On Its 25th Anniversary, Hear Liz Phair’s Groundbreaking Exile in Guyville Juxtaposed Song-By-Song With the Album That Inspired It, the Rolling Stones’ Exile on Main Street

Images via Wiki­me­dia Com­mons. Liz Phair left, Mick Jag­ger right

In 1971, post-Alta­mont fias­co, the Rolling Stones went into exile… not on some dusty small town drag, but on the French Riv­iera, where the band decamped for pur­pos­es of tax eva­sion and began record­ing in Kei­th Richards’ rent­ed vil­la near Nice. Every­one knows what hap­pened next—a slop­py, soupy, ragged, glo­ri­ous hash of coun­try, blues, and coun­try-blues, fil­tered through a haze of booze and hero­in and the Stones’ devo­tion to rock and roll as macho endurance exer­cise: Exile on Main Street.

The album, with its cov­er col­lage of Amer­i­cana grotes­querie and kitsch, may have “killed the Rolling Stones,” Jack Hamil­ton argues at The Atlantic, but it launched a thou­sand imi­ta­tors in the ensu­ing decades, a thou­sand would-be Kei­th Richards get­ting strung out and mak­ing dirty, raunchy rock, “pitched per­fect­ly between earnest­ness and irony.” Four­teen years after the album’s release, dar­lings of trashy New York noise rock, Pussy Galore, cov­ered the album song-for-song. The effort “sounds like it was record­ed in the tank of a Low­er East Side toi­let,” writes Ran­dall Roberts.

Pussy Galore gui­tarist Neil Hager­ty sure­ly deserves the Richards mantle—taking sex, drugs, rock ’n’ roll, and lo-fi record­ing to absurd lengths with his lat­er project Roy­al Trux. But one of the ironies of the testos­terone-fueled Exile on Main Street’s influ­ence on these bands is that they fea­tured two of the tough­est women in under­ground music, Julie Cafritz and Jen­nifer Her­re­ma—women who labored obscure­ly in a “com­pli­cat­ed world of men with gui­tars,” as Alli­son Stew­art puts it at The Wash­ing­ton Post.

In 1993, Liz Phair stepped into this world with her career-defin­ing Exile in Guyville, “one of the sharpest, bold­est rock albums of its era, or any era,” which just hap­pens to be a song-for-song response to the Rolling Stones’ opus. Next to the Stones, the pro­duc­tion of Phair’s Exile sounds pristine—you can actu­al­ly make out the lyrics! Her explo­sive debut was a defi­ant con­ver­sa­tion, “clear­ly in a tus­sle with the sort of male-dom­i­nat­ed music scene,” she tells The New York Times.

Using the Rolling Stones’ “Exile on Main St” was sort of like using their avatar. I thought that was the quin­tes­sen­tial guy rock band, you know? So I sub­sti­tut­ed in my head the char­ac­ters from “Exile” with the char­ac­ters I knew from around the neigh­bor­hood. Sort of talk­ing to them vis-à-vis the con­ver­sa­tion I was hav­ing with the Rolling Stones.

The exer­cise began with Phair tak­ing Exile on Main Street as a text­book, of a sort: “I was a visu­al arts major and I con­coct­ed the idea that I need­ed a template—learn from the greats,” she tells Rolling Stone. After her then-boyfriend sar­cas­ti­cal­ly told her, “you should total­ly do that,” she became intent on meet­ing the chal­lenge of writ­ing her own take on the album. But Guyville was about much more than the Stones, who pro­vide an arma­ture for her explo­rations of “a mil­lion Guyvilles,” as she tells Stew­art.

“It’s in the stu­dios, where you try to get movies made and cast. It’s any­one being white-priv­i­leged, being what­ev­er it is that gives you invis­i­ble safe­ty or invis­i­ble ben­e­fits. ‘Guyville’ could be a catch­phrase for any obliv­i­ous com­mu­ni­ty that has no idea that they’re shov­ing peo­ple to the side.” Twen­ty-five years after the album’s debut, Phair’s com­men­tary seems as tren­chant as it was then, when she found her­self one of a select few women in an indus­try dom­i­nat­ed by a lot of sleazy guys: “The mar­ket forces… were gross. It was like, ‘Look hot­ter! Get more naked!’ Like as if it was a Jell‑O wrestling con­test.”

The major dif­fer­ence now, she says, is that women have a sig­nif­i­cant pres­ence in every genre: “I feel like every day on Twit­ter I find some new female band I’m inter­est­ed in, and I can have my entire music diet be female song­writ­ers and musi­cians.” Though she was then and now a reluc­tant “fem­i­nist spokesmod­el,” Phair deserves ample cred­it for help­ing to break open the music industry’s Guyville, by tak­ing on one of its most sacred objects. Exile in Guyville was re-released in a box set this month by Mata­dor. In the playlist above, you can hear the con­ver­sa­tion in full, with each song on Exile on Main Street fol­lowed by Phair’s Exile in Guyville rejoin­der.

As you lis­ten, be sure to read her inter­view at Rolling Stone, where she explains how she trans­lat­ed the ear­ly 70s clas­sic into an ear­ly 90s idiom. She also tells the sto­ry of meet­ing Mick Jag­ger, who, she says, gave her a belit­tling look that said, “Yeah, all right, I’ll let you off the hook this time for com­plete­ly mak­ing a name for your­self off our name, but don’t think I don’t know.” Her response: “I wasn’t mad. He’s Mick!”

Relat­ed Con­tent:

Chrissie Hynde’s 10 Pieces of Advice for “Chick Rock­ers” (1994)

Hear the 150 Great­est Albums by Women: NPR Cre­ates a New Canon of Albums That Puts Women at the Cen­ter of Music His­to­ry

Four Female Punk Bands That Changed Women’s Role in Rock

Hear Demos of Kei­th Richards Singing Lead Vocals on Rolling Stones Clas­sics: “Gimme Shel­ter,” “Wild Hors­es” & More

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

The Cutting-Edge Science That Can Turn Everyday Objects, Like a Bag of Chips, Into a Listening Device

For decades we’ve laughed at the per­sis­tent movie and tele­vi­sion cliche of “image enhance,” where­by char­ac­ters — usu­al­ly detec­tives of one kind or anoth­er in pur­suit of a yet-unknown vil­lain — dis­cov­er just the clue they need by way of tech­no­log­i­cal mag­ic that some­how increas­es the amount of detail in a piece of found footage. But now, of course, our age of rapid­ly improv­ing arti­fi­cial intel­li­gence has brought an algo­rithm for that. And not only can such tech­nolo­gies find visu­al data we nev­er thought an image con­tained, they can find son­ic data as well: recov­er­ing the sound, in oth­er words, “record­ed” in osten­si­bly silent video.

“When sound hits an object, it caus­es small vibra­tions of the object’s sur­face,” explains the abstract of “The Visu­al Micro­phone: Pas­sive Recov­ery of Sound from Video,” a paper by Abe Davis, Michael Rubin­stein, Neal Wad­hwa, Gau­tham Mysore, Fre­do Durand, and William T. Free­man. “We show how, using only high-speed video of the object, we can extract those minute vibra­tions and par­tial­ly recov­er the sound that pro­duced them, allow­ing us to turn every­day objects — a glass of water, a pot­ted plant, a box of tis­sues, or a bag of chips — into visu­al micro­phones.” Or a lis­ten­ing device. You can see, and more impres­sive­ly hear, this process in action in the video at the top of the post.

The video just above mag­ni­fies the sound-caused motion of a bag of chips, to give us a sense of what their algo­rithm has to work with when it infers the sound present in the bag’s envi­ron­ment. In a way this all holds up to com­mon sense, giv­en that sound, as we all learn, comes from waves that make oth­er things vibrate, be they our eardrums, our speak­ers — or, as this research reveals, pret­ty much every­thing else as well. Though the bag of chips turned out to work quite well as a record­ing medi­um, some of their oth­er test sub­jects, includ­ing a brick cho­sen specif­i­cal­ly for its lack of sound-cap­tur­ing poten­tial, also did bet­ter than expect­ed.

The hid­den infor­ma­tion poten­tial­ly recov­er­able from video hard­ly stops there, as sug­gest­ed by Rubin­stein’s TED Talk just above. “Of course, sur­veil­lance is the first appli­ca­tion that comes to mind,” he says, to slight­ly ner­vous laugh­ter from the crowd. But “maybe in the future we’ll be able to use it, for exam­ple, to recov­er sound across space, because sound can’t trav­el in space, but light can.” Just one of many sci­en­tif­i­cal­ly noble pos­si­bil­i­ties, for which watch­ing what we say next time we open up a bag of Dori­tos would be, per­haps, a small price to pay.

via Kot­tke

Relat­ed Con­tent:

What Does Sound Look Like?: The Audi­ble Ren­dered Vis­i­ble Through Clever Tech­nol­o­gy

The Geom­e­try of Sound Waves Visu­al­ized

Hear What Music Sounds Like When It’s Cre­at­ed by Syn­the­siz­ers Made with Arti­fi­cial Intel­li­gence

Radiooooo: Dis­cov­er the Musi­cal Time Machine That Lets You Hear What Played on the Radio in Dif­fer­ent Times & Places

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.

Zora Neal Hurston Wrote a Book About Cudjo Lewis, the Last Survivor of the Atlantic Slave Trade, and It’s Finally Getting Published 87 Years Later

There are too many things peo­ple don’t know about Zora Neale Hurston, renowned pri­mar­i­ly for her nov­el Their Eyes Were Watch­ing God. That’s not to slight the nov­el or its sig­nif­i­cant influ­ence on lat­er writ­ers like Toni Mor­ri­son and Maya Angelou, but to say that Hurston’s schol­ar­ly work deserves equal atten­tion. A stu­dent of famed anthro­pol­o­gist Franz Boas while at Barnard Col­lege, Hurston became “the first African Amer­i­can to chron­i­cle folk­lore and voodoo,” notes the Asso­ci­a­tion for Fem­i­nist Anthro­pol­o­gy. Before turn­ing to fic­tion, she trav­eled the Caribbean and the Amer­i­can South, col­lect­ing sto­ries, his­to­ries, and songs and pub­lish­ing them in the col­lec­tions Mules and Men and Tell My Horse.

Hurston’s work in ethnog­ra­phy informed her fic­tion and opened up the field to oth­er African Amer­i­can schol­ars. It also pro­duced one of the most impor­tant works of Amer­i­can non­fic­tion in the 20th cen­tu­ry, a book that, until now, sat in man­u­script form at Howard University’s library, where only aca­d­e­mics could access it. Bar­ra­coon: The Sto­ry of the Last “Black Car­go” tells the sto­ry of Cud­jo Lewis (1840–1935), the last known sur­vivor of the Atlantic slave trade, in his own words. Hurston met Lewis—born Olu­ale Kos­so­la in what is today the coun­try of Benin—in 1927. She con­duct­ed three months of inter­views and pub­lished a study, “Cudjo’s Own Sto­ry of the Last African Slaver,” that same year.

But when she tried to pub­lish the inter­views as a book in 1931, she was told she had to change Lewis’ lan­guage. “For at least two pub­lish­ing hous­es,” writes Mea­gan Fly­nn, “Lewis’s heav­i­ly accent­ed dialect was seen as too dif­fi­cult to read.” Hurston refused. Now, the book has final­ly been pub­lished by Harper­Collins, with Lewis’s speech intact as Hurston record­ed it. Harper­Collins edi­tor Deb­o­rah Plant tells NPR, “We’re talk­ing about a lan­guage that he had to fash­ion for him­self in order to nego­ti­ate this new ter­rain he found him­self in.”

As pub­lished excerpts of the book show, his speech is not hard to under­stand. He describes the kind of bewil­der­ment all enslaved Africans must have felt after arriv­ing on alien shores and forced to toil day in and day out under threat of whip­ping or worse: “We doan know why we be bring ’way from our coun­try to work lak dis,” he says, “Every­body lookee at us strange. We want to talk wid de udder col­ored folk­ses but dey doan know whut we say.”

Lewis tells the sto­ry of his cap­ture by the King of Dahomey, whose war­riors raid­ed his vil­lage of Takkoi and sold the cap­tives to Amer­i­can Cap­tain William Fos­ter, oper­at­ing an ille­gal oper­a­tion (the slave trade had been out­lawed for almost 60 years). Forced aboard the ship Clotil­da with over 100 oth­er African men and women, Lewis was trans­port­ed to Mobile, Alaba­ma and sold to a busi­ness­man named Tim­o­thy Mea­her. “Cud­jo and his fel­low cap­tives were forced to work on Meaher’s mill and ship­yard,” Gabe Pao­let­ti writes at All That’s Inter­est­ing. “As a slave, he start­ed to go by the name ‘Cud­jo,’ a day-named giv­en to boys born on a Mon­day, as Mea­her could not pro­nounce the name ‘Kos­so­la.’”

Deb­o­rah Plant sees the rejec­tion of Hurston’s book in the 30s as akin to Lewis’s loss of his name, coun­try, and cul­ture. “Embed­ded in his lan­guage is every­thing of his his­to­ry,” she says. “To deny him his lan­guage is to deny his his­to­ry, to deny his expe­ri­ence, which is ulti­mate­ly to deny him peri­od, to deny what hap­pened to him.”

87 years after the book’s writ­ing, Lewis’s sto­ry offers a time­ly reminder of the his­to­ry of slav­ery. The book arrives just after the dis­cov­ery of what his­to­ri­ans and archae­ol­o­gists believe to be the wreck of the Clotil­da, a ves­sel owned and oper­at­ed, says AL.com reporter Ben Raines in the video above, by two already wealthy men who smug­gled slaves to prove that they could get away with it, then burned the evi­dence, the ship, to escape detec­tion.

When police arrived at Meaher’s prop­er­ty to charge him with ille­gal­ly smug­gling enslaved peo­ple, he “had hid­den away the cap­tives,” writes Pao­let­ti, “and had erased all trace of them hav­ing been there.” Thanks to Hurston, we have an invalu­able first­hand account of what it was like for one West African man who not only endured war and cap­ture at the hands of a rival tribe, but also sale at a slave mar­ket, the mid­dle pas­sage across the Atlantic, and forced labor in the deep South—and who lived through the Civ­il War, Eman­ci­pa­tion, Recon­struc­tion and well into the ear­ly 20th Cen­tu­ry.

Relat­ed Con­tent:

Hear Zora Neale Hurston Sing Tra­di­tion­al Amer­i­can Folk Song “Mule on the Mount” (1939)

Actors from The Wire Star in a Short Film Adap­ta­tion of Zora Neale Hurston’s “The Gild­ed Six-Bits” (2001)

Mas­sive New Data­base Will Final­ly Allow Us to Iden­ti­fy Enslaved Peo­ples and Their Descen­dants in the Amer­i­c­as

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

An Interactive Map Shows Just How Many Roads Actually Lead to Rome

…he went away, and pass­ing through what was called the house of Tiberius, went down into the forum, to where a gild­ed col­umn stood, at which all the roads that inter­sect Italy ter­mi­nate.”

- Plutarch, Life of Gal­ba (XXIV.4)

No one can give you exact direc­tions to Mil­liar­i­um Aureum (aka the Gold­en Mile­stone). Just a few carved mar­ble frag­ments of the gild­ed column’s base remain in the Roman Forum, where its orig­i­nal loca­tion is some­what dif­fi­cult to pin­point.

But as the image above, from inter­ac­tive map Roads to Rome, shows (view it here), the mot­to Emper­or Cae­sar Augus­tus’ mighty mile mark­er inspired still holds true.

All roads lead to Rome.

To illus­trate, design­ers Benedikt Groß and Philipp Schmitt worked with dig­i­tal geo­g­ra­ph­er Raphael Reimann to select 486,713 start­ing points on a 26,503,452 km² grid of Europe.

From there, they cre­at­ed an algo­rithm to cal­cu­late the best route from each point to Rome.

(It beats typ­ing a street address into Google Maps 486,713 times.)

From afar, the result­ing map looks like a del­i­cate piece of sea let­tuce or an ear­ly explo­ration in neu­roanato­my.

Zoom in as tight as you can and things become more tra­di­tion­al­ly car­to­graph­ic in appear­ance, names and spa­tial rela­tions of cities assert­ing them­selves. A bold line indi­cates a busy route.

In a nod to map lovers out­side of Europe, the mobil­i­ty-obsessed team came up with anoth­er map, this one geared to state­side users.

Do you know which of the Unit­ed States’ nine Romes you are clos­est to?

Now you do, from 312,719 dis­tinct start­ing points.

To help them in their labor, the cre­ative team made good use of the Graph­Hop­per route opti­miza­tion tool and the Open Street Map wiki. In their own esti­ma­tion, the project’s out­come is “some­where between infor­ma­tion visu­al­iza­tion and data art, unveil­ing mobil­i­ty on a very large scale.”

Buy a poster of the All Roads Lead to Rome map here. Or view the inter­ac­tive map here.

via Arch Dai­ly

Relat­ed Con­tent:

The Lon­don Time Machine: Inter­ac­tive Map Lets You Com­pare Mod­ern Lon­don, to the Lon­don Short­ly After the Great Fire of 1666

Watch the His­to­ry of the World Unfold on an Ani­mat­ed Map: From 200,000 BCE to Today

An Inter­ac­tive Map of Every Record Shop in the World

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Wednes­day, May 16 for anoth­er month­ly install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain. Fol­low her @AyunHalliday.

Europe After the Rain: Watch the Vintage Documentary on the Two Great Art Movements, Dada & Surrealism (1978)

“Dada thrives on con­tra­dic­tions. It is cre­ative and destruc­tive. Dada denounces the world and wish­es to save it.” So says one nar­ra­tor of jour­nal­ist-film­mak­er Mick Gold’s Europe After the Rain, a 1978 Arts Coun­cil of Great Britain doc­u­men­tary on not just the inter­na­tion­al avant-garde move­ment called Dada but the asso­ci­at­ed cur­rents of sur­re­al­ism churn­ing around that con­ti­nent dur­ing the first half of the twen­ti­eth cen­tu­ry. “Dada want­ed to replace the non­sense of man with the illog­i­cal­ly sense­less. Dada is sense­less, like nature. Dada is for nature, and against art. Philoso­phers have less val­ue for Dada than an old tooth­brush, and Dada aban­dons them to the great lead­ers of the world.”

Of the many bold and often con­tra­dic­to­ry claims made about Dada, none describe it as eas­i­ly under­stood. But Dada has less to do with intel­lec­tu­al, aes­thet­ic, or polit­i­cal coher­ence than with a cer­tain ener­gy. That ener­gy could fire up the likes of André Bre­ton, Sal­vador Dalí, René Magritte, Gior­gio de Chiri­co, and many oth­er artists besides, chan­nel­ing frus­tra­tions with the state of post-World War I Europe into a sen­si­bil­i­ty that demand­ed rip­ping every­thing up and build­ing it all again, begin­ning with the very foun­da­tions of sense.

Gold and his col­lab­o­ra­tors on Europe After the Rain under­stand this, audio­vi­su­al­ly inter­pret­ing the lega­cy of Dada, which despite its short lifes­pan left behind a host of still-strik­ing works in text, image, and sculp­ture, in a vari­ety of ways.

“The movie is full of trea­sures,” writes Dan­ger­ous Minds’ Oliv­er Hall, includ­ing “BBC inter­views with Max Ernst and Mar­cel Duchamp from the Six­ties, a read­ing of Artaud’s ‘Address to the Dalai Lama,’ an account of Freud’s meet­ing with Dalí.” He adds that its “re-enact­ment of Breton’s dia­logue with an offi­cial of the Par­ti com­mu­niste français is illu­mi­nat­ing, and com­ple­ments the oth­er valu­able mate­r­i­al on the ‘Pope of Sur­re­al­ism’: his work with shell-shocked sol­diers in World War I, tri­als and expul­sions of oth­er Sur­re­al­ists, col­lab­o­ra­tion with Leon Trot­sky in Mex­i­co, less-than-hero­ic con­tri­bu­tions to the French Resis­tance, and study of the occult.” But then, the kind of mind that could launch a move­ment like Dada — which fifty years after its end remained fas­ci­nat­ing enough to inspire a doc­u­men­tary that itself holds its fas­ci­na­tion forty years on — is capa­ble, one sus­pects, of any­thing.

Watch the uncut ver­sion of Europe After the Rain above.

via Dan­ger­ous Minds

Relat­ed Con­tent:

The ABCs of Dada Explains the Anar­chic, Irra­tional “Anti-Art” Move­ment of Dadaism

Read and Hear Tris­tan Tzara’s “Dada Man­i­festo,” the Avant-Garde Doc­u­ment Pub­lished 100 Years Ago (March 23, 1918)

Three Essen­tial Dadaist Films: Ground­break­ing Works by Hans Richter, Man Ray & Mar­cel Duchamp

Hear the Exper­i­men­tal Music of the Dada Move­ment: Avant-Garde Sounds from a Cen­tu­ry Ago

Dress Like an Intel­lec­tu­al Icon with Japan­ese Coats Inspired by the Wardrobes of Camus, Sartre, Duchamp, Le Cor­busier & Oth­ers

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.

Yale’s Free Course on The Moral Foundations of Political Philosophy: Do Governments Deserve Our Allegiance, and When Should They Be Denied It?

“When do gov­ern­ments deserve our alle­giance, and when should they be denied it?” It’s a ques­tion that has per­haps crossed your mind late­ly. And it’s pre­cise­ly the ques­tion that’s at the heart of The Moral Foun­da­tions of Polit­i­cal Phi­los­o­phy, a free course taught by Yale polit­i­cal sci­ence pro­fes­sor Ian Shapiro.

In 25 lec­tures (all avail­able above, on YouTube and iTunes), the course “starts with a sur­vey of major polit­i­cal the­o­ries of the Enlightenment—Utilitarianism, Marx­ism, and the social con­tract tradition—through clas­si­cal for­mu­la­tions, his­tor­i­cal con­text, and con­tem­po­rary debates relat­ing to pol­i­tics today. It then turns to the rejec­tion of Enlight­en­ment polit­i­cal think­ing. Last­ly, it deals with the nature of, and jus­ti­fi­ca­tions for, demo­c­ra­t­ic pol­i­tics, and their rela­tions to Enlight­en­ment and Anti-Enlight­en­ment polit­i­cal think­ing.”

You can find an archived web page that includes a syl­labus for the course. Or you can now take the course as a full-blown MOOC. Below find the texts used in the course.

The Moral Foun­da­tions of Polit­i­cal Phi­los­o­phy will be added to our list of Free Polit­i­cal Sci­ence Cours­es, a sub­set of our col­lec­tion 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Texts:

Arendt, Han­nah. Eich­mann in Jerusalem. New York: Viking, 1963.

Bromwich, David. “Intro­duc­tion” to On Empire, Lib­er­ty, and Reform: Speech­es and Let­ters. New Haven: Yale Uni­ver­si­ty Press, 2000.

Burke, Edmund. Reflec­tions on the Rev­o­lu­tion in France. Oxford: Oxford Uni­ver­si­ty Press, 2009.

Hamil­ton, Alexan­der, John Jay, and James Madi­son. The Fed­er­al­ist Papers. Ed. Ian Shapiro. New Haven, CT: Yale Uni­ver­si­ty Press, 2009.

Locke, John. Two Trea­tis­es of Gov­ern­ment and a Let­ter Con­cern­ing Human Under­stand­ing. Ed. Ian Shapiro. New Haven, CT: Yale Uni­ver­si­ty Press, 1988.

Mac­In­tyre, Alas­dair. After Virtue. Notre Dame, IN: Uni­ver­si­ty of Notre Dame Press, 2007.

Mill, John Stu­art. On Lib­er­ty. Ed. David Bromwich and George Kateb. New Haven, CT: Yale Uni­ver­si­ty Press, 2003.

Noz­ick, Robert. Anar­chy, State and Utopia. New York: Basic Books, 1974.

Rawls, John. A The­o­ry of Jus­tice. 2nd edi­tion. Cam­bridge, MA: Har­vard Uni­ver­si­ty Press, 1999.

Shapiro, Ian. Demo­c­ra­t­ic Jus­tice. New Haven, CT: Yale Uni­ver­si­ty Press, 1999.

Shapiro, Ian. Moral Foun­da­tions of Pol­i­tics. New Haven, CT: Yale Uni­ver­si­ty Press, 2003.

Tuck­er, Robert C., ed. The Marx-Engels Read­er. 2nd ed. New York: W.W. Nor­ton, 1978.

Visit an Online Collection of 64,259 Musical Instruments from Across the World

The study of musi­cal instru­ments opens up vast his­to­ries of sound rever­ber­at­ing through the cen­turies. Should we embark on a jour­ney through halls of Europe’s musi­cal instru­ment muse­ums, for exam­ple, we should soon dis­cov­er how lim­it­ed our appre­ci­a­tion for music his­to­ry has been, how nar­rowed by the rel­a­tive hand­ful of instru­ments allowed into orches­tras, ensem­bles, and bands of all kinds. The typ­i­cal diet of clas­si­cal, roman­tic, mod­ern, jazz, pop, rock, R&B, or what­ev­er, the music most of us in the West grow up hear­ing and study­ing, has result­ed from a care­ful sort­ing process that over time chose cer­tain instru­ments over oth­ers.

Some of those his­toric instruments—the vio­lin, cel­lo, many wind and brass—remain in wide cir­cu­la­tion and pro­duce music that can still sound rel­e­vant and con­tem­po­rary. Oth­ers, like the Mel­lotron (above) or bar­rel organs (like the 1883 Cylin­der­pos­i­tiv at the top), remain wed­ded to their his­tor­i­cal peri­ods, mak­ing sounds that might as well have dates stamped on them.

You could—and many an his­to­ri­an has, no doubt—travel the world and pay a per­son­al vis­it to the muse­ums hous­ing thou­sands of musi­cal instru­ments humans have used—or at least invented—to car­ry melodies and har­monies and keep time. Such a tour might con­sti­tute a life’s work.

But if you’re on a bud­get or your grant doesn’t come through, you can still tour Europe’s musi­cal instru­ment muse­ums, and two muse­ums in Africa, from the com­fort of your home, office, or library thanks to MIMO, Musi­cal Instru­ment Muse­ums Online, a “con­sor­tium of some of Europe’s most impor­tant musi­cal instru­ment muse­ums” offer­ing “the world’s largest freely acces­si­ble data­base for infor­ma­tion on musi­cal instru­ments held in pub­lic col­lec­tions.”

The enor­mous online col­lec­tion hous­es, vir­tu­al­ly, tens of thou­sands of instru­ments from over two dozen regions around the globe. (There are 64,259 instru­ments in total.) Find an Ital­ian Basse de Vio­le (above) from 1547 or an ornate Egypt­ian darabuk­ka (below). And, of course, plen­ty of iconic—and rare—elec­tric gui­tars and bass­es.

You can search instru­ments by mak­er, coun­try, city, or con­ti­nent, time peri­od, muse­um, and type. (Wind, Per­cus­sion, Stringed, Zithers, Rat­tles, Bells, Lamel­la­phones, etc….) Researchers may encounter a few lan­guage hurdles—MIMO’s about page men­tions “search­ing in six dif­fer­ent lan­guages,” and the site actu­al­ly lists 11 lan­guage cat­e­gories in tabs at the top. But users may still need to plug pages into Google trans­late unless they read French or Ger­man or some of the oth­er lan­guages in which descrip­tions have been writ­ten. Refresh­ing­ly con­sis­tent, the pho­tographs of each instru­ment con­form to a stan­dard set by the con­sor­tium that pro­vides “detailed guide­lines on how to set up a repos­i­to­ry to enable the har­vest­ing of dig­i­tal con­tent.”

But enough about the site func­tions, what about the sounds? Well, in a phys­i­cal muse­um, you wouldn’t expect to take a three-hun­dred-year-old flute out of its case and hear it played. Just so, most of the instru­ments here can be seen and not heard, but the site does have over 400 sound files, includ­ing the enchant­i­ng record­ing of Sym­pho­nion Eroica 38a (above), as played on a mechan­i­cal clock from 1900.

As you dis­cov­er instru­ments you nev­er knew existed—such as the theramin-like Croix Sonore (Sonorus Cross), cre­at­ed by Russ­ian com­pos­er Nico­las Obukhov between 1926 and 1934—you can under­take your own research to find sam­ple record­ings online, such as “The Third and Last Tes­ta­ment,” below, Obukhov’s com­po­si­tion for 5 voic­es, organ, 2 pianos, orches­tra, and croix sonore. Obukhov’s exper­i­ments with instru­ments of his own inven­tion prompt­ed his exper­i­ments in 12-tone com­po­si­tion, in which, he declared, “I for­bid myself any rep­e­ti­tion.” Just one exam­ple among many thou­sands demon­strat­ing how instru­ment design forms the basis of a wild­ly pro­lif­er­at­ing vari­ety of musi­cal expres­sions that can start to seem end­less after a while.

via @dark_shark

Relat­ed Con­tent:

Watch a Musi­cian Impro­vise on a 500-Year-Old Music Instru­ment, The Car­il­lon

Musi­cian Plays the Last Stradi­var­ius Gui­tar in the World, the “Sabionari” Made in 1679

Sovi­et Inven­tor Léon Theremin Shows Off the Theremin, the Ear­ly Elec­tron­ic Instru­ment That Could Be Played With­out Being Touched (1954)

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

Visit a Gallery of 300 Striking Posters from the May 1968 Uprising in Paris

Among the many oth­er 50ths com­mem­o­rat­ed this year, one will large­ly go unno­ticed by the U.S. press, giv­en that it hap­pened in France, a coun­try we like to ignore as much as pos­si­ble, and con­cerned the pol­i­tics of anar­chists and com­mu­nists, peo­ple we like to pre­tend don’t exist except as car­i­ca­tures in scare-mon­ger­ing car­toons. But the French remem­ber May 1968, and not only on its fifti­eth. The wild­cat strikes, stu­dent march­es, and bar­ri­cades in the Latin Quar­ter haunt French pol­i­tics. “We’re slight­ly pris­on­ers of a myth,” laments his­to­ri­an Danielle Tar­takowsky.

The inter­na­tion­al his­tor­i­cal events sur­round­ing the strikes and march­es are well-known or should be. The found­ing ethos of the move­ment, Sit­u­a­tion­ism, per­haps less so. Read­ing Guy Debord’s Soci­ety of the Spec­ta­cle and the 1968 movement’s oth­er essen­tial texts can feel like look­ing into a fun­house mir­ror.

The 1966 pam­phlet man­i­festo that began the stu­dent agi­ta­tion—“On the Pover­ty of Stu­dent Life”—might sound mighty famil­iar: it has no kind words for con­sumerist stu­dent rad­i­cals who “con­vert their uncon­scious con­tempt into a blind enthu­si­asm.” Yet they have been attacked, it clar­i­fies, “from the wrong point of view.”

Since we seem to be, in some dena­tured way, reliv­ing events of fifty years ago, the think­ing of that not-so-dis­tant moment illu­mi­nates our cir­cum­stances. “If there’s one thing in com­mon between 1968 and today,” remarks Antoine Gué­gan, whose father Gérard staged Paris cam­pus sit-ins, “it’s young people’s despair. But it’s a dif­fer­ent kind of despair…. Today’s youth is fac­ing a moment of stag­na­tion, with lit­tle to lean on.” Despite the riotous, bloody nature of the times, a glob­al move­ment then found rea­son for hope.

We see it reflect­ed in the defi­ant art and cin­e­ma of the time, from rev­o­lu­tion­ary work by a 75-year-old Joan Miró to vérité film by 20-year-old wun­derkind Philippe Gar­rel. And we see it, espe­cial­ly, in the huge num­ber of posters print­ed to adver­tise the move­ment, rad­i­cal graph­ic designs that illus­trate the exhil­a­ra­tion and defi­ance of the loose col­lec­tive of Marx­ists-Lenin­ists, Trot­skyites, Maoists, Anar­chists, Sit­u­a­tion­ists, and so on who pro­pelled the move­ment for­ward.

Last year, we fea­tured a gallery of these arrest­ing images from the Ate­lier Pop­u­laire, a group of artists and stu­dents, notes Dan­ger­ous Minds, which “occu­pied the École des Beaux-Arts and ded­i­cat­ed its efforts to pro­duc­ing thou­sands of silk-screened posters using bold, icon­ic imagery and slo­gans as well as explic­it­ly collective/anonymous author­ship.” Today, we bring you a huge gallery of more than 300 such images, housed online at Vic­to­ria Uni­ver­si­ty in the Uni­ver­si­ty of Toron­to.

Some of the images are down­load­able. You can request down­loads of oth­ers from the uni­ver­si­ty library for pri­vate use or pub­li­ca­tion. These posters rep­re­sent a move­ment con­fronting an oppres­sive soci­ety with its own log­ic, a soci­ety of which Debord wrote just the pre­vi­ous year, “the spec­ta­cle is not a col­lec­tion of images; it is a social rela­tion between peo­ple that is medi­at­ed by images.” There is no under­stand­ing of the events of May 1968 with­out an under­stand­ing of its visu­al cul­ture as, Debord wrote, “a means of uni­fi­ca­tion.” Enter the gallery of posters and prints here.

Relat­ed Con­tent:

A Gallery of Visu­al­ly Arrest­ing Posters from the May 1968 Paris Upris­ing

Theodor Adorno’s Rad­i­cal Cri­tique of Joan Baez and the Music of the Viet­nam War Protest Move­ment

Bed Peace Revis­its John Lennon & Yoko Ono’s Famous Anti-Viet­nam Protests

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

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