Philosopher Richard Rorty Chillingly Predicts the Results of the 2016 Election … Back in 1998

rorty

Twen­ty years ago a strong aca­d­e­m­ic left in uni­ver­si­ties all over the world spoke to polit­i­cal cul­ture the way that a glob­al­ized nation­al­ist far-right seems to now. Among pub­lic intel­lec­tu­als in the U.S., Richard Rorty’s name held par­tic­u­lar sway. Yet in his con­trar­i­an 1998 book Achiev­ing Our Coun­try, Rorty argued against the par­tic­i­pa­tion of phi­los­o­phy in pol­i­tics. A mem­ber of the so-called “Old Left,” or what he called the “reformist left,” Rorty took on the “Cul­tur­al Left” in ways we now hear in (often bit­ter) debates between sim­i­lar camps. In the course of his attacks, he made the uncan­ny pre­dic­tion above.

The cul­tur­al left, wrote Rorty, had come “to give cul­tur­al pol­i­tics pref­er­ence over real pol­i­tics, and to mock the very idea that demo­c­ra­t­ic insti­tu­tions might once again be made to serve social jus­tice.” He fore­saw cul­tur­al pol­i­tics on the left as con­tribut­ing to a tidal wave of resent­ment that would one day result in a time when “all the sadism which the aca­d­e­m­ic left has tried to make unac­cept­able to its stu­dents will come flood­ing back.”

As demo­c­ra­t­ic insti­tu­tions fail, he writes in the quote above:

[M]embers of labor unions, and unor­ga­nized unskilled work­ers, will soon­er or lat­er real­ize that their gov­ern­ment is not even try­ing to pre­vent wages from sink­ing or to pre­vent jobs from being export­ed. Around the same time, they will real­ize that sub­ur­ban white-col­lar workers—themselves des­per­ate­ly afraid of being downsized—are not going to let them­selves be taxed to pro­vide social ben­e­fits for any­one else.

At that point, some­thing will crack. The non­sub­ur­ban elec­torate will decide that the sys­tem has failed and start look­ing around for a strong­man to vote for—someone will­ing to assure them that, once he is elect­ed, the smug bureau­crats, tricky lawyers, over­paid bond sales­men, and post­mod­ernist pro­fes­sors will no longer be call­ing the shots. A sce­nario like that of Sin­clair Lewis’ nov­el It Can’t Hap­pen Here may then be played out. For once a strong­man takes office, nobody can pre­dict what will hap­pen. In 1932, most of the pre­dic­tions made about what would hap­pen if Hin­den­burg named Hitler chan­cel­lor were wild­ly overop­ti­mistic.

One thing that is very like­ly to hap­pen is that the gains made in the past forty years by black and brown Amer­i­cans, and by homo­sex­u­als, will be wiped out. Joc­u­lar con­tempt for women will come back into fash­ion. The words [slur for an African-Amer­i­can that begins with “n”] and [slur for a Jew­ish per­son that begins with “k”] will once again be heard in the work­place. All the sadism which the aca­d­e­m­ic Left has tried to make unac­cept­able to its stu­dents will come flood­ing back. All the resent­ment which bad­ly edu­cat­ed Amer­i­cans feel about hav­ing their man­ners dic­tat­ed to them by col­lege grad­u­ates will find an out­let.

He also then argues, how­ev­er, that this sadism will not sole­ly be the result of “eco­nom­ic inequal­i­ty and inse­cu­ri­ty,” and that such expla­na­tions would be “too sim­plis­tic.” Nor would the strong­man who comes to pow­er do any­thing but wors­en eco­nom­ic con­di­tions. He writes next, “after my imag­ined strong­man takes charge, he will quick­ly make his peace with the inter­na­tion­al super­rich.”

Rorty blamed the Marx­ist New Left for “retreat­ing from prag­ma­tism into the­o­ry,” wrote The New York Times in its review of Achiev­ing Our Coun­try. He felt the cul­tur­al left had aban­doned the “Amer­i­can exper­i­ment as sec­u­lar, anti-author­i­tar­i­an and infi­nite in pos­si­bil­i­ties,” such as “Whit­man ide­al­ized as lov­ing rela­tion­ships and Dewey as good cit­i­zen­ship.” The Times wrote then that Rorty’s pre­dic­tions above were a form of “intel­lec­tu­al bul­ly­ing.” We can take our dystopi­an futures from sci-fi nov­el­ists and film­mak­ers, but when philoso­phers “harus­pi­cate or scry,” as T.S. Eliot wrote in “The Dry Sal­vages,” we tend to dis­miss it as the “usu­al / Pas­times and drugs, and fea­tures of the press.”

The emi­nent Stan­ford pro­fes­sor exhort­ed his con­tem­po­raries to leave behind “semi­con­scious anti-Amer­i­can­ism” and embrace prag­mat­ic civ­il engage­ment, and did so by offer­ing up exam­ples from Amer­i­can lit­er­a­ture and phi­los­o­phy that all had fierce activist strains. Exco­ri­at­ing one kind of life of the mind, Rorty can’t help but offer anoth­er. “What does Rorty offer as a solu­tion?” asked the Times review, “Not real­ly very much.” Per­haps not to politi­cians. But to the post­mod­ern aca­d­e­mics and writ­ers he accused, he offers up as counter exam­ples Walt Whit­man, John Dewey, and—as Rorty not­ed in an inter­view—James Bald­win, whose “use of the phrase… achiev­ing our coun­try” inspired his book’s title, Achiev­ing Our Coun­try.

via Slate

Relat­ed Con­tent:

Octavia Butler’s 1998 Dystopi­an Nov­el Fea­tures a Fascis­tic Pres­i­den­tial Can­di­date Who Promis­es to “Make Amer­i­ca Great Again”

John Sear­le on Fou­cault and the Obscu­ran­tism in French Phi­los­o­phy

Hux­ley to Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

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

Metallica Playing “Enter Sandman” on Classroom Toy Instruments

Things get­ting too seri­ous around here? You want it lighter? Here’s Metal­li­ca play­ing “Enter Sand­man” on class­room toy instru­ments. It fea­tures James Het­field on the toy clar­inet, Lars Ulrich on the Fish­er Price Drum and toy cym­bals, Kirk Ham­mett on the Melod­i­ca, and Robert Tru­jil­lo on the Baby Elec­tric Axe. They’re joined by Jim­my Fal­lon on the kazoo. Next up, stun­ning, breath­tak­ing time­lapse films of boats sail­ing through Venet­ian canals.

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!

Relat­ed Con­tent

Metallica’s Bassist Robert Tru­jil­lo Plays Metal­li­ca Songs Fla­men­co-Style, Joined by Rodri­go y Gabriela

With Medieval Instru­ments, Band Per­forms Clas­sic Songs by The Bea­t­les, Red Hot Chili Pep­pers, Metal­li­ca & Deep Pur­ple

A Blue­grass Ver­sion of Metallica’s Heavy Met­al Hit, “Enter Sand­man”

Finnish Musi­cians Play Blue­grass Ver­sions of AC/DC, Iron Maid­en & Ron­nie James Dio

Iconic Footage of Jimi Hendrix Playing “Hey Joe” Rendered in the Style of Moebius, with the Help of Neural Network Technology

We are less than a year into neur­al net­work tech­nol­o­gy, and Google’s Deep Dream soft­ware is already yield­ing impres­sive results beyond the dog-slugs of its first videos. YouTu­ber Lulu xXX has been play­ing around with blend­ing art with music videos, and is onto some­thing with this clip that mesh­es icon­ic live footage of the Jimi Hen­drix Expe­ri­ence (fea­tured below) with the art of Jean Giraud aka Moe­bius.

The French car­toon­ist and illus­tra­tor was a big fan of Hen­drix. He designed the cov­ers of a French com­pi­la­tion LP of Hendrix’s first two albums, and includ­ed him in sev­er­al art prints, where the musi­cian is a cool, often angel­ic pres­ence.

So Lulu xXX right­ly chose Moe­bius’ par­tic­u­lar style through which to process this icon­ic “Hey Joe” footage record­ed in 1967. As you see, when the neur­al net­work is fed more line-based work, it tru­ly does get close to “Moe­bius ani­mates Hen­drix.” Watch the side-by-side ver­sion below and let us know what you thinks works best.

In a few more years, this video may seem charm­ing­ly naive as neur­al net­work­ing improves. Think how Pixar evolved, or how video games devel­oped. The results may be so good that we won’t know if we’re see­ing some­thing hand­made or a per­fect sim­u­la­tion. We might have to lean over and ask our Jimi Hen­drix holo­gram to tell us the truth.

via Laugh­ing Squid

Relat­ed con­tent:

Moe­bius Gives 18 Wis­dom-Filled Tips to Aspir­ing Artists (1996)

Moe­bius’ Sto­ry­boards & Con­cept Art for Jodorowsky’s Dune

Jimi Hen­drix Wreaks Hav­oc on the Lulu Show, Gets Banned From BBC (1969)

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the 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.

The New York Times’ First Profile of Hitler: His Anti-Semitism Is Not as “Genuine or Violent” as It Sounds (1922)

new-popular-idol

I’ve heard it again and again. The now Pres­i­dent-elect made vicious and belit­tling attacks on African-Amer­i­cans, Mus­lims, immi­grants, women, the dis­abled, etc. dur­ing the cam­paign sea­son (and for sev­er­al decades before), but he didn’t mean it. And I have many ques­tions. For exam­ple, why should any­one assume—given the his­to­ry of coun­try after coun­try after country—that a bul­ly­ing nativist auto­crat doesn’t mean what he says?

We know celebri­ty breeds triv­i­al­iza­tion. But we also know well that in some of the most famous—but by no means only—cases of dem­a­gogues who rose to pow­er with hate speech, the rhetoric quick­ly turned to many years of incom­pre­hen­si­ble, yet cal­cu­lat­ed, bru­tal­i­ty. At least in the U.S., hard­ly any­one believed that the melo­dra­mat­ic vit­ri­ol Hitler and Mus­soli­ni spat at scape­goats of all kinds, espe­cial­ly Jews, should be tak­en very seri­ous­ly.

In 1922—at the dawn of Hitler’s bud­ding nation­al­ist move­ment—The New York Times pub­lished its first pro­file, and explained his dem­a­goguery away. The arti­cle, titled “New Pop­u­lar Idol Ris­es in Bavaria,” begins with sev­er­al alarm­ing sub­head­ings: “Hitler cred­it­ed with extra­or­di­nary pow­ers of sway­ing crowds to his will,” “forms gray-shirt­ed army… They obey orders implic­it­ly,” “Leader a reac­tionary,” “Anti-Red and Anti-Semit­ic.” It then goes on to under­mine these charges.

Accord­ing to “sev­er­al reli­able, well-informed [unnamed] sources,” we’re told, “Hitler’s anti-Semi­tism was not so gen­uine or vio­lent as it sound­ed,” though “the Hitler move­ment is not of a mere local or pic­turesque inter­est.”

He was mere­ly using anti-Semit­ic pro­pa­gan­da as a bait to catch mass­es of fol­low­ers and keep them aroused, enthu­si­as­tic and in line for the time when his orga­ni­za­tion is per­fect­ed and suf­fi­cient­ly pow­er­ful to be employed effec­tive­ly for polit­i­cal pur­pos­es.

What pur­pos­es? The paper quotes one admir­ing “sophis­ti­cat­ed politi­cian” as say­ing, “You can’t expect the mass­es to under­stand or appre­ci­ate your fin­er real aims. You must feed the mass­es with crud­er morsels and ideas like anti-Semi­tism. It would be polit­i­cal­ly all wrong to tell them the truth about where you real­ly are lead­ing them.” Where might this be? The shad­owy source did not say. We cyn­i­cal­ly expect all politi­cians to lie, to feed us “crud­er morsels.” But assum­ing that racism, big­otry, and scapegoating—whether sin­cere or not—will go down so eas­i­ly with so many peo­ple con­sti­tutes a very dark view of “the mass­es.”

nytimeshitler-2

Ten years lat­er, after Hitler was released from prison for trea­son and had begun his can­di­da­cy for pres­i­dent, many, even more com­pli­men­ta­ry, arti­cles would follow—as Rafael Med­off doc­u­ments in The Dai­ly Beast—all the way up to Time magazine’s nam­ing him “Man of the Year” for 1938.  “Why did many main­stream Amer­i­can news­pa­pers por­tray the Hitler regime pos­i­tive­ly,” asks Med­off, “espe­cial­ly in its ear­ly months? How could they pub­lish warm human-inter­est sto­ries about a bru­tal dic­ta­tor? Why did they excuse or ratio­nal­ize Nazi anti-Semi­tism? These are ques­tions that should haunt the con­science of U.S. jour­nal­ism to this day.”

One reporter in a 1933 Chris­t­ian Sci­ence Mon­i­tor dis­patch from Ger­many informed his read­ers that “the train arrived punctually”—indulging a trope about fas­cists mak­ing the “trains run on time” that has aston­ish­ing­ly come back in cir­cu­la­tion via for­mer Cincin­nati may­or Ken Black­well. “Traf­fic was well reg­u­lat­ed.” The cor­re­spon­dent found “not the slight­est sign of any­thing unusu­al afoot.” The word we often hear for what hap­pened dur­ing the 30s is “nor­mal­iza­tion,” a process by which the most har­row­ing por­tents were blend­ed into the land­scape, ren­dered signs of noth­ing “unusu­al afoot.”

The nor­mal­iza­tion of Nazism in Ger­many involved a tremen­dous pro­pa­gan­da effort, much of it aimed at chil­dren. In the U.S., the press seemed more than will­ing to turn an eth­no-nation­al­ist move­ment with frightening—and plain­ly stated—objectives into an ordi­nary, ratio­nal state actor. Anti-Semi­tism was described as legit­i­mate polit­i­cal resent­ment or rea­son­able anger at Ger­man Jews’ “com­mer­cial clan­nish­ness.” Some­how the vic­tims of Nazism had to be respon­si­ble for their own mur­der and per­se­cu­tion. “There must be some rea­son,” wrote The Chris­t­ian Cen­tu­ry in an April, 1933 edi­to­r­i­al, “oth­er than race or creed—just what is that rea­son?” Few peo­ple, it seems, could or would allow them­selves to imag­ine that the new Ger­man Führer actu­al­ly meant what he said.

via Boing Boing

Relat­ed Con­tent:

Free Online His­to­ry Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties

How Did Hitler Rise to Pow­er? : New TED-ED Ani­ma­tion Pro­vides a Case Study in How Fas­cists Get Demo­c­ra­t­i­cal­ly Elect­ed

George Orwell Reviews Mein Kampf: “He Envis­ages a Hor­ri­ble Brain­less Empire” (1940)

Gand­hi Writes Let­ters to Hitler: “We Have Found in Non-Vio­lence a Force Which Can Match the Most Vio­lent Forces in the World” (1939/40)

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

Stewart Brand’s List of 76 Books for Rebuilding Civilization

When the future looks dim, we can attend to the present with furi­ous agency, spin­ning from task to task, for­get­ting for days on end to prac­tice fore­thought. How much of this comes from tech-addled infor­ma­tion over­load and how much from phys­i­o­log­i­cal respons­es to real impend­ing dan­ger is anyone’s guess. But both sources of anx­i­ety dri­ve away thoughts of what Stew­art Brand— futur­ist, founder of the Whole Earth Cat­a­log, and one of Ken Kesey’s band of Mer­ry Pranksters—calls the “Long Now,” also the name of his foun­da­tion advo­cat­ing “the long view and the tak­ing of long-term respon­si­bil­i­ty.”

But, you may object, we think of our chil­dren, and maybe of our grand­chil­dren, too. Yet when Brand says long, he doesn’t mean 25, 50, or 100 years in the future. Inspired by an imag­ined clock that ticks away years, cen­turies, and mil­len­nia (and which Long Now is actu­al­ly build­ing) the foun­da­tion aims to cre­ate a ver­sion of Isaac Asi­mov’s “library of the deep future.” Long Now—whose board includes Bri­an Eno, Wired founder Kevin Kel­ly, and dig­i­tal map maven David Rumsey—refers to their library as the “Man­u­al for Civ­i­liza­tion,” a some­what grandiose title for a very ambi­tious project: an archive to help rebuild civ­i­liza­tion in case of dec­i­ma­tion or cat­a­stroph­ic col­lapse.

Many of the board mem­bers—like Kel­ly and Eno—have sub­mit­ted their own lists of rec­om­men­da­tions for titles to add to the col­lec­tion of 3,500 books. (We’ve fea­tured Eno’s list in a pre­vi­ous post.) The sam­pling of con­trib­u­tors so far is hard­ly a diverse group, and read­ers have point­ed out that the sam­pling of authors (it’s over­whelm­ing­ly male) isn’t either. That per­fect­ly legit­i­mate crit­i­cism aside, these lists do pro­vide us with ways of think­ing about the kinds of books some pos­si­ble future might need to rebuild. Would ancient Greek epics like The Ili­ad and The Odyssey have much rel­e­vance if the world lost its cul­tur­al wealth, along with the mil­lions of ref­er­ences to Homer?

These epics, and those of Gil­gamesh and Beowulf, have much more to con­tribute than just his­tor­i­cal val­ue. What about the sci­ence fic­tion of Ian Banks? Sto­ic phi­los­o­phy of Mar­cus Aure­lius and Lucretius? Edward Gibbon’s The His­to­ry of the Decline and Fall of the Roman Empire (all six vol­umes)? All of these appear on Stew­art Brand’s list, but so do prac­ti­cal and enter­tain­ing sur­veys like Peter Barber’s The Map Book, and sci­en­tif­ic texts like Paul G. Hewitt’s Con­cep­tu­al Physics and Theodore Gray’s The Ele­ments: A Visu­al Explo­ration of Every Known Atom in the Uni­verse.

Whether we can rea­son­ably expect these books to sur­vive hun­dreds or thou­sands of years from now is maybe beside the point. It’s an exer­cise in futur­ol­o­gy. Long Now rep­re­sents both “a mech­a­nism and a myth,” Brand has writ­ten. His heavy empha­sis on illus­trat­ed non­fic­tion sug­gests some crit­i­cal acknowl­edge­ment that future read­ers may not be flu­ent and may have few mem­o­ries of what things once looked like (espe­cial­ly through micro­scopes and tele­scopes). His heavy empha­sis on clas­si­cal lit­er­a­ture and almost exclu­sive­ly Euro­pean his­to­ry shows a par­tic­u­lar cul­tur­al bias that may have lit­tle jus­ti­fi­ca­tion.

See a select­ed list of 20 titles from Brand’s list below, and see the full list of 76 books at the Long Now Foun­da­tion site here. Find his list myopic or miss­ing some key areas of knowl­edge? Sug­gest your own addi­tions in the com­ments.

The Sto­ry of Writ­ing: Alpha­bets, Hiero­glyphs & Pic­tograms by Andrew Robin­son

Brave New World (The Folio Soci­ety) by Aldous Hux­ley and illus­trat­ed by Leonard Roso­man

Dune by Frank Her­bert

The Sin­gu­lar­i­ty is Near: When Humans Tran­scend Biol­o­gy by Ray Kurzweil

One True God: His­tor­i­cal Con­se­quences of Monothe­ism by Rod­ney Stark

The Clash of Civ­i­liza­tions and the Remak­ing of World Order by Samuel P. Hunt­ing­ton

The Idea of Decline in West­ern His­to­ry by Arthur Her­man

What Tech­nol­o­gy Wants by Kevin Kel­ly

The Long Sum­mer: How Cli­mate Changed Civ­i­liza­tion by Bri­an Fagan

A His­to­ry of Civ­i­liza­tions by Fer­nand Braudel

The Foun­da­tion Tril­o­gy by Isaac Asi­mov

The Prince by Machi­avel­li, trans­lat­ed by George Bull, pub­lished by Folio Soci­ety

The Nature of Things by Lucretius

The Ili­ad by Homer trans­lat­ed by Robert Fagles

The Mem­o­ry of the World: The Trea­sures That Record Our His­to­ry from 1700 BC to the Present Day by UNESCO

The Land­mark Herodotus: The His­to­ries edit­ed by Robert B. Strassler

Brand is not so mod­est as to exclude his own work, list­ing his How Build­ings Learn: What Hap­pens After They’re Built as a can­di­date for a declin­ing or post-apoc­a­lyp­tic world. That book is also a six-part BBC series, with music by Bri­an Eno. You can watch the first episode at the top of the post and find all six parts at our pre­vi­ous post on Brand here.

Again, Brand’s com­plete list of 76 books can be found here.

Relat­ed Con­tent:

What Books Could Be Used to Rebuild Civ­i­liza­tion?: Lists by Bri­an Eno, Stew­art Brand, Kevin Kel­ly & Oth­er For­ward-Think­ing Minds

Bri­an Eno Lists 20 Books for Rebuild­ing Civ­i­liza­tion & 59 Books For Build­ing Your Intel­lec­tu­al World

Watch Stew­art Brand’s 6‑Part Series How Build­ings Learn, With Music by Bri­an Eno

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

How Superman Defeated the KKK (in Real Life): Hear the World-Changing 1946 Radio Drama

Ear­li­er this week, we fea­tured the 1950 Super­man poster that urged stu­dents to defend the Amer­i­can way and fight dis­crim­i­na­tion every­where. Today, we present anoth­er chap­ter from Super­man’s lit­tle-known his­to­ry as a Civ­il Rights defend­er.

The year is 1946. World War II has come to an end. And now mem­ber­ship in the Ku Klux Klan starts to rise again. Enter Stet­son Kennedy, a human rights activist, who man­ages to infil­trate the KKK and then finds out an inge­nious way to take them down. He con­tacts the pro­duc­ers of the pop­u­lar Adven­tures of Super­man radio show, and pitch­es them on a new sto­ry­line: Super­man meets and defeats the KKK. Need­ing a new ene­my to van­quish, the pro­duc­ers green­light the idea.

The 16-episode series, “The Clan of the Fiery Cross,” aired in June, 1946 and effec­tive­ly chipped away at the Klan’s mys­tique, grad­u­al­ly reveal­ing their secret code­words and rit­u­als. Lis­ten to the episodes above. And take heart in know­ing this: Accord­ing to Stephen J. Dub­n­er and Steven Levitt, the authors of Freako­nom­icsThe Clan of the Fiery Cross was “the great­est sin­gle con­trib­u­tor to the weak­en­ing of the Ku Klux Klan.” Mocked and triv­i­al­ized, the Klan’s num­bers went back on the decline.

For more infor­ma­tion on this chap­ter in super­hero his­to­ry, read the well-reviewed YA book, Super­man Ver­sus the Ku Klux Klan: The True Sto­ry of How the Icon­ic Super­hero Bat­tled the Men of Hate. Also find more infor­ma­tion on these episodes at the Super­man Home­page.

To hear more orig­i­nal Super­man radio shows, head over to Archive.org.

Note: there is a lit­tle bit of a con­tro­ver­sy about what exact role Stet­son Kennedy played in infil­trat­ing the Klan. You can read up on that here.

Thanks, Alis­sa, for call­ing this radio series to our atten­tion.

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!

Relat­ed Con­tent:

The Orig­i­nal 1940s Super­man Car­toon: Watch 17 Clas­sic Episodes Free Online

1950 Super­man Poster Urged Kids to Defend All Amer­i­cans, Regard­less of Their Race, Reli­gion or Nation­al Ori­gin

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

Thomas Edison’s Hugely Ambitious “To-Do” List from 1888

edison_todolist

Even beyond devel­op­ing the phono­graph, the motion pic­ture cam­era, light bulb, and the creepy talk­ing doll, Thomas Edi­son got a lot done in life. With his even greater knack for enter­prise than for inven­tion, he might, had he lived in the 21st cen­tu­ry, trad­ed on his rep­u­ta­tion for pro­duc­tiv­i­ty and indus­try by sell­ing us his per­son­al “life hacks.” Alas, those in search of Edis­on­ian tips and tricks for liv­ing must infer them from all the mate­ri­als he left behind after a life that stretched from the mid-19th cen­tu­ry to near­ly the mid-20th, such as this exten­sive to-do list from Jan­u­ary 3, 1888.

“Through­out his life, Thomas Edi­son kept ‘idea books’ filled with to-do lists, sketch­es and oth­er notes on cur­rent and future projects,” says the site of PBS’ Amer­i­can Expe­ri­ence. Just over a month after open­ing his new lab in West Orange, New Jer­sey, “Edi­son cre­at­ed a five-page list of ‘Things doing and to be done.’

That year alone, Edi­son would exe­cute 45 patents, pri­mar­i­ly con­cerned with the phono­graph and cylin­der records. Alexan­der Gra­ham Bell and his asso­ciates had begun to make improve­ments on Edison’s decade-old phono­graph, which pushed Edi­son into action. Despite this com­pe­ti­tion, Edis­on’s ‘To Do’ list shows that the phono­graph wasn’t the only thing on the inventor’s mind.”

These five pages of things to acquire or cre­ate (see the full list below) include not just the “New Stan­dard Phono­graph” but an “Improved Mag­net­ic Bridge for prac­ti­cal work,” “Unin­flam­ma­ble Insu­lat­ing Mate­r­i­al,” a “Box bal­anc­ing Sys­tem,” “Arti­fi­cial Moth­er Pearl,” “But­ter direct from Milk,” “Arti­fi­cial Ivory,” “Marine Teleg­ra­phy,” and a “Long dis­tance stan­dard Tele­phone Trans­mit­ter which employs devices of record­ing phono­graph.” While not all the ideas that inspired, or were inspired by, the items on this long list came to fruition, Edi­son clear­ly saw val­ue in get­ting them all out of his head and on paper. One won­ders what the man who declared that “genius is one per­cent inspi­ra­tion, nine­ty-nine per­cent per­spi­ra­tion” would make of the count­less orga­ni­za­tion and pro­duc­tiv­i­ty tools now on the mar­ket. Nobody ever per­spired because of using an app, after all — but plen­ty have per­spired devel­op­ing them.

Things doing and to be done:

Cot­ton Pick­er
New Stan­dard Phono­graph
Hand turn­ing phono­graph
New Slow speed cheap Dynamo
New Expan­sion Pyro­mag­net­ic Dynamo
Deaf Appa­ra­tus
Elec­tri­cal Piano
Long dis­tance stan­dard Tele­phone Trans­mit­ter which employs devices of record­ing phonogh
Tele­phone Coil of Fe [iron] by tt in Parafine or oth­er insu­la­tor
Plati­na Point Trans using new phono Recorder devices
Gred Bat­tery for Tele­phones
“ “ “ “ Long Dis­tance
“ “ “ — Phono­plex
“ “ “ Jump Tele­graph
“ “ “ Volt­meter
Improved Mag­net­ic Bridge for prac­ti­cal work
Moto­graph Mir­ror
“ Relay
“ Tele­phone prac­ti­cal
Arti­fi­cial Cable
Phone motor to work on 100 volt ckts
Dupli­cat­ing Phono Cylin­ders
Deposit in vac­uo on lace, gold + sil­ver also on cot­ton molten chem­i­cal com­pound of lus­trous sur­faces to imi­tate silk— also reg plat­ing sys­tem
Vac­u­ous Ore milling Large Machine
Mag­net­ic Sep­a­ra­tor Large
Lock­ing mate­r­i­al for Iron sand
Arti­fi­cial Silk
Arti­fi­cial fil­i­ments [sic]
New [illeg.]
Unin­flam­ma­ble Insu­lat­ing Mate­r­i­al
Good wax for phono­graph
Phono­graph­ic Clock
Large Phono­graph for Nov­els, etc.
Pig Iron Expmts with Elec­tric­i­ty + Mag­net­ism
Mal­leabliz­ing Cast now in Vac­uo
Draw­ing fine wire
Joy phono­graph for Dolls
Cable Moto­graph
Very Loud Moto­graph tele­phone with 1/3 siz phonogh motor.
Mag­ne­to tele­phone with actu­al con­tact end mag­net com­pres­sion of an adjustable rub­ber press as in new phones
Snow Com­pres­sor
Glass plate water ore repeator
Tinned faced [illeg.] for Stove Cast­ings
Refin­ing Cop­per Elec­tri­cal­ly
Quad neu­tral relay
Cheap low induct Cop Insu­lat­ing mate­r­i­al for Lead Cable peo­ple
Con­stant moved for non­foundry
200 volt 20 cp lamp
Cheap [illeg.] Indi­ca­tor
Record­ing Valt Indi­ca­tor
Box bal­anc­ing Sys­tem
Alter­nat­ing Machine + Trans­former
Sifua Sur­face Switch­es
Vul­can­iz­ing [illeg.] African Rub­ber adulle­ment
Plat­inum wire [illeg.] cut­ting Machine
Sil­ver wire wood cut­ting sys­tem
Sil­ver­ing or Cop­per­ing bathing cloth in Vac for dura­bil­i­ty
S Mater attend own with new devices for c speed
Expan­sion mir­ror plat… wire in vac­uo
Pho­toghy
Pho­toghy by camp­ing heat after cen­tral points
Boron fil.
Hg [mer­cury] out of Lamp
Phonaplex Repeater
Squirt­ing glass sheet tube etc. Nick­el [illeg.]
Arti­fi­cial Moth­er Pearl
Red Lead pen­cils equal to graphite
India Ink
Trac­ing Cloth
Ink for blind
Fluffy Incan­des­cent Burn­er for gas
Regen­er­a­tive Kerosene Burn­er
Cen­tral­ized arc in arc Lamp
Cai–[illeg.] Tes­la arc lamp test
Strength­en­ing alter­nat­ing cli by sternt Dynamo
ERR Cont [illeg.] reduc­ers
Elec­tro­plat­ing Machines for Sch­enec­tady
Con­denser Trans­former
Sqr ft difrac­tion grat­ings in sil­ver by 5000 [illeg.] tool spe­cial [illeg.] lathe for orna­men­tal pur­pos­es
Pho­to Scant–[illeg.]
Cheap plan pro­duce Mimeo­graph sur­faces
Min­ers bat­tery + lamp
Sort­ing Coal from Slate Machine
But­ter direct from Milk
Burn­ing asphalt Can­dles by high chim­ney
Mag­nets RR sig­nals
Soft­en [illeg.] of books trans­fer to Cop plate + plate to [illeg.] matrix
Tele­phone Repeater
Sub­sti­tute for Hard rub­ber
Arti­fi­cial Ivory
Soft­en Veg­etable Ivory to press in sheets
Var­i­ous bat­ter­ies on [illeg.] Type
Revolv­ing Ther­mo
Caller Indi­ca­tor for Jump Telegh
Marine Teleg­ra­phy
Long dis­tance speak­ing tube filled H20 2 dia pres­sure
Lend plate bat­tery for mod­i­fy­ing attend­ing Cur­rent
Two revolv­ing bands in bat­tery Lead faced press in liq­uid close togeth­er + out into sep­a­rate cham­bers to [illeg.]reduce by gas the oth­er
Siren phonogh
Perm mag like an elec­tro­mag of [illeg.] hand steel high pol­ish sep­a­rate­ly mag­ne­tized + forced togeth­er pow­er­ful­ly[illeg.]
Tele­phone work­ing more [illeg.]
Eartubes formed cres­cent [illeg.] wire
Long strip 50 cp car­bon under stress [illeg.] for
Cheap Volt­meter
Chalk Bat­tery
Dynamo or motor long tube in long mag­net­ic field top + bot­tom con­tacts forc­ing water through gen­er­a­tor cur­rent by – pas­sage.
[Illeg.]
Ther­mo bat­tery slick Cop­per oxi­dized then plat­ed over sur­face oxide nailed to make good con­tact [illeg.]
Disk Phonogh

Relat­ed Con­tent:

In 1911, Thomas Edi­son Pre­dicts What the World Will Look Like in 2011: Smart Phones, No Pover­ty, Libraries That Fit in One Book

A Brief, Ani­mat­ed Intro­duc­tion to Thomas Edi­son (and Niko­la Tes­la)

Thomas Edi­son & His Trusty Kine­to­scope Cre­ate the First Movie Filmed In The US (c. 1889)

Hear Thomas Edison’s Creepy Talk­ing Dolls: An Inven­tion That Scared Kids & Flopped on the Mar­ket

Take the 146-Ques­tion Knowl­edge Test Thomas Edi­son Gave to Prospec­tive Employ­ees (1921)

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.

Frank Zappa’s Amazing Final Concerts: Prague and Budapest, 1991

We say good­bye to musi­cal icons in many dif­fer­ent ways, from flash­mobs, SNL intros, and long ret­ro­spec­tives to live con­cert trib­utes fea­tur­ing the biggest cov­er band on earth. No mat­ter how out­sized the ges­ture, it nev­er quite seems out of place when it comes to artists of a cer­tain stature. In the case of Frank Zap­pa, we’ve recent­ly seen jazz orches­tra trib­utes, a “mon­u­men­tal live per­for­mance” of one of his own orches­tral works, and sev­er­al Zap­pa trib­ute con­certs by his son Dweezil.

For all their heart and sta­mi­na, how­ev­er, no trib­ute can com­pete with the pow­er of those artists’ farewells to us. Both David Bowie and Leonard Cohen, too frag­ile to per­form in their last years, left phe­nom­e­nal albums we’ll pore over for decades to come. South­ern rock great Leon Rus­sell, who just passed away this week at 74, put on rol­lick­ing live shows into his final years, and had con­certs booked into 2017 when he died. Prince’s final per­for­mance was, like all of his per­for­mances, stun­ning.

And Zap­pa? Well see for your­self. Zap­pa played his way out of the world as he’d played his way into it, with sar­don­ic humor and blis­ter­ing vir­tu­os­i­ty.

As you can see at the top and above, Zap­pa and band deliv­ered on every promise in their last con­certs in Prague and Budapest in 1991. In the 10-minute clip at the top, Zappa’s impro­visato­ry prog gui­tar runs soar and dive over the band’s slink­ing jazz-reg­gae, then get more tech­ni­cal as he trades licks with anoth­er vir­tu­oso gui­tarist. In the low­er-qual­i­ty video above, with clips from both con­certs, Zap­pa and band dis­play their mas­tery of an East­ern Euro­pean-sound­ing march with their guest musi­cian “gyp­sy friends” in Hun­gary (at 9:00).

In the fol­low­ing two years, until his death in 1993, Zap­pa would become too weak to play as he suc­cumbed to prostate can­cer. In his final inter­views, he pro­nounced him­self “total­ly unre­pen­tant” for his life and career and insist­ed he had only ever been an “enter­tain­er.” And it’s true, what­ev­er else Zap­pa was—incredibly skilled gui­tarist, com­pos­er, and indus­try innovator—he was always, to the last cou­ple years of his life, an incred­i­ble show­man.

Relat­ed Con­tent:

In One of his Final Inter­views, Frank Zap­pa Pro­nounces Him­self “Total­ly Unre­pen­tant”

Frank Zap­pa Debates Cen­sor­ship on CNN’s Cross­fire (1986)

A Young Frank Zap­pa Turns the Bicy­cle into a Musi­cal Instru­ment on The Steve Allen Show (1963)

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

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