Margaret Hamilton, Lead Software Engineer of the Apollo Project, Stands Next to Her Code That Took Us to the Moon (1969)

Pho­to cour­tesy of MIT Muse­um

When I first read news of the now-infa­mous Google memo writer who claimed with a straight face that women are bio­log­i­cal­ly unsuit­ed to work in sci­ence and tech, I near­ly choked on my cere­al. A dozen exam­ples instant­ly crowd­ed to mind of women who have pio­neered the very basis of our cur­rent tech­nol­o­gy while oper­at­ing at an extreme dis­ad­van­tage in a cul­ture that explic­it­ly believed they shouldn’t be there, this shouldn’t be hap­pen­ing, women shouldn’t be able to do a “man’s job!”

The memo, as Megan Molteni and Adam Rogers write at Wired, “is a species of dis­course pecu­liar to polit­i­cal­ly polar­ized times: cher­ry-pick­ing sci­en­tif­ic evi­dence to sup­port a pre-exist­ing point of view.” Its spe­cious evo­lu­tion­ary psy­chol­o­gy pre­tends to objec­tiv­i­ty even as it ignores real­i­ty. As Mul­der would say, the truth is out there, if you care to look, and you don’t need to dig through clas­si­fied FBI files. Just, well, Google it. No, not the pseu­do­science, but the careers of women in STEM with­out whom we might not have such a thing as Google.

Women like Mar­garet Hamil­ton, who, begin­ning in 1961, helped NASA “devel­op the Apol­lo program’s guid­ance sys­tem” that took U.S. astro­nauts to the moon, as Maia Wein­stock reports at MIT News. “For her work dur­ing this peri­od, Hamil­ton has been cred­it­ed with pop­u­lar­iz­ing the con­cept of soft­ware engi­neer­ing.” Robert McMil­lan put it best in a 2015 pro­file of Hamil­ton:

It might sur­prise today’s soft­ware mak­ers that one of the found­ing fathers of their boys’ club was, in fact, a mother—and that should give them pause as they con­sid­er why the gen­der inequal­i­ty of the Mad Men era per­sists to this day.

Hamil­ton was indeed a moth­er in her twen­ties with a degree in math­e­mat­ics, work­ing as a pro­gram­mer at MIT and sup­port­ing her hus­band through Har­vard Law, after which she planned to go to grad­u­ate school. “But the Apol­lo space pro­gram came along” and con­tract­ed with NASA to ful­fill John F. Kennedy’s famous promise made that same year to land on the moon before the decade’s end—and before the Sovi­ets did. NASA accom­plished that goal thanks to Hamil­ton and her team.

Pho­to cour­tesy of MIT Muse­um

Like many women cru­cial to the U.S. space pro­gram (many dou­bly mar­gin­al­ized by race and gen­der), Hamil­ton might have been lost to pub­lic con­scious­ness were it not for a pop­u­lar redis­cov­ery. “In recent years,” notes Wein­stock, “a strik­ing pho­to of Hamil­ton and her team’s Apol­lo code has made the rounds on social media.” You can see that pho­to at the top of the post, tak­en in 1969 by a pho­tog­ra­ph­er for the MIT Instru­men­ta­tion Lab­o­ra­to­ry. Used to pro­mote the lab’s work on Apol­lo, the orig­i­nal cap­tion read, in part, “Here, Mar­garet is shown stand­ing beside list­ings of the soft­ware devel­oped by her and the team she was in charge of, the LM [lunar mod­ule] and CM [com­mand mod­ule] on-board flight soft­ware team.”

As Hank Green tells it in his con­densed his­to­ry above, Hamil­ton “rose through the ranks to become head of the Apol­lo Soft­ware devel­op­ment team.” Her focus on errors—how to pre­vent them and course cor­rect when they arise—“saved Apol­lo 11 from hav­ing to abort the mis­sion” of land­ing Neil Arm­strong and Buzz Aldrin on the moon’s sur­face. McMil­lan explains that “as Hamil­ton and her col­leagues were pro­gram­ming the Apol­lo space­craft, they were also hatch­ing what would become a $400 bil­lion indus­try.” At Futur­ism, you can read a fas­ci­nat­ing inter­view with Hamil­ton, in which she describes how she first learned to code, what her work for NASA was like, and what exact­ly was in those books stacked as high as she was tall. As a woman, she may have been an out­lier in her field, but that fact is much bet­ter explained by the Occam’s razor of prej­u­dice than by any­thing hav­ing to do with evo­lu­tion­ary deter­min­ism.

Note: You can now find Hamil­ton’s code on Github.

Relat­ed Con­tent:

How 1940s Film Star Hedy Lamarr Helped Invent the Tech­nol­o­gy Behind Wi-Fi & Blue­tooth Dur­ing WWII

Meet Grace Hop­per, the Pio­neer­ing Com­put­er Sci­en­tist Who Helped Invent COBOL and Build the His­toric Mark I Com­put­er (1906–1992)

How Ada Lovelace, Daugh­ter of Lord Byron, Wrote the First Com­put­er Pro­gram in 1842–a Cen­tu­ry Before the First Com­put­er

NASA Puts Its Soft­ware Online & Makes It Free to Down­load

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

How to Listen to Music: A Free Course from Yale University

Taught by Yale pro­fes­sor Craig Wright, this course, Lis­ten­ing to Music, oper­ates on the assump­tion that lis­ten­ing to music is “not sim­ply a pas­sive activ­i­ty one can use to relax, but rather, an active and reward­ing process.” When we under­stand the basic ele­ments of West­ern music (e.g., rhythm, melody, and form), we can appre­ci­ate music in entire­ly new ways. That includes every­thing from clas­si­cal music, rock and tech­no, to Gre­go­ri­an chant and the blues.

You can watch the 23 lec­tures above, on YouTube, or Yale’s web­site, where you’ll also find a syl­labus and infor­ma­tion on each class ses­sion. The main text used in the course is Lis­ten­ing to Music, writ­ten by the pro­fes­sor him­self.

Lis­ten­ing to Music will be added to the Music sec­tion of our ever-grow­ing col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

It’s also worth not­ing that Prof. Wright has cre­at­ed an inter­ac­tive MOOC called Intro­duc­tion to Clas­si­cal Music. You might want to check it out.

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:

Eve­lyn Glen­nie (a Musi­cian Who Hap­pens to Be Deaf) Shows How We Can Lis­ten to Music with Our Entire Bod­ies

Down­load 400,000 Free Clas­si­cal Musi­cal Scores & 46,000 Free Clas­si­cal Record­ings from the Inter­na­tion­al Music Score Library Project

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

1200 Years of Women Com­posers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

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Alice in Wonderland Gets Re-Envisioned by a Neural Network in the Style of Paintings By Picasso, van Gogh, Kahlo, O’Keeffe & More

An artist just start­ing out might first imi­tate the styles of oth­ers, and if all goes well, the process of learn­ing those styles will lead them to a style of their own. But how does one learn some­thing like an artis­tic style in a way that isn’t sim­ply imi­ta­tive? Arti­fi­cial intel­li­gence, and espe­cial­ly the cur­rent devel­op­ments in mak­ing com­put­ers not just think but learn, will cer­tain­ly shed some light in the process — and pro­duce, along the way, such fas­ci­nat­ing projects as the video above, a re-envi­sion­ing of Dis­ney’s Alice in Won­der­land in the styles of famous artists: Pablo Picas­so, Geor­gia O’Ke­effe, Kat­sushi­ka Hoku­saiFri­da Kahlo, Vin­cent van Gogh and oth­ers.

The idea behind this tech­no­log­i­cal process, known as “style trans­fer,” is “to take two images, say, a pho­to of a per­son and a paint­ing, and use these to cre­ate a third image that com­bines the con­tent of the for­mer with the style of the lat­er,” says an explana­to­ry post at the Paper­space Blog.

“The cen­tral prob­lem of style trans­fer revolves around our abil­i­ty to come up with a clear way of com­put­ing the ‘con­tent’ of an image as dis­tinct from com­put­ing the ‘style’ of an image. Before deep learn­ing arrived at the scene, researchers had been hand­craft­ing meth­ods to extract the con­tent and tex­ture of images, merge them and see if the results were inter­est­ing or garbage.”

Deep learn­ing, the fam­i­ly of meth­ods that enable com­put­ers to teach them­selves, involves pro­vid­ing an arti­fi­cial intel­li­gence sys­tem called a “neur­al net­work” with huge amounts of data and let­ting it draw infer­ences. In exper­i­ments like these, the sys­tems take in visu­al data and make infer­ences about how one set of data, like the con­tent of frames of Alice in Won­der­land, might look when ren­dered in the col­ors and con­tours of anoth­er, such as some of the most famous paint­ings in all of art his­to­ry. (Oth­ers have tried it, as we’ve pre­vi­ous­ly fea­tured, with 2001: A Space Odyssey and Blade Run­ner.) If the tech­nol­o­gy at work here piques your curios­i­ty, have a look at Google’s free online course on deep learn­ing or this new set of cours­es from Cours­era— it prob­a­bly won’t improve your art skills, but it will cer­tain­ly increase your under­stand­ing of a devel­op­ment that will play an ever larg­er role in the cul­ture and econ­o­my ahead.

Here’s a full list of painters used in the neur­al net­worked ver­sion of Alice:

Pablo Picas­so
Geor­gia O’Ke­effe
S.H. Raza
Hoku­sai
Fri­da Kahlo
Vin­cent van Gogh
Tar­si­la
Saloua Raou­da Chou­cair
Lee Kras­ner
Sol Lewitt
Wu Guanzhong
Elaine de Koon­ing
Ibrahim el-Salahi
Min­nie Pwer­le
Jean-Michel Basquiat
Edvard Munch
Natalia Gon­charo­va

via Kot­tke

Relat­ed Con­tent:

Kubrick’s 2001: A Space Odyssey Ren­dered in the Style of Picas­so; Blade Run­ner in the Style of Van Gogh

What Hap­pens When Blade Run­ner & A Scan­ner Dark­ly Get Remade with an Arti­fi­cial Neur­al Net­work

Google Launch­es Free Course on Deep Learn­ing: The Sci­ence of Teach­ing Com­put­ers How to Teach Them­selves

New Deep Learn­ing Cours­es Released on Cours­era, with Hope of Teach­ing Mil­lions the Basics of Arti­fi­cial Intel­li­gence

The First Film Adap­ta­tion of Alice in Won­der­land (1903)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

“The Art of David Lynch”— How Rene Magritte, Edward Hopper & Francis Bacon Influenced David Lynch’s Cinematic Vision

When an artist becomes an adjective—think Orwellian, Kafkaesque, or Joycean—one of two things can hap­pen: their work can be super­fi­cial­ly appro­pri­at­ed, reduced to a col­lec­tion of obvi­ous ges­tures clum­si­ly com­bined in bad pas­tiche. Or their dis­tinc­tive style can inspire artists with more skill and depth to make orig­i­nal cre­ations that may them­selves become touch­stones for the future. What might dis­tin­guish one from the oth­er is the degree to which we under­stand not only the work of Orwell, Kaf­ka, or Joyce, but also the work that influ­enced them.

When it comes to David Lynch, there’s no doubt that the “Lynchi­an” stands as a mod­el for so much con­tem­po­rary film and tele­vi­sion. But while some direc­tors make excel­lent use of Lynch’s influ­ence, oth­ers strive for Lynchi­an atmos­phere only to reach a kind of unin­spired, unin­ten­tion­al par­o­dy. The sub­lime bal­ance of humor and hor­ror Lynch has achieved over the course of his extra­or­di­nary career seems like the kind of thing one shouldn’t attempt with­out seri­ous study and prepa­ra­tion.

With­out Lynch’s sur­re­al­ist vision, odd­ball char­ac­ter­i­za­tion and dia­logue fall flat—as in Twin Peaks’ sec­ond sea­son, which Lynch him­self says “sucked.” So what defines the Lynchi­an? A very dis­tinc­tive use of music, for one thing. And as the video essay above by Men­no Koois­tra demon­strates, the sig­nif­i­cant influ­ence of paint­ing. Lynch him­self began paint­ing and draw­ing at a young age and stud­ied art at the School of the Muse­um of Fine Arts in Boston in the six­ties. While he found his call­ing in film, his art edu­ca­tion pre­pared him to dream up the unfor­get­table com­po­si­tions of the Lynchi­an world.

Rene Magritte, Edward Hop­per, Arnold Böck­lin, and the mas­ter of psy­cho­log­i­cal hor­ror, Fran­cis Bacon—all of these painters have direct­ly informed Lynch’s night­mar­ish mise-en-scène. As you’ll see in Kooistra’s video, in side by side com­par­isons, Lynch adapts the work of his favorite artists for his own pur­pos­es. In an inter­view clip, he says he dis­cov­ered Bacon at a gallery in 1966 and found the expe­ri­ence “thrilling”—later using the painter’s work as inspi­ra­tion for The Ele­phant Man and Twin Peak’s dis­ori­ent­ing Red Room.

We see Lynch’s homage to his favorite painters in Eraser­head and Blue Vel­vet, as well as the cur­rent, third sea­son of Twin Peaks, over which he has (as he well should) com­plete cre­ative con­trol. You may not find Fran­cis Bacon’s dis­turb­ing por­traits quite as thrilling as Lynch does, or draw on Edward Hop­per for a warped ver­sion of 1950’s Amer­i­cana. These are Lynch’s ref­er­ences; they res­onate on his par­tic­u­lar fre­quen­cy, and hence pro­vide him with visu­al frames for his own per­son­al dream log­ic.

But what we might take away from “The Art of David Lynch” is that the Lynchi­an is nec­es­sar­i­ly tied to a painter­ly sen­si­bil­i­ty, and that with­out the influ­ence of fine art on com­po­si­tion, col­or, and fram­ing, a Lynchi­an pro­duc­tion may be in dan­ger of looking—as he says of that dis­ap­point­ing Twin Peaks’ sec­ond season—“stupid and goofy.”

via IndieWire

Relat­ed Con­tent:

The Sur­re­al Film­mak­ing of David Lynch Explained in 9 Video Essays

Ange­lo Badala­men­ti Reveals How He and David Lynch Com­posed the Twin Peaks‘ “Love Theme”

Hear the Music of David Lynch’s Twin Peaks Played by the Dan­ish Nation­al Sym­pho­ny Orches­tra

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

Bob Dylan Hates Me: An Animation

Film­mak­er Caveh Zahe­di met his idol twice. And lived to ani­mate the sto­ry. Enjoy.

Relat­ed Con­tent:

Bob Dylan Clas­sic, “For­ev­er Young,” Ani­mat­ed for Chil­dren

I Met the Wal­rus: An Ani­mat­ed Film Revis­it­ing a Teenager’s 1969 Inter­view with John Lennon

Watch Kids’ Price­less Reac­tions to Hear­ing the Time­less Music of The Bea­t­les

Hear Bob Dylan’s New­ly-Released Nobel Lec­ture: A Med­i­ta­tion on Music, Lit­er­a­ture & Lyrics

 

 

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Dictionary of the Oldest Written Language–It Took 90 Years to Complete, and It’s Now Free Online

It took 90 years to com­plete. But, in 2011, schol­ars at the Uni­ver­si­ty of Chica­go final­ly pub­lished a 21-vol­ume dic­tio­nary of Akka­di­an, the lan­guage used in ancient Mesopotamia. Unspo­ken for 2,000 years, Akka­di­an was pre­served on clay tablets and in stone inscrip­tions until schol­ars deci­phered it dur­ing the last two cen­turies.

In the past, we’ve pub­lished audio that lets you hear the recon­struct­ed sounds of Akka­di­an (Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia). Now, should you wish, you can down­load down­load PDFs of U. Chicago’s Akka­di­an dic­tio­nary for free. All 21 vol­umes would cost well over $1,000 if pur­chased in hard copy. But the PDFs, they won’t run you a dime.

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 Largest His­tor­i­cal Dic­tio­nary of Eng­lish Slang Now Free Online: Cov­ers 500 Years of the “Vul­gar Tongue”

The The­ater Dic­tio­nary: A Free Video Guide to The­atre Lin­go

Hear The Epic of Gil­gamesh Read in the Orig­i­nal Akka­di­an and Enjoy the Sounds of Mesopotamia

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The Dune Coloring & Activity Books: When David Lynch’s 1984 Film Created Countless Hours of Peculiar Fun for Kids

David Lynch’s Dune, the $40 mil­lion cin­e­mat­ic spec­ta­cle based on Frank Her­bert’s sci­ence-fic­tion epic, faced more than its fair share of chal­lenges: Lynch’s lack of artis­tic con­trol, elab­o­rate but not quite suc­cess­ful spe­cial effects, source mate­r­i­al so unsuit­ed to fea­ture-film adap­ta­tion that audi­ences had to read glos­saries before the first screen­ings. In an attempt to get ahead of bad buzz, the mas­sive adver­tis­ing and mer­chan­dis­ing blitz had begun well before the movie’s Christ­mas 1984 release, but none of its flaks seemed to under­stand the enter­prise of Dune any bet­ter than most of those view­ers did.

Case in point: the Dune col­or­ing and activ­i­ty books, evi­dence that, as Comics Alliance’s Jason Miche­litch writes, “what Uni­ver­sal Pic­tures want­ed was a Star Wars of their very own — a whiz-bang space adven­ture for eight-year-olds that they could mer­chan­dise the heck out of to the wide-eyed kids that just a year pre­vi­ous had whee­dled their par­ents into buy­ing plush ewok dolls and toy lightsabers. Instead, Lynch and pro­duc­er Dino De Lau­ren­tis pro­vid­ed them with a dark epic actu­al­ly fit for con­sump­tion by think­ing adults. Imag­ine their cha­grin.”

Mered­ith Yanos at Coil­house offers a more detailed write­up of the hours of fun on offer in these tonal­ly bizarre books: “First, there’s the Dune Col­or­ing Book, 44 pages of lurid scenes fea­tur­ing con­spir­a­to­r­i­al char­ac­ters from the film. Then there’s the Dune Activ­i­ty Book. 60 pages of puz­zles and games, mazes and more pic­tures for col­or­ing,” includ­ing a recipe for “No-Bake Spice Cook­ies” that sub­sti­tutes com­mon cin­na­mon for Dune’s Spice, a  “wacky aware­ness spec­trum nar­cot­ic that con­trols the uni­verse.” Oth­er vol­umes con­tain Dune-themed paper dolls, Dune-themed word puz­zles, and even Dune-themed math prob­lems.

Though Dune remains pri­mar­i­ly remem­bered as one of the worst flops in cin­e­ma his­to­ry (and even Lynch him­self usu­al­ly refus­es to dis­cuss it), a few fans have also come to its defense over the past 32 years. Some of them have no doubt want­ed to pass this revi­sion­ist appre­ci­a­tion down to their chil­dren, a task the Dune col­or­ing and activ­i­ty books may (or may not) make eas­i­er. If you buy them on Ama­zon, you’ll have to pay between $45 and $75 each — noth­ing com­pared to the cost of any­thing in the actu­al pro­duc­tion of Dune, of course, but still, you may want to keep an eye on eBay instead.

Relat­ed Con­tent:

The Glos­sary Uni­ver­sal Stu­dios Gave Out to the First Audi­ences of David Lynch’s Dune (1984)

The 14-Hour Epic Film, Dune, That Ale­jan­dro Jodor­owsky, Pink Floyd, Sal­vador Dalí, Moe­bius, Orson Welles & Mick Jag­ger Nev­er Made

Howard Johnson’s Presents a Children’s Menu Fea­tur­ing Kubrick’s 2001: A Space Odyssey (1968)

Free Col­or­ing Books from World-Class Libraries & Muse­ums: The Met, New York Pub­lic Library, Smith­son­ian & More

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les, 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.

The Powerful Messages That Woody Guthrie & Pete Seeger Inscribed on Their Guitar & Banjo: “This Machine Kills Fascists” and “This Machine Surrounds Hate and Forces it to Surrender”

Pho­to by Al Aumuller, via Wiki­me­dia Com­mons

Like anoth­er famous Okie from Musko­gee, Woody Guthrie came from a part of Okla­homa that the U.S. gov­ern­ment sold dur­ing the 1889 land rush away from the Qua­paw and Osage nations, as well as the Musco­gee, a peo­ple who had been forcibly relo­cat­ed from the South­east under Andrew Jackson’s Indi­an Removal Act. By the time of Guthrie’s birth in 1912 in Okfus­kee Coun­ty, next to Musko­gee, the region was in the hands of con­ser­v­a­tive Democ­rats like Guthrie’s father Charles, a landown­er and mem­ber of the revived KKK who par­tic­i­pat­ed in a bru­tal lynch­ing the year before Guthrie was born.

Guthrie was named after pres­i­dent Woodrow Wil­son, who was high­ly sym­pa­thet­ic to Jim Crow (but per­haps not, as has been alleged, an admir­er of the Klan). While he inher­it­ed many of his father’s atti­tudes, he recon­sid­ered them to such a degree lat­er in life that he wrote a song denounc­ing the noto­ri­ous­ly racist New York land­lord Fred Trump, father of the cur­rent pres­i­dent. “By the time he moved into his new apart­ment” in Brook­lyn in 1950, writes Will Kauf­man at The Guardian, Guthrie “had trav­eled a long road from the casu­al racism of his Okla­homa youth.”

Guthrie was deeply embed­ded in the for­ma­tive racial pol­i­tics of the coun­try. While some peo­ple may con­vince them­selves that a time in the U.S. past was “great”—unmarred by class con­flict and racist vio­lence and exploita­tion, secure in the hands of a benev­o­lent white major­i­ty, Guthrie’s life tells a much more com­plex sto­ry. Many Indige­nous peo­ple feel with good rea­son that Guthrie’s most famous song, “The Land is Your Land,” has con­tributed to nation­al­ist mythol­o­gy. Oth­ers have viewed the song as a Marx­ist anthem. Like much else about Guthrie, and the coun­try, it’s com­pli­cat­ed.

Con­sid­ered by many, Stephen Petrus writes, “to be the alter­na­tive nation­al anthem,” the song “to many peo­ple… rep­re­sents America’s best pro­gres­sive and demo­c­ra­t­ic tra­di­tions.” Guthrie turned the song into a hymn for the strug­gle against fas­cism and for the nascent Civ­il Rights move­ment. Writ­ten in New York in 1940 and first record­ed for Moe Asch’s Folk­ways Records in 1944, “This Land is Your Land” evolved over time, drop­ping vers­es protest­ing pri­vate prop­er­ty and pover­ty after the war in favor of a far more patri­ot­ic tone. It was a long evo­lu­tion from embit­tered par­o­dy of “God Bless Amer­i­ca” to “This land was made for you and me.”

But whether social­ist or pop­ulist in nature, Guthrie’s patri­o­tism was always sub­ver­sive. “By 1940,” writes John Pietaro, he had “joined forces with Pete Seeger in the Almanac Singers,” who “as a group, joined the Com­mu­nist Par­ty. Woody’s gui­tar had, by then, been adorned with the hand-paint­ed epi­taph, THIS MACHINE KILLS FASCISTS.” (Guthrie had at least two gui­tars with the slo­gan scrawled on them, one on a stick­er and one with ragged hand-let­ter­ing.) The phrase, claims music crit­ic Jon­ny White­side, was orig­i­nal­ly “a morale-boost­ing WWII gov­ern­ment slo­gan print­ed on stick­ers that were hand­ed out to defense plant work­ers.” Guthrie reclaimed the pro­pa­gan­da for folk music’s role in the cul­ture. As Pietaro tells it:

In this time he also found­ed an inter-racial quar­tet with Lead­bel­ly, Son­ny Ter­ry and Cis­co Hous­ton, a ver­i­ta­ble super-group he named the Head­line Singers. This group, sad­ly, nev­er record­ed. The mate­r­i­al must have stood as the height of protest song—he’d named it in oppo­si­tion to a pro­duc­er who advised Woody to “stop try­ing to sing the head­lines.” Woody told us that all you can write is what you see.

You can hear The Head­line Singers above, minus Lead Bel­ly and fea­tur­ing Pete Seeger, in the ear­ly 1940’s radio broad­cast of “All You Fas­cists Bound to Lose.” “I’m gonna tell you fas­cists,” sings Woody, “you may be sur­prised, peo­ple in this world are get­ting orga­nized.” Upon join­ing the Mer­chant Marines, Guthrie fought against seg­re­ga­tion in the mil­i­tary. After the war, he “stood shoul­der to shoul­der with Paul Robe­son, Howard Fast, and Pete Seeger” against vio­lent racist mobs in Peek­skill, New York. Both of Guthrie’s anti-fas­cist gui­tars have seem­ing­ly dis­ap­peared. As Robert San­tel­li writes, “Guthrie didn’t care for his instru­ments with much love.” But dur­ing the decade of the 1940’s he was nev­er seen with­out the slo­gan on his pri­ma­ry instru­ment.

“This Machine Kills Fas­cists” has since, writes Moth­er­board, become Guthrie’s “trade­mark slo­gan… still ref­er­enced in pop cul­ture and beyond” and pro­vid­ing an impor­tant point of ref­er­ence for the anti-fas­cist punk move­ment. You can see anoth­er of Guthrie’s anti-fas­cist slo­gans above, which he scrawled on a col­lec­tion of his sheet music: “Fas­cism fought indoors and out, good & bad weath­er.” Guthrie’s long-lived broth­er-in-arms Pete Seeger, car­ried on in the tra­di­tion of anti-fas­cism and anti-racism after Woody suc­cumbed in the last two decades of his life to Huntington’s dis­ease. Like Guthrie, Seeger paint­ed a slo­gan around the rim of his instru­ment of choice, the ban­jo, a mes­sage both play­ful and mil­i­tant: “This machine sur­rounds hate and forces it to sur­ren­der.”

Pho­to by “Jim, the Pho­tog­ra­ph­er

Seeger car­ried the mes­sage from his days play­ing and singing with Guthrie, to his Civ­il Rights and anti-war orga­niz­ing and protest in the 50s and 60s, and all the way into the 21st cen­tu­ry at Occu­py Wall Street in Man­hat­tan in 2011. At the 2009 inau­gu­ra­tion of Barack Oba­ma, Seeger sang “This Land is Your Land” onstage with Bruce Spring­steen and his son, Tao-Rodriquez Singer. In rehearsals, he insist­ed on singing the two vers­es Guthrie had omit­ted from the song after the war. “So it was,” writes John Nichols at The Nation, “that the new­ly elect­ed pres­i­dent of the Unit­ed States began his inau­gur­al cel­e­bra­tion by singing and clap­ping along with an old lefty who remem­bered the Depres­sion-era ref­er­ences of a song that took a class-con­scious swipe at those whose ‘Pri­vate Prop­er­ty’ signs turned away union orga­niz­ers, hobos and ban­jo pick­ers.”

Both Guthrie and Seeger drew direct con­nec­tions between the fas­cism and racism they fought and cap­i­tal­is­m’s out­sized, destruc­tive obses­sion with land and mon­ey. They felt so strong­ly about the bat­tle that they wore their mes­sages fig­u­ra­tive­ly on their sleeves and lit­er­al­ly on their instru­ments. Pete Seeger’s famous ban­jo has out­lived its own­er, and the col­or­ful leg­end around it has been mass-pro­duced by Deer­ing Ban­jos. Where Guthrie’s anti-fas­cist gui­tars went off to is any­one’s guess, but if one of them were ever dis­cov­ered, Robert San­tel­li writes, “it sure­ly would become one of Amer­i­ca’s most val­ued folk instru­ments.” Or one of its most val­ued instru­ments in gen­er­al.

Pho­to by “Jim, the Pho­tog­ra­ph­er

Relat­ed Con­tent:

Woody Guthrie at 100: Cel­e­brate His Amaz­ing Life with a BBC Film

Hear Two Leg­ends, Lead Bel­ly & Woody Guthrie, Per­form­ing on the Same Radio Show (1940)

Pete Seeger Dies at 94: Remem­ber the Amer­i­can Folk Leg­end with a Price­less Film from 1947

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

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