The Entire History of English in 22 Minutes

When we speak Eng­lish, we might say we’re speak­ing the lan­guage of Samuel John­son, the man who wrote its first dic­tio­nary. Or we could say we’re speak­ing the lan­guage of Shake­speare, who coined more Eng­lish terms than any oth­er indi­vid­ual in his­to­ry. It would make just as much sense to describe our­selves as speak­ing the lan­guage of the King James Bible, the mass print­ing of which did so much to stan­dard­ize Eng­lish, steam­rolling flat many of the count­less local vari­a­tions that exist­ed in the ear­ly sev­en­teenth cen­tu­ry. But as many an Eng­lish­man (and more than a few Amer­i­cans) would be loath to admit, when we speak Eng­lish, we are, much of the time, actu­al­ly speak­ing French.

“In 1066, the Nor­mans turn up and seize the Eng­lish throne from the Anglo-Sax­ons says YouTu­ber Rob­words in the new video above, describ­ing the sin­gle most impor­tant event in the entire his­to­ry of the Eng­lish lan­guage, which he recounts in just 22 min­utes. “William the Con­queror becomes king, and Nor­man French becomes the lan­guage of Eng­land’s élite.”

Under its new ruler, the coun­try’s earls, thanes, and athelings would be called barons, dukes, and princes. “The now-sub­dued Anglo-Sax­ons need­ed to learn French words if they want­ed to get by, so Eng­lish absorbs a whole host of French terms asso­ci­at­ed with pow­er, jus­tice, art, gov­ern­ment, law, and cul­ture — such as pow­er, jus­tice, art, gov­ern­ment, law, and cul­ture,” to name just a few.

This thor­ough­go­ing Frenchi­fi­ca­tion gave rise to what we now call Mid­dle Eng­lish, as dis­tinct from the Old Eng­lish spo­ken before. As not­ed by Rob­Words, about 85 per­cent of Old Eng­lish vocab­u­lary is no longer in use today, yet we’re still “using Old Eng­lish in every sen­tence that we utter,” not least when we break out such irreg­u­lar-seem­ing plu­rals as mice, oxen, and wolves. Tues­day, Wednes­day, Thurs­day, and Fri­day make ref­er­ence to “the Anglo-Sax­ons’ pre-Chris­t­ian gods.” And even in the fast-chang­ing, slang-rid­den, inter­net-influ­enced, and — for bet­ter or for worse — high­ly “glob­al­ized” Eng­lish we speak today, we can still hear dim echoes of the ancient ances­tor lin­guists call Pro­to-Indo-Euro­pean. Per­haps that’s why, despite being so wide­ly spo­ken, Eng­lish is still so tricky to learn: when we speak it, we’re speak­ing not just a lan­guage, but many lan­guages all at once.

Relat­ed con­tent:

The His­to­ry of the Eng­lish Lan­guage in Ten Ani­mat­ed Min­utes

Trac­ing Eng­lish Back to Its Old­est Known Ances­tor: An Intro­duc­tion to Pro­to-Indo-Euro­pean

Where Did the Eng­lish Lan­guage Come From?: An Ani­mat­ed Intro­duc­tion

The Tree of Lan­guages Illus­trat­ed in a Big, Beau­ti­ful Info­graph­ic

The Alpha­bet Explained: The Ori­gin of Every Let­ter

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

50+ Free Charlie Chaplin Films Online

A few things to know about Char­lie Chap­lin. He starred in over 80 films, reel­ing off most dur­ing the silent film era. In 1914 alone, he act­ed in 40 films, then anoth­er 15 in 1915. By the 1920s, Chap­lin had emerged as the first larg­er-than-life movie star and direc­tor, if not the most rec­og­niz­able per­son in the world. Thanks to YouTube, you can watch 50+ Chap­lin films on the web. Above, you will find a Chap­lin mini-film fes­ti­val that brings togeth­er four movies shot in 1917: The Adven­tur­er, The Cure, Easy Street and The Immi­grant. And then below you’ll find 50+ oth­er films arranged in a neat list. Many can be oth­er­wise found in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

  • A Bur­lesque On Car­men — Free — Orig­i­nal two-reel par­o­dy of Bizet’s Car­men by Char­lie Chap­lin. Also stars Leo White & Edna Pur­viance. (1915)
  • A Busy DayFree — Chap­lin plays a wife jeal­ous of her hus­band’s inter­est in anoth­er woman, played by Phyl­lis Allen. On her way to attack the cou­ple, the wife inter­rupts the set of a film, knock­ing over a film direc­tor, played by Mack Sen­nett, and a police­man, played by Bil­ly Gilbert. (1914)
  • A Day’s Plea­sureFree — “Chap­lin’s fourth film for First Nation­al Films. It was cre­at­ed at the Chap­lin Stu­dio. It was a quick­ly made two-reel­er to help fill a gap while work­ing on his first fea­ture The Kid. It is about a day out­ing with his wife and the kids and things don’t go smooth­ly.” (1919)
  • A Dog’s Life — Free – This endear­ing short Chap­lin film tells the sto­ry of under­dogs, human and canine, suc­ceed­ing despite the odds. (1918)
  • A Fair ExchangeFree — Orig­i­nal­ly released as Get­ting Acquaint­ed, the film’s plot has been sum­ma­rized as fol­lows: “Char­lie and his wife are walk­ing in the park when they encounter Ambrose and his wife. The part­ners become fond of their coun­ter­parts and begin chas­ing each oth­er around. A police­man look­ing for a pro­fes­sion­al Don Juan becomes involved, as does a Turk.” (1914)
  • A Film John­nie - Free — Char­lie goes to the movie and falls in love with a girl on the screen. (1914)
  • A Night in the ShowFree — Chap­lin played two roles: one as Mr. Pest and one as Mr. Row­dy. The film was cre­at­ed from Chap­lin’s stage work from a play called Mum­ming Birds. (1915)
  • A Night OutFree — “After a vis­it to a pub, Char­lie and Ben cause a ruckus at a posh restau­rant. Char­lie lat­er finds him­self in a com­pro­mis­ing posi­tion at a hotel with the head wait­er’s wife.” (1915)
  • A WomanFree — This Chap­lin film starts with Char­lie meet­ing Edna (Edna Pur­viance) and her par­ents in a park; the moth­er is played by Mar­ta Gold­en and the father by Charles Ins­ley. (1915)
  • Behind the Screen – Free – A short film writ­ten and direct­ed by Chap­lin, the film is long on slap­stick, but it also gets into themes deal­ing with gen­der bend­ing and homo­sex­u­al­i­ty. (1916)
  • Between Show­ers - Free — A short Key­stone film from 1914 star­ring Char­lie Chap­lin, Ford Ster­ling, and Emma Bell Clifton.
  • By the SeaFree — “It is windy at a bathing resort. After fight­ing with one of the two hus­bands, Char­lie approach­es Edna while the two hus­bands them­selves fight over ice cream. Dri­ven away by her hus­band, Char­lie turns to the oth­er’s wife.” (1915)
  • Caught in a CabaretFree —  Char­lie is a clum­sy wait­er in a cheap cabaret, suf­fer­ing the strict orders from his boss. He’ll meet a pret­ty girl in the park, pre­tend­ing to be a fan­cy ambas­sador, despite the jeal­ousy of her fiancée. (1914)
  • Char­lie Shang­haied — Free — Char­lie Chap­lin and his Tramp char­ac­ter gets shang­haied by crooks. (1915)
  • Char­lie’s Recre­ationFree — Out of cos­tume, Char­lie is a clean-shaven dandy who, some­what drunk, vis­its a dance hall. There the wardrobe girl has three rival admir­ers: the band leader, one of the musi­cians, and now Char­lie. (1914).
  • Char­lotte et Le Man­nequinFree — Also known as Mabel’s Mar­ried Life, the film’s plot is sum­ma­rized as fol­lows: “Accost­ed by a mash­er in the park and unable to moti­vate hus­band Char­lie into tak­ing action, Mabel gets him a box­ing man­nequin to sharp­en his fight­ing skills.” (1914)
  • Cru­el Cru­el Love - Free — Chap­lin plays a rich, upper-class gen­tle­man whose romance is endan­gered when his girl­friend over­sees him being embraced by a maid. (1914)
  • Face on a Bar­room FloorFree — “The plot is a satire derived from Hugh Antoine D’Ar­cy’s poem of the same title. The painter courts Madeleine but los­es to the wealthy client who sits for his por­trait. The despair­ing artist draws the girl’s por­trait on the bar­room floor and gets tossed out. Years lat­er he sees her, her hus­band and their horde of chil­dren. Unrec­og­nized by her, Char­lie shakes off his trou­bles and walks off into the future.” (1914)
  • Gen­tle­men of NerveFree — “Mabel and her beau go to an auto race and are joined by Char­lie and his friend. As Char­lie’s friend is attempt­ing to enter the race­way through a hole, the friend gets stuck and a police­man shows up. Char­lie sprays the police­man with soda until [his] friends makes it through the hole. In the grand­stand, Mabel aban­dons her beau for Char­lie. Both Char­lie’s friend and Mabel’s are arrest­ed and hauled away.” (1914)
  • His Favorite Pas­timeFree — Char­lie gets drunk in the bar. He steps out­side, meets a pret­ty woman, tries to flirt with her, only to retreat after the wom­an’s father returns. (1914)
  • His New JobFree — “Char­lie is try­ing to get a job in a movie. After caus­ing dif­fi­cul­ty on the set he is told to help the car­pen­ter. When one of the actors does­n’t show, Char­lie is giv­en a chance to act but instead enters a dice game. When he does final­ly act he ruins the scene, wrecks the set and tears the skirt from the star.” (1915)
  • His Pre­his­toric PastFree — “Char­lie dreams he is in the stone age. There King Low-Brow rules a harem of wives. Char­lie, in skins and a bowler, falls in love with the king’s favorite wife, Sum-Babee. Dur­ing a hunt­ing trip the king is pushed over a cliff. Char­lie pro­claims him­self king, but Ku-Ku dis­cov­ers the real king alive. They return to find Char­lie and Sum- Babee togeth­er.” (1914)
  • His Tryst­ing PlaceFree — “Char­lie’s wife sends him to the store for a baby bot­tle with milk. Else­where, Ambrose offers to post a love let­ter for a woman in his board­ing house. The two men meet at a restau­rant and each takes the oth­er’s coat by mis­take. Char­lie’s wife thinks he has a lover; Ambrose’s believes he has an ille­git­i­mate child.” (1914)
  • In the ParkFree — “A tramp steals a girl’s hand­bag, but when he tries to pick Char­lie’s pock­et los­es his cig­a­rettes and match­es. He res­cues a hot dog man from a thug, but takes a few with his walk­ing stick. When the thief tries to take some of Char­lie’s sausages, Char­lie gets the hand­bag. The hand­bag makes its way from per­son to per­son to its own­er, who is angry with her boyfriend who did­n’t pro­tect her in the first place. The boyfriend decides to throw him­self in the lake in despair, so Char­lie helps him out.” (1915)
  • Kid Auto Races at Venice – Free – It’s the first film in which Char­lie Chap­lin’s icon­ic “Lit­tle Tramp” char­ac­ter makes his appear­ance. (1914)
  • Laugh­ing Gas - Free — Film star­ring Chap­lin is some­times known as “Busy Lit­tle Den­tist”, “Down and Out”, “Laffing Gas”, “The Den­tist”, and “Tun­ing His Ivories”.
  • Mabel’s Busy DayFree — “A hot­dog girl gives one to a police­man who then allows her into a race track. While oth­er cus­tomers swipe her hot­dogs, Char­lie runs off with the whole box, pre­tend­ing to sell them while actu­al­ly giv­ing them away. She calls her police­man who bat­tles Char­lie.” (1914)
  • Mabel’s Strange Predica­mentFree — Watch lots and lots of high jinks go down in a hotel. (1914)
  • Mak­ing a Liv­ing — Free – Pre­mier­ing on Feb­ru­ary 2, 1914, Mak­ing a Liv­ing marks the first film appear­ance by Char­lie Chap­lin.
  • Musi­cal TrampsFree — “Char­lie and his part­ner are to deliv­er a piano to 666 Prospect St. and repos­sess one from 999 Prospect St. They con­fuse the address­es. The dif­fi­cul­ties of deliv­er­ing the piano by mule cart, and most of the spe­cif­ic gags, appeared lat­er in Lau­rel and Hardy’s ‘The Music Box’.” (1914)
  • One A.M.Free — The first silent film Char­lie Chap­lin starred in alone. (1916)
  • PoliceFree — “Police was Char­lie Chap­lin’s 14th released film from Essanay. It was made at the Majes­tic Stu­dio in Los Ange­les. Char­lie play­ing an ex-con­vict finds life on the out­side not to his lik­ing and leads him to break­ing into a home with anoth­er thief (Wes­ley Rug­gles). Edna Pur­viance plays the girl liv­ing in the home who tries to change him.” (1916)
  • Shoul­der ArmsFree — Char­lie is a boot camp pri­vate who has a dream of being a hero who goes on a dar­ing mis­sion behind ene­my lines. (1918)
  • Sun­ny­sideFree — “Char­lie works on a farm from 4am to late at night. He gets his food on the run (milk­ing a cow into his cof­fee, hold­ing an chick­en over the fry­ing pan to get fried eggs). He loves the neigh­bor’s daugh­ter Edna but is dis­liked by her father. He rides a cow into a stream and is kicked off. Uncon­scious, he dreams of a nymph dance. Back in real­i­ty a city slick­er is hurt in a car crash and is being cared for by Edna. When Char­lie is reject­ed after attempt­ing to imi­tate the slick­er, the result is ambiguous–either trag­ic or a hap­py end­ing. Crit­ics have long argued as to whether the final scene is real or a dream.” (1919)
  • The BankFree — “Char­lie does every­thing but an effi­cient job as jan­i­tor. Edna buys her fiance, the cashier, a birth­day present. Char­lie thinks “To Charles with Love” is for him. He presents her a rose which she throws in the garbage. Depressed, Char­lie dreams of a bank rob­bery and his hero­ic role in sav­ing the man­ag­er and Edna … but it is only a dream.”
  • The BondFree — A pro­pa­gan­da film cre­at­ed and fund­ed by Chap­lin for the­atri­cal release to help sell U.S. Lib­er­ty Bonds dur­ing World War I. (1918)
  • The Cham­pi­on — Free — “Walk­ing along with his bull­dog, Char­lie finds a “good luck” horse­shoe just as he pass­es a train­ing camp adver­tis­ing for a box­ing part­ner “who can take a beat­ing.” After watch­ing oth­ers lose, Char­lie puts the horse­shoe in his glove and wins. The train­er pre­pares Char­lie to fight the world cham­pi­on. A gam­bler wants Char­lie to throw the fight. He and the train­er’s daugh­ter fall in love.” (1915)
  • The CountFree — The Count was Char­lie Chap­lin’s 5th film for Mutu­al Films. Co-star­ring Eric Camp­bell and Edna Pur­viance, it is a sto­ry about Char­lie and his boss find­ing an invi­ta­tion to a par­ty from a real Count. (1916)
  • The Fatal Mal­letFree — Three men will fight for the love of a charm­ing girl. Char­lie will play dirty, throw­ing bricks to his con­tender, and using a huge ham­mer to hurt one of them. But a pre­co­cious kid will be the fourth suit­or in dis­cord. (1914)
  • The Fire­manFree — Char­lie Chaplin’s sec­ond short for Mutu­al con­tin­ued his focus on gags and situations—as the title sug­gests, Chap­lin plays the role of an inept fire­fight­er. (1916)
  • The Floor­walk­erFree — “The Floor­walk­er was Char­lie Chap­lin’s first Mutu­al Film Com­pa­ny made in 1916. It starred Chap­lin as a cus­tomer in a depart­ment store who finds out the man­ag­er is steal­ing mon­ey from the store. It was not­ed for the first ‘run­ning stair­case’ used in films.” (1916)
  • The Good for Noth­ing — Free — Made at the Key­stone Stu­dios, the film involves Chap­lin tak­ing care of a man in a wheel­chair. (1914)
  • The Immi­grantFree — Chap­lin, in the role of the Tramp char­ac­ter, plays an immi­grant com­ing to the Unit­ed States. He gets accused of theft while on a voy­age across the Atlantic Ocean. (1917)
  • The Kid - Free — The Kid is a 1921 Amer­i­can silent com­e­dy-dra­ma film writ­ten, pro­duced, direct­ed and star­ring Char­lie Chap­lin, and fea­tures Jack­ie Coogan as his foundling baby, adopt­ed son and side­kick. This was Chap­lin’s first full-length film as a direc­tor. (1921)
  • The Knock­outFree —  Char­lie Chap­lin’s sev­en­teenth film for Key­stone Stu­dios. Chap­lin only has a small role, and Fat­ty Arbuck­le takes up the main role. (1914)
  • The Land­la­dy’s PetFree — Oth­er­wise known as The Star Board­er, the film turns around this theme: A brat’s mag­ic lantern show expos­es an indis­creet moment between a land­la­dy and her star board­er. (1914)
  • The Mas­quer­ad­erFree — “Char­lie is an actor in a film stu­dio. He mess­es up sev­er­al scenes and is tossed out. Return­ing dressed as a lady, he charms the direc­tor. Even so, Char­lie nev­er makes it into film, wind­ing up at the bot­tom of a well.” (1914)
  • The New Jan­i­torFree — “Char­lie is jan­i­tor for a firm the man­ag­er of which receives a threat­en­ing note about his gam­bling debts. He throws a buck­et of water out the win­dow which lands on his boss and costs him his job. The boss, attempt­ing to steal the mon­ey heeds from the office safe, is caught by his sec­re­tary and Char­lie comes to save her and the mon­ey. He is briefly accused of being the thief but ulti­mate­ly tri­umphs.” (1914)
  • The Pawn­shop – Free – Rich in slap­stick, The Pawn­shop was one of Chap­lin’s more pop­u­lar movies for Mutu­al Film, the pro­duc­er of many fine Chap­lin come­dies. (1916)
  • The Prop­er­ty ManFree — “Char­lie has trou­ble with actors’ lug­gage and con­flicts over who gets the star’s dress­ing room. There are fur­ther dif­fi­cul­ties with fre­quent scene changes, wrong entries and a fire­man’s hose. At one point he jug­gles an ath­lete’s sup­posed weights. The humor is still rough: he kicks an old­er assis­tant in the face and allows him to be run over by a truck.” (1914)
  • The Rink – FreeThe Rink, Chap­lin’s 8th film for Mutu­al Films, show­cas­es the actor’s roller skat­ing abil­i­ties. (1916)
  • The Rival Mash­ers — Free — “Char­lie and a rival vie for the favors of their land­la­dy. In the park they each fall dif­fer­ent girls, though Char­lie’s has a male friend already. Char­lie con­sid­ers sui­cide, is talked out of it by a police­man, and lat­er throws his girl’s friend into the lake. Fright­ened, the girls go off to a movie. Char­lie shows up there and flirts with them. Lat­er both rivals sub­sti­tute them­selves for the girls and attack the unwit­ting Char­lie. In an audi­ence-wide fight, Char­lie is tossed from the screen.” (1914)
  • The RoundersFree — Writes IMDB: “Two drunks live in the same hotel. One beats his wife, the oth­er is beat­en by his. They go off and get drunk togeth­er. They try to sleep in a restau­rant using tables as beds and are thrown out. They lie down in a row boat which fills with water, drown­ing them (a fate appar­ent­ly bet­ter than going home to their wives).” (1914)
  • The Tramp - Free — The film made Chap­lin’s great Tramp char­ac­ter famous. (1915)
  • The VagabondFree — A silent film by Char­lie Chap­lin that co-starred Edna Pur­viance, Eric Camp­bell, Leo White and Lloyd Bacon, with Chap­lin appear­ing as The Tramp. The British Film Insti­tute calls it the “piv­otal work” of his Mutu­al peri­od – “and his most touch­ing.” (1916)
  • Tillie’s Punc­tured Romance – Free – Among oth­er things, the film is notable for being the last film that Chap­lin did­n’t write or direct by him­self. (1914)
  • Triple Trou­bleFree — “As Colonel Nutt is exper­i­ment­ing with explo­sives, a new jan­i­tor is join­ing his house­hold. The inept jan­i­tor pro­ceeds to make life dif­fi­cult for the rest of the staff. Mean­while, a for­eign agent arrives at the house in hopes of get­ting Col. Nut­t’s lat­est inven­tion. The inven­tor throws him out, so the agent then employs a thug to get the for­mu­la. When police head to the Nutt home to start an inves­ti­ga­tion, a com­pli­cat­ed fra­cas ensues.” (1918)
  • Twen­ty Min­utes of LoveFree — IMDB sum­ma­rizes thus­ly: “Char­lie is hang­ing around in the park, find­ing prob­lems with a jeal­ous suit­or, a man who thinks that Char­lie has robbed him of a watch, a police­man and even a lit­tle boy, all because our friend can’t stop snoop­ing.” (1914)
  • WorkFree — “Char­lie and his boss have dif­fi­cul­ties just get­ting to the house they are going to wall­pa­per. The house­hold­er is angry because he can’t get break­fast and his wife is scream­ing at the maid as they arrive. The kitchen gas stove explodes, and Char­lie offers to fix it. The wife’s secret lover arrives and is passed off as the work­ers’ super­vi­sor, but the hus­band does­n’t buy this and fires shots. The stove explodes vio­lent­ly, destroy­ing the house.” (1915)

Most of the quot­ed sum­maries above were writ­ten by Ed Stephan on IMDB.

Note: An ear­li­er ver­sion of this post appeared on our site in 2011. Some of the links and text have been updat­ed.

Relat­ed Con­tent 

When Char­lie Chap­lin Entered a Chap­lin Look-Alike Con­test & Came in 20th Place

What Would the World of Char­lie Chap­lin Look Like in Col­or?: Watch a Col­or­ful­ly Restored Ver­sion of A Night at the Show (1915)

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

Char­lie Chap­lin Gets Strapped into a Dystopi­an “Rube Gold­berg Machine,” a Fright­ful Com­men­tary on Mod­ern Cap­i­tal­ism

Char­lie Chap­lin Films a Scene Inside a Lion’s Cage in 200 Takes

How the Ancient Greeks Built Their Magnificent Temples: The Art of Ancient Engineering

Doric, Ion­ic, Corinthi­an: these, as prac­ti­cal­ly every­one who went through school in the West some­how remem­bers, are the three vari­eties of clas­si­cal col­umn. We may still recall them, more specif­i­cal­ly, as rep­re­sent­ing the three ancient Greek archi­tec­tur­al styles. But as ancient-his­to­ry YouTu­ber Gar­rett Ryan points out in the new Told in Stone video above, only Doric and Ion­ic columns belong ful­ly to ancient Greece; what we think of when we think of Corinthi­an columns were devel­oped more in the civ­i­liza­tion of ancient Rome. The con­text is an expla­na­tion of how the ancient Greeks built their tem­ples, one of the char­ac­ter­is­tics of their design process being the use of columns aplen­ty.

It’s one thing to hear about Greek columns in the class­room, and quite anoth­er to walk amid them in per­son. That, per­haps, is why Ryan deliv­ers the open­ing of his video perched upon the ruins of what’s known as Tem­ple C. Hav­ing once stood proud­ly in Seli­nus, a city belong­ing to Magna Grae­cia (Greek-speak­ing areas of Italy), it now con­sti­tutes one of the prime tourist attrac­tions for antiq­ui­ty-mind­ed vis­i­tors to mod­ern-day Sici­ly.

Though his chan­nel may be called Told in Stone, Ryan begins his brief his­to­ry of the Greek tem­ple before that hardy mate­r­i­al had even come into use for these pur­pos­es. At first, the Greeks fash­ioned the homes of their gods out of mud brick, with thatched roofs and wood­en porch­es; only from the sev­enth cen­tu­ry BC, “prob­a­bly inspired by con­tact with Egypt,” did they start build­ing them to last.

Or they built them to last as long as could be expect­ed, in any case, giv­en the nature of the mate­ri­als avail­able in the ancient world and the mil­len­nia that have passed since then. Take the Tem­ple of Apol­lo at the Sanc­tu­ary of Didy­ma in mod­ern-day Turkey, which his­to­ry-and-archi­tec­ture YouTu­ber Manuel Bra­vo pays a vis­it in the video just above. It may not look as if the near­ly 2400 years since its nev­er-tech­ni­cal­ly-com­plet­ed con­struc­tion began have been kind, but it’s nev­er­the­less one of the bet­ter-pre­served tem­ples from ancient Greek civ­i­liza­tion in exis­tence (not to men­tion the largest). Even in its ruined state, it gives what Bra­vo describes as the impres­sion of — or at least, in its hey­day, hav­ing been — “a for­est of huge columns,” a built ver­sion of “the sacred forests that Greeks used to con­se­crate to the gods.” They’re Ion­ic columns, in case you were won­der­ing, but don’t sweat it; there won’t be a quiz.

Relat­ed con­tent:

The City of Nashville Built a Full-Scale Repli­ca of the Parthenon in 1897, and It’s Still Stand­ing Today

A 3D Mod­el Reveals What the Parthenon and Its Inte­ri­or Looked Like 2,500 Years Ago

How the Parthenon Mar­bles End­ed Up In The British Muse­um

Explore Ancient Athens 3D, a Dig­i­tal Recon­struc­tion of the Greek City-State at the Height of Its Influ­ence

What Ancient Greece Real­ly Looked Like: See Recon­struc­tions of the Tem­ple of Hadri­an, Curetes Street & the Foun­tain of Tra­jan

The His­to­ry of Ancient Greece in 18 Min­utes: A Brisk Primer Nar­rat­ed by Bri­an Cox

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Albert Einstein Tells His Son That the Key to Learning & Happiness Is Losing Yourself in Creativity (or “Finding Flow”)

As one par­tic­u­lar­ly astute observ­er of human emo­tions might put it, it is a truth uni­ver­sal­ly acknowl­edged that we can’t all be Albert Ein­stein. In fact, none of us can. That unique expe­ri­ence was denied even Einstein’s son Hans Albert, though he did go on to his own dis­tin­guished career as an engi­neer and pro­fes­sor of hydraulics. Ein­stein father and son had a strained rela­tion­ship, yet the great physi­cist had a hand in his son’s suc­cess, inspir­ing him to pur­sue his sci­en­tif­ic pas­sion. But Einstein’s pater­nal encour­age­ment extend­ed fur­ther, beyond sci­en­tif­ic pur­suits and toward a gen­er­al the­o­ry of learn­ing and enjoy­ment that sug­gests we can be hap­pi­est and most pro­duc­tive when being most our­selves.

While liv­ing in Berlin in 1915, Ein­stein wrote a poignant let­ter to his son, just two days after fin­ish­ing his the­o­ry of gen­er­al rel­a­tiv­i­ty. His tone swings from buoy­ant to pained—lamenting his family’s “awk­ward” sep­a­ra­tion and propos­ing to spend more time with Albert, as he calls him. His son can “learn many good and beau­ti­ful things from me,” writes Ein­stein, “These days I have com­plet­ed one of the most beau­ti­ful works of my life.”

Ein­stein also writes, “I am very pleased that you find joy with the piano. This and car­pen­try are in my opin­ion for your age the best pur­suits.” An ama­teur musi­cian him­self, Ein­stein under­stood the val­ue of devel­op­ing an infor­mal avo­ca­tion. “Main­ly play the things on the piano which please you,” he tells his son, “even if the teacher does not assign those.” Doing what you love, the way you like to do it, he goes on, “is the way to learn the most, that when you are doing some­thing with such enjoy­ment that you don’t notice that the time pass­es.”

This great theme of total immer­sion in a cre­ative endeav­or sur­faced sev­er­al decades lat­er in anoth­er scientist’s work, that of Hun­gar­i­an psy­chol­o­gist Mihaly Csik­szent­mi­ha­lyi, described by Mar­tin Selig­man—for­mer Pres­i­dent of the Amer­i­can Psy­cho­log­i­cal Association—as “the world’s lead­ing researcher” in the field of pos­i­tive psy­chol­o­gy. Pre­sent­ed in his pop­u­lar TED talk above, and at more length in his books on the sub­ject, Csikszentmihalyi’s insights into human flour­ish­ing mir­ror Einstein’s: he calls such cre­ative immer­sion “flow,” or the state of “being com­plete­ly involved in an activ­i­ty for its own sake.”

The ego falls away. Time flies. Every action, move­ment, and thought fol­lows inevitably from the pre­vi­ous one, like play­ing jazz. Your whole being is involved, and you’re using your skills to the utmost.

Con­trary to our usu­al con­cep­tions of using one’s “skills to the utmost,” Csik­szent­mi­ha­lyi tells us that the reward for enter­ing such a state is not the mate­r­i­al ben­e­fits it gen­er­ates, but the pos­i­tive emo­tions. These emo­tions, as Ein­stein the­o­rized, not only moti­vate us to become bet­ter, but they also pro­vide a source of mean­ing no amount of finan­cial gain above a min­i­mum lev­el can offer. “The lack of basic mate­r­i­al resources con­tributes to unhap­pi­ness,” Csikszentmihalyi’s data demon­strates, “but the increase in mate­r­i­al resources does not increase hap­pi­ness.” While none of us can be Ein­stein, Csik­szent­mi­ha­lyi tells us we can all ben­e­fit from Einstein’s advice, by doing what­ev­er we do to the best of our abil­i­ties and with­out any motive oth­er than sheer plea­sure.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

How to Enter a ‘Flow State’ on Com­mand: Peak Per­for­mance Mind Hack Explained in 7 Min­utes

Cre­ativ­i­ty, Not Mon­ey, is the Key to Hap­pi­ness: Dis­cov­er Psy­chol­o­gist Mihaly Csikszentmihaly’s The­o­ry of “Flow”

How to Get into a Cre­ative “Flow State”: A Short Mas­ter­class

How to Enter Flow State, Increase Your Abil­i­ty to Con­cen­trate, and Let Your Ego Fall Away : An Ani­mat­ed Primer

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

Watch Queen’s Brilliant Live Aid Performance: It Happened 40 Years Ago Today (July 13, 1985)

“The last peo­ple any­one expect­ed to come out of that gig as being the mem­o­rable ones was Queen,” said Bob Geld­of in an inter­view, look­ing back at the band’s stun­ning 24 minute set at Live Aid on July 13, 1985. In front of 72,000 peo­ple in Wem­b­ley Sta­di­um and mil­lions watch­ing world­wide, Queen resus­ci­tat­ed their career with a selec­tion of hits and new mate­r­i­al.

The band, as Roger Tay­lor says in the mini doc here, was “bored” and “in a bit of a trough.” They also had been crit­i­cized for play­ing Sun City in South Africa dur­ing the reign of Apartheid.

Going into Live Aid, a lot of the artists didn’t know what to expect of the entire event. Many, includ­ing Bob Geld­of him­self, won­dered if the event would flop. But Queen more than any of them seemed to intu­it right from the start the impor­tance of the day, though they were very ner­vous back­stage. But once onstage they com­plete­ly own it, even more so Fred­die Mer­cury who ris­es to the occa­sion as a front man and as a singer, giv­ing one of his best per­for­mances.

In that short set, Queen gives a full con­cert worth of ener­gy and the audi­ence responds. Not all were Queen fans, but by the end every­body had become one, singing along to “We Are the Cham­pi­ons” and “We Will Rock You.” Across the Atlantic, the 90,000 strong Philadel­phia audi­ence fol­lowed suit, watch­ing the jum­botron simul­cast.

“Do you know how hard it is to get someone’s atten­tion who’s on the oth­er side of the room?” asks Dave Grohl of Foo Fight­ers in this oth­er short doc on the set. “Imag­ine a sta­di­um and mak­ing them sing along with you.”

This hot sum­mer con­cert would turn out to be the zenith of Queen’s career. There would be more albums and sin­gles, but Fred­die Mer­cury would slow­ly suc­cumb to AIDS, and dis­ap­pear from pub­lic view, until pass­ing in 1991. The Live Aid set stands as one of the band’s final, icon­ic, and major achieve­ments. Watch it, in all of its glo­ry, above.

You can watch the full Live Aid broad­cast on Inter­net Archive. You can also watch 10+ hours of the best per­for­mances here on the Live Aid YouTube chan­nel. Videos will be added to the playlist below through­out the day.

Relat­ed Con­tent:

Watch 16 Hours of His­toric Live Aid Per­for­mances: Queen, Led Zep­pelin, Neil Young & Much More

Watch Queen Rehearse & Metic­u­lous­ly Pre­pare for Their Leg­endary 1985 Live Aid Per­for­mance

Bob Geld­of Talks About the Great­est Day of His Life, Step­ping on the Stage of Live Aid, in a Short Doc by Errol Mor­ris

Sci­en­tif­ic Study Reveals What Made Fred­die Mercury’s Voice One of a Kind; Hear It in All of Its A Cap­pel­la Splen­dor

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

Ted Mills is a free­lance writer on the arts.

 

The World’s Oldest Cookbook: Discover 4,000-Year-Old Recipes from Ancient Babylon

If asked about your favorite dish, you’d do well to name some­thing exot­ic. Gone are the days when a taste for the likes of Ital­ian, Mex­i­can, or Chi­nese cui­sine could qual­i­fy you as an adven­tur­ous eater. Even expe­di­tions to the very edges of the menus at Peru­vian, Ethiopi­an, or Laot­ian restau­rants, say, would be unlike­ly to draw much respect from seri­ous twen­ty-first-cen­tu­ry eaters. One solu­tion is to take your culi­nary voy­ages through not just space but also time, seek­ing out the meals of cen­turies and even mil­len­nia past. This has late­ly become some­what eas­i­er to do, thanks to the work of Har­vard- and Yale-asso­ci­at­ed researchers like Gojko Bar­jamovic, Patri­cia Jura­do Gon­za­lez, Chelsea A. Gra­ham, Agnete W. Lassen, Naw­al Nas­ral­lah, and Pia M. Sörensen.

A few years ago, that inter­dis­ci­pli­nary research team par­tic­i­pat­ed in a Lapham’s Quar­ter­ly round­table on mak­ing and eat­ing the ancient Mesopotami­an recipes con­tained on what are known as the “Yale Culi­nary Tablets.” Dat­ing from between 1730 BC and the sixth or sev­enth cen­tu­ry BC, their Cuneiform inscrip­tions offer only broad and frag­men­tary guid­ance on the prepa­ra­tion of once-com­mon dish­es, none of which, luck­i­ly, are par­tic­u­lar­ly com­plex.

The veg­e­tar­i­an soup pašrū­tum, or “unwind­ing,” involves fla­vors no bold­er than those of cilantro, leek, gar­lic, and dried sour­dough. The stew puhā­di, which uses lamb as well as milk, turns out to be “deli­cious when served with the pep­pery gar­nish of crushed leek and gar­lic.”

The Yale Culi­nary Tablets reveal that the Baby­lo­ni­ans, too, enjoyed tuck­ing into the occa­sion­al for­eign meal — which, four mil­len­nia ago, could have meant a bowl of elamū­tum, or “Elamite broth,” named for its ori­gin in Elam in mod­ern-day Iran. Anoth­er dish made with milk, it also calls for sheep­’s blood (“the mix­ture of sour milk and blood may sound odd,” the round­table arti­cle assures us, “but the com­bi­na­tion pro­duces a rich soup with a slight tart­ness”) and dill, which seems to have been the height of exot­ic ingre­di­ents at the time. Tuh’u, a leg-meat stew, has an iden­ti­fi­able descen­dant still eat­en in Iraq today, but that dish uses white turnip instead of the ancient recipe’s red beet. Giv­en that “Jews of Bagh­dad before their expul­sion used red beet,” it’s “tempt­ing to link the recipe to the con­ti­nen­tal Euro­pean borscht.”

Image via Wiki­me­dia Com­mons

Recon­struct­ing these recipes, which tend to lack quan­ti­ties or pro­ce­dur­al details, has involved edu­cat­ed guess­work. But no oth­er texts in exis­tence can get you clos­er to recon­struct­ing ancient Mesopotami­an cui­sine in your own kitchen. If you’d like to see how that’s done before giv­ing it a try your­self, watch the videos above and below from Max Miller, whose Youtube chan­nel Tast­ing His­to­ry spe­cial­izes in prepar­ing dish­es from ear­li­er stages of civ­i­liza­tion. Not that depar­ture from the recipes as orig­i­nal­ly dic­tat­ed by tra­di­tion would have any con­se­quences. Most of these recipes may date from an era close to the reign of King Ham­mura­bi, but there’s noth­ing in his famous Code about what hap­pens to cooks who make the occa­sion­al sub­sti­tu­tion.

Relat­ed con­tent:

Cam­bridge Uni­ver­si­ty Pro­fes­sor Cooks 4000-Year-Old Recipes from Ancient Mesopotamia, and Lets You See How They Turned Out

Watch a 4000-Year Old Baby­lon­ian Recipe for Stew, Found on a Cuneiform Tablet, Get Cooked by Researchers from Yale & Har­vard

How to Make Ancient Mesopotami­an Beer: See the 4,000-Year-Old Brew­ing Method Put to the Test

How to Make the Old­est Recipe in the World: A Recipe for Net­tle Pud­ding Dat­ing Back 6,000 BC

Behold the Old­est Writ­ten Text in the World: The Kish Tablet, Cir­ca 3500 BC

Tast­ing His­to­ry: A Hit YouTube Series Shows How to Cook the Foods of Ancient Greece & Rome, Medieval Europe, and Oth­er Places & Peri­ods

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Tomorrow Never Knows: How The Beatles Invented the Future With Studio Magic, Tape Loops & LSD

Tomor­row Nev­er Knows” could­n’t be made today, and not just because the Bea­t­les already made it in 1966. Mark­ing per­haps the sin­gle biggest step in the group’s artis­tic evo­lu­tion, that song is in every sense a prod­uct of its time. The use of psy­che­del­ic drugs like LSD was on the rise in the coun­ter­cul­ture, as was the aware­ness of the reli­gion and music of far­away lands such as India. At the same moment, devel­op­ments in record­ing-stu­dio tech­nol­o­gy were mak­ing new approach­es pos­si­ble, involv­ing sounds that musi­cians nev­er would have imag­ined try­ing before — and, when brought togeth­er, pro­duced a result that many lis­ten­ers of just a few years ear­li­er would hard­ly have rec­og­nized as music at all.

In the new You Can’t Unhear This video above, host Ray­mond Schillinger explains all that went into the record­ing of “Tomor­row Nev­er Knows,” which he calls “arguably the most piv­otal song of the Bea­t­les’ career.” It seems that John had under­gone some con­sid­er­able expe­ri­ences dur­ing the group’s five-month-long break after Rub­ber Soul, giv­en that he turned up to EMI Stu­dios after­ward with a song that “defied pret­ty much every con­ven­tion of pop music at the time: the lyrics did­n’t rhyme, the chord pro­gres­sion did­n’t real­ly progress, and instead of roman­tic love, the sub­ject mat­ter was expand­ing one’s psy­chic con­scious­ness through ego death.” A young Geoff Emer­ick, who’d just been pro­mot­ed to the role of the Bea­t­les’ record­ing engi­neer, rose to the chal­lenge of facil­i­tat­ing an equal­ly non-stan­dard stu­dio process.

The whol­ly new son­ic tex­ture that result­ed owes in large part to the use of mul­ti­ple tape loops, lit­er­al sec­tions of audio tape con­nect­ed at the begin­ning and end to allow the­o­ret­i­cal­ly infi­nite rep­e­ti­tion of their con­tent. This was a fair­ly new musi­cal tech­nol­o­gy at the time, and the Bea­t­les made use of it with gus­to, cre­at­ing loops of all man­ner of sped-up sounds — an orches­tra play­ing, a Mel­lotron, a reversed Indi­an sitar, Paul sound­ing like a seag­ull — and orches­trat­ing them “live” dur­ing record­ing. (Ringo’s drum track, despite what sounds like a super­hu­man reg­u­lar­i­ty in this con­text, was not, in fact a loop.) Oth­er tech­no­log­i­cal­ly nov­el ele­ments includ­ed John’s dou­ble-tracked vocals run through a revolv­ing Leslie speak­er and a back­wards gui­tar solo about whose author­ship Bea­t­les enthu­si­asts still argue.

What John had called “The Void,” was reti­tled after one of Ringo’s sig­na­ture askew expres­sions (“a hard day’s night” being anoth­er) in order to avoid draw­ing too much atten­tion as a “drug song.” But lis­ten­ers tapped into the LSD scene would have rec­og­nized lyri­cal inspi­ra­tion drawn from The Tibetan Book of the Dead, the ancient work that also informed The Psy­che­del­ic Expe­ri­ence, the guide­book by Tim­o­thy Leary and Richard Alpert (lat­er Baba Ram Dass) with which John direct­ed his own first trip. But even for the least turned-on Bea­t­le fan, “Tomor­row Nev­er Knows” was “like step­ping from a black-and-white world into full col­or,” as Schillinger puts it. The Bea­t­les might have gone the way of the Rolling Stones and cho­sen to record in an Amer­i­can stu­dio rather than their home-away-from-home on Abbey Road, the uncon­ven­tion­al use of its less-than-cut­ting-edge gear result­ed in what remains a vivid­ly pow­er­ful dis­patch from the ana­log era — even here in the twen­ty-twen­ties, when con­scious­ness expan­sion itself has gone dig­i­tal.

Relat­ed con­tent:

How John Lennon Wrote the Bea­t­les’ Best Song, “A Day in the Life”

The Amaz­ing Record­ing His­to­ry of The Bea­t­les’ “Here Comes the Sun”

The Exper­i­men­tal Move­ment That Cre­at­ed The Bea­t­les’ Weird­est Song, “Rev­o­lu­tion 9”

How “Straw­ber­ry Fields For­ev­er” Con­tains “the Cra­zi­est Edit” in Bea­t­les His­to­ry

Hear Bri­an Eno Sing The Bea­t­les’ “Tomor­row Nev­er Knows” as Part of The Best Live Album of the Glam/Prog Era (1976)

The Bea­t­les’ 8 Pio­neer­ing Inno­va­tions: A Video Essay Explor­ing How the Fab Four Changed Pop Music

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Stephen King’s Top 10 All-Time Favorite Books

Image by The USO, via Flickr Com­mons

So you might think that if Stephen King – the guy who wrote such hor­ror clas­sics like Car­rie and The Stand – were to rat­tle off his top ten favorite books, it would fea­ture works by the likes of Edgar Allan Poe, H. P. Love­craft or maybe J. R. R. Tolkien — authors who have, like King, cre­at­ed endur­ing dark, Goth­ic worlds filled with super­nat­ur­al events and malev­o­lent forces. But you’d be wrong. Author J. Ped­er Zane asked scores of writ­ers about their favorite nov­els for his 2007 book The Top Ten: Writ­ers Pick Their Favorite Books. The list King sub­mit­ted in reply appears below. When pos­si­ble, we’ve added links to the texts that you can read for free online.

1. The Gold­en Argosy, The Most Cel­e­brat­ed Short Sto­ries in the Eng­lish Lan­guage – edit­ed by Van Cart­mell and Charles Grayson

2. The Adven­tures of Huck­le­ber­ry Finn – Mark Twain

3. The Satan­ic Vers­es – Salman Rushdie

4. McTeague – Frank Nor­ris

5. Lord of the Flies – William Gold­ing

6. Bleak House – Charles Dick­ens

7. 1984 – George Orwell

8. The Raj Quar­tet – Paul Scott

9. Light in August – William Faulkn­er

10. Blood Merid­i­an – Cor­mac McCarthy

King, it seems, prefers books that explore basic defects in the human char­ac­ter to spooky tales of fan­ta­sy. In oth­er words, he’s inter­est­ed in sto­ries that are actu­al­ly ter­ri­fy­ing. Orwell’s por­trait of a man break­ing under the pres­sure of total­i­tar­i­an­ism or William Golding’s para­ble about a group of boys devolv­ing into beasts are down­right trou­bling. Frank Norris’s saga about the men­da­cious McTeague isn’t exact­ly com­fort­ing either. And McCarthy’s grim and spec­tac­u­lar­ly vio­lent mas­ter­piece Blood Merid­i­an might make you crawl into a fetal posi­tion and weep for human­i­ty. (That was my reac­tion, any­way.)

The most strik­ing thing about the list, how­ev­er, is how uni­form­ly high­brow it is. All books would fit right in on the syl­labus of an upper lev­el Eng­lish col­lege course. On the oth­er hand, David Fos­ter Wal­lace, when asked for his top ten, filled his list with such mass mar­ket crowd pleasers as The Silence of the Lambs by Thomas Har­ris, The Sum of All Fears by Tom Clan­cy and, at num­ber two, King’s The Stand.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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

Note: An ear­li­er ver­sion of this post appeared on our site in 2014.

Relat­ed Con­tent:

Stephen King Rec­om­mends 96 Books for Aspir­ing Writ­ers to Read

How Stephen King Pre­dict­ed the Rise of Trump in a 1979 Nov­el

Stephen King’s 20 Rules for Writ­ers

Stephen King Explains the Key to His Cre­ativ­i­ty: Not Los­ing the Dream-State Think­ing All Chil­dren Are Born With

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 vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

by | Permalink | Make a Comment ( 8 ) |

The Invisible Horror of The Shining: How Music Makes Stanley Kubrick’s Iconic Film Even More Terrifying

Inex­plic­a­ble as it may sound to read­ers of this site, there are movie-lovers who claim not to enjoy the work of Stan­ley Kubrick. But even his most stead­fast non-appre­ci­a­tors have to hand it to him for The Shin­ing, his 1980 Stephen King adap­ta­tion wide­ly con­sid­ered one of the scari­est — quite pos­si­bly the scari­est – film ever made. The visu­al rea­sons for its effec­tive­ness well beyond the core audi­ence of Kubrick enthu­si­asts are many, and they’ve been much scru­ti­nized by twen­ty-first-cen­tu­ry video essay­ists. But as explained in the Kap­tain Kris­t­ian video above, a sig­nif­i­cant por­tion of the hor­ror of The Shin­ing is invis­i­ble. That is, we don’t see it, but hear it; or rather, what we hear great­ly inten­si­fies what we see.

One tech­nique pow­er­ful­ly employed in the film has the incon­gru­ous name of “Mick­ey Mou­s­ing.” Named after the man­ner in which clas­sic car­toons were scored in tight syn­chrony with the move­ments of their char­ac­ters, it had fall­en into dis­use by the nine­teen-sev­en­ties, when a sub­tler cin­e­mat­ic style pre­vailed.

For The Shin­ing, Kubrick and musi­cal edi­tor Gor­don Stain­forth chose to revive it, assem­bling scenes to pieces of music like Béla Bartók’s “Music for Strings, Per­cus­sion and Celes­ta” so as to height­en not just shock moments, but also to deep­en the sense of dread that per­vades the movie from its open­ing moments. So tight does the cor­re­spon­dence feel between The Shin­ing’s music and its char­ac­ters’ actions that it comes as a sur­prise that most of the film was shot with­out what we hear on the sound­track play­ing on the set; some scenes weren’t even intend­ed to have music at all before edit­ing.

Stain­forth has said that the over­all idea was to use “music as fate”: for exam­ple, the “big chords” that accom­pa­ny the title cards announc­ing the day of the week, which por­tend “a dooms­day of judg­ment com­ing ever clos­er.” When next you watch The Shin­ing, pay atten­tion to the cues, and notice just how close­ly they’re asso­ci­at­ed in your mem­o­ry with — and how much more fright­en­ing they’re made by — their accom­pa­ny­ing images: Jack danc­ing through the ball­room filled with jazz-age ghosts, Dan­ny turn­ing a cor­ner and see­ing the pal­lid twins, the blood flow­ing out of the ele­va­tor, Wendy lock­ing eyes with the man in the bear suit. But then, I sus­pect that last one would be scary no mat­ter what was on the sound­track.

Relat­ed Con­tent:

Free Doc­u­men­tary View from the Over­look: Craft­ing The Shin­ing Looks at How Kubrick Made “the World’s Scari­est Movie”

How Stan­ley Kubrick Adapt­ed Stephen King’s The Shin­ing into a Cin­e­mat­ic Mas­ter­piece

A Kubrick Schol­ar Dis­cov­ers an Eerie Detail in The Shin­ing That’s Gone Unno­ticed for More Than 40 Years

Stan­ley Kubrick’s Anno­tat­ed Copy of Stephen King’s The Shin­ing

Decod­ing the Screen­plays of The Shin­ing, Moon­rise King­dom & The Dark Knight: Watch Lessons from the Screen­play

The Clas­si­cal Music in Stan­ley Kubrick’s Films: Lis­ten to a Free Four-Hour Playlist

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A Rabbit Rides a Chariot Pulled by Geese in an Ancient Roman Mosaic (2nd century AD)

If you head to the Lou­vre, make sure you vis­it the Mona Lisa, Venus de Milo, and Lib­er­ty Lead­ing the Peo­ple. But then swing by the Depart­ment of Greek, Etr­uscan, and Roman Antiq­ui­ties. There you might find (no guar­an­tee!) a Roman mosa­ic fea­tur­ing a rab­bit rid­ing a char­i­ot pulled by geese. Dis­cov­ered at Hadri­an’s vil­la in Tivoli, Italy, the mosa­ic dates back to the 2nd cen­tu­ry. About the mosa­ic, the His­to­ry Cool Kids writes:

This kind of humor­ous scene is an exam­ple of asária, a type of ancient visu­al joke where ani­mals behave like humans (anthro­po­mor­phism). Such mosaics were pop­u­lar in Roman domes­tic dec­o­ra­tion, often as floor or wall pan­els in vil­las and bath­hous­es.

This par­tic­u­lar mosa­ic is part of the Louvre’s exten­sive col­lec­tion of Greek, Etr­uscan, and Roman Antiq­ui­ties. It illus­trates how Roman artists loved play­ful or satir­i­cal imagery along­side more seri­ous mytho­log­i­cal and real­is­tic scenes. The rab­bit, a sym­bol often asso­ci­at­ed with fer­til­i­ty and speed, paired with the absur­di­ty of it dri­ving a char­i­ot of geese, reflects both Roman wit and their fond­ness for dec­o­ra­tive exu­ber­ance.

Some schol­ars believe the mosa­ic plays on a line in Ovid’s Meta­mor­phoses: “Cytherea [Aphrodite] was rid­ing in her dain­ty char­i­ot, winged by her swans, across the mid­dle air mak­ing for Cyprus, when she heard afar Ado­nis’ dying groans, and thith­er turned her snowy birds.” But it’s hard to know for sure.

via Messy Nessy

Relat­ed Con­tent 

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

The Medieval Man­u­script That Fea­tures “Yoda”, Killer Snails, Sav­age Rab­bits & More: Dis­cov­er The Smith­field Dec­re­tals

How a Mosa­ic from Caligula’s Par­ty Boat Became a Cof­fee Table in a New York City Apart­ment 50 Years Ago

Archae­ol­o­gists Dis­cov­er a 2,000-Year-Old Roman Glass Bowl in Per­fect Con­di­tion

 

Paradise Lost Explained: How John Milton Wrote His Epic Religious Poem from Satan’s Perspective

Par­adise Lost is one of the books which the read­er admires and lays down, and for­gets to take up again,” Samuel John­son wrote in the late eigh­teenth cen­tu­ry. “None ever wished it longer than it is. Its perusal is a duty rather than a plea­sure. We read Mil­ton for instruc­tion, retire harassed and over­bur­dened, and look else­where for recre­ation; we desert our mas­ter, and seek for com­pan­ions.” These near­ly two and a half cen­turies lat­er, how many of us attempt to seek out the instruc­tion of Mil­ton in the first place? What was a lit­er­ary hit in 1667 has become a work read most­ly by spe­cial­ist schol­ars — but will, per­haps, become a favorite among view­ers of the YouTube chan­nel Hochela­ga thanks to its new video above.

The first thing to know about Mil­ton’s epic poem, says Hochela­ga host Tom­mie Trelawny, is that it “tells the sto­ry of the Bib­li­cal fall of man — but, curi­ous­ly, from Satan’s per­spec­tive.” Even if it’s nev­er occurred to you to set eyes on Par­adise Lost, you’ve almost cer­tain­ly heard one of Satan’s most mem­o­rable dec­la­ra­tions: “Bet­ter to reign in Hell, then serve in Heav’n.”

There’s a decent chance you’ve also run across anoth­er, “The mind is its own place, and in it self. Can make a Heav’n of Hell, a Hell of Heav’n,” per­haps with­out know­ing which char­ac­ter speaks it. But if you hear enough of his quotable quotes, you might start to think that this Satan fel­low makes some good points after all.

Par­adise Lost had a sim­i­lar effect on some of its God-fear­ing ear­ly read­ers, who sus­pi­cious­ly start­ed to won­der whose side Mil­ton was real­ly on. What the poem seems to glo­ri­fy, when read today, isn’t Satan, and it’s not even so much God or man as lan­guage itself. Now as then, Mil­ton’s baroque gram­mar and heav­i­ly Lati­nate vocab­u­lary con­sti­tut­ed a good por­tion of both the work’s chal­lenge and its appeal. Equal­ly notable is his obvi­ous con­vic­tion that lan­guage is up to the task of address­ing the most fun­da­men­tal truths, ques­tions, and con­tra­dic­tions of exis­tence. Satan may not emerge vic­to­ri­ous — and cer­tain­ly does­n’t at the end of the sequel, Par­adise Regained — but if he hap­pens to have the best lines, that just reflects our greater, and thor­ough­ly human, fas­ci­na­tion with the bad guys more than the good ones.

Relat­ed Con­tent:

The Only Sur­viv­ing Man­u­script of John Milton’s Par­adise Lost Gets Pub­lished in Book Form for the First Time

William Blake’s Hal­lu­ci­na­to­ry Illus­tra­tions of John Milton’s Par­adise Lost

John Milton’s Hand Anno­tat­ed Copy of Shakespeare’s First Folio: A New Dis­cov­ery by a Cam­bridge Schol­ar

Spenser and Mil­ton (Free Course)

A Sur­vival Guide to the Bib­li­cal Apoc­a­lypse

Did the Tow­er of Babel Actu­al­ly Exist?: A Look at the Archae­o­log­i­cal Evi­dence

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.


  • 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