expres­sive phrase, even if it is con­ver­sa­tion­al.

Reports drawn up on the lines I pro­pose may at first seem rough as com­pared with the flat sur­face of offi­cialese jar­gon. But the sav­ing in time will be great, while the dis­ci­pline of set­ting out the real points con­cise­ly will prove an aid to clear­er think­ing.

The mes­sage “cas­cad­ed through the civ­il ser­vice,” writes Lau­ra Cowdry at the UK Nation­al Archives. A 1940 arti­cle in the Times picked up the sto­ry. But the prob­lem per­sist­ed, as it does today and maybe will till the end of time (or until machines start to do all our writ­ing for us). Frus­trat­ed, Churchill issued anoth­er admo­ni­tion, short­er even than the first, in 1951.

Offi­cial papers are too long and too dif­fuse. In 1940 I called for brevi­ty. Evi­dent­ly I must do so again. I ask my col­leagues to read what I wrote then… and to make my wish­es known to their staffs.

These mem­os, Cowdry notes, “may shed some light onto gov­ern­ment com­mu­ni­ca­tions work of the past,” and on the Churchillian style that may have tak­en hold for decades in gov­ern­ment doc­u­ments, as well as—of course—far beyond them. His emphat­ic state­ments also artic­u­late “key ele­ments of good com­mu­ni­ca­tion that would res­onate with the think­ing of any mod­ern com­mu­ni­ca­tor,” whether Orwell, Kurt Von­negut, or Cor­mac McCarthy, who has become a sought-after sci­en­tif­ic edi­tor for his strict min­i­mal­ism.

Churchill did not seem over­ly con­cerned with wordi­ness as a polit­i­cal prob­lem. Orwell did not approach the prob­lem philo­soph­i­cal­ly. That task fell to the Log­i­cal Pos­i­tivists of the ear­ly 20th cen­tu­ry. In his attempt to explain the wordi­ness of both under­grad­u­ates and world-renowned thinkers, “neo-Pos­i­tivist” philoso­pher David Stove goes so far as to ascribe over­writ­ing to “defects of char­ac­ter… such things as an inabil­i­ty to shut up; deter­mi­na­tion to be thought deep; hunger for pow­er; fear, espe­cial­ly the fear of an indif­fer­ent uni­verse….”

Some­thing to con­sid­er, maybe, when you’re look­ing at your next draft email, Face­book com­ment, or Slack mes­sage, and won­der­ing whether it actu­al­ly needs to be an essay….

via Bob Rae

Relat­ed Com­ment:

George Orwell’s Six Rules for Writ­ing Clear and Tight Prose

Nov­el­ist Cor­mac McCarthy Gives Writ­ing Advice to Sci­en­tists … and Any­one Who Wants to Write Clear, Com­pelling Prose

Kurt Von­negut Explains “How to Write With Style”

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

Divine Decks: A Visual History of Tarot: The First Comprehensive Survey of Tarot Gets Published by Taschen

The cards of the tarot, first cre­at­ed for play around 600 years ago and used in recent cen­turies for occult div­ina­tion of truths about life, the uni­verse, and every­thing, should by all rights be noth­ing more than a his­tor­i­cal curios­i­ty today. Yet some­thing about the tarot still com­pels, even to many of us in the ever more dig­i­tal, ever more data-dri­ven 21st cen­tu­ry. Taschen, pub­lish­er of lav­ish art and pho­to books, know this: hence, as we fea­tured last year here on Open Cul­ture, prod­ucts like their box-set reis­sue of the tarot deck designed by Sal­vador Dalí. (There must be a mean­ing­ful over­lap between Taschen’s demo­graph­ic and Dalí’s fans, giv­en that the pub­lish­er more recent­ly put out the most com­plete col­lec­tion of his paint­ings between two cov­ers.)

Dalí isn’t the only artist whose inter­pre­ta­tions of the Fool, the Hiero­phant, the Lovers, the Hanged One, and the oth­er arcana have graced a tarot deck. H.R. Giger, the artist respon­si­ble for the bio­me­chan­i­cal creepi­ness of Alien, designed one in the 1990s; more recent­ly, we’ve fea­tured decks illus­trat­ed with visions inspired by the nov­els of Philip K. Dick and David Lynch’s Twin Peaks.

But all these togeth­er — even includ­ing the “Thoth deck” designed by occultist Aleis­ter Crow­ley and the Sola-Bus­ca deck, the ear­li­est known com­plete set of tarot cards — rep­re­sent only a small frac­tion of the sto­ry of tarot’s place in the past six cen­turies of civ­i­liza­tion. That sto­ry is told, and more impor­tant­ly shown, in Taschen’s new book Divine Decks: A Visu­al His­to­ry of Tarot.

The first vol­ume in Taschen’s “Library of Eso­ter­i­ca,” the book “gath­ers more than 500 cards and works of orig­i­nal art from around the world in the ulti­mate explo­ration of a cen­turies-old art form.” An image gallery on Taschen’s web site gives a small sam­pling of the range of tarot decks found with­in, includ­ing ones cre­at­ed in 1930s Eng­land, 1970s Italy, and 2010s Brook­lyn. One was intend­ed as a pro­mo­tion­al item for an Amer­i­can paper com­pa­ny in the 1960s; anoth­er, with dif­fer­ent pur­pos­es, announces itself as the “Black Pow­er Tarot.” This in addi­tion to such well-known exam­ples as Crow­ley’s Thoth deck and the ven­er­a­ble Sola-Bus­ca, both lush­ly repro­duced in its pages. And the tarot lives on, as I’m remind­ed when­ev­er I pass one of the many store­fronts here in Seoul offer­ing tarot read­ings. In any case, it’s cer­tain­ly come a long way from 15th-cen­tu­ry Europe. You can get a copy of Divine Decks: A Visu­al His­to­ry of Tarot on Taschen’s web­site.

Relat­ed Con­tent:

Behold the Sola-Bus­ca Tarot Deck, the Ear­li­est Com­plete Set of Tarot Cards (1490)

H.R. Giger’s Tarot Cards: The Swiss Artist, Famous for His Design Work on Alien, Takes a Jour­ney into the Occult

The Tarot Card Deck Designed by Sal­vador Dalí

The Thoth Tarot Deck Designed by Famed Occultist Aleis­ter Crow­ley

Twin Peaks Tarot Cards Now Avail­able as 78-Card Deck

Philip K. Dick Tarot Cards: A Tarot Deck Mod­eled After the Vision­ary Sci-Fi Writer’s Inner World

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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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