Cartoonist Lynda Barry Shows You How to Draw Batman in Her UW-Madison Course, “Making Comics”

How do you draw Bat­man?

Don’t say you don’t, or that you can’t. Accord­ing to car­toon­ist and edu­ca­tor Lyn­da Bar­ry, we’re all capa­ble of get­ting Bat­man down on paper in one form or anoth­er.

He may not resem­ble Adam West or Michael Keaton or any­thing artists Frank Miller or Neal Adams might ren­der, but so what?

You have the abil­i­ty to cre­ate a rec­og­niz­able Bat­man because Batman’s basic shape is uni­ver­sal­ly agreed upon, much like that of a car or a cat. Whether you know it or not, you have inter­nal­ized that basic shape. This alone con­fers a degree of pro­fi­cien­cy.

As proof of that, Bar­ry would ask you to draw him in 15 sec­onds. A time con­straint of that order has no room for fret­ting and self doubt. Only fren­zied scrib­bling.

It also lev­els the play­ing field a bit. At 15 sec­onds, a novice’s Bat­man can hold his own against that of a skilled draftsper­son.

Try it. Did you get pointy ears? A cape? A mask of some sort? Legs?

I’ll bet you did.

Barry Batman 1

Once you’ve proved to your­self that you can draw Bat­man, you’re ready to tack­le a more com­plex assign­ment: per­haps a four pan­el strip in which Bat­man throws up and screams.

This is prob­a­bly a lot eas­i­er than draw­ing him scal­ing the side of a build­ing or bat­tling the Jok­er. Why? Per­son­al expe­ri­ence. Any­body who’s ever lost his or her lunch can draw on the cel­lu­lar mem­o­ry of that event.

Fold a piece of paper into quar­ters and give it a whirl.

Then reward your­self with the video up top, a col­lec­tion of stu­dent-cre­at­ed work from the Mak­ing Comics class Bar­ry taught last fall at the great Uni­ver­si­ty of Wis­con­sin.

You may notice that many of the Bat­men there­in sport big, round heads. Like the 15-sec­ond rule, this is the influ­ence of Ivan Brunet­ti, author of Car­toon­ing: Phi­los­o­phy and Prac­tice, a book Bar­ry ref­er­ences in both her class­es and the recent­ly pub­lished Syl­labus: Notes from an Acci­den­tal Pro­fes­sor.

With everyone’s Bat­man rock­ing a Char­lie Brown-sized nog­gin and sim­ple rub­ber hose style limbs, there’s less temp­ta­tion to get bogged down in com­par­isons.

Okay, so maybe some peo­ple are bet­ter than oth­ers when it comes to draw­ing toi­lets. No big­gie. Keep at it. We improve through prac­tice, and you can’t prac­tice if you don’t start.

Barry Batman 2

Once you’ve drawn Bat­man throw­ing up and scream­ing, there’s no end to the pos­si­bil­i­ties. Bar­ry has an even big­ger col­lec­tion of stu­dent work (sec­ond video above), in which you’ll find the Caped Cru­sad­er doing laun­dry, using a lap­top, call­ing in sick to work, read­ing Under­stand­ing Comics, eat­ing Saltines… all the stuff one would expect giv­en that part of the orig­i­nal assign­ment was to envi­sion one­self as Bat­man.

More of Lyn­da Barry’s Bat­man-relat­ed draw­ing phi­los­o­phy from Syl­labus can be found above and down below:

Barry Batman 3

Barry Batman 4

Barry Batman 5

No mat­ter what any­one tells you (see below), there’s no right way to draw Bat­man!

How-to-Draw-Batman-Step-by-Step

Relat­ed Con­tent: 

Lyn­da Barry’s Won­der­ful­ly Illus­trat­ed Syl­labus & Home­work Assign­ments from Her UW-Madi­son Class, “The Unthink­able Mind”

Lyn­da Bar­ry, Car­toon­ist Turned Pro­fes­sor, Gives Her Old Fash­ioned Take on the Future of Edu­ca­tion

Car­toon­ist Lyn­da Bar­ry Reveals the Best Way to Mem­o­rize Poet­ry

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

Dostoyevsky’s The Brothers Karamazov Strikingly Illustrated by Expressionist Painter Alice Neel (1938)

the-brothers-karamazov-1

Images belong to The Estate of Alice Neel.

We all know the rep­u­ta­tion of 19th-cen­tu­ry Russ­ian nov­els: long, dense bricks of pure prose, freight­ed with deep moral con­cerns and, to the unini­ti­at­ed, enlivened only by a con­fus­ing far­ra­go of patronymics. And sure, while they may have a bit of a learn­ing curve to them, these clas­sic works of lit­er­a­ture also, so their advo­cates assure us, boast plen­ty to keep them rel­e­vant today — just the qual­i­ty, of course, that makes them clas­sic works of lit­er­a­ture in the first place.

the-brothers-karamazov-8

While we should by all means read them, that does­n’t mean we can’t get a taste of these much-dis­cussed books before we heft them and turn to page one by, for exam­ple, check­ing out their illus­tra­tions. These vary in qual­i­ty with the edi­tions, of course, but how much of the art that has ever accom­pa­nied, say, Fyo­dor Dos­toyevsky’s The Broth­ers Kara­ma­zov has looked quite as evoca­tive as the nev­er-pub­lished illus­tra­tions here? They come from the hand of the Penn­syl­va­nia-born artist Alice Neel, com­mis­sioned in the 1930s for an edi­tion of the nov­el that nev­er saw the print­ing press.

the-brothers-karamazov-6

The Paris Review’s Dan Piepen­berg, post­ing eight of Neel’s illus­tra­tions, high­lights “how attuned these two sen­si­bil­i­ties are: it’s the mar­riage of one kind of dark­ness to anoth­er”; “the black storm cloud of Neel’s pen is well suit­ed to Dostoyevsky’s ques­tions of God, rea­son, and doubt.” And yet Neel also man­ages to express the nov­el­’s “mad­ness and com­e­dy,” bring­ing “a man­ic bathos to these scenes that lends them both grav­i­ty and lev­i­ty; in every wide, glassy pair of eyes, grave ques­tions of moral cer­ti­tude are under­cut by the absurd.”

You can see all of eight of Neel’s Kara­ma­zov illus­tra­tions at The Paris Review, not that they pro­vide a sub­sti­tute for read­ing the nov­el itself (which you can find in our col­lec­tion of Free eBooks). After all, that’s the only way to find out what exact­ly hap­pens at that bac­cha­nal just above.

Relat­ed Con­tent:

Fyo­dor Dos­to­evsky Draws Elab­o­rate Doo­dles In His Man­u­scripts

Albert Camus Talks About Adapt­ing Dos­toyevsky for the The­atre, 1959

Crime and Pun­ish­ment by Fyo­dor Dos­toyevsky Told in a Beau­ti­ful­ly Ani­mat­ed Film by Piotr Dumala

The Dig­i­tal Dos­to­evsky: Down­load Free eBooks & Audio Books of the Russ­ian Novelist’s Major Works

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

Cult Films by Kubrick, Tarantino & Wes Anderson Re-imagined as 8‑Bit Video Games

Now clos­ing in on 50 episodes, David Dut­ton’s 8‑Bit Cin­e­ma series for Cine­Flix cel­e­brates and cri­tiques the increas­ing video game qual­i­ties of action films. Or maybe it’s a nos­tal­gic do-over of a child­hood spent watch­ing great films turned into ter­ri­ble games and your favorite games turned into ter­ri­ble films. 8‑Bit Cin­e­ma imag­ines pop­u­lar and clas­sic movies turned into NES-era con­sole games, with the movie’s plot imag­ined as a “per­fect run,” as gamers call it.

Their ver­sion of Guardians of the Galaxy (watch it here) quotes Mega­man, Capcom’s 1987 hit game that is still spawn­ing sequels, and con­fines its action to a plat­form shoot­er, which, in a way, describes James Gunn’s film. (But dig that 8‑bit ver­sion of “The Pina Cola­da Song,” man!). The film adapts too well to a video game, and that may be its prob­lem.

Things get more inter­est­ing when Dutton’s cre­ative team tack­les films in the cult canon. One of their favorites, Pulp Fic­tion com­bines sev­er­al game gen­res: Dance Dance Rev­o­lu­tion for the Jack Rab­bit Slim sequence, side scrollers for the gun (and samu­rai sword)-heavy action, and more. But what 8‑Bit Cin­e­ma had to do was straight­en out Tarantino’s non-lin­ear nar­ra­tive, allow­ing the “play­er” to change char­ac­ters from Vince to Butch after their unfor­tu­nate meet­ing, and ditch all that won­der­ful dia­log. This 2 1/2 minute ver­sion quotes plen­ty of rare video games, just like Taran­ti­no quotes movies.

The Shin­ing is one of two Kubrick films the team has attempt­ed, the oth­er one being A Clock­work Orange. The Shin­ing one works bet­ter as Kubrick’s exam­i­na­tions of domes­tic vio­lence are ren­dered even ici­er (no pun intend­ed) through typ­i­cal vio­lent game­play, and tense con­fronta­tions between Jack and Wendy are reduced to emo­tion­less exchanges. The video ref­er­ences 1987’s Mani­ac Man­sion, appro­pri­ate­ly enough, which itself was a trib­ute to hor­ror movie clich­es.

Wes Anderson’s ship set from The Life Aquat­ic with Steve Zis­sou was designed much like a plat­form game, so the 8‑Bit Cin­e­ma team had an eas­i­er job with this one, and threw in ref­er­ences to Met­al Gear Sol­id to boot. Judg­ing from the com­ments, the 8‑Bit death of Ned still man­ages to pull the ol’ heart­strings, but the nar­ra­tive remains just as inscrutable.

The take­away here might be this: The bet­ter the film, the less it can con­form to the sim­plis­tic plots, puz­zle play, and point-scor­ing vio­lence that make video games fun to play. And while video games are undoubt­ed­ly a form of art, there’s a large gulf between them and cin­e­ma.

Cur­rent­ly Dutton’s crew man­ages one 8‑Bit Cin­e­ma short a month. For a behind-the-scenes look at what it takes to put three min­utes of nos­tal­gic bliss togeth­er, check this out:

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

Relat­ed Con­tent:

8‑Bit Phi­los­o­phy: Pla­to, Sartre, Der­ri­da & Oth­er Thinkers Explained With Vin­tage Video Games

The Inter­net Arcade Lets You Play 900 Vin­tage Video Games in Your Web Brows­er (Free)

Andrei Tarkovsky’s Mas­ter­piece Stalk­er Gets Adapt­ed into a Video Game

George Orwell Creates a Who’s Who List of “Crypto” Communists for British Intelligence Forces (1949)

George-Orwell-001

Jour­nal­ist and nov­el­ist Eric Blair, known for all of his pro­fes­sion­al life by the pen name George Orwell, staunch­ly iden­ti­fied him­self as a demo­c­ra­t­ic social­ist. For exam­ple, in his slim 1946 pub­li­ca­tion Why I Write, he declared, “Every line of seri­ous work I have writ­ten since 1936 has been writ­ten, direct­ly or indi­rect­ly, against total­i­tar­i­an­ism and for demo­c­ra­t­ic social­ism as I under­stand it.” Despite the wide­spread blur­ring of lines these days between social­ism and communism—whether through igno­rance or delib­er­ate misleading—the dis­tinc­tion was not lost on Orwell. Though he sup­port­ed an equi­table dis­tri­b­u­tion of wealth and pub­lic insti­tu­tions for the com­mon good, he fierce­ly opposed Sovi­et com­mu­nism as anti-demo­c­ra­t­ic and oppres­sive. As Orwell biog­ra­ph­er John Newsinger writes, one “cru­cial dimen­sion to Orwell’s social­ism was his recog­ni­tion that the Sovi­et Union was not social­ist. Unlike many on the left, instead of aban­don­ing social­ism once he dis­cov­ered the full hor­ror of Stal­in­ist rule in the Sovi­et Union, Orwell aban­doned the Sovi­et Union and instead remained a social­ist.”

Of course, Orwell’s anti-com­mu­nist sen­ti­ments are famil­iar to every stu­dent who has read Ani­mal Farm. Less well known is the degree to which he con­tributed to anti-com­mu­nist pro­pa­gan­da, even cor­re­spond­ing with British secret ser­vices and keep­ing a black­list of writ­ers he deemed either “cryp­tos” (secret com­mu­nists), “fel­low trav­ellers” (com­mu­nist sym­pa­thiz­ers), or out­right mem­bers of the Com­mu­nist Par­ty. Orwell’s involve­ment with the Infor­ma­tion Research Depart­ment (IRD), a pro­pa­gan­da unit formed in 1948 under the UK’s For­eign Office to com­bat Stal­in­ism at home and abroad has received a good deal of atten­tion in the past few decades, in part because of the dis­cov­ery in 2003 of a pri­vate note­book con­tain­ing his orig­i­nal list. Even before this rev­e­la­tion, biog­ra­phers and his­to­ri­ans had known about the list, which Orwell includ­ed, in part, in a let­ter to his love inter­est Celia Kir­wan, who worked for the IRD, with the instruc­tions that she keep it secret due to its “libelous” nature. Orwell intend­ed that the writ­ers on the list not be asked to work for the IRD because, in his esti­ma­tion, they were peo­ple who could not be trust­ed.

Reac­tions to Orwell’s list have been very mixed. When the sto­ry first broke in the late nineties, Orwell’s long­time friend Michael Foot said he found the list “amaz­ing” and out of char­ac­ter. One of the peo­ple named, Nor­man Macken­zie, ascribed the list to Orwell’s ill­ness, say­ing that the writer was “los­ing his grip on him­self” in 1949 dur­ing his final strug­gle with the tuber­cu­lo­sis that killed him that year. Orwell biog­ra­ph­er Bernard Crick defend­ed his actions, writ­ing, “He did it because he thought the Com­mu­nist Par­ty was a total­i­tar­i­an men­ace. He wasn’t denounc­ing these peo­ple as sub­ver­sives. He was denounc­ing them as unsuit­able for counter-intel­li­gence oper­a­tion.” On the oth­er hand, late left­ist fire­brand jour­nal­ist Alexan­der Cock­burn con­demned Orwell as a “snitch” and thought the list was evi­dence of Orwell’s big­otry, giv­en his sus­pi­cion of Paul Robe­son as “anti-white” and his denounc­ing of oth­ers due to their rumored homo­sex­u­al­i­ty or Jew­ish back­ground. He makes a com­pelling case. What­ev­er Orwell’s moti­va­tions, the effect on the named indi­vid­u­als’ pro­fes­sion­al and polit­i­cal lives was mild, to say the least. This was hard­ly a McCarthyite witch-hunt. Nonethe­less, it’s a lit­tle hard for admir­ers of Orwell not to wince at this col­lab­o­ra­tion with the state secret ser­vice.

Below, see the list he sub­mit­ted to Kir­wan in his let­ter. Fur­ther down is a list of names, includ­ing those of Orson Welles and Kather­ine Hep­burn, that appeared in his note­book but not on the list he gave to the IRD.

Writ­ers and jour­nal­ists

Aca­d­e­mics and sci­en­tists

Actors

Labour MPs

Oth­ers

Peo­ple named in Orwell’s note­book, but not appear­ing on the final IRD list:

Relat­ed Con­tent:

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

George Orwell Reviews Mein Kampf (1940)

George Orwell’s Five Great­est Essays (as Select­ed by Pulitzer-Prize Win­ning Colum­nist Michael Hiltzik)

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

A Racy Philosophy Lesson on Kant’s Aesthetics by Alain de Botton’s “School of Life”

For the past two decades, Alain de Bot­ton has refined his knack for pop­u­lar­iz­ing philo­soph­i­cal and lit­er­ary ideas. In 1997, he pub­lished his best­seller, How Proust Can Change Your Life. Next came his six-part video series, A Guide to Hap­pi­nesswhere de Bot­ton showed how thinkers like Mon­taigne, Seneca and Schopen­hauer can help you grap­ple with time­less ques­tions — like deal­ing with anger, man­ag­ing your love life, or main­tain­ing your self-esteem. And, by 2008, we find Alain open­ing The School of Life, a Lon­don-based oper­a­tion that has as its tagline “good ideas for every­day life.”

The School of Life offers class­es, pub­lish­es books, makes films, and now pro­duces YouTube videos, some of which we’ve fea­tured here before. The School’s lat­est release won’t go unno­ticed. A three minute les­son on Kan­t’s aes­thet­ics, the video fea­tures an eroti­cized teacher talk­ing quick­ly and author­i­ta­tive­ly in Ger­man about dif­fi­cult aspects relat­ing to Kan­t’s phi­los­o­phy. Things get meta pret­ty quick­ly, and soon the dis­tract­ing cam­era work starts mak­ing Kan­t’s very point about the nature of the sub­jec­tive. The charged imagery is not, in oth­er words, entire­ly gra­tu­itous — but it’s cer­tain­ly pret­ty uncon­ven­tion­al, and whether it’s effec­tive, I guess that’s up for debate. Next, up Niet­zsche, we’re told.

If you would like some deep­er intro­duc­tions to Kan­t’s phi­los­o­phy, please see our list of 130 Free Online Phi­los­o­phy Cours­es. Kan­t’s Cri­tique of Judg­ment appears in our col­lec­tion, 135 Free Phi­los­o­phy eBooks.

Relat­ed Con­tent:

The Dai­ly Habits of High­ly Pro­duc­tive Philoso­phers: Niet­zsche, Marx & Immanuel Kant

Alain de Botton’s School of Life Presents Ani­mat­ed Intro­duc­tions to Hei­deg­ger, The Sto­ics & Epi­cu­rus

How Mar­tin Luther King, Jr. Used Hegel, Kant & Niet­zsche to Over­turn Seg­re­ga­tion in Amer­i­ca

 

The Story of John Coltrane’s A Love Supreme, Released 50 Years Ago This Month

What can I add to the cho­rus of voic­es in praise of John Coltrane’s A Love Supreme? Record­ed in Decem­ber of 1964 and released fifty years ago this month, the album has gone on to achieve cult status—literally inspir­ing a church found­ed in Coltrane’s name—as one of the finest works of jazz or any oth­er form of music. It cement­ed Coltrane’s name in the pan­theon of great com­posers, and re-invent­ed reli­gious music for a sec­u­lar age. Com­posed as a hymn of praise and grat­i­tude, “the bizarre suite of four move­ments,” wrote NPR’s Arun Rath last year, “com­mu­ni­cat­ed a pro­found spir­i­tu­al and philo­soph­i­cal mes­sage.” That mes­sage is artic­u­lat­ed explic­it­ly by Coltrane in the album’s lin­er notes as “a hum­ble offer­ing to Him,” the deity he expe­ri­enced in a 1957 “spir­i­tu­al awak­en­ing” that “lead me to a rich­er, fuller, more pro­duc­tive life.”

These phras­es speak the lan­guage of recov­ery, and Coltrane found God through a pro­gram of recov­ery from hero­in addic­tion. Like so many who have embraced faith after addic­tion, Coltrane’s devo­tion was ardent, but nei­ther dog­mat­ic nor judg­men­tal. He “refused to com­mit to a sin­gle reli­gion,” writes Rath, “His idea of God couldn’t be con­tained by any doc­trine. But with his sax­o­phone, and with his band, he could preach.” That he did, reli­gious­ly, no pun intend­ed. Before the record­ing of A Love Supreme, Coltrane’s clas­sic quartet—including drum­mer Elvin Jones, pianist McCoy Tyn­er, and bassist Jim­my Garrison—toured the U.S. for four years. As the BBC doc­u­men­tary above informs us, “The group’s appetite for per­for­mance was fero­cious.” They played “two gigs a day, six nights a week, tak­ing only short breaks in the stu­dio to record mate­r­i­al for more than fif­teen increas­ing­ly crit­i­cal­ly acclaimed albums.”

By the time the group record­ed A Love Supreme, they had devel­oped “an amaz­ing unspo­ken com­mu­ni­ca­tion.” Tyn­er recalled the album as “a cul­mi­na­tion and nat­ur­al exten­sion of chem­istry honed through years of play­ing togeth­er live.” (Despite all that, they would only per­form the suite of songs live once, in Antibes, France, result­ing in a live album and some frag­men­tary film of the event.) Nar­rat­ed by Jez Nel­son, the 2004 radio doc­u­men­tary (up top) presents inter­views with Tyn­er, Jones, mod­ernist com­pos­er Steve Reich, Coltrane’s wife Alice, and oth­ers, in-between pas­sages of Coltrane’s music, includ­ing his major break­out hit record­ing of “My Favorite Things.”

Among the many trib­utes to the album’s inspir­ing, tran­scen­dent genius, Coltrane schol­ar Ash­ley Kahn offers a very down-to-earth assess­ment of A Love Supreme’s impor­tance: “[Coltrane] was not a prodi­gy. He was some­one who worked very, very, very hard at his craft, and he showed us, and he shows musi­cians still, that it is pos­si­ble.” Whether we attribute Coltrane’s achieve­ments to divine inspi­ra­tion, incred­i­bly hard work, or some com­bi­na­tion of the two, the proof of his devo­tion stands the test of fifty years, and fifty years from now, I sus­pect we’ll say much the same.

Relat­ed Con­tent:

John Coltrane’s Hand­writ­ten Out­line for His Mas­ter­piece A Love Supreme

John Coltrane Per­forms A Love Supreme and Oth­er Clas­sics in Antibes (July 1965)

Dis­cov­er the Church of St. John Coltrane, Found­ed on the Divine Music of A Love Supreme

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

The Musical Career of David Bowie in One Minute … and One Continuous Take

We like to keep things suc­cinct around here. So behold the many ch-ch-changes of David Bowie, filmed in one minute, and in one con­tin­u­ous take. And when you’re done, check out 50 Years of Chang­ing David Bowie Hair Styles in One Ani­mat­ed GIF. More Bowie mate­r­i­al from the OC archive awaits you below.

Relat­ed Con­tent:

David Bowie’s Top 100 Books

A 17-Year-Old David Bowie Defends “Long-Haired Men” in His First TV Inter­view (1964)

David Bowie Releas­es Vin­tage Videos of His Great­est Hits from the 1970s and 1980s

David Bowie Sings ‘I Got You Babe’ with Mar­i­anne Faith­full in His Last Per­for­mance As Zig­gy Star­dust

Wes Anderson Likes the Color Red (and Yellow)

Red seems to be a mag­net for angry bulls and great direc­tors. After all, it’s the col­or that seems to stand out more than any oth­er. Yasu­jiro Ozu, for one, made the jump to col­or movies very reluc­tant­ly late in his career and prompt­ly became obsessed with the col­or red. His pro­duc­tion team kept a box on set of small red house­hold things – a match­box, an umbrel­la, a teaket­tle — which he used to place in the back­ground of just about every shot. Jean-Luc Godard famous­ly bathed Brigitte Bardot’s back­side in red light for his first col­or film Con­tempt. When crit­ics com­plained that his fea­ture, Pier­rot le Fou, was too bloody, he quipped, “It’s not blood, it’s red.” And from HAL 9000’s unfor­giv­ing elec­tron­ic eye in 2001 to the buck­ets of blood pour­ing out of the ele­va­tor from hell in The Shin­ing, Stan­ley Kubrick built some of his most mem­o­rable scenes around the col­or red.

Edi­tor and design­er Rishi Kane­r­ia, who seems to be mak­ing a career out of point­ing out the col­or choic­es of auteurs, has just released a video called “Red & Yel­low: A Wes Ander­son Super­cut” that square­ly places Wes Ander­son among the ranks of cinema’s great crim­son-lov­ing styl­ists – from Ben Stiller’s sweats in The Roy­al Tenen­baums to the lux­u­ri­ous car­pets of his lat­est effort The Grand Budapest Hotel. As you might gath­er from the title of Kaneria’s short, Ander­son is also a fan of the col­or yel­low too. You can watch the video above. And you can watch Kaneria’s look into Kubrick’s use of red below.

Relat­ed Con­tent:

What’s the Big Deal About Wes Anderson’s The Grand Budapest Hotel? Matt Zoller Seitz’s Video Essay Explains

The Per­fect Sym­me­try of Wes Anderson’s Movies

A Glimpse Into How Wes Ander­son Cre­ative­ly Remixes/Recycles Scenes in His Dif­fer­ent Films

Watch Wes Anderson’s Charm­ing New Short Film, Castel­lo Cav­al­can­ti, Star­ring Jason Schwartz­man

Wes Anderson’s First Short Film: The Black-and-White, Jazz-Scored Bot­tle Rock­et (1992)

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.

Glorious Early 20th-Century Japanese Ads for Beer, Smokes & Sake (1902–1954)

drink_smoke_10

Ear­li­er this month, we fea­tured adver­tise­ments from Japan’s pre­war Art Deco gold­en age, a peri­od that shows off one facet of the coun­try’s rich graph­ic his­to­ry. While all forms of Japan­ese design remain com­pelling today, any time or place would be hard pressed to com­pete with the world of Japan’s pre-war print adver­tis­ing. It has, espe­cial­ly for the mod­ern West­ern­er, not just a visu­al nov­el­ty but a com­mer­cial nov­el­ty as well: as often as not, sur­viv­ing exam­ples glo­ri­fy now-restrict­ed addic­tive sub­stances like alco­hol and tobac­co.

drink_smoke_4

At Pink Ten­ta­cle (a com­plete­ly safe-for-work page, believe it or not), you can find a roundup of Japan­ese print adver­tise­ments for prod­ucts that tap into just such vices. Japan opened up to the world in a big way in the mid-to-late 19th cen­tu­ry, and the coun­try’s accep­tance (and sub­se­quent Japan­i­fi­ca­tion) of all things for­eign kept chug­ging along right up until the Sec­ond World War. At the top, we have an appeal­ing exam­ple of this inter­na­tion­al­ism at work in the ser­vice of Saku­ra Beer in the late 1920s. The 1902 ad just above depicts not just the globe but a smok­ing Pega­sus astride it in the name of Pea­cock cig­a­rettes.

drink_smoke_21

When the tone of Japan­ese life got mil­i­taris­tic in the 1930s, so did the tone of Japan­ese ads. The 1937 poster just above pro­claims “Defense for Coun­try, Tobac­co for Soci­ety,” a mes­sage brought to you by the South Kyoto Tobac­co Sell­ers’ Union. Below, the kind of Japan­ese maid­en pre­war graph­ic design always ren­dered so well appears in a dif­fer­ent, more out­ward­ly patri­ot­ic, and much more naval form.

drink_smoke_17

It goes with­out say­ing that most of these ads’ design­ers geared them toward the eyes of the Japan­ese — most, but not all. After the war, dur­ing the Unit­ed States’ occu­pa­tion of the coun­try, there appeared print announce­ments in this same styl­is­tic vein urg­ing GIs and oth­er Amer­i­can mil­i­tary per­son­nel to keep on their best com­mer­cial behav­ior. Take, for instance, these words the straight­for­ward­ly named Japan Monop­oly Cor­po­ra­tion placed beside this arche­typ­i­cal­ly court­ly but unchar­ac­ter­is­ti­cal­ly stern tra­di­tion­al lady in 1954:

drink_smoke_25

A valiant effort, but from the sto­ries I’ve heard of the occu­pa­tion, no amount of graph­ic design could’ve shut down that par­tic­u­lar black mar­ket. And final­ly, no look back at vin­tage Japan­ese ads would be com­plete with­out includ­ing one adver­tise­ment for sake. The ad below is for Zuigan sake, cre­at­ed in 1934.

drink_smoke_18

Relat­ed Con­tent:

Adver­tise­ments from Japan’s Gold­en Age of Art Deco

Hand-Col­ored Pho­tographs of 19th Cen­tu­ry Japan

Two Short Films on Cof­fee and Cig­a­rettes from Jim Jar­musch & Paul Thomas Ander­son

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

Kids Orchestra Plays Ozzy Osbourne’s “Crazy Train” and Zeppelin’s “Kashmir”

The Louisville Leop­ard Per­cus­sion­ists — they’re a per­form­ing ensem­ble made up of 60 stu­dents, all between the ages of 7 and 14, from schools around the Louisville, Ken­tucky area. Each musi­cian plays sev­er­al instru­ments, such as the marim­bas, xylo­phone, vibra­phone, drum set, tim­bales, con­gas, bon­gos and piano. And they can rock with the best of them. Per­haps you’ve seen a viral video of the young per­cus­sion­ists play­ing Led Zep­pelin’s “Kash­mir,” which Jim­my Page called “too good not to share” on his Face­book page.

If your inner 16-year-old is ask­ing “what about Ozzy?,” well then, we’ve got you cov­ered. Above you can watch The Fab­u­lous Leop­ard Per­cus­sion­ists rehears­ing a ver­sion of Ozzy Osbourne’s “Crazy Train,” the heavy met­al clas­sic from 1980. Found­ed in 1993 by the ele­men­tary school teacher Diane Downs, the ensem­ble has cer­tain­ly explored oth­er musi­cal forms too. Here, you can see them per­form Chick Core­a’s “Spain” and Ben­ny Good­man’s “Sing Sing Sing” at the Inter­na­tion­al Asso­ci­a­tion of Jazz Edu­ca­tors’ con­cert in New York City. And Latin-inspired ver­sions of Low Rider/Oye Como Va. Not a bad way to start your day, I must say.

Fol­low us on Face­book, Twit­ter and Google Plus and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

Relat­ed Con­tent:

Ele­men­tary School Kids Sing David Bowie’s “Space Odd­i­ty” & Oth­er Rock Hits: A Cult Clas­sic Record­ed in 1976

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

Thomas Dol­by Explains How a Syn­the­siz­er Works on a Jim Hen­son Kids Show (1989)

by | Permalink | Make a Comment ( 4 ) |

Hunter S. Thompson, Existentialist Life Coach, Gives Tips for Finding Meaning in Life

hst

Image by Steve Ander­son, via Wiki­me­dia Com­mons

At first blush, Hunter S. Thomp­son might be the last per­son you would want to ask for advice. After all, his dai­ly rou­tine involved copi­ous amounts of cocaine, LSD and Chivas Regal. He once raked a neighbor’s house with gun­fire. And he once almost acci­den­tal­ly blew up John­ny Depp. Yet beneath his gonzo per­sona lay a man who thought deeply and often about the mean­ing of it all. He was some­one who spent a life­time star­ing into the abyss.

So in 1958, before he became a counter-cul­ture icon, before he even start­ed writ­ing pro­fes­sion­al­ly, Thomp­son wrote a long let­ter about some of the big ques­tions in life to his friend, Hume Logan, who was in the throes of an exis­ten­tial cri­sis.

While the first cou­ple of para­graphs warns against the dan­gers of seek­ing advice, Hunter then expounds at length on some deep, and sur­pris­ing­ly lev­el-head­ed truths. Below are a few pearls of wis­dom:

  • Whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this!
  • You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.)
  • To put our faith in tan­gi­ble goals would seem to be, at best, unwise. We do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.
  • Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.
  • Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

The let­ter was pub­lished in the 2013 book, Let­ters of Note. You can read it in its entire­ty below.

April 22, 1958
57 Per­ry Street
New York City

Dear Hume,

You ask advice: ah, what a very human and very dan­ger­ous thing to do! For to give advice to a man who asks what to do with his life implies some­thing very close to ego­ma­nia. To pre­sume to point a man to the right and ulti­mate goal— to point with a trem­bling fin­ger in the RIGHT direc­tion is some­thing only a fool would take upon him­self.

I am not a fool, but I respect your sin­cer­i­ty in ask­ing my advice. I ask you though, in lis­ten­ing to what I say, to remem­ber that all advice can only be a prod­uct of the man who gives it. What is truth to one may be dis­as­ter to anoth­er. I do not see life through your eyes, nor you through mine. If I were to attempt to give you spe­cif­ic advice, it would be too much like the blind lead­ing the blind.

“To be, or not to be: that is the ques­tion: Whether ’tis nobler in the mind to suf­fer the slings and arrows of out­ra­geous for­tune, or to take arms against a sea of trou­bles … ” (Shake­speare)

And indeed, that IS the ques­tion: whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this! Think of any deci­sion you’ve ever made which had a bear­ing on your future: I may be wrong, but I don’t see how it could have been any­thing but a choice how­ev­er indi­rect— between the two things I’ve men­tioned: the float­ing or the swim­ming.

But why not float if you have no goal? That is anoth­er ques­tion. It is unques­tion­ably bet­ter to enjoy the float­ing than to swim in uncer­tain­ty. So how does a man find a goal? Not a cas­tle in the stars, but a real and tan­gi­ble thing. How can a man be sure he’s not after the “big rock can­dy moun­tain,” the entic­ing sug­ar-can­dy goal that has lit­tle taste and no sub­stance?

The answer— and, in a sense, the tragedy of life— is that we seek to under­stand the goal and not the man. We set up a goal which demands of us cer­tain things: and we do these things. We adjust to the demands of a con­cept which CANNOT be valid. When you were young, let us say that you want­ed to be a fire­man. I feel rea­son­ably safe in say­ing that you no longer want to be a fire­man. Why? Because your per­spec­tive has changed. It’s not the fire­man who has changed, but you. Every man is the sum total of his reac­tions to expe­ri­ence. As your expe­ri­ences dif­fer and mul­ti­ply, you become a dif­fer­ent man, and hence your per­spec­tive changes. This goes on and on. Every reac­tion is a learn­ing process; every sig­nif­i­cant expe­ri­ence alters your per­spec­tive.

So it would seem fool­ish, would it not, to adjust our lives to the demands of a goal we see from a dif­fer­ent angle every day? How could we ever hope to accom­plish any­thing oth­er than gal­lop­ing neu­ro­sis?

The answer, then, must not deal with goals at all, or not with tan­gi­ble goals, any­way. It would take reams of paper to devel­op this sub­ject to ful­fill­ment. God only knows how many books have been writ­ten on “the mean­ing of man” and that sort of thing, and god only knows how many peo­ple have pon­dered the sub­ject. (I use the term “god only knows” pure­ly as an expres­sion.) There’s very lit­tle sense in my try­ing to give it up to you in the prover­bial nut­shell, because I’m the first to admit my absolute lack of qual­i­fi­ca­tions for reduc­ing the mean­ing of life to one or two para­graphs.

I’m going to steer clear of the word “exis­ten­tial­ism,” but you might keep it in mind as a key of sorts. You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.) But back to the answer. As I said, to put our faith in tan­gi­ble goals would seem to be, at best, unwise. So we do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.

But don’t mis­un­der­stand me. I don’t mean that we can’t BE fire­men, bankers, or doc­tors— but that we must make the goal con­form to the indi­vid­ual, rather than make the indi­vid­ual con­form to the goal. In every man, hered­i­ty and envi­ron­ment have com­bined to pro­duce a crea­ture of cer­tain abil­i­ties and desires— includ­ing a deeply ingrained need to func­tion in such a way that his life will be MEANINGFUL. A man has to BE some­thing; he has to mat­ter.

As I see it then, the for­mu­la runs some­thing like this: a man must choose a path which will let his ABILITIES func­tion at max­i­mum effi­cien­cy toward the grat­i­fi­ca­tion of his DESIRES. In doing this, he is ful­fill­ing a need (giv­ing him­self iden­ti­ty by func­tion­ing in a set pat­tern toward a set goal), he avoids frus­trat­ing his poten­tial (choos­ing a path which puts no lim­it on his self-devel­op­ment), and he avoids the ter­ror of see­ing his goal wilt or lose its charm as he draws clos­er to it (rather than bend­ing him­self to meet the demands of that which he seeks, he has bent his goal to con­form to his own abil­i­ties and desires).

In short, he has not ded­i­cat­ed his life to reach­ing a pre-defined goal, but he has rather cho­sen a way of life he KNOWS he will enjoy. The goal is absolute­ly sec­ondary: it is the func­tion­ing toward the goal which is impor­tant. And it seems almost ridicu­lous to say that a man MUST func­tion in a pat­tern of his own choos­ing; for to let anoth­er man define your own goals is to give up one of the most mean­ing­ful aspects of life— the defin­i­tive act of will which makes a man an indi­vid­ual.

Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.

Nat­u­ral­ly, it isn’t as easy as it sounds. You’ve lived a rel­a­tive­ly nar­row life, a ver­ti­cal rather than a hor­i­zon­tal exis­tence. So it isn’t any too dif­fi­cult to under­stand why you seem to feel the way you do. But a man who pro­cras­ti­nates in his CHOOSING will inevitably have his choice made for him by cir­cum­stance.

So if you now num­ber your­self among the dis­en­chant­ed, then you have no choice but to accept things as they are, or to seri­ous­ly seek some­thing else. But beware of look­ing for goals: look for a way of life. Decide how you want to live and then see what you can do to make a liv­ing WITHIN that way of life. But you say, “I don’t know where to look; I don’t know what to look for.”

And there’s the crux. Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

If I don’t call this to a halt, I’m going to find myself writ­ing a book. I hope it’s not as con­fus­ing as it looks at first glance. Keep in mind, of course, that this is MY WAY of look­ing at things. I hap­pen to think that it’s pret­ty gen­er­al­ly applic­a­ble, but you may not. Each of us has to cre­ate our own cre­do— this mere­ly hap­pens to be mine.

If any part of it doesn’t seem to make sense, by all means call it to my atten­tion. I’m not try­ing to send you out “on the road” in search of Val­hal­la, but mere­ly point­ing out that it is not nec­es­sary to accept the choic­es hand­ed down to you by life as you know it. There is more to it than that— no one HAS to do some­thing he doesn’t want to do for the rest of his life. But then again, if that’s what you wind up doing, by all means con­vince your­self that you HAD to do it. You’ll have lots of com­pa­ny.

And that’s it for now. Until I hear from you again, I remain,

your friend,
Hunter

Relat­ed Con­tent:

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Hunter S. Thomp­son Inter­views Kei­th Richards

John­ny Depp Reads Let­ters from Hunter S. Thomp­son

Hunter S. Thomp­son Gets Con­front­ed by The Hell’s Angels

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.


  • Great Lectures

  • Sign up for Newsletter

  • About Us

    Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.


    Advertise With Us

  • Archives

  • Search

  • Quantcast
    Open Culture was founded by Dan Colman.