Werner Herzog Teaches His First Online Course on Filmmaking

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

One hears much, these days, about the mis­sions of new tech com­pa­nies to “dis­rupt” exist­ing indus­tries, from retail to pub­lish­ing to taxi cabs to edu­ca­tion. We’ve regard­ed that as pri­mar­i­ly the domain of Sil­i­con Val­ley twen­tysome­things, but why can’t a Ger­man film­mak­er with a near­ly 55-year career under his belt get in on the action? Wern­er Her­zog, hav­ing already done much to dis­rupt film as we know it, has in recent years turned his atten­tion toward dis­rupt­ing film schools, which com­pose an indus­try not espe­cial­ly com­pat­i­ble with his own vision of the hon­est and rig­or­ous craft of cin­e­ma.

We’ve fea­tured Her­zog’s in-per­son Rogue Film School work­shops before, but now, accord­ing to Enter­tain­ment Week­ly’s Derek Lawrence, “online edu­ca­tion plat­form Mas­ter­Class announced that Her­zog is teach­ing an online class on fea­ture and doc­u­men­tary film­mak­ing, where the var­i­ous lessons will include sto­ry­telling, cin­e­matog­ra­phy, inter­view tech­niques, and how to work with actors.” The arti­cle quotes the mak­er of fea­tures like Fitz­car­ral­do and Aguirre, the Wrath of God and doc­u­men­taries like Lit­tle Dieter Needs to Fly and Griz­zly Man offer­ing some­thing like a mis­sion state­ment: “Ulti­mate­ly, my own goal is to be a good sol­dier of cin­e­ma and if I can inspire one or two of you out there, to become a good sol­dier, then I have done every­thing I should do here.”

You can learn more about Mas­ter­class from the New York Times’ Lau­ra M. Hol­son, who describes the enter­prise, the brain­child of Los Ange­les-raised Sil­i­con Val­ley entre­pre­neur David Rogi­er, as â€śa series of online cours­es taught by peo­ple who are the best in the world at what they do,” includ­ing Annie Lei­bovitz on Pho­tog­ra­phy, Her­bie Han­cock on Jazz, Jane Goodall on Con­serv­ing the Envi­ron­ment and Wern­er Her­zog on film­mak­ing. Her­zog’s course can be tak­en by sign­ing up for an All Access Pass, which gives you access to every course in the Mas­ter­class course cat­a­logue, includ­ing cours­es from many oth­er film­mak­ers.

“You spend way too much time in the film school, it costs way too much mon­ey,” says the self-taught film­mak­er in the course’s trail­er above. “You can learn the essen­tials of film­mak­ing on your own with­in two weeks.” Or, in the for­mat that Mas­ter­Class has devel­oped as they go along just like Her­zog did when he first began mak­ing movies (and, giv­en his endur­ing inven­tive­ness, con­tin­ues to do today), you can osten­si­bly learn it in five hours of online video. You may not cap­ture any of Her­zog’s beloved “ecsta­t­ic truth” imme­di­ate­ly after­ward, but you’ll sure­ly get your fee’s worth of thrilling sto­ries of the film­mak­ing life along the way. Sign up for Her­zog’s class here.

You can take this class by sign­ing up for a Mas­ter­Class’ All Access Pass. The All Access Pass will give you instant access to this course and 85 oth­ers for a 12-month peri­od.

Relat­ed Con­tent:

Wern­er Her­zog Cre­ates Required Read­ing & Movie View­ing Lists for Enrolling in His Film School

Wern­er Herzog’s Rogue Film School: Apply & Learn the Art of Gueril­la Film­mak­ing & Lock-Pick­ing

Wern­er Her­zog Picks His 5 Favorite Films

Por­trait Wern­er Her­zog: The Director’s Auto­bi­o­graph­i­cal Short Film from 1986

Wern­er Her­zog Gets Shot Dur­ing Inter­view, Doesn’t Miss a Beat

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

5 Books Bill Gates Wants You to Read This Summer

Bill Gates — Microsoft CEO turned phil­an­thropist and life­long learner—has just rec­om­mend­ed five books to put on your sum­mer read­ing list. If you’re look­ing for a light beach read, you’ve come to the wrong place. But if you have a Gates-like mind, you might find that these books will make you “think in new ways” and per­haps keep you up past your bed­time. On his web­site, the video above comes accom­pa­nied by rea­sons for read­ing each work. Below we’re quot­ing direct­ly from Mr. Gates:

Sev­en­eves, by Neal Stephen­son. I hadn’t read any sci­ence fic­tion for a decade when a friend rec­om­mend­ed this nov­el. I’m glad she did. The plot gets going in the first sen­tence, when the moon blows up. Peo­ple fig­ure out that in two years a cat­a­clysmic mete­or show­er will wipe out all life on Earth, so the world unites on a plan to keep human­i­ty going by launch­ing as many space­craft as pos­si­ble into orbit. You might lose patience with all the infor­ma­tion you’ll get about space flight—Stephenson, who lives in Seat­tle, has clear­ly done his research—but I loved the tech­ni­cal details.Sev­en­eves inspired me to rekin­dle my sci-fi habit.

How Not to be Wrong, by Jor­dan Ellen­berg. Ellen­berg, a math­e­mati­cian and writer, explains how math plays into our dai­ly lives with­out our even know­ing it. Each chap­ter starts with a sub­ject that seems fair­ly straightforward—electoral pol­i­tics, say, or the Mass­a­chu­setts lottery—and then uses it as a jump­ing-off point to talk about the math involved. In some places the math gets quite com­pli­cat­ed, but he always wraps things up by mak­ing sure you’re still with him. The book’s larg­er point is that, as Ellen­berg writes, “to do math­e­mat­ics is to be, at once, touched by fire and bound by reason”—and that there are ways in which we’re all doing math, all the time.

The Vital Ques­tion, by Nick Lane. Nick is one of those orig­i­nal thinkers who makes you say: More peo­ple should know about this guy’s work. He is try­ing to right a sci­en­tif­ic wrong by get­ting peo­ple to ful­ly appre­ci­ate the role that ener­gy plays in all liv­ing things. He argues that we can only under­stand how life began, and how liv­ing things got so com­plex, by under­stand­ing how ener­gy works. It’s not just the­o­ret­i­cal; mito­chon­dria (the pow­er plants in our cells) could play a role in fight­ing can­cer and mal­nu­tri­tion. Even if the details of Nick’s work turn out to be wrong, I sus­pect his focus on ener­gy will be seen as an impor­tant con­tri­bu­tion to our under­stand­ing of where we come from.

The Pow­er to Com­pete, by Ryoichi Mik­i­tani and Hiroshi Mik­i­tani. I have a soft spot for Japan that dates back three decades or so, when I first trav­eled there for Microsoft. Today, of course, Japan is intense­ly inter­est­ing to any­one who fol­lows glob­al eco­nom­ics. Why were its companies—the jug­ger­nauts of the 1980s—eclipsed by com­peti­tors in South Korea and Chi­na? And can they come back? Those ques­tions are at the heart of this series of dia­logues between Ryoichi, an econ­o­mist who died in 2013, and his son Hiroshi, founder of the Inter­net com­pa­ny Rakuten. Although I don’t agree with every­thing in Hiroshi’s pro­gram, I think he has a num­ber of good ideas. The Pow­er to Com­pete is a smart look at the future of a fas­ci­nat­ing coun­try.

Sapi­ens: A Brief His­to­ry of Humankind, by Noah Yuval Harari. Both Melin­da and I read this one, and it has sparked lots of great con­ver­sa­tions at our din­ner table. Harari takes on a daunt­ing chal­lenge: to tell the entire his­to­ry of the human race in just 400 pages. He also writes about our species today and how arti­fi­cial intel­li­gence, genet­ic engi­neer­ing, and oth­er tech­nolo­gies will change us in the future. Although I found things to dis­agree with—especially Harari’s claim that humans were bet­ter off before we start­ed farming—I would rec­om­mend Sapi­ens to any­one who’s inter­est­ed in the his­to­ry and future of our species.

You can get more ideas from Bill Gates at Gates Notes.

If you’re look­ing to do some more DIY edu­ca­tion this sum­mer, don’t miss the fol­low­ing rich col­lec­tions:

700 Free Audio Books: Down­load Great Books for Free.

800 Free eBooks for iPad, Kin­dle & Oth­er Devices.

1200 Free Online Cours­es from Top Uni­ver­si­ties.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

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245 Films by Female Directors You Can Stream Right Now on Netflix

the punk singer

Sad­ly, despite great strides since the 1970s, Hol­ly­wood (and film­mak­ing in gen­er­al) is still a boys’ club, espe­cial­ly when it comes to those behind the cam­era. Until Kathryn Bigelow won her 2010 Oscar for The Hurt Lock­er, no female direc­tor had claimed the prize. And not a sin­gle woman has even been nom­i­nat­ed for Best Cin­e­matog­ra­phy.

Direc­tor Sal­ly Pot­ter calls it the cast-iron ceil­ing, and says it’s still very dif­fi­cult to get a film made, even for a direc­tor with her pedi­gree.

But as some­body on this Metafil­ter thread sug­gests, if we want to sup­port female direc­tors, we need to watch more films by female direc­tors. This Google Doc lists 245 films direct­ed by women that are cur­rent­ly avail­able on Net­flix. It’s a mix of art house and pop­corn fare, and all worth check­ing out…and no doubt many Open Cul­ture read­ers have seen quite a few already. Here’s our Top Ten sug­ges­tions from that list, with four more thrown in for good mea­sure. And yes, we know that Net­flix is a paid ser­vice, but, not to wor­ry, you can sign up for a month-long free tri­al.

There’s so many more choic­es at the link, from doc­u­men­tary to dra­ma and hor­ror to romance.

And while we’re at it, that oth­er stream­ing ser­vice, Hulu, has the full Cri­te­ri­on col­lec­tion, where many more female direc­tors can be found: Agnes Var­da, Cather­ine Breil­lat, Chan­tal Ack­er­man, Bar­bara Kop­pel, and more. Hulu offers a one-week free tri­al when you sign up.

via Metafil­ter

Relat­ed con­tent:

85 Com­pelling Films Star­ring and/or Direct­ed By Women of Col­or: A List Cre­at­ed by Direc­tor Ava DuVer­nay & Friends on Twit­ter

100 Over­looked Films Direct­ed by Women: See Selec­tions from Sight & Sound Magazine’s New List

An Ambi­tious List of 1400 Films Made by Female Film­mak­ers

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

Ta-Nehisi Coates’ List of 13 Recommended Books

Ta-Nehisi Coates has been rid­ing a wave so high these past few years that most hon­est writ­ers would con­fess to at least some small degree of envy. And yet anyone—writer or reader—who appre­ci­ates Coates’ rig­or­ous schol­ar­ship, styl­is­tic mas­tery, and enthralling per­son­al voice must also admit that the acco­lades are well-earned. Win­ner of the Nation­al Book Award for his sec­ond auto­bi­o­graph­i­cal work, Between the World and Me and recip­i­ent of a MacArthur “Genius Grant,” Coates is fre­quent­ly called on to dis­cuss the seem­ing­ly intractable racism in the U.S., both its long, grit­ty his­to­ry and con­tin­u­a­tion into the present. (On top of these cre­den­tials, Coates, an unabashed com­ic book nerd, is now pen­ning the revived Black Pan­ther title for Mar­vel, cur­rent­ly the year’s best-sell­ing com­ic.)

As a senior edi­tor at The Atlantic, Coates became a nation­al voice for black Amer­i­ca with arti­cles on the para­dox­es of Barack Oba­ma’s pres­i­den­cy and the boot­straps con­ser­vatism of Bill Cos­by (pub­lished before the comedian’s pros­e­cu­tion). His arti­cle “The Case for Repa­ra­tions,” a lengthy, his­tor­i­cal exam­i­na­tion of Redlin­ing, brought him fur­ther into nation­al promi­nence. So high was Coates’ pro­file after his sec­ond book that Toni Mor­ri­son declared him the heir to James Baldwin’s lega­cy, a man­tle that has weighed heav­i­ly and sparked some back­lash, though Coates court­ed the com­par­i­son him­self by styling Between the World and Me after Baldwin’s The Fire Next Time. In doing so, writes Michael Eric Dyson, “Coates did a dar­ing thing… waged a bet that the Amer­i­can pub­lic could absorb even more of the epis­to­lary device, and wrote a book-length essay to his son.”

Not only did Amer­i­ca “absorb” the device; the nation’s read­ers mar­veled at Coates’ deft mix­ture of exis­ten­tial tough­ness and emo­tion­al vul­ner­a­bil­i­ty; his intense, unsen­ti­men­tal take on U.S. racist ani­mus and his mov­ing, lov­ing por­traits of his close friends and fam­i­ly. As a let­ter from a father to his son, the book also works as a teach­ing tool, and Coates lib­er­al­ly salts his per­son­al nar­ra­tive with the sources of his own edu­ca­tion in African Amer­i­can his­to­ry and pol­i­tics from his father and his years at Howard Uni­ver­si­ty. In the wake of the fame the book has brought him, he has con­tin­ued what he seems to view as a pub­lic mis­sion to edu­cate, and inter­views and dis­cus­sions with the writer fre­quent­ly involve digres­sions on his sources of infor­ma­tion, as well as the books that move and moti­vate him.

So it was when Coates sat down with New York Times Mag­a­zine and ProP­ub­li­ca reporter Nikole Han­nah-Jones at New York’s Schom­burg Cen­ter for Research in Black Cul­ture last year. You can watch the full inter­view at the top of the post. Dur­ing the course of the hour-long talk, Coates men­tioned the books below, in the hopes, he says, that “folks who read” Between the World and Me “will read this book, and then go read a ton of oth­er books.” He both began and end­ed his rec­om­men­da­tions with Bald­win.

1. “The Fire Next Time” in Col­lect­ed Essays by James Bald­win.

2. The Night of the Gun: A Reporter Inves­ti­gates the Dark­est Sto­ry of His Life, His Own by David Carr

3. The Half Has Nev­er Been Told: Slav­ery and the Mak­ing of Amer­i­can Cap­i­tal­ism by Edward E. Bap­tist

4. Bat­tle Cry of Free­dom: The Era of the Civ­il War by James McPher­son

5. Mak­ing the Sec­ond Ghet­to: Race and Hous­ing in Chica­go, 1940–1960 by Arnold R. Hirsch

6. Fam­i­ly Prop­er­ties: Race, Real Estate, and the Exploita­tion of Black Urban Amer­i­ca by Beryl Sat­ter

7. Con­fed­er­ate States of Amer­i­ca — Dec­la­ra­tion of the Imme­di­ate Caus­es Which Induce and Jus­ti­fy the Seces­sion of South Car­oli­na from the Fed­er­al Union from Aval­on Project, Lil­lian Gold­man Law Library, Yale Law School

8. Show­down: Thur­good Mar­shall and the Supreme Court nom­i­na­tion That Changed Amer­i­ca by Wil Hay­good

9. Amer­i­can Slav­ery, Amer­i­can Free­dom: The Ordeal of Colo­nial Vir­ginia by Edmund S. Mor­gan

10. Race­craft: The Soul of Inequal­i­ty in Amer­i­can Life by Karen E. Fields and Bar­bara J. Fields

11. When and Where I Enter: The Impact of Black Women on Race and Sex in Amer­i­ca by Paula Gid­dings

12. Ida: A Sword Among Lions: Ida B. Wells and the Cam­paign against Lynch­ing by Paula J. Gid­dings

13. Out of the House of Bondage: The Trans­for­ma­tion of the Plan­ta­tion House­hold by Thavo­lia Glymph

Final­ly, Coates ref­er­ences the famous debate between James Bald­win and William F. Buck­ley at Cam­bridge Uni­ver­si­ty in 1965, which you can read about and watch in full here.

via The New York Pub­lic Library

Relat­ed Con­tent:

Toni Mor­ri­son Dis­pens­es Writ­ing Wis­dom in 1993 Paris Review Inter­view

James Bald­win Bests William F. Buck­ley in 1965 Debate at Cam­bridge Uni­ver­si­ty

Stephen King Cre­ates a List of 96 Books for Aspir­ing Writ­ers to Read

Ernest Hem­ing­way Cre­ates a Read­ing List for a Young Writer, 1934

Michael Stipe Rec­om­mends 10 Books for Any­one Marooned on a Desert Island

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

Watch Paul McCartney Perform Live, with 10-Year-Old Leila on Bass, in Buenos Aires Yesterday

A few weeks ago, I took my kids to see Paul McCart­ney launch his One on One Tour in Fres­no, Cal­i­for­nia. The high­light? See­ing him play “Hard Day’s Night” and “Love Me Do” live for the first time since the 1960s? Not real­ly. Watch­ing Sir Paul wave at my kids when they held up a “Chee­rio Paul” sign? Yeah, that was worth the price of the tick­ets alone.

But none of that com­pares to the scene that played out ear­li­er this week in Buenos Aires. Above, watch lit­tle Leila sweet­ly ask Paul to play a lit­tle bass, get her wish grant­ed, and rock to some “Get Back.” It’s pret­ty adorable.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

Behold the Sea Organ: The Massive Experimental Musical Instrument That Makes Music with the Sea

If you ever find your­self in Zadar, Croa­t­ia, pay a vis­it to The Sea Organ, the exper­i­men­tal musi­cal instru­ment cre­at­ed by the archi­tect Niko­la Bašić. Unveiled in 2005, the organ–made of 35 poly­eth­yl­ene pipes tucked under white mar­ble steps–turns the wind and the waves into a nev­er-end­ing stream of avant-garde sounds. In 2006, the Sea Organ won the 2006 Euro­pean Prize for Urban Pub­lic Space. Hear it make its music above.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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

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Crowdsourced Database Will Locate the Burial Sites of Forgotten US Slaves

slave grave database

Image cour­tesy of Nation­al Bur­ial Data­base of Enslaved Amer­i­cans

The sto­ries are infre­quent but deeply com­pelling: one recent news item in the AP’s The Big Sto­ry describes the bones of 14 peo­ple from the 18th or ear­ly 19th cen­tu­ry, dis­cov­ered in Albany, NY, â€śwrapped in shrouds, buried in pine box­es and—over centuries—forgotten.” Sev­en adults, five infants, and two chil­dren, soon to be “pub­li­cal­ly memo­ri­al­ized and [re]buried in per­son­al­ized box­es beside promi­nent fam­i­lies in old Albany.”

Over the 11 years since the bones’ dis­cov­ery by con­struc­tion work­ers, sci­en­tists have been able to piece togeth­er clues about what these lives were like: marked by con­stant toil and phys­i­cal hard­ship. Genet­ic mark­ers, and bro­ken bones, notched and miss­ing teeth, and arthrit­ic joints offer the only means of iden­ti­fy­ing the remains. A gran­ite head­stone donat­ed to the new gravesite will read, “Here lies the remains of 14 souls known only to God. Enslaved in life, they are slaves no more.”

In 1991, many miles south in low­er Man­hat­tan, a find of the remains of 419 peo­ple even­tu­al­ly gave rise to an even more impres­sive memo­r­i­al and muse­um, the African Bur­ial Ground Nation­al Mon­u­ment, a reminder of not only the slave labor that built New York City, but also of the peo­ple bought and sold in the once bustling slave mar­ket at what is now Wall Street.

Elmwood

Cre­ative Com­mons pho­to by Bruce Guthrie

Memo­ri­als like this one and the recent Albany bur­ial site do not change the facts or right the wrongs of his­to­ry, but they do make vis­i­ble lives and his­to­ries long buried and for­got­ten. “Among the scars left by the her­itage of slav­ery,” writes Edward Roth­stein at The New York Times, “one of the great­est is an absence: where are the memo­ri­als, ceme­ter­ies, archi­tec­tur­al struc­tures or stur­dy sanc­tu­ar­ies that typ­i­cal­ly pro­vide the ground for a people’s mem­o­ry?” This is pre­cise­ly the ques­tion San­dra Arnold is now ask­ing, in a very lit­er­al sense, for a project called The Nation­al Bur­ial Data­base of Enslaved Amer­i­cans (NBDEA).

A Grad­u­ate Fel­low at Brown Uni­ver­si­ty, Arnold found­ed the Peri­win­kle Ini­tia­tive, “a pub­lic human­i­ties and edu­ca­tion ini­tia­tive ded­i­cat­ed to pre­serv­ing cul­tur­al her­itage asso­ci­at­ed with enslaved Amer­i­cans.” The NBDEA—Periwinkle’s core project in col­lab­o­ra­tion with Ford­ham Uni­ver­si­ty, the Nation­al Endow­ment for the Human­i­ties, and the 1772 Foun­da­tion—aims, writes Arnold at The New York Times, to “be the first nation­al repos­i­to­ry of infor­ma­tion on the grave sites of indi­vid­u­als who died while enslaved or after they were eman­ci­pat­ed.”

The grave sites The NBDEA com­piles will depend in some part on the pub­lic: “Any­one who comes to the web­site will even­tu­al­ly be able to sub­mit infor­ma­tion about these places and con­duct search­es.” Cur­rent­ly, the site remains in devel­op­ment, unavail­able for pub­lic search­es, but users can make pre­lim­i­nary sub­mis­sions. Arnold describes the process of sift­ing through the sub­mis­sions she has received as “painful.”

Bur­ial grounds that should be revered spaces… instead are cov­ered by play­grounds and apart­ment com­plex­es. I have learned that many grave sites of for­mer­ly enslaved Amer­i­cans are aban­doned, undoc­u­ment­ed, des­e­crat­ed by the asphalt of “devel­op­ment,” and lack any type of memo­ri­al­iza­tion or recog­ni­tion. The bur­ial grounds are often found inci­den­tal­ly by devel­op­ers under parks and office build­ings, and for many of the sites, oral his­to­ry is their only source of doc­u­men­ta­tion.

Just such an oral his­to­ry pre­served the unmarked gravesite of one of Arnold’s ances­tors in her home­town in West Ten­nessee. Alli­son Meier at Hyper­al­ler­gic points to some specif­i­cal­ly trou­bled sites like those Arnold describes, includ­ing “a slave ceme­tery… bull­dozed in Hous­ton,” anoth­er “cov­ered with asphalt in Atlanta,” and a third “found below a Harlem bus depot.”

Arnold hopes that record­ing and memo­ri­al­iz­ing these “sacred spaces… can con­tribute to heal­ing, under­stand­ing and poten­tial­ly even rec­on­cil­i­a­tion.” Addi­tion­al­ly, she cites a “prag­mat­ic” ratio­nale for the project, since “bur­ial grounds are valu­able resources for schol­ars and his­to­ri­ans, serv­ing as road maps for genealog­i­cal and his­tor­i­cal research.”

The project presents a tremen­dous oppor­tu­ni­ty for the many thou­sands of cit­i­zen his­to­ri­ans scat­tered across the coun­try to come togeth­er and fill in the absences in our his­tor­i­cal mem­o­ry; and the cen­tral­ized data­base will also draw more atten­tion to the few memo­ri­als that do exist, many of which, writes Meier, “are often stag­ger­ing­ly small in rela­tion to the num­ber of lives they remem­ber.” She refers to the exam­ple of a “minia­ture mass grave mon­u­ment” in Mem­phis’ Elm­wood Cemetary (above), a “sin­gle stone [that] memo­ri­al­izes over 300 slaves who died between 1852 and 1865.”

Like The Freedman’s Bureau Project, a recent online data­base of 1.5 mil­lion his­tor­i­cal doc­u­ments relat­ed to slav­ery, The NBDEA will fur­ther his­tori­cize and human­ize “over­looked lives,” writes Arnold, that “are an inex­tri­ca­ble part of the his­tor­i­cal nar­ra­tive of our coun­try.”

Can can vis­it The Nation­al Bur­ial Data­base of Enslaved Amer­i­cans here.

via Hyper­al­ler­gic

Relat­ed Con­tent:

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

Freed Slave Writes Let­ter to For­mer Mas­ter: You Owe Us $11,680 for 52 Years of Unpaid Labor (1865)

The Anti-Slav­ery Alpha­bet: 1846 Book Teach­es Kids the ABCs of Slavery’s Evils

Visu­al­iz­ing Slav­ery: The Map Abra­ham Lin­coln Spent Hours Study­ing Dur­ing the Civ­il War

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

The Night John Belushi Cartwheeled Onstage During a Grateful Dead Show & Sang “U.S. Blues” with the Band (1980)

Sure, I know ice truck­ers and snow crab fish­er­men have it rough, but I’ve always thought the hard­est job in the world is to be a come­di­an. You walk out on stage, night after night, throw­ing your­self on the mer­cy of the fick­le crowd, with noth­ing but your wits to keep you afloat. It’s nev­er been any won­der to me that so many come­di­ans turn to var­i­ous sub­stances to cope with the heck­ling, chilly silences, and dis­in­ter­est­ed, half-emp­ty rooms. Even suc­cess­ful, beloved comics face tremen­dous per­for­mance pres­sures. Some of them crack. And some, like John Belushi, hop onstage dur­ing a Grate­ful Dead show at the Capi­tol The­atre, cart­wheel over to a micro­phone before the cho­rus of “U.S. Blues,” and join in on back­ing vocals.

Belushi’s impromp­tu 1980 prank per­for­mance with the Dead was not, ini­tial­ly, wel­comed. He had, reports Live for Live Music, “met with some resis­tance from the band” when he asked to join in dur­ing the encore, and drum­mer Bill Kreutz­mann “had to nix Belushi’s wish­es.”

So Belushi, true to form, took mat­ters into his own anar­chic hands, stag­ing what Kreutz­mann called in his 2015 auto­bi­og­ra­phy a “comedic ambush.”

He had on a sport coat with small Amer­i­can flags stuffed into both of his breast pock­ets and he land­ed his last cart­wheel just in time to grab a micro­phone and join in on the cho­rus. The audi­ence and every­one in the band—except for Phil—ate it up. It could­n’t have been rehearsed bet­ter. Belushi had impec­ca­ble comedic tim­ing, musi­cal­i­ty, balls, the works. And appar­ent­ly, he did­n’t take no for an answer.

Belushi’s musi­cal antics, and sur­pris­ing acro­bat­ic agili­ty, are already well-known to fans of The Blues Broth­ers. His pen­chant for real-life musi­cal chaos—such as his stag­ing of an authen­ti­cal­ly riotous punk show on Sat­ur­day Night Live—have also become part of his estimable com­ic leg­end.

Sad­ly, no video of the stunt seems to exist, but you can see Kreutz­mann tell the Belushi sto­ry in the inter­view at the top of the post and, just above, hear that night’s encore per­for­mance of “U.S. Blues.” Lis­ten close­ly at around the 1:50 mark and you’ll hear Belushi join in on the cho­rus. We’ll have to imag­ine the cart­wheels, but it prob­a­bly looked some­thing like this.


Hear the full Dead show from that night here. And if you’re crav­ing more musi­cal Belushi, check out his spas­mod­ic impres­sion of the late, great Joe Cock­er.

Relat­ed Con­tent:

Young John Belushi Imi­tates Tru­man Capote & Per­forms Live on Sec­ond City Stage (1972)

The Night John Belushi Booked the Punk Band Fear on Sat­ur­day Night Live, And They Got Banned from the Show

Stream 36 Record­ings of Leg­endary Grate­ful Dead Con­certs Free Online (aka Dick’s Picks)

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

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