The History of Spiritual Jazz: Hear a Transcendent 12-Hour Mix Featuring John Coltrane, Sun Ra, Herbie Hancock & More


Jazz has inspired a great many things, and a great many things have inspired jazz, and more than a few of the music’s mas­ters have found their aspi­ra­tion by look­ing — or lis­ten­ing — to the divine. But that does­n’t nec­es­sar­i­ly mean they sub­scribe to tra­di­tion­al reli­gion. As befits this nat­u­ral­ly eclec­tic music that grew from an inher­ent­ly eclec­tic coun­try before it inter­na­tion­al­ized, its play­ers tend to have an eclec­tic con­cep­tion of the divine. In some of their inter­pre­ta­tions, that con­cep­tion sounds prac­ti­cal­ly all-encom­pass­ing. You can expe­ri­ence the full spec­trum of these aur­al visions, from the deeply per­son­al to the fath­om­less­ly cos­mic, in this four-part, twelve-hour playlist of spir­i­tu­al jazz from Lon­don online radio sta­tion NTS.

“Dur­ing the tumul­tuous ’60s, there was a reli­gious rev­o­lu­tion to accom­pa­ny the grand soci­etal, sex­u­al, racial, and cul­tur­al shifts already afoot,” writes Pitch­fork’s Andy Beta. “Con­cur­rent­ly, the era’s pri­ma­ry African-Amer­i­can art form reflect­ed such upheaval in its music, too: Jazz began to push against all con­straints, be it chord changes, pre­de­ter­mined tem­pos, or melodies, so as to best reflect the pur­suit of free­dom in all of its forms.”

This cul­mi­nat­ed in John Coltrane’s mas­ter­piece A Love Supreme, which opened the gates for oth­er jazz play­ers seek­ing the tran­scen­dent, using every­thing from “the sacred sound of the South­ern Bap­tist church in all its ecsta­t­ic shouts and yells” to “enlight­en­ment from South­east­ern Asian eso­teric prac­tices like tran­scen­den­tal med­i­ta­tion and yoga.”

It goes with­out say­ing that you can’t talk about spir­i­tu­al jazz with­out talk­ing about John Coltrane. Nor can you ignore the dis­tinc­tive music and the­ol­o­gy of Her­man Poole Blount, bet­ter known as Sun Ra, com­pos­er, band­leader, music ther­a­pistAfro­fu­tur­ist, and teacher of a course called “The Black Man in the Cos­mos.” NTS’ expan­sive mix offers work from both of them and oth­er famil­iar artists like Alice Coltrane, Earth, Wind & Fire, Her­bie Han­cock, Gil Scott-Heron, Ornette Cole­man, and many more (includ­ing play­ers from as far away from the birth­place of jazz as Japan) who, whether or not you’ve heard of them before, can take you to places you’ve nev­er been before. Start lis­ten­ing with the embed­ded first part of the playlist above; con­tin­ue on to parts two, three, and four, and maybe — just maybe — you’ll come out of it want­i­ng to found a church of your own.

Relat­ed Con­tent:

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

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

Sun Ra’s Full Lec­ture & Read­ing List From His 1971 UC Berke­ley Course, “The Black Man in the Cos­mos”

Sun Ra Plays a Music Ther­a­py Gig at a Men­tal Hos­pi­tal; Inspires Patient to Talk for the First Time in Years

The Cry of Jazz: 1958’s High­ly Con­tro­ver­sial Film on Jazz & Race in Amer­i­ca (With Music by Sun Ra)

Space Jazz, a Son­ic Sci-Fi Opera by L. Ron Hub­bard, Fea­tur­ing Chick Corea (1983)

A Huge Anthol­o­gy of Noise & Elec­tron­ic Music (1920–2007) Fea­tur­ing John Cage, Sun Ra, Cap­tain Beef­heart & More

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, 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.

Inventor of a Wearable Parachute Takes a Flying Leap Off of the Eiffel Tower in 1912, and It Doesn’t End Well

In 1912, a Parisian tai­lor named Franz Reichelt took a fly­ing leap off of the Eif­fel Tow­er. And it did­n’t end well. Squea­mish read­ers, you’ve been warned.

Known today as the “Fly­ing Tai­lor,” Reichelt made a lit­tle mark on his­to­ry by design­ing a wear­able para­chute for aviators–something avi­a­tors could use dur­ing those dan­ger­ous ear­ly days of fly­ing. Ini­tial­ly, Reichelt test­ed his wear­able para­chute by strap­ping dum­mies into them, and drop­ping them from the fifth floor of his apart­ment build­ing. Lat­er, he looked for some­thing that could approx­i­mate a real flight. And nat­u­ral­ly he chose the Eif­fel Tow­er, the tallest build­ing in town. When city offi­cials agreed to let him use the mon­u­ment, they assumed that Reichelt planned to use a dum­my again. Nev­er did they imag­ine that he’d wear the para­chute him­self. The news­reel footage above cap­tures the fatal jump–the ner­vous hes­i­ta­tion at the begin­ning, the short flight, the unfor­tu­nate hole left in the ground.

It’s all a bit macabre, to be sure. And yet Reichelt was onto some­thing. Across the ocean, a suc­cess­ful para­chute jump from a plane took place in the Unit­ed States, lead­ing to a patent for a pack­able para­chute.

Relat­ed Con­tent:

Watch Hou­di­ni Escape From a Strait Jack­et, Then See How He Did It (Cir­ca 1917)

Beau­ti­ful, Col­or Pho­tographs of Paris Tak­en 100 Years Ago—at the Begin­ning of World War I & the End of La Belle Époque

Build­ing The Eif­fel Tow­er: Three Google Exhi­bi­tions Revis­it the Birth of the Great Parisian Mon­u­ment

Thomas Edison’s Silent Film of the “Fartiste” Who Delight­ed Crowds at Le Moulin Rouge (1900)

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Hear 21 Hours of Lectures & Talks by Howard Zinn, Author of the Bestselling A People’s History of the United States

Reg­u­lar­ly in these pres­sure cook­er days we hear plau­si­ble argu­ments from lib­er­als and con­ser­v­a­tives about how demo­c­ra­t­ic insti­tu­tions have recent­ly failed us, and how unique­ly polar­ized we have become as a peo­ple. We also hear often high­ly implau­si­ble claims about how cur­rent con­tenders intend to restore some kind of jus­tice or fair­ness. Read­ers of Howard Zinn’s A People’s His­to­ry of the Unit­ed States will have a dif­fer­ent per­spec­tive, one in which sup­pos­ed­ly demo­c­ra­t­ic insti­tu­tions were nev­er designed to work for the major­i­ty of the country’s inhab­i­tants. And in which, by design, cer­tain minori­ties have always remained at the bot­tom of the hier­ar­chy.

“There is not a coun­try in world his­to­ry,” writes Zinn in his famous rad­i­cal his­to­ry, “in which racism has been more impor­tant, for so long a time, as the Unit­ed States.” Far from a flawed yet excep­tion­al form of gov­ern­ment, the U.S.  sys­tem, Zinn argued, began as a means by which the founders seized the pre­rog­a­tives of the British for them­selves, with no inten­tion of expand­ing these lib­er­ties wide­ly. On the con­trary. As Zinn puts it in a chap­ter called “Tyran­ny is Tyran­ny”:

Around 1776, cer­tain impor­tant peo­ple in the Eng­lish colonies made a dis­cov­ery that would prove enor­mous­ly use­ful for the next two hun­dred years. They found that by cre­at­ing a nation, a sym­bol, a legal uni­ty called the Unit­ed States, they could take over land, prof­its, and polit­i­cal pow­er from favorites of the British Empire. In the process, they could hold back a num­ber of poten­tial rebel­lions and cre­ate a con­sen­sus of pop­u­lar sup­port for the rule of a new, priv­i­leged lead­er­ship.

The Amer­i­can Rev­o­lu­tion swapped out one rule by elites for anoth­er, in oth­er words, and one empire for anoth­er. Or as Zinn wrote in his mem­oir, there is “some­thing rot­ten at the root.” Those who object to Zinn’s work may find flaws in his schol­ar­ly method­ol­o­gy. Accu­sa­tions of bias, however—even couched in polite pejo­ra­tives like “polem­i­cal” and “revisionist”—are pret­ty much moot. Zinn, who died in 2010, would agree. The neces­si­ty of tak­ing a posi­tion, after all, was inte­gral to the his­to­ri­an and activist’s entire ethos, such that he titled his auto­bi­og­ra­phy You Can’t Be Neu­tral on a Mov­ing Train. “The state and its police were not neu­tral ref­er­ees in a soci­ety of con­tend­ing inter­ests,” wrote Zinn, “They were on the side of the rich and pow­er­ful.” He always made it plain whose side he took, an approach by nature con­tro­ver­sial.

Was he a lib­er­al par­ti­san? Hard­ly. After tak­ing a beat­ing by police at a protest, Zinn writes, “I was no longer a lib­er­al, a believ­er in the self-cor­rect­ing char­ac­ter of Amer­i­can democ­ra­cy. I was a rad­i­cal, believ­ing that some­thing fun­da­men­tal was wrong in this coun­try.” A Com­mu­nist? “Marx,” wrote Zinn, “was often wrong, often dog­mat­ic… too insis­tent that the indus­tri­al work­ing class must be the agent of rev­o­lu­tion.” Zinn admired Marx. He wrote a play about him, Marx in Soho, and describes in the for­ward how his ear­ly read­ing of Marx, while grow­ing up in work­ing-class Brook­lyn, great­ly influ­enced his view of the world.

But after “grow­ing evi­dence of the hor­rors of Stal­in­ism” and his expe­ri­ence with the grass­roots “par­tic­i­pa­to­ry democ­ra­cy” of the Stu­dent Non­vi­o­lent Coor­di­nat­ing Com­mit­tee (SNCC), Zinn became drawn to anar­chism. Decid­ed­ly left­ist and fun­da­men­tal­ly egal­i­tar­i­an, Zinn’s analy­sis has proven broad enough to war­rant admi­ra­tion from sev­er­al dif­fer­ent polit­i­cal per­sua­sions: from mod­ern lib­er­als to Marx­ists to lib­er­tar­i­an com­mu­nists to free mar­ket lib­er­tar­i­ans like Rea­son’s Thad­deus Rus­sell, who pro­nounced him “no bet­ter exem­plar of that thor­ough­go­ing, anti-sta­tist left.”

Like anoth­er famous anar­chist intel­lec­tu­al of the rad­i­cal cam­pus left, Noam Chom­sky, Zinn first came to nation­al promi­nence in the 60s while orga­niz­ing protests against the Viet­nam War—and like Chom­sky, he debat­ed con­ser­v­a­tive stan­dard-bear­er William F. Buck­ley. Zinn pre­vi­ous­ly protest­ed seg­re­ga­tion with SNCC while he taught at Spel­man Col­lege, writ­ing an influ­en­tial his­to­ry of the orga­ni­za­tion. His tire­less activism con­tin­ued until the very end of his life, and he deliv­ered notable speech­es and lec­tures through­out his involve­ment in the civ­il rights, anti-war, envi­ron­men­tal, and eco­nom­ic jus­tice move­ments.

In the Spo­ti­fy playlist above, you can hear 22 of those talks for a total of 21 hours of Zinn, includ­ing that his­toric Buck­ley debate, which you can also hear in full at the top of the post. (If you need Spo­ti­fy’s free soft­ware, down­load it here.) After their Tufts Uni­ver­si­ty meet­ing, notes Ed Welchel, Zinn reflect­ed, “I found it curi­ous that Buck­ley did not seem to under­stand that unspar­ing crit­i­cism of gov­ern­ment is an essen­tial ele­ment of a demo­c­ra­t­ic soci­ety.”

The playlist of Zinn lec­tures and talks will be added to our col­lec­tion, 1,000 Free Audio Books: Down­load Great Books for Free.

Relat­ed Con­tent:

Illus­trat­ed Video: Howard Zinn’s “What the Class­room Didn’t Teach Me About the Amer­i­can Empire”

Adorn Your Gar­den with Howard the Zinn Monk

Noam Chom­sky vs. William F. Buck­ley, 1969

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

“Charlie Rose” by Samuel Beckett: Watch Charlie Rose Meet Charlie Rose in a Comical Piece of Absurdist Theater

New York City couldn’t get enough of Ian McKel­lan and Patrick Stew­art when they appeared togeth­er in a cel­e­brat­ed 2013 revival of Samuel Beck­ett’s Wait­ing for Godot.

Five years ear­li­er, anoth­er high pro­file gent took a stab at the noto­ri­ous­ly avant-garde play­wright, and while the Inter­net took note, the same New York­ers who were des­tined to go ga ga for the adorable bowler hat­ted Brits bare­ly bat­ted a col­lec­tive eye.

Why was that?

Per­haps it’s because the ear­li­er project had a decid­ed­ly more down­town feel than the Broad­way pro­duc­tion star­ring McKel­lan and Stew­art. It was so exper­i­men­tal that its main play­er, jour­nal­ist and talk show host Char­lie Rose, a fix­ture of the New York social scene, didn’t even know he was per­form­ing in it. 

He didn’t have to. The whole thing was engi­neered by film­mak­er Andrew Fil­ip­pone Jr., in the spir­it of Beck­ett. 

By cut­ting togeth­er old footage using crowd-pleas­ing Par­ent Trap spe­cial effects, he made it pos­si­ble for Char­lie to have an absur­dist con­ver­sa­tion with him­self. It takes about 45 sec­onds to set­tle in to the prop­er sensibility—the top­ic is a bit 21st-cen­tu­ry and the famil­iar Char­lie Rose cred­its could’ve used a tweak—but once it gets going, it’s a ton of bizarre and dis­turb­ing fun.

The large table where Rose films his inter­views makes for as evoca­tive a set­ting as a bar­ren tree on a coun­try lane, a mound of earth, or a pair of garbage cans.

Beck­ett was nev­er one to shy from par­en­thet­i­cal instruc­tions, a prac­tice most play­wrights are taught to avoid on the the­o­ry that the actors should be allowed to dis­cov­er their char­ac­ters. Direc­tor Fil­ip­pone serves his muse well here, edit­ing in a host of non­ver­bal reac­tions so spe­cif­ic, they seem to be the direct embod­i­ment of some­thing writ­ten in the (non-exis­tent) script.

Relat­ed Con­tent:

Conan O’Brien Plays Char­lie Rose, Talks Pres­i­den­tial His­to­ry with Edmund Mor­ris

Watch the Open­ing Cred­its of an Imag­i­nary 70s Cop Show Star­ring Samuel Beck­ett

When Samuel Beck­ett Drove Young André the Giant to School: A True Sto­ry

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her play Zam­boni Godot is open­ing in New York City in March 2017. Fol­low her @AyunHalliday.

Take a Free Course on Digital Photography from Stanford Prof Marc Levoy

Pho­tog­ra­phy and video have advanced to such a degree that any one of us, for a mod­est invest­ment of cap­i­tal, can own the req­ui­site equip­ment to make pro­duc­tions at the same lev­el of qual­i­ty as the pros. And most of us already hold in our hands com­put­ers capa­ble of pro­duc­ing and edit­ing hun­dreds of rich still and mov­ing images. What we may lack, what most of us lack, are the skills and expe­ri­ence of the pro­fes­sion­als. No amount of fan­cy pho­to gear can make up the dif­fer­ence, but you can at least acquire the education—a very thor­ough, tech­ni­cal edu­ca­tion in dig­i­tal photography—online, and for free.

Taught by Stan­ford pro­fes­sor Emer­i­tus of Com­put­er Sci­ence Marc Lev­oy, the course above, sim­ply called “Lec­tures on Dig­i­tal Pho­tog­ra­phy,” cov­ers seem­ing­ly every­thing you might need to know and then some: from the parts of a dig­i­tal cam­era (“every screw”), to the for­mu­la for depth of field, the prin­ci­ples of high dynam­ic range, and the his­to­ry and art of pho­to­graph­ic com­po­si­tion.

Beware, this course may not suit the casu­al Instagrammer—it requires aspi­ra­tion and “a cell phone won’t suf­fice.” Addi­tion­al­ly, though Lev­oy says he assumes no pri­or knowl­edge, he does expect a few non-cam­era-relat­ed aca­d­e­m­ic skill sets:

The only knowl­edge I assume is enough facil­i­ty and com­fort with math­e­mat­ics that you’re not afraid to see the depth-of-field for­mu­la in all its glo­ry, and an inte­gral sign here or there won’t send you run­ning for the hills. Some top­ics will require con­cepts from ele­men­tary prob­a­bil­i­ty and sta­tis­tics (like mean and vari­ance), but I define these con­cepts in lec­ture. I also make use of matrix alge­bra, but only at the lev­el of matrix mul­ti­pli­ca­tion. Final­ly, an expo­sure to dig­i­tal sig­nal pro­cess­ing or Fouri­er analy­sis will give you a bet­ter intu­ition for some top­ics, but it is not required.

Sound a lit­tle daunt­ing? You will not need an expen­sive SLR cam­era (sin­gle lens reflex), though it would help you get the most out of com­plex dis­cus­sions of set­tings. The top­ics of some inter­ac­tive fea­tures may sound mystifying—“gamut-mapping,” “cylindrical-panoramas”—but Levoy’s lec­tures, all in well-shot video, move at a brisk pace, and he con­tex­tu­al­izes new sci­en­tif­ic terms and con­cepts with a facil­i­ty that will put you at ease. Lev­oy for­mer­ly taught the course at Stan­ford between 2009 and 2014. The ver­sion he teach­es online here comes from a Google class giv­en this year—eigh­teen lec­tures span­ning 11 weeks.

Find all of the course materials—including inter­ac­tive applets and assignments—at Levoy’s course site. As he notes, since the course has “gone viral,” many videos embed­ded on the site won’t play prop­er­ly. Lev­oy directs poten­tial stu­dents to his Youtube chan­nel. You can see the full playlist of lec­tures at the top of this post as well.  For more resources in pho­tog­ra­phy education—practical and the­o­ret­i­cal, begin­ner to advanced—see PetaPixel’s list of “the best free online pho­tog­ra­phy cours­es and tuto­ri­als.”

Lec­tures on Dig­i­tal Pho­tog­ra­phy” will be added to our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

via PetaPix­el

Relat­ed Con­tent:

Hunter S. Thompson’s Advice for Aspir­ing Pho­tog­ra­phers: Skip the Fan­cy Equip­ment & Just Shoot

The Pho­tog­ra­ph­er Reveals the Phi­los­o­phy, Tech­niques & Artistry of Edward West­on (1948)

See the First Known Pho­to­graph Ever Tak­en (1826)

Muse­um of Mod­ern Art (MoMA) Launch­es Free Course on Look­ing at Pho­tographs as Art

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

How to Get Started with Yoga: Free Yoga Lessons on YouTube

If you’ve dipped even a toe into the yoga world late­ly, you’ve per­haps noticed con­tro­ver­sies rag­ing from East to West about the Hin­du prac­tice of med­i­ta­tive pos­tures (āsanas). Is yoga reli­gious? If so, does prac­tic­ing it in schools vio­late reli­gious free­doms; does the Indi­an government’s endorse­ment of yoga slight Indi­an Mus­lims? Is yoga an ancient spir­i­tu­al prac­tice or mod­ern inven­tion? Is West­ern yoga “cul­tur­al appro­pri­a­tion,” as both cam­pus groups and Hin­du groups allege? Is there such a thing as “Real Yoga” and is “McYo­ga” killing it?

These ques­tions and more get debat­ed on a dai­ly basis online, on cam­pus, and in state­hous­es and coun­cils. No one is like­ly to find res­o­lu­tion any time soon. How­ev­er, you may have also heard about the health ben­e­fits of yoga, trum­pet­ed every­where, includ­ing Har­vard Med­ical School and the Mayo Clin­ic, and you can safe­ly ignore the pol­i­tics, and learn the phys­i­cal prac­tice in any num­ber of ways.

Like mil­lions of oth­er peo­ple, you may find that it helps you “fight stress and find seren­i­ty” as Mayo writes; or become a “mind­ful eater,” boost “weight loss and main­te­nance,” enhance fit­ness, and improve car­dio­vas­cu­lar health, accord­ing to Har­vard.

Var­i­ous teach­ers and schools will make oth­er claims about yoga’s prac­ti­cal and spir­i­tu­al effects. These you are free to take on faith, expe­ri­ence your­self, or check against sci­en­tif­ic sources. And when you’re ready to get out of your head and con­nect your mind and body, try a yoga class. Skip the gym and Lul­ule­mon. You don’t even have to leave your home or get out your wal­let. We have sev­er­al free online yoga class­es rep­re­sent­ed here, from rep­utable, expe­ri­enced teach­ers offer­ing pos­es for begin­ners and for expe­ri­enced yogis, and for all sorts of ail­ments and types of phys­i­cal train­ing.

The first, Yoga with Adriene, opens things up gen­tly with “Yoga for Com­plete Begin­ners,” at the top, a 20 minute “home yoga work­out” that requires no spe­cial props or pri­or expe­ri­ence. From here, you can browse Adriene’s Youtube chan­nel and find playlists like the 38-video “Foun­da­tions of Yoga” and 10-video “Yoga for Run­ners” sequence, fur­ther down. You can also read a pro­file of Adriene in The New York Times.

Should Adriene’s approach strike you as too casu­al with the yog­ic tra­di­tion, you might find the instruc­tion of Sri K. Pat­tab­hi Jois more to your lik­ing. His one-hour “Pri­ma­ry Series Ash­tan­ga” video, above, opens with this dis­claimer: “The fol­low­ing video is NOT an Exer­cise Video. It is intend­ed for edu­ca­tion­al, artis­tic, and spir­i­tu­al pur­pos­es only.” The text also warns that Mas­ter Sri K. Pat­tab­hi Jois’ yoga prac­tice is taught “to six high­ly expe­ri­enced stu­dents,” as will become clear when you watch his video.

Oth­er courses—from yoga video series by Kino Yoga and Yoga Jour­nal—ges­ture to both ends of the pure­ly fit­ness-based and pure­ly spir­i­tu­al-based spec­trum, and both have begin­ner series, above and below. It’s up to you to decide where you stand in the yoga wars, if any­where. You’ll find, if you look, no short­age of reportage, think pieces, aca­d­e­m­ic arti­cles, and rants to fill you in. But if you want to learn the phys­i­cal prac­tice of yoga, you needn’t look far to get start­ed. In addi­tion to the resources here, take a look at some curat­ed lists of online yoga class­es from New York Mag­a­zine, Huff­in­g­ton Post, and Elle UK.  Thanks go to our Twit­ter fol­low­ers, who gave us some help­ful hints. If you have your own tips/favorites, please drop them in the com­ments sec­tion below.

Relat­ed Con­tent:

Moby Lets You Down­load 4 Hours of Ambi­ent Music to Help You Sleep, Med­i­tate, Do Yoga & Not Pan­ic

Stream 18 Hours of Free Guid­ed Med­i­ta­tions

Dai­ly Med­i­ta­tion Boosts & Revi­tal­izes the Brain and Reduces Stress, Har­vard Study Finds

Son­ny Rollins Describes How 50 Years of Prac­tic­ing Yoga Made Him a Bet­ter Musi­cian

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

William Blake’s Masterpiece Illustrations of the Book of Job (1793–1827)

Job's Comforters

Ortho­dox thinkers have not often found the answers to suf­fer­ing in the Book of Job par­tic­u­lar­ly comforting—an ear­ly scribe like­ly going so far as inter­po­lat­ing the speech of one of Job’s more Pollyan­naish friends. The gnarly meta­phys­i­cal issues raised and nev­er quite resolved strike us so pow­er­ful­ly because of the kinds of things that hap­pen to Job—unimaginable things, excru­ci­at­ing­ly painful in every respect, and almost patent­ly impos­si­ble, mark­ing them as leg­end or lit­er­ary embell­ish­ment, at least.

Behemoth Leviathan

But his ordeal is at the same time believ­able, con­sist­ing of the pains we fear and suf­fer most—loss of health, wealth, and life. Job is the kind of sto­ry we can­not turn away from because of its hor­rif­ic car-wreck nature. That it sup­pos­ed­ly ends hap­pi­ly, with Job ful­ly restored, does not erase the suf­fer­ing of the first two acts. It is a huge sto­ry, cos­mic in its scope and stress, and one of the most obvi­ous­ly mytho­log­i­cal books in the Bible, with the appear­ance not only of God and Satan as chat­ty char­ac­ters but with cameos from the mon­sters Behe­moth and Leviathan.

Job's Despair

Such a sto­ry in its entire­ty would be very dif­fi­cult to rep­re­sent visu­al­ly with­out los­ing the per­son­al psy­cho­log­i­cal impact it has on us. Few, per­haps, could real­ize it as skill­ful­ly as William Blake, who illus­trat­ed scenes from Job many times through­out his life. Blake began in the 1790s with some very detailed engrav­ings, such as that at the top of the post from 1793. He then made a series of water­col­ors for his patrons Thomas Butts and John Linell between 1805 and 1827. These—such as the plate of “Behe­moth and Leviathan” fur­ther up—give us the myth­ic scale of Job’s nar­ra­tive and also, as in “Job’s Despair,” above, the human dimen­sion.

Blake_Job_Evil_Dreams_Detail_bb421_1_13-12_ps_300

Blake’s final illustrations—a series of 22 engraved prints pub­lished in 1826 (see a fac­sim­i­le here)—“are the cul­mi­na­tion of his long pic­to­r­i­al engage­ment with that bib­li­cal sub­ject,” writes the William Blake Archive. They are also the last set of engrav­ings he com­plet­ed before his death (his Divine Com­e­dy remained unfin­ished). These illus­tra­tions draw close­ly from his pre­vi­ous water­col­ors, but add many graph­ic design ele­ments, and more of Blake’s idio­syn­crat­ic inter­pre­ta­tion, as in the plate above, which shows us a “hor­rif­ic vision of a dev­il-god.” In the full page, below, we see Blake’s mar­gin­al gloss­es of Job’s text, includ­ing the line, right above the engrav­ing, “Satan him­self is trans­formed into an Angel of Light & his Min­is­ters into Min­is­ters of Right­eous­ness.”

Job's_Evil_Dreams

Oth­er pages, like that below of Job and his friends/accusers, take a more con­ser­v­a­tive approach to the text, but still present us with a stren­u­ous visu­al read­ing in which Job’s friends appear far from sym­pa­thet­ic to his ter­ri­ble plight. It’s a very dif­fer­ent image than the one at the top of the post. We know that Blake—who strug­gled in pover­ty and anonymi­ty all his life—identified with Job, and the sto­ry influ­enced his own pecu­liar­ly alle­gor­i­cal verse. Per­haps Blake’s most famous poem, “The Tyger,” alludes to Job, sub­sti­tut­ing the “Tyger” for the Behe­moth and Leviathan.

Job Rebuked

The Job paint­ings and engrav­ings stand out among Blake’s many lit­er­ary illus­tra­tions. They have been almost as influ­en­tial to painters and visu­al artists through the years as the Book of Job itself has been on poets and nov­el­ists. These final Job engrav­ings, writes the Blake Archive, “are gen­er­al­ly con­sid­ered to be Blake’s mas­ter­piece as an intaglio print­mak­er.”

Relat­ed Con­tent:

William Blake’s Last Work: Illus­tra­tions for Dante’s Divine Com­e­dy (1827)

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

Allen Gins­berg Sings the Poet­ry of William Blake (1970)

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

New Archive Presents The Chicagoan, Chicago’s Jazz-Age Answer to The New Yorker (1926 to 1935)

Chicagoan April 12

Copy­right The Quigley Pub­lish­ing Com­pa­ny, a Divi­sion of QP Media, Inc.

Chicago’s famed “sec­ond city com­plex” did­n’t spring from organ­ic feel­ings of infe­ri­or­i­ty, but rather from the poi­so­nous pen of vis­it­ing New Yorker writer, A.J. Liebling:

Seen from the taxi, on the long ride in from the air­port, the place looked slow­er, shab­bier, and, in defi­ance of all chronol­o­gy, old­er than New York… the low build­ings, the indus­tri­al plants, and the rail­road cross­ings at grade pro­duced less the feel­ing of being in a great city than of rid­ing through an end­less suc­ces­sion of fac­to­ry-town main streets. 

- A.J. Liebling, Chica­go: The Sec­ond City, 1952

The Man­hat­tan born jour­nal­ist’s obser­va­tions about the tod­dlin’ town are plain­ly those formed by an out­sider, albeit one who har­bored no designs on becom­ing an insid­er.

The Chicagoan, a home­grown pub­li­ca­tion that inten­tion­al­ly mim­ic­ked The New York­er in both design and con­tent, offers a dif­fer­ent take. From 1926 to 1935, it strove to coun­ter­act the city’s thug­gish rep­u­ta­tion (Al Capone, any­one?) by draw­ing atten­tion to its cul­tur­al offer­ings and high soci­ety doings.

Out­side of Chica­go, no one cared much. Hav­ing failed to repli­cate The New Yorker’s nation­al suc­cess, it fold­ed, leav­ing behind very few sur­viv­ing copies.

Neil Har­ris, a Uni­ver­si­ty of Chica­go Pro­fes­sor Emer­i­tus of His­to­ry, has right­ed that wrong by arrang­ing for the uni­ver­si­ty library’s near com­plete col­lec­tion of Chicagoans to be uploaded to a search­able online data­base.

The cov­ers have a Jazz Age vibran­cy, as do arti­cles, adver­tise­ments, and car­toons aimed at Chicago’s smart set. There’s even a Helen Hokin­son car­toon, in the form of a Bor­den cheese ad.

A search for Lieblings yield­ed but two:

Chicagoan December

Copy­right The Quigley Pub­lish­ing Com­pa­ny, a Divi­sion of QP Media, Inc.

One from Decem­ber 1, 1934, above, name checks pianist Emil Liebling in an arti­cle revis­it­ing the 1897 Christ­mas issue of anoth­er bygone Chica­go paper, the Sat­ur­day Evening Her­ald.

Chicagoan April 26

Copy­right The Quigley Pub­lish­ing Com­pa­ny, a Divi­sion of QP Media, Inc.

Four years ear­li­er, in Vol. 9, No. 3, Robert Pollack’s Musi­cal Notes col­umn made men­tion of Leonard Liebling, a crit­ic for the New York Amer­i­can… (I can hear A.J. beyond-the-grave snick­er­ing even now).

You can browse the pages of The Chicagoan here. For fur­ther read­ing, see Pro­fes­sor Har­ris’ book, The Chicagoan: A Lost Mag­a­zine of the Jazz Age.

via Messy N Chic

Relat­ed Con­tent:

Par­ti­san Review Now Free Online: Read All 70 Years of the Pre­em­i­nent Lit­er­ary Jour­nal (1934–2003)

The Pulp Fic­tion Archive: The Cheap, Thrilling Sto­ries That Enter­tained a Gen­er­a­tion of Read­ers (1896–1946)

The Best Mag­a­zine Arti­cles Ever, Curat­ed by Kevin Kel­ly

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her lat­est script, Fawn­book, is avail­able in a dig­i­tal edi­tion from Indie The­ater Now.  Fol­low her @AyunHalliday.

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