To understand the two sides of Steve Martin’s performing talents, check out his one and only hit single, 1978’s King Tut. On the A-side was the novelty funk hit about the Egyptian boy king. On the B-side, two deep cuts that showed off Martin’s formidable Americana/banjo chops: the traditional "Sally Goodin" (circa 1860, but existing on recordings since 1922), and "Hoedown at Alice’s" an original written for his then stand-up manager Bill McEuen’s wife. It’s not what you’d expect from the "Wild and Crazy Guy," but Martin’s banjo had always been a part of his act. He taught himself at 15 years old, playing along very slowly to Earl Scruggs records. He told an interviewer: The reason I played it on stage is because my act was so crazy I thought it’s probably good to show the audience I can do something that looks hard, because this act looks like I’m just making it up. I really wasn’t. I worked very hard on it. Which is a long way of saying: When Martin recorded an album of banjo favorites in 2009, The Crow, won a Grammy without relying on a single joke, then enlisted the help of the North Carolinian Steep Canyon Rangers to go on a tour, it should not have really been a surprise. When he teamed up next with The Steep Canyon Rangers and recorded Rare Bird Alert in 2011, Martin started to combine comedy and music once again, and with this above novelty song, he gets to indulge in the beautiful harmony singing that bluegrass groups like The Stanley Brothers, The Louvin Brothers, and the Osbourne Brothers made so popular in the mid-century. (There wasn’t just banjo pickin’ on those LPs, you know.) The above appearance on Letterman is a great rendition of a concert favorite, "Atheists Don’t Have No Songs." So in this month of arguments over the Starbucks holiday cup, let Mr. Martin and group add a palliative to any hurt atheist feelings. You guys rock. P.S. Martin got a chance to play with his hero on the same late-night program. Related Content Steve Martin & Robin Williams Riff on Math, Physics, Einstein & Picasso in a Heady Comedy Routine (2002) Steve Martin on the Legendary Bluegrass Musician Earl Scruggs Steve Martin Releases Bluegrass Album/Animated Video A Bluegrass Version of Metallica’s Heavy Metal Hit, "Enter Sandman" Ted Mills is a freelance writer on the arts who currently hosts the artist interview-based FunkZone Podcast. King Tut was the second 45 he ever bought as a kid. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here. Steve Martin Writes a Hymn for Hymn-Less Atheists is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

When we think of a science fiction, most of us doubtless think of a Star Trek. Since the original series made its television debut almost a half-century ago, the speculative future it created has come to stand, in many minds, as the very model of the science-fictional enterprise (as it were). But the institution of Star Trek in all its forms — TV shows, movies, movies made out of TV shows, novels, video games, action figures, and so on — still has its detractors, and back at the very beginning it hardly looked like a sure success. Geek.com’s list of five things that nearly killed off Star Trek includes a failed pilot, a near-firing of Leonard Nimoy, and the words of no less a science-fiction titan than Isaac Asimov. "Star Trek," wrote its creator Gene Roddenberry in 1966, "almost did not get on the air because it refused to do juvenile science fiction, because it refused to put a ‘Lassie’ aboard the space ship, and because it insisted on hiring Dick Matheson, Harlan Ellison, A.E. Van Vogt, Phil Farmer, and so on." This came as part of a response to Asimov, who, in a TV Guide article entitled "What Are a Few Galaxies Among Friends?," criticized Star Trek for getting the science wrong. He cites, for example, a line about a gaseous cloud "one-half light year outside the Galaxy," which he likens to "saying a house is one-half yard outside the Mississippi Basin." Measurement flubs aside, Star Trek, despite its cancellation after three seasons, had become so big by the early 1970s that its fans had begun to put on whole conventions dedicated to the show. You can see in the clip above one such event in 1973, which provides proof that even Asimov had turned fan. He speaks of his appreciation for the show three times during the video, now describing Star Trek as the "sanest" and "most meaningful" program of its kind, one that "tackled real social problems," was "not devoted entirely to adventure," and had "fully realized characters" (citing Mr. Spock as Exhibit A). He may still have objected to the infamous split infinitive "to boldly go" (once a nitpicker, always a nitpicker), but he still thought the show "really presented the brotherhood of intelligence." After Asimov wrote his initial critique in TV Guide, he and Gene Roddenberry exchanged letters, and the two formidable sci-fi minds became friends and even collaborators thereafter. A 1967 Time magazine profile described Asimov as "batting out books on a new electric typewriter, emerging only occasionally to watch Star Trek (his favorite TV show)," and he went on to become an advisor to the show. A Letters of Note post on Roddenberry and Asimov’s correspondence contains a 1967 exchange wherein they put their heads together to solve the problem of how to give Captain Kirk lines as good as the ones that naturally go to a more unusual character like Spock. Since Asimov also contributed original ideas to the show, after having gone on record as a fan, I wonder: does that mean, in some sense, that Isaac Asimov wrote Star Trek fan fiction? Related Content: Klingon for English Speakers: Sign Up for a Free Course Coming Soon Isaac Asimov Predicts in 1964 What the World Will Look Like Today — in 2014 Free: Isaac Asimov’s Epic Foundation Trilogy Dramatized in Classic Audio Isaac Asimov Explains the Origins of Good Ideas & Creativity in Never-Before-Published Essay Isaac Asimov Explains His Three Laws of Robots Isaac Asimov’s Favorite Story "The Last Question" Read by Isaac Asimov— and by Leonard Nimoy Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook. How Isaac Asimov Went from Star Trek Critic to Star Trek Fan & Advisor is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

In the early 20th century, the visionary inventor Buckminster Fuller started looking for ways to improve human shelter by: Applying modern technological know-how to shelter construction. Making shelter more comfortable and efficient. Making shelter more economically available to a greater number of people. And what he came up with (read more here) was the "geodesic" dome." This dome held appeal for two main reasons: 1.) its surface would be "omnitriangulated," meaning built out of small triangles, which would give the overall structure unparalleled strength. And 2.) domes by their very nature enclose the greatest volume for the least surface area, which makes them very efficient. Fuller developed the mathematics for the geodesic dome and helped make it an architectural reality. You can find instances where these domes served as auditoriums, weather observatories, and storage facilities in the US and Canada. And then above, you watch a documentary called A Necessary Ruin: The Story of Buckminster Fuller and the Union Tank Car Dome. Shot by Evan Mather in 2010, the documentary tells the story of the dome built in Baton Rouge, LA in 1958. At 384 feet in diameter, the Union Tank Car Dome was the world’s largest free-span structure then in existence. Mather’s documentary includes " interviews with architects, engineers, preservationists, media, and artists; animated sequences demonstrating the operation of the facility; and hundreds of rare photographs and video segments taken during the dome’s construction, decline, and demolition." It was funded by a grant from the Graham Foundation for Advanced Studies in the Fine Arts, and you can now find it our collection of Free Documentaries, a subset of our collection, 725 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.. Visit handcraftedfilms.com for more info on Mather’s film and/or to purchase the DVD. Related Content Everything I Know: 42 Hours of Buckminster Fuller’s Visionary Lectures Free Online (1975) Watch an Animated Buckminster Fuller Tell Studs Terkel All About "the Geodesic Life" Better Living Through Buckminster Fuller’s Utopian Designs: Revisit the Dymaxion Car, House, and Map Bertrand Russell & Buckminster Fuller on Why We Should Work Less, and Live & Learn More The Life & Times of Buckminster Fuller’s Geodesic Dome: A Documentary is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

The holidays can be hard, starting in October when the red and green decorations begin muscling in on the Halloween aisle. Most Wonderful Time of the Year, you say? Oh, go stuff a stocking in it, Andy Williams! The majority of us have more in common with the Grinch, Scrooge, and/or the Little Match Girl. Still, it’s hard to resist the preternaturally mature 11-year-old Björk reading the nativity story in her native Icelandic, backed by unsmiling older kids from the Children’s Music School in Reykjavík. Particularly since I myself do not speak Icelandic. The fact that it’s in black and white is merely the blueberries on the spiced cabbage. It speaks highly of the Icelandic approach to education that a principal’s office regular who reportedly chafed at her school’s "retro, constant Beethoven and Bach bollocks" curriculum was awarded the plum part in this 1976 Christmas special for the National Broadcasting Service. It would also appear that little Björk, the fiercely self-reliant latchkey kid of a Bohemian single mother, was far and away the most charismatic kid enrolled in the Barnamúsikskóli. (Less than a year later her self-titled first album sold 7000 copies in Iceland—a modest amount compared to Adele’s debut, maybe, but c’mon, the kid was 11! And Iceland’s population at the time was a couple hundred thousand and change.) As to the above performance’s religious slant, it wasn’t a reflection of her personal beliefs. As she told the UK music webzine Drowned in Sound in 2011: …nature is my religion, in a way… I think everybody has their own private religion. I guess what bothers me is when millions have the same one. It just can’t be true. It’s just…what? Still, it probably wasn’t too controversial that the programmers elected to cleave to the reason in the season. Icelandic church attendance may be low-key, but the overwhelming majority of its citizens identify as Lutheran, or some other Christian denomination. (They also believe in elves and 13 formerly fearsome Yule Lads, descendants of the ogres Grýla and Leppalúði. By the time Björk appeared on earth, they had long since evolved, through a combination of foreign influence and public decree, into the kinder, gentler, not quite Santa-esque version, addressing the studio audience at the top of the act.) Related Content: Hear the Album Björk Recorded as an 11-Year-Old: Features Cover Art Provided By Her Mom (1977) A Young Björk Deconstructs (Physically & Theoretically) a Television in a Delightful Retro Video Björk Presents Groundbreaking Experimental Musicians on the BBC’s Modern Minimalists (1997) Ayun Halliday is an author, illustrator, and Chief Primatologist of the East Village Inky zine. She is proud to originated the role of Santa’s mortal consort, Mary, in her Jewish husband Greg Kotis’ Nordic-themed holiday fantasia, The Truth About Santa. Follow her @AyunHalliday Watch Björk, Age 11, Read a Christmas Nativity Story on a 1976 Icelandic TV Special is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Take a look at the live performance above of a Johann Sebastian Bach chaconne. See that monstrous stringed instrument in the back? The one that looks like a movie prop? It’s real, and it’s called the octobass, a triple bass made in 1850 by prolific French instrument maker and inventor Jean-Baptiste Vuillaume, whom German violin maker Corilon calls "the most significant violin maker of modern times." The huge instrument can play a full octave below the standard double bass and create sound down to 16 Hz, at the lowest threshold of human hearing and into the realm of what’s called infrasound. The octobass is so large that players have to stand on a platform, and use special keys on the side of the instrument to change the strings’ pitch since the neck is far too high to reach. (See this photo of a young boy dwarfed by an octobass for scale.) One of two playable replicas of the original three octobasses Vuillaume made resides at the Musical Instrument Museum (MIM) in Phoenix, AZ. In the video above, MIM curator Colin Pearson gets us up close to the gargantuan bass, created, he tells us, to "add a low end rumble to any large orchestra." That it does. The description of the video just below advises you to "turn up your subs" to hear the demonstration by Nico Abondolo, double bass player of the LA Chamber orchestra. (Abondolo is also principle bass for several Hollywood orchestras, and he came to MIM to record samples of the octobass for the Hunger Games soundtrack.) As you’ll see in the video, the octobass is so massive, it takes five people to move it. Abondolo plays the octobass with both his fingers and with the 3-stringed instrument’s specially made bow, and demonstrates its system of keys and levers. "Playing the instrument is a twofold, or maybe threefold physical exertion," he remarks. It’s also a journey into a past where "people were as crazy, or crazier about music than we are now." Perhaps needless to say, the instrument’s bulk and the awkward physical movements required to play it mean that it cannot be played at faster tempos. And if the first thing that comes to mind when you hear Abondolo strum those low bass notes is the theme from Jaws, you’re not alone. A number of other musicians visiting the octobass at MIM took the opportunity to goof around on the comically oversized bass and play their versions of the ominous shark approach music (above). You won’t get the full effect of the instrument unless you’re listening with a quality subwoofer with a very low bass response, and even then, almost no sub—consumer or pro—can handle the lowest pitch the octobass is capable of producing. But if you were to stand in the same room while someone played the huge triple bass, you’d certainly feel its lowest register rumbling through you. via Laughing Squid Related Content: The Story of the Bass: New Video Gives Us 500 Years of Music History in 8 Minutes 100 Great Bass Riffs Played in One Epic Take: Covers 60 Years of Rock, Jazz and R&B Jazz Legend Jaco Pastorius Gives a 90 Minute Bass Lesson and Plays Live in Montreal (1982) The Neuroscience of Bass: New Study Explains Why Bass Instruments Are Fundamental to Music Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness Watch Musicians Play Bach & the Jaws Theme on the Octobass, the Gargantuan String Instrument Invented in 1850 is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Here at Open Culture, we can’t get enough of the Chelsea Hotel, which means we can’t get enough of the Chelsea Hotel in a certain era, at the height of a certain cultural moment in New York history. Though it struggled as a business for years after it first opened as an apartment building in 1884 and changed hands left and right until the 1970s, it hit its stride as an icon when a certain critical mass of well-known (or soon to be well known) musicians, writers, artists, filmmakers, and otherwise colorful personalities had put in time there. One such musician, writer, artist in other media, and colorful personality indeed has an especially strong association with the Chelsea: Patti Smith. You may remember our post back in 2012 featuring Smith reading her final letter to Robert Mapplethorpe, which she included in Just Kids, her acclaimed memoir of her friendship with the controversial photographer. For a time, Smith and Mapplethorpe lived in the Chelsea together, and in the footage above, shot in 1970 by a German documentary film crew, you can see them there in their natural habitat. "The Chelsea was like a doll’s house in The Twilight Zone, with a hundred rooms, each a small universe," Smith writes in Just Kids. "Everyone had something to offer and nobody seemed to have much money. Even the successful seemed to have just enough to live like extravagant bums." These fifteen minutes of film also includes glimpses into a variety of other lives lived at the Chelsea as the 1970s began. If you’d like to see more of the place at its cultural zenith — made possible by the state of 70s New York itself, which had infamously hit something of a nadir — have a look at the clip we featured in 2013 of the Velvet Underground’s Nico singing "Chelsea Girls" there. Just after the 70s had gone, BBC’s Arena turned up to shoot a documentary of their own, which we featured last year. Smith has long since left the Chelsea, and Mapplethorpe has long since left this world, but even now, as the hotel undergoes extensive renovations that began in 2011, some of those "extravagant bums" remain. via Please Kill Me Related Content: New York’s Famous Chelsea Hotel and Its Creative Residents Revisited in a 1981 Documentary Nico Sings "Chelsea Girls" in the Famous Chelsea Hotel Iggy Pop Conducts a Tour of New York’s Lower East Side, Circa 1993 Patti Smith Reads Her Final Words to Her Dear Friend Robert Mapplethorpe The Life and Controversial Work of Photographer Robert Mapplethorpe Profiled in 1988 Documentary Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. He’s at work on a book about Los Angeles, A Los Angeles Primer, the video series The City in Cinema, and the crowdfunded journalism project Where Is the City of the Future? Follow him on Twitter at @colinmarshall or on Facebook. Vintage Footage Shows a Young, Unknown Patti Smith & Robert Mapplethorpe Living at the Famed Chelsea Hotel (1970) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

Back in October, we helped break the news that you could watch the entire first season of Bob Ross’s beloved TV show, The Joy of Painting, free online. Now can you add another 70 complete episodes to your media queue (roughly 20% of the show’s entire catalogue), all pulled from different seasons that aired between 1983 and 1994. Just call up this playlist from Bob’s official YouTube channel, or start streaming the videos above. If you sit tight for 35 hours, you’ll learn how to paint Misty Rolling Hills, Lazy Rivers, Twilight Meadows, Mountain Streams, Peaceful Valleys and other idyllic scenes. As The New York Times points out this week, 20 years after Bob’s untimely death, there’s now a strange revival of Bob Ross in full swing. And thanks to his YouTube channel, you can get swept up in the mania anytime you like. Finally, it’s worth mentioning that every Monday night is "Bob Ross Night" on Twitch.com. According to Twitch’s blog, "Every Monday, we will be running one season of The Joy of Painting on /bobross starting at 3pm PST and ending at 9:30pm PST. There are 31 seasons, so repeats will happen only once every seven months." Tune in for these marathons here. Follow Open Culture on Facebook and Twitter 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. And if you want to make sure that our posts definitely appear in your Facebook newsfeed, just follow these simple steps. Related Content   45,000 Works of Art from Stanford University’s Cantor Arts Center Now Freely Viewable Online The Metropolitan Museum of Art Puts 400,000 High-Res Images Online & Makes Them Free to Use 70 Complete Episodes of Bob Ross’ The Joy of Painting Now Free to Watch Online is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooks, Free Audio Books, Free Foreign Language Lessons, and MOOCs.

"Doing experiments with household items makes science accessible to the masses." - Don Herbert This picture was taken in 1998 when Don Herbert received an honorary doctorate from Sacred Heart University in Fairfield, Connecticut. I was invited to speak at his ceremony as we celebrated a man and his passion for inspiring young minds to learn more about science. A reporter from the Smithsonian Magazine contacted me several months ago wanting to talk the influential role Mr. Wizard played in shaping and molding my career as a professional science communicator today. Don Herbert paved the way for many of us who find great joy in communicating the wonders of science to public audiences whether it’s at our local museum, a science festival or even a television talkshow. Here’s a classic clip from Don Herbert’s original Watch Mr. Wizard show, circa 1952. Here’s the strange thing… I never saw an original Mr. Wizard Show on television during the 1950s or 60s. I’m one of those kids who grew up in the 70s when science was something you studied in school. It wasn’t until 1990 (I was in my mid 20s) that I watched Mr. Wizard’s World on cable television and I truly understood the depth of his Mr. Wizard’s genius. While it was easy to be mesmerized by the kooky science demonstrations, I was drawn to watching and learning from the techniques Don Herbert used to engage his "helpers" and the viewers watching at home. His style was calm and laid back. The focus was on the curiosity at hand and not one-liners or goofy bits of business. Yet, his experiments and the experiences he created were so entertaining. Don Herbert understood the science of engagement. In 1991 I was approached by NBC television to host a science segment on a program called News for Kids. Remember, this was pre "Bill Nye the Science Guy" or "Beakman’s World." As I worked with the producers and writers to plan the look and feel of the segment, something inside told me to find Don Herbert and see if he might give me some advice. In this pre-internet age, the search tool of choice was the phone, and it took about two days to finally track him down. Don was so kind and generous with his time on the phone, and his advice truly surprised me. "Don’t let them put you in a lab coat if you don’t want to look like a doctor or research scientist… just be yourself," Mr. Wizard told me with real conviction in his voice. "Kids don’t want to see a character… they want to see someone who is genuinely excited about the science you’re presenting. If you’re excited, they will be excited… and that’s the greatest gift you can ever give someone." But the most important piece of advice Mr. Wizard ever gave me was this… "Don’t ever let the gee-whiz over-shadow the content you’re trying to teach." In other words, it’s so easy to get caught up in the erupting foam or exploding egg or bubbling concoction that you forget to actually teach some science. "Use the gee-whiz to grab their attention and then do something meaningful with it." I was excited to follow-up with Don and share some of the episodes from my science segment on News for Kids that were inspired by the man himself. A popular guest on the Johnny Carson Show and later on David Letterman, Don Herbert was truly an inspiration to an entire generation of science enthusiasts and career scientists. This video is from David Letterman’s first show on NBC in 1982 when Mr. Wizard was a guest. You’ll notice that Don isn’t wearing a goofy tie-dye lab coat pretending to be a zany character. Instead, he’s just a guy who is passionate about sharing the wonders of science. If I tried to recreate any of these experiment on television today, producers would be eager to make the demonstrations bigger with more wow-factor and pizzazz. Yet, there’s something really cool about just sharing the experiment. Take a look… A large collection of his documents and photos were recently donated to the Archives Center of the Smithsonian’s National Museum of American History by Herbert’s step-daughter and her husband, Kristen and Tom Nikosey. A small selection from the archive is on display through October 2, 2015, in the museum’s newly renovated west wing, but the bulk of the materials are available by appointment. Read the entire article from the Smithsonian Magazine entitled Meet Mr. Wizard, Television’s Original Science Guy. Read the article from Speaker Magazine from February 2012…   The post How Mr. Wizard Inspired Me - A Conversation with Smithsonian Magazine appeared first on Steve Spangler.

And the question of the day is:Do you teach your students how to accept change?All 'hows', 'whys', and 'what-fors' graciously appreciated. Would love to hear how this applies to different subjects and different ages. Share your thoughts.

by John T. Spencerwhat was once a solitary work became collectiveI've written a few non-fiction teacher works before, but only recently did I take up the challenge of writing novel.  I'm in the editing phase now and I've noticed a few things about social media and this process.  These are a few random, scattered thoughts about how social media has changed what I had once seen as a solitary effort in writing a novel:The BenefitsTwitter has helped me learn to use language more sparingly.  Something about the brevity of the medium has pushed me away from meandering too far.  The bizarre thing is that I'm actually more astute at using better vocabulary, because Twitter is closer to poetry than prose. I found my voice in writing blogs.  Something about the daily feedback from readers helped me figure out how to say what I want to say in a way that is distinctly me.  Fortunately for me, my blog has never been intensely popular and has grown slowly over the years, allowing me to take risks and experiment along the way.I have a built-in "audience" from my PLN (my blog and Twitter followers) who have a sense of what I will write before I put it on paper.   When I've needed advice on book covers, I've had an instant pool of comments and questions, if a few people in particular helping me to refine my ideas. I've had help in writing my content.  For example, I posted the first three chapters and within one night I had six people offering feedback.  They all shared a similar perspective and honestly it saved my novel.  A few times I've actually tweeted a line from the book and watched the response.  The last line of the book was one such tweet. The DrawbacksI struggled at first with the narrative format, partially because people lose patience fast on blogs while they want to build anticipation with a story.  Even in the editing phase, I'm trying to figure this out.  Although blogs allowed me to find my voice, they have also unintentionally led me to a place where I'm either a commentator or expert.  Figuring out how to tell the story rather than comment on it has been a challenge due to social media.  Social media (and Twitter in particular) tends to be focussed on innovation.  Often, this pushes us toward the pursuit of novelty.  Writing an enduring story that is not bound to the current context proved harder than I thought.  Sometimes I had to avoid the feedback of readers (including one who warned me that kids don't like a story that sounds dark) and trust my classroom experience instead.  Twitter can be distracting.  There were times I had an idea for the novel and instead I chose Twitter.  My mentor once gave me the advice, "We must seize the moment of excited curiosity for the acquisition of wisdom."  In other words, if I put off an idea until another day, I lose the beauty of the moment and struggle to put it on paper.