1,600 Occult Books Now Digitized & Put Online, Thanks to the Ritman Library and Da Vinci Code Author Dan Brown

Back in Decem­ber we brought you some excit­ing news. Thanks to a gen­er­ous dona­tion from Da Vin­ci Code author Dan Brown, Amsterdam’s Rit­man Library—a siz­able col­lec­tion of pre-1900 books on alche­my, astrol­o­gy, mag­ic, and oth­er occult subjects—has been dig­i­tiz­ing thou­sands of its rare texts under a dig­i­tal edu­ca­tion project cheek­i­ly called “Her­met­i­cal­ly Open.” We are now pleased to report, less than two months lat­er, that the first 1,617 books from the Rit­man project have come avail­able in their online read­ing room. The site is still in beta, so to speak; in their Face­book announce­ment, the Rit­man admits they are “still improv­ing the whole pre­sen­ta­tion,” which is a bit clunky at the moment. But for fans and stu­dents of this lit­er­a­ture, a lit­tle incon­ve­nience is a small price to pay for full access to hun­dreds of rare occult texts.

Vis­i­tors should be aware that these books are writ­ten in sev­er­al dif­fer­ent Euro­pean lan­guages. Latin, the schol­ar­ly lan­guage of Europe through­out the Medieval and Ear­ly Mod­ern peri­ods, pre­dom­i­nates, and it’s a pecu­liar Latin at that, laden with jar­gon and alchem­i­cal ter­mi­nol­o­gy. Oth­er books appear in Ger­man, Dutch, and French. Read­ers of some or all of these lan­guages will of course have an eas­i­er time than mono­lin­gual Eng­lish speak­ers, but there is still much to offer those vis­i­tors as well.

In addi­tion to the plea­sure of pag­ing through an old rare book, even vir­tu­al­ly, Eng­lish speak­ers can quick­ly find a col­lec­tion of read­able books by click­ing on the “Place of Pub­li­ca­tion” search fil­ter and select­ing Cam­bridge or Lon­don, from which come such notable works as The Man-Mouse Takin in a Trap, and tortur’d to death for gnaw­ing the Mar­gins of Euge­nius Phi­lalethes, by Thomas Vaughn, pub­lished in 1650.

The lan­guage is archaic—full of quirky spellings and uses of the “long s”—and the con­tent is bizarre. Those famil­iar with this type of writ­ing, whether through his­tor­i­cal study or the work of more recent inter­preters like Aleis­ter Crow­ley or Madame Blavatsky, will rec­og­nize the many for­mu­las: The trac­ing of mag­i­cal cor­re­spon­dences between flo­ra, fau­na, and astro­nom­i­cal phe­nom­e­na; the care­ful pars­ing of names; astrol­o­gy and lengthy lin­guis­tic ety­molo­gies; numero­log­i­cal dis­cours­es and philo­soph­i­cal poet­ry; ear­ly psy­chol­o­gy and per­son­al­i­ty typ­ing; cryp­tic, cod­ed mythol­o­gy and med­ical pro­ce­dures. Although we’ve grown accus­tomed through pop­u­lar media to think­ing of mag­i­cal books as cook­books, full of recipes and incan­ta­tions, the real­i­ty is far dif­fer­ent.

Encoun­ter­ing the vast and strange trea­sures in the online library, one thinks of the type of the magi­cian rep­re­sent­ed in Goethe’s Faust, holed up in his study,

Where even the wel­come day­light strains
But duski­ly through the paint­ed panes.
Hemmed in by many a top­pling heap
Of books worm-eat­en, gray with dust,
Which to the vault­ed ceil­ing creep

The library doesn’t only con­tain occult books. Like the weary schol­ar Faust, alchemists of old “stud­ied now Phi­los­o­phy / And Jurispru­dence, Med­i­cine,— / And even, alas! The­ol­o­gy.” Click on Cam­bridge as the place of pub­li­ca­tion and you’ll find the work above by Hen­ry More, “one of the cel­e­brat­ed ‘Cam­bridge Pla­ton­ists,’” the Lin­da Hall Library notes, “who flour­ished in mid-17th-cen­tu­ry and did their best to rec­on­cile Pla­to with Chris­tian­i­ty and the mechan­i­cal phi­los­o­phy that was begin­ning to make inroads into British nat­ur­al phi­los­o­phy.” Those who study Euro­pean intel­lec­tu­al his­to­ry know well that More’s pres­ence in this col­lec­tion is no anom­aly. For a few hun­dred years, it was dif­fi­cult, if not impos­si­ble, to sep­a­rate the pur­suits of the­ol­o­gy, phi­los­o­phy, med­i­cine, and sci­ence (or “nat­ur­al phi­los­o­phy”) from those of alche­my and astrol­o­gy. (Isaac New­ton is a famous exam­ple of a mathematician/scientist/alchemist/believer in strange apoc­a­lyp­tic pre­dic­tions.)

Giv­en the Ritman’s alacrity and eager­ness to pub­lish this first batch of texts, even as it works to smooth out its inter­face, we’ll like­ly see many hun­dreds more books become avail­able in the next month or so. For updates, fol­low the Rit­man Library and The Embassy of the Free Mind—Dan Brown’s own Dutch library of rare occult books—on Face­book.

Enter the Rit­man’s new dig­i­tal col­lec­tion of occult texts here.

Relat­ed Con­tent:

3,500 Occult Man­u­scripts Will Be Dig­i­tized & Made Freely Avail­able Online, Thanks to Da Vin­ci Code Author Dan Brown

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

Aleis­ter Crow­ley Reads Occult Poet­ry in the Only Known Record­ings of His Voice (1920)

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

Theorist Judith Butler Explains How Behavior Creates Gender: A Short Introduction to “Gender Performativity”

“One is not born, but rather becomes, a woman,” wrote Simone de Beau­voir in one of the most famous artic­u­la­tions of the dif­fer­ence between sex and gen­der. By this, de Beau­voir does not mean us to believe that no one is born with repro­duc­tive organs, but that the social role of “woman” (or for that mat­ter “man”) comes from a col­lec­tion of behav­iors into which we are social­ized. The dis­tinc­tion is cru­cial for under­stand­ing most fem­i­nist and queer the­o­ry and the vari­ety of human iden­ti­ty more gen­er­al­ly, yet it’s one that too often gets lost in pop­u­lar usage of the words sex and gen­der. Biol­o­gy does not deter­mine gen­der dif­fer­ences, cul­ture does.

Gen­der becomes nat­u­ral­ized, woven so tight­ly into the social fab­ric that it seems like a nec­es­sary part of real­i­ty rather than a con­tin­gent pro­duc­tion of his­to­ry. Just how this hap­pens is complicated—we don’t invent these roles, they are invent­ed for us, as Judith But­ler argues in her essay “Per­for­ma­tive Acts and Gen­der Con­sti­tu­tion.”

Gen­der iden­ti­ty “is a per­for­ma­tive accom­plish­ment,” she writes, “com­pelled by social sanc­tion and taboo…. Gen­der is… an iden­ti­ty insti­tut­ed through a rep­e­ti­tion of acts.” For a some­what more straight­for­ward sum­ma­ry of her the­o­ry of “per­for­ma­tiv­i­ty,” see But­ler in the Big Think video above, in which she describes gen­der as a “phe­nom­e­non that’s being pro­duced all the time and repro­duced all the time.”

Still unclear? Well, it’s com­pli­cat­ed, but so is every oth­er facet of human iden­ti­ty many peo­ple take for grant­ed, espe­cial­ly peo­ple whose gen­der expres­sion doesn’t threat­en strict soci­etal norms. For a more thor­ough overview of these con­cepts, see the Phi­los­o­phy Tube video above, which explains Butler’s the­o­ry and a num­ber of oth­er terms cen­tral to the dis­course, such as “gen­der essen­tial­ism” and “social con­struc­tivism.” One thing to note about But­ler’s the­o­ry, as both she and our philoso­pher above explain, is that “per­for­ma­tiv­i­ty,” though it uses a the­atri­cal metaphor, is not the same as “per­for­mance.” Gen­der is not a cos­tume one puts on and takes off, like a Shake­speare­an actor play­ing male char­ac­ters one night and female char­ac­ters the next.

Rather, the tech­ni­cal term “per­for­ma­tive” means for But­ler an act that not only com­mu­ni­cates but also cre­ates an iden­ti­ty. Some exam­ples offered above of per­for­ma­tive speech include say­ing “guilty” at a tri­al, which turns one into an inmate, or say­ing “I do” at a wed­ding, which turns one into a spouse. Per­for­ma­tive acts of gen­der do a sim­i­lar kind of work, not only com­mu­ni­cat­ing to oth­ers some aspect of iden­ti­ty, but con­struct­ing that very iden­ti­ty, only they do that work through rep­e­ti­tion. As de Beau­voir argued, we are not born a self, we become, or cre­ate, a self, through social pres­sure to con­form and through “reit­er­at­ing and repeat­ing the norms through which one is con­sti­tut­ed,” But­ler writes.

As we might expect of any cul­tur­al con­struct, gen­der norms vary wide­ly both inter- and intra-cul­tur­al­ly and through­out his­tor­i­cal peri­ods. And giv­en their con­struct­ed nature, they can change in any num­ber of ways. There­fore, accord­ing to But­ler, “there’s not real­ly any grounds,” as our phi­los­o­phy explain­er puts it, “for say­ing that somebody’s ‘doing their gen­der wrong.’”

Relat­ed Con­tent:

Judy!: 1993 Judith But­ler Fanzine Gives Us An Irrev­er­ent Punk-Rock Take on the Post-Struc­tural­ist Gen­der The­o­rist

An Ani­mat­ed Intro­duc­tion to the Fem­i­nist Phi­los­o­phy of Simone de Beau­voir

11 Essen­tial Fem­i­nist Books: A New Read­ing List by The New York Pub­lic Library

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

How the Brilliant Colors of Medieval Illuminated Manuscripts Were Made with Alchemy

Today the word “alche­my” seems used pri­mar­i­ly to label a vari­ety of crack­pot pur­suits, with their bogus premis­es and impos­si­ble promis­es. To the extent that alchemists long strove to turn lead mirac­u­lous­ly into gold, that sounds like a fair enough charge, but the field of alche­my as a whole, whose his­to­ry runs from Hel­lenis­tic Egypt to the 18th cen­tu­ry (with a revival in the 19th), chalked up a few last­ing, real­i­ty-based accom­plish­ments as well. Take, for instance, medieval illu­mi­nat­ed man­u­scripts: with­out alche­my, they would­n’t have the vivid and var­ied col­or palettes that con­tin­ue to enrich our own vision of that era.

Many of the illu­mi­na­tors’ most bril­liant pig­ments “did­n’t come straight from nature but were made through alche­my,” says the video from the Get­ty above, pro­duced to accom­pa­ny the muse­um’s exhi­bi­tion “The Alche­my of Col­or in Medieval Man­u­scripts.”

Alchemists “explored how mate­ri­als inter­act­ed and trans­formed,” and “dis­cov­er­ing paint col­ors was a prac­ti­cal out­come.” The col­ors they devel­oped includ­ed “mosa­ic gold,” a fusion of tin and sul­fur; verdi­gris, “made by expos­ing cop­per to fumes of vine­gar, wine, or even urine”; and ver­mil­lion, a mix­ture of sul­fur and mer­cury that made a bril­liant red “asso­ci­at­ed with chem­i­cal change and with alche­my itself.”

The very nature of books, specif­i­cal­ly the fact that they spend most of the time closed, has per­formed a degree of inad­ver­tent preser­va­tion of illu­mi­nat­ed man­u­scripts, keep­ing their alchem­i­cal col­ors rel­a­tive­ly bold and deep. (Although, as the Get­ty video notes, some pig­ments such as verdi­gris have a ten­den­cy to eat through the paper — one some­how wants to blame the urine.) Still, that hard­ly means that preser­va­tion­ists have noth­ing to do where illu­mi­nat­ed man­u­scripts are con­cerned: keep­ing the win­dows they pro­vide onto the his­to­ries of art, the book, and human­i­ty clear takes work, some of it based on an ever-improv­ing under­stand­ing of alche­my. Lead may nev­er turn into gold, but these cen­turies-old illu­mi­nat­ed man­u­scripts may sur­vive cen­turies into the future, a fact that seems not entire­ly un-mirac­u­lous itself.

Relat­ed Con­tent:

Behold the Beau­ti­ful Pages from a Medieval Monk’s Sketch­book: A Win­dow Into How Illu­mi­nat­ed Man­u­scripts Were Made (1494)

The Aberdeen Bes­tiary, One of the Great Medieval Illu­mi­nat­ed Man­u­scripts, Now Dig­i­tized in High Res­o­lu­tion & Made Avail­able Online

1,600-Year-Old Illu­mi­nat­ed Man­u­script of the Aeneid Dig­i­tized & Put Online by The Vat­i­can

Dante’s Divine Com­e­dy Illus­trat­ed in a Remark­able Illu­mi­nat­ed Medieval Man­u­script (c. 1450)

Won­der­ful­ly Weird & Inge­nious Medieval Books

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Bill Gates Names His New Favorite Book of All Time: A Quick Introduction to Steven Pinker’s Enlightenment Now

How’s this for a nice book blurb?

In a recent blog post, Microsoft co-founder and phil­an­thropist Bill Gates wrote this:

For years, I’ve been say­ing Steven Pinker’s The Bet­ter Angels of Our Nature was the best book I’d read in a decade. If I could rec­om­mend just one book for any­one to pick up, that was it. Pinker uses metic­u­lous research to argue that we are liv­ing in the most peace­ful time in human his­to­ry. I’d nev­er seen such a clear expla­na­tion of progress.

I’m going to stop talk­ing up Bet­ter Angels so much, because Pinker has man­aged to top him­self. His new book, Enlight­en­ment Now, is even bet­ter.

Enlight­en­ment Now takes the approach he uses in Bet­ter Angels to track vio­lence through­out his­to­ry and applies it to 15 dif­fer­ent mea­sures of progress (like qual­i­ty of life, knowl­edge, and safe­ty). The result is a holis­tic pic­ture of how and why the world is get­ting bet­ter. It’s like Bet­ter Angels on steroids.

Although the book won’t get offi­cial­ly released until Feb­ru­ary 13th, Pinker’s Enlight­en­ment Now is already one of the 20 best­selling books on Amazon–no doubt part­ly thanks to Bill Gates. If you’re look­ing to get dis­abused of the wide­ly-shared belief that the world is mov­ing in the wrong direc­tion,  you might want to pick up your own copy. (Soon, you could also down­load it as a free audio­book through Audible.com’s free tri­al pro­gram.)

For a deep­er dive into Enlight­en­ment Now watch the video above, and par­tic­u­lar­ly read Gates’s review of what he calls “my new favorite book of all time.”

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:

Steven Pinker Explains the Neu­ro­science of Swear­ing (NSFW)

Bill Gates Rec­om­mends Five Books for Sum­mer 2017

Steven Pinker on the His­to­ry of Vio­lence: A Hap­py Tale

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Download 150 Free Coloring Books from Great Libraries, Museums & Cultural Institutions: The British Library, Smithsonian, Carnegie Hall & More

coloring book 1

A news alert for fans of col­or­ing books.

You can now take part in the 2018 edi­tion of #Col­or­Our­Col­lec­tions–a cam­paign where muse­ums, libraries and oth­er cul­tur­al insti­tu­tions make avail­able free col­or­ing books, let­ting you col­or art­work from their col­lec­tions and then share it on Twit­ter and oth­er social media plat­forms. When shar­ing, use the hash­tag #Col­or­Our­Col­lec­tions.

Below you can find a col­lec­tion of 20 free col­or­ing books, which you can down­load, print, and col­or until you can col­or no more. Also find a com­plete list of 150 col­or­ing books over at this site main­tained by The New York Acad­e­my of Med­i­cine Library.

To see the free col­or­ing books offered up in 2016, click here. And 2017, here.

The image up top comes from The British Library.

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 First Adult Col­or­ing Book: See the Sub­ver­sive Exec­u­tive Col­or­ing Book From 1961

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

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

Dr. Seuss Draws Anti-Japan­ese Car­toons Dur­ing WWII, Then Atones with Hor­ton Hears a Who!

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Jean-Paul Sartre’s Concepts of Freedom & “Existential Choice” Explained in an Animated Video Narrated by Stephen Fry

The non-exis­tence, or non-impor­tance, of the self has for mil­len­nia been an uncon­tro­ver­sial propo­si­tion in East­ern thought. But West­ern thinkers have tend­ed to embrace the con­cept of the iso­lat­ed self as, if not suf­fi­cient, at least nec­es­sary for a coher­ent account of human life. Yet there are many ways to describe what it means to have a self—an ego, an indi­vid­ual iden­ti­ty. Is the self a prod­uct of cul­ture, his­to­ry, and econ­o­my? Is it a col­lec­tion of sub­jec­tive expe­ri­ences to which no one else has access? Is it con­sti­tut­ed only in rela­tion to oth­er selves, or in rela­tion to an ulti­mate, unchang­ing, all-pow­er­ful Self?

For the Exis­ten­tial­ists, the self can be a prison, a trap, and a source of great anx­i­ety. Hei­deg­ger called self­hood a con­di­tion of being “thrown into the world.” By the time we real­ize where and what we are, accord­ing to restric­tive cat­e­gories of his­tor­i­cal thought and lan­guage, we are already there, inescapably bound to our con­di­tions, forced to per­form roles for which we nev­er audi­tioned. Jean-Paul Sartre took this notion of “thrown­ness” and gave it his own neu­rot­ic stamp. We are indeed tossed into exis­tences against our will, but the real con­dem­na­tion, he thought, is that once we arrive, we have to make choic­es. We are doomed to the task of cre­at­ing our­selves, no mat­ter how lim­it­ed the options, and there is no pos­si­bil­i­ty of opt­ing out. Even not mak­ing choic­es is a choice.

This extreme kind of free will, as Stephen Fry explains in the short, ani­mat­ed video above, stems from the prob­lem of human nature—there isn’t any. “Accord­ing to Sartre, there is no design for a human being,” says Fry, or in Sartre’s famous phrase, “exis­tence pre­cedes essence.” There is only the absur­di­ty of arriv­ing in a world with no plan, no God, no uni­ver­sal codes or fixed stan­dards of val­ue: just a dizzy­ing array of deci­sions to make. And yet, rather than mak­ing life triv­ial, the absurd con­di­tion described by Sartre lends sub­stan­tial weight to all of our choic­es, for in mak­ing them, he claimed, we are not only cre­at­ing our­selves, but decid­ing what a human being should be.

Illu­sions of cer­tain­ty and neces­si­ty obscure the con­tin­gent nature of exis­ten­tial choice, both the true inher­i­tance and the unremit­ting bur­den of every indi­vid­ual. What we become in life is up to us, Sartre thought, a propo­si­tion that caus­es us a good deal of anguish, since we can­not know the out­come of our choic­es nor under­stand the world in which we make them beyond our lim­it­ed capac­i­ty. And yet, we must act, Sartre thought, “as if every­one is watch­ing me.” This is not a pleas­ing thought, even if, for many, the idea might actu­al­ly lead to more care­ful, sober, and delib­er­a­tive decision-making—that is, when it does­n’t lead to par­a­lyz­ing dread.

Relat­ed Con­tent:

A Crash Course in Exis­ten­tial­ism: A Short Intro­duc­tion to Jean-Paul Sartre & Find­ing Mean­ing in a Mean­ing­less World

What Is an “Exis­ten­tial Cri­sis”?: An Ani­mat­ed Video Explains What the Expres­sion Real­ly Means

Exis­ten­tial Phi­los­o­phy of Kierkegaard, Sartre, Camus Explained with 8‑Bit Video Games

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

NASA Puts 400+ Historic Experimental Flight Videos on YouTube

“Video,” as we now say on the inter­net, “or it did­n’t hap­pen,” artic­u­lat­ing a prin­ci­ple to which the ever-for­ward-think­ing Nation­al Aero­nau­tics and Space Admin­is­tra­tion (NASA) has adhered for about 70 years now, start­ing with film in the time before the inven­tion of video itself. Even set­ting aside the won­ders of voy­ag­ing into out­er space, NASA has done a few things right here on Earth that you would­n’t believe unless you saw them with your own eyes. And now you eas­i­ly can, thanks to the agen­cy’s com­mit­ment to mak­ing the fruits of its research avail­able to all on its YouTube Chan­nel. Take for exam­ple this recent­ly-uploaded col­lec­tion of 400 his­toric flight videos.

Here we have just a sam­pling of the hun­dreds of videos avail­able to all: the M2-F1, a pro­to­type wing­less air­craft, towed across a lakebed by a mod­i­fied 1963 Pon­ti­ac Catali­na con­vert­ible; a mid-1960s test of the Lunar Lan­der Research Vehi­cle, also known as the “fly­ing bed­stead,” that will sure­ly remind long-mem­o­ried gamers of their many quar­ters lost to Atar­i’s Lunar Lan­der; a spin tak­en in the Mojave Desert, forty years lat­er, by the Mars Explo­ration Rover; and, most explo­sive­ly of all, a “con­trolled impact demon­stra­tion” of a Boe­ing 720 air­lin­er full of crash-test dum­mies meant to test out a new type of “anti-mist­ing kerosene” as well as a vari­ety of oth­er inno­va­tions designed to increase crash sur­viv­abil­i­ty.

These his­toric test videos were all shot back when the Arm­strong Flight Research Cen­ter (re-named in 2014 for Neil Arm­strong, whose lega­cy stands as a tes­ta­ment to the cumu­la­tive effec­tive­ness of all these NASA tests) was known as the Hugh L. Dry­den Flight Research Cen­ter: you can watch the 418 clips just from that era on this playlist.

Rest assured that the exper­i­men­ta­tion con­tin­ues and that NASA still push­es the bound­aries of avi­a­tion right here on Earth, a project con­tin­u­ous­ly doc­u­ment­ed in the chan­nel’s newest videos. As aston­ish­ing as we may find mankind’s for­ays up into the sky and beyond so far, the avi­a­tion engi­neer’s imag­i­na­tion, it seems, has only just got­ten start­ed.

via Pale­o­Fu­ture

Relat­ed Con­tent:

The Best of NASA Space Shut­tle Videos (1981–2010)

Free NASA eBook The­o­rizes How We Will Com­mu­ni­cate with Aliens

NASA Puts Online a Big Col­lec­tion of Space Sounds, and They’re Free to Down­load and Use

NASA Releas­es 3 Mil­lion Ther­mal Images of Our Plan­et Earth

NASA Archive Col­lects Great Time-Lapse Videos of our Plan­et

NASA Releas­es a Mas­sive Online Archive: 140,000 Pho­tos, Videos & Audio Files Free to Search and Down­load

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Freddie Mercury’s Vocals Soar in the Isolated Vocal Track for “Somebody to Love”

For some time now, cer­tain fans of Queen have sought the elu­sive answer to the ques­tion “what made Fred­die Mer­cury such an incred­i­ble singer?” That he was an incred­i­ble singer—one of the great­est in terms of vocal range, emo­tive pow­er, stage pres­ence, song­writ­ing, etc.—is hard­ly a fact in dis­pute. Or it shouldn’t be. You don’t need to love Queen’s music to acknowl­edge its bril­liance, and mar­vel at its frontman’s seem­ing­ly super­hu­man pow­er and sta­mi­na. The expla­na­tions for it are mul­ti­ple and have become far more sophis­ti­cat­ed in recent years.

Sci­en­tif­ic research has exam­ined the pos­si­ble phys­i­o­log­i­cal struc­ture of Mercury’s vocal chords, and con­clud­ed that he was able to vibrate sev­er­al vocal folds at once, cre­at­ing sub­har­mon­ics and a vibra­to faster than that of any oth­er singer. It’s a com­pelling the­o­ry, albeit a lit­tle gross. Who wants to lis­ten to “Some­body to Love”’s glo­ri­ous, swoop­ing soul­ful vers­es and Broad­way show­stop­per cho­rus­es and pic­ture vibrat­ing vocal folds? Mer­cury was a show­man, not a singing machine—and his unique inflec­tions derived not only from biol­o­gy but also—argues Rudi Dolezal, direc­tor of Fred­die Mer­cury: The Untold Sto­ry—from cul­ture.

Mercury’s for­ma­tive expe­ri­ences as a child in Zanz­ibar and India, and the “cul­ture shock” of his move to Lon­don as a teenag­er, may have con­tributed to his expan­sive vocal prowess: “it was mul­ti­cul­tur­al­ism that was com­bined in Fred­die Mer­cury,” says Dolezal, sug­gest­ing that Mercury’s voice went places no one else’s did in part because he com­bined the strengths of East­ern and West­ern music. Maybe. Mer­cury grew up emu­lat­ing Eng­lish and Amer­i­can artists like Cliff Richard and Lit­tle Richard, but one of his biggest influ­ences was Bol­ly­wood super­star Lata Mangeshkar.

Mer­cury him­self had his own unusu­al the­o­ry, believ­ing that his dis­tinc­tive over­bite some­how played a part in his singing abil­i­ty, which is why he nev­er had his teeth straight­ened despite a life­time of self-con­scious­ness about them. Maybe the most hon­est fan answer to the ques­tion might be, “who cares?” Just enjoy it—over-analysis of the parts takes away from the expe­ri­ence of Queen’s bom­bas­tic the­atri­cal whole. That’s fair enough, I sup­pose, but if there’s any voice worth obsess­ing over it’s Mercury’s.

If you’re still in doubt about why, lis­ten to the iso­lat­ed vocal track at the top for “Some­body to Love” from start to fin­ish. You’ll hear a singer who sounds capa­ble of doing pret­ty much any­thing that it’s pos­si­ble to do with the human voice except sing off-key. Yes, of course, it’s impres­sive in con­text, with the band’s vocal har­monies lift­ing Mercury’s voice like a great pair of wings. Take them away, how­ev­er, and strip away all of the song’s instru­men­ta­tion, and Mercury’s vocal seems to soar even high­er. I’d kind of like to know how he did that.

Relat­ed Con­tent:

What Made Fred­die Mer­cury the Great­est Vocal­ist in Rock His­to­ry? The Secrets Revealed in a Short Video Essay

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

Fred­die Mer­cury: The Untold Sto­ry of the Singer’s Jour­ney From Zanz­ibar to Star­dom

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

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