How Intellectual Humility Can Boost Our Curiosity & Ability to Learn: Read the Findings of a New Study

Pho­to via Wiki­me­dia Com­mons

When I think about the times I def­i­nite­ly knew what I was talk­ing about, ver­sus the times I kin­da, sor­ta, might have, maybe did… well…. Let’s just say that wis­dom doesn’t always come with age, but hind­sight cer­tain­ly does. We may cringe when we remem­ber the moments we were over­con­fi­dent, out of our depth, etcetera, and so forth—when we lacked the crit­i­cal capac­i­ty known as intel­lec­tu­al humil­i­ty. It’s a qual­i­ty that can save us a lot of shame, for sure, if we’re the type of peo­ple capa­ble of feel­ing that emo­tion.

But there’s more to know­ing what you don’t know than avoid­ing regret, as impor­tant a con­sid­er­a­tion as that may be. With­out intel­lec­tu­al humil­i­ty, we can’t acquire new knowl­edge. Still, though we might find “open mind­ed” list­ed on many an online dat­ing pro­file, being flex­i­ble in one’s think­ing and will­ing to say “I don’t know” are also social­ly stig­ma­tized, says Pep­per­dine Uni­ver­si­ty pro­fes­sor of psy­chol­o­gy Eliz­a­beth J. Krum­rei-Man­cu­so:

When it comes to beliefs, peo­ple tend to appre­ci­ate oth­ers being open-mind­ed, yet they may also view peo­ple who are unsure about their beliefs as weak or they may view those who change their view­point as unsta­ble or manip­u­la­tive. These social per­cep­tions might make peo­ple afraid to admit the fal­li­bil­i­ty in their think­ing. They may believe they should be con­fi­dent in their view­points, which can lead peo­ple to be afraid to change their minds.

Fun­da­men­tal­ist reli­gion and polar­ized polit­i­cal bat­tle-royales played out in social media stoke the fires of this ten­den­cy day in and out, cre­at­ing a ver­i­ta­ble con­fla­gra­tion of will­ful igno­rance. Krum­rei-Man­cu­so and her col­leagues set out to inves­ti­gate the oppo­site, “accept­ing one’s intel­lec­tu­al fal­li­bil­i­ty in an open and lev­el-head­ed way,” writes Peter Dock­rill at Sci­ence Alert.

Their find­ings were some­what sim­i­lar to those pop­u­lar­ized by the Dun­ning-Krueger Effect. In one find­ing, for exam­ple, the researchers dis­cov­ered that “intel­lec­tu­al­ly hum­ble peo­ple underesti­mat­ed their cog­ni­tive abil­i­ty,” per­haps not work­ing up to their full poten­tial. The intel­lec­tu­al­ly over­con­fi­dent, as we might expect, over­es­ti­mat­ed their abil­i­ties. On the whole, how­ev­er, the con­clu­sions tend to be quite pos­i­tive.

In a series of five stud­ies, which sur­veyed 1,200 indi­vid­u­als, the authors found that the intel­lec­tu­al­ly hum­ble are far more moti­vat­ed to learn for its own sake, more like­ly to enjoy chal­leng­ing cog­ni­tive tasks, more will­ing to con­sid­er dif­fer­ent per­spec­tives and alter­na­tive evi­dence, and less threat­ened by aware­ness of their own lim­i­ta­tions.

The Har­vard Busi­ness Review points out the Pep­per­dine stud­ies’ impor­tance in defin­ing the fuzzy con­cept of open-mind­ed­ness, with a four­fold mea­sure to assess indi­vid­u­als’ intel­lec­tu­al humil­i­ty:

  1. Hav­ing respect for oth­er view­points
  2. Not being intel­lec­tu­al­ly over­con­fi­dent
  3. Sep­a­rat­ing one’s ego from one’s intel­lect
  4. Will­ing­ness to revise one’s own view­point

Becom­ing intel­lec­tu­al­ly hum­ble can take us into some uncom­fort­able ter­ri­to­ry, places where we don’t know what to say or do when every­one around us seem so cer­tain. But it can also give us the push we need to actu­al­ly learn the things we might have kin­da, sor­ta pre­tend­ed to under­stand. Read Pep­perdine’s study, “Links between intel­lec­tu­al humil­i­ty and acquir­ing knowl­edge” at The Jour­nal of Pos­i­tive Psy­chol­o­gy.

Relat­ed Con­tent:

Why Incom­pe­tent Peo­ple Think They’re Amaz­ing: An Ani­mat­ed Les­son from David Dun­ning (of the Famous “Dun­ning-Kruger Effect”)

Research Finds That Intel­lec­tu­al Humil­i­ty Can Make Us Bet­ter Thinkers & Peo­ple; Good Thing There’s a Free Course on Intel­lec­tu­al Humil­i­ty

How to Argue With Kind­ness and Care: 4 Rules from Philoso­pher Daniel Den­nett

24 Com­mon Cog­ni­tive Bias­es: A Visu­al List of the Psy­cho­log­i­cal Sys­tems Errors That Keep Us From Think­ing Ratio­nal­ly

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

Stravinsky’s “Illegal” Arrangement of “The Star Spangled Banner” (1944)

In 1939, Igor Stravin­sky emi­grat­ed to the Unit­ed States, first arriv­ing in New York City, before set­tling in Cam­bridge, Mass­a­chu­setts, where he deliv­ered the Charles Eliot Nor­ton lec­tures at Har­vard dur­ing the 1939–40 aca­d­e­m­ic year. While liv­ing in Boston, the com­pos­er con­duct­ed the Boston Sym­pho­ny and, on one famous occa­sion, he decid­ed to con­duct his own arrange­ment of the “The Star-Span­gled Ban­ner,” which he made out a “desire to do my bit in these griev­ous times toward fos­ter­ing and pre­serv­ing the spir­it of patri­o­tism in this coun­try.” The date was Jan­u­ary, 1944. And he was, of course, refer­ring to Amer­i­ca’s role in World War II.

As you might expect, Stravin­sky’s ver­sion on “The Star-Span­gled Ban­ner” was­n’t entire­ly con­ven­tion­al, see­ing that it added a dom­i­nant sev­enth chord to the arrange­ment. And the Boston police, not exact­ly an orga­ni­za­tion with avant-garde sen­si­bil­i­ties, issued Stravin­sky a warn­ing, claim­ing there was a law against tam­per­ing with the nation­al anthem. (They were mis­read­ing the statute.) Grudg­ing­ly, Stravin­sky pulled it from the bill.

You can hear Stravin­sky’s “Star-Span­gled Ban­ner” above, appar­ent­ly per­formed by the Lon­don Sym­pho­ny Orches­tra, and con­duct­ed by Michael Tilson Thomas. The Youtube video fea­tures an apoc­ryphal mugshot of Stravin­sky. Despite the mythol­o­gy cre­at­ed around this event, Stravin­sky was nev­er arrest­ed.

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 Night When Char­lie Park­er Played for Igor Stravin­sky (1951)

Hear The Rite of Spring Con­duct­ed by Igor Stravin­sky Him­self: A Vin­tage Record­ing from 1929

Stravinsky’s The Rite of Spring, Visu­al­ized in a Com­put­er Ani­ma­tion for Its 100th Anniver­sary

Watch 82-Year-Old Igor Stravin­sky Con­duct The Fire­bird, the Bal­let Mas­ter­piece That First Made Him Famous (1965)

Hear 46 Ver­sions of Stravinsky’s Rite of Spring in 3 Min­utes: A Clas­sic Mashup

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When Charlie Chaplin Entered a Chaplin Look-Alike Contest & Came in 20th Place

chaplin contest

Char­lie Chap­lin start­ed appear­ing in his first films in 1914—40 films, to be precise—and, by 1915, the Unit­ed States had a major case of “Chap­lini­tis.” Chap­lin mus­tach­es were sud­den­ly pop­ping up every­where–as were Chap­lin imi­ta­tors and Chap­lin look-alike con­tests. A young Bob Hope appar­ent­ly won one such con­test in Cleve­land. Chap­lin Fever con­tin­ued burn­ing hot through 1921, the year when the Chap­lin look-alike con­test, shown above, was held out­side the Lib­er­ty The­atre in Belling­ham, Wash­ing­ton.

Accord­ing to leg­end, some­where between 1915 and 1921, Chap­lin decid­ed to enter a Chap­lin look-alike con­test, and lost, bad­ly.

A short arti­cle called “How Char­lie Chap­lin Failed,” appear­ing in The Straits Times of Sin­ga­pore in August of 1920, read like this:

Lord Des­bor­ough, pre­sid­ing at a din­ner of the Anglo-Sax­on club told a sto­ry which will have an endur­ing life. It comes from Miss Mary Pick­ford who told it to Lady Des­bor­ough, “Char­lie Chap­lin was one day at a fair in the Unit­ed States, where a prin­ci­pal attrac­tion was a com­pe­ti­tion as to who could best imi­tate the Char­lie Chap­lin walk. The real Char­lie Chap­lin thought there might be a chance for him so he entered for the per­for­mance, minus his cel­e­brat­ed mous­tache and his boots. He was a fright­ful fail­ure and came in twen­ti­eth.

A vari­a­tion on the same sto­ry appeared in a New Zealand news­pa­per, the Pover­ty Bay Her­ald, again in 1920. As did anoth­er sto­ry in the Aus­tralian news­pa­per, the Albany Adver­tis­er, in March, 1921.

A com­pe­ti­tion in Char­lie Chap­lin imper­son­ations was held in Cal­i­for­nia recent­ly. There was some­thing like 40 com­peti­tors, and Char­lie Chap­lin, as a joke, entered the con­test under an assumed name. He imper­son­at­ed his well known film self. But he did not win; he was 27th in the com­pe­ti­tion.

Did Chap­lin come in 20th place? 27th place? Did he enter a con­test at all? It’s fun to imag­ine that he did. But, a cen­tu­ry lat­er, many con­sid­er the sto­ry the stuff of urban leg­end. When one researcher asked the Asso­ci­a­tion Chap­lin to weigh in, they appar­ent­ly had this to say: “This anec­dote told by Lord Des­bor­ough, who­ev­er he may have been, was quite wide­ly report­ed in the British press at the time. There are no oth­er ref­er­ences to such a com­pe­ti­tion in any oth­er press clip­ping albums that I have seen so I can only assume that this is the source of that rumour, urban myth, what­ev­er it is. How­ev­er, it may be true.”

I’d like to believe it is.

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

Relat­ed Con­tent:

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

65 Free Char­lie Chap­lin Films Online

Char­lie Chap­lin Gets Strapped into a Dystopi­an “Rube Gold­berg Machine,” a Fright­ful Com­men­tary on Mod­ern Cap­i­tal­ism

Char­lie Chap­lin Does Cocaine and Saves the Day in Mod­ern Times (1936)

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A Documentary Introduction to Nick Drake, Whose Haunting & Influential Songs Came Into the World 50 Years Ago Today

“All smok­ers will recog­nise the mean­ing of the title — it refers to five leaves left near the end of a pack­et of cig­a­rette papers. It sounds poet­ic and so does com­pos­er, singer, and gui­tarist Nick Drake. His debut album for Island is inter­est­ing.” There, in its entire­ty, is Melody Mak­er’s review of Nick Drake’s Five Leaves Left, which came out fifty years ago today. Drake now stands in music his­to­ry as some­thing of a doomed roman­tic hero, an artist who craft­ed a few dozen strik­ing­ly beau­ti­ful, haunt­ing songs and deliv­ered them into a world in which he nev­er felt at home. Unable to make that world appre­ci­ate his work, Drake depart­ed from it at the ear­ly age of 26, and only decades lat­er would Five Leaves Left and the oth­er two albums he record­ed in his life­time find their lis­ten­ers.

Sim­pli­fied though it is, that con­cep­tion adheres to the broad con­tours of Drake’s life. Born in Bur­ma to an Eng­lish civ­il engi­neer and the musi­cal­ly inclined daugh­ter of a high­er-up in the Indi­an Civ­il Ser­vice, he played in school orches­tras and cov­er bands grow­ing up and signed to Island Records while still a stu­dent at Cam­bridge.

By that point, hav­ing expe­ri­enced the music of pre­de­ces­sors like Bob Dylan and Van Mor­ri­son, stints in Moroc­co and the south of France, and the mind-alter­ing sub­stances pop­u­lar in the late 1960s, Drake had fash­ioned him­self into an acoustic gui­tar-play­ing singer-song­writer who must have seemed well suit­ed to the transat­lantic folk-music boom then in effect. He cer­tain­ly man­aged to impress Joe Boyd, the young Amer­i­can record pro­duc­er respon­si­ble for bring­ing acts like Fair­port Con­ven­tion, John Mar­tyn, and the Incred­i­ble String Band into the main­stream.

Boyd did­n’t need to hear much of Drake’s demo tape before he decid­ed to pro­duce a prop­er album, and in the 2014 event above he remem­bers the expe­ri­ence of bring­ing Drake into the stu­dio and record­ing what would become Five Leaves Left. Accom­pa­ny­ing Drake’s voice and gui­tar with a string sec­tion, the album show­cas­es all the qual­i­ties that set him apart from most singer-song­writ­ers then and still do now, from his unusu­al com­po­si­tion­al struc­tures and gui­tar tun­ings to the unapolo­getic Eng­lish­ness of his pro­nun­ci­a­tion and cadence. And unlike so many of the much big­ger records that came out in 1969, it all sounds like it could have been record­ed yes­ter­day — an achieve­ment whose tech­niques engi­neer John Wood has, for the past half-cen­tu­ry, declined to explain. But Drake’s shy­ness and sen­si­tiv­i­ty made him tem­pera­men­tal­ly unsuit­ed to live per­for­mance; he strug­gled to pro­mote him­self, and died of an anti­de­pres­sant over­dose five years and two albums lat­er.

For some time there­after it looked as if Drake’s music might have died with him. But Five Leaves Left and its fol­low-ups remained in Island’s back cat­a­log and by the ear­ly 1980s had built up a cult fol­low­ing, espe­cial­ly among oth­er musi­cians. (The Cure’s Robert Smith has cred­it­ed his band’s name to a line from Drake’s “Time Has Told Me.”) The 1997 pub­li­ca­tion of Patrick Humphries’ Nick Drake: The Biog­ra­phy opened the peri­od of wide-rang­ing dis­cov­ery of Nick Drake, fur­thered by the BBC Radio 2 doc­u­men­tary Fruit Tree: The Nick Drake Sto­ry, the BBC2 tele­vi­sion doc­u­men­tary Nick Drake: A Stranger Among Us, the Dutch doc­u­men­tary A Skin Too Few: The Days of Nick Drake, and the many oth­er books about him pub­lished since. (Ten years ago, for Five Leaves Left’s 40th anniver­sary, I myself inter­viewed Humphries and two oth­er authors of books about Drake; you can down­load the pro­gram as an MP3 here.)

In 2004 BBC2 pro­duced a sec­ond radio doc­u­men­tary called Lost Boy: In Search Of Nick Drake, and to nar­rate it brought in a fan by the name of Brad Pitt. “I was intro­duced to Nick Drake’s music about five years ago, and am a huge admir­er of his records,” the actor said at the time, and it may not be a coin­ci­dence that the year 1999 saw the high­est-pro­file use of one of Drake’s songs by far — as the sound­track to a Volk­swa­gen com­mer­cial. Two decades after that big break, and near­ly 45 years after his death, Nick Drake is at the height of his pop­u­lar­i­ty, both in terms of how many lis­ten­ers claim his songs as favorites and how many cur­rent singer-song­writ­ers claim him as an influ­ence. Yet to this day, no oth­er per­former sounds quite like him; in all prob­a­bil­i­ty, none ever will. And no mat­ter how many times one has heard it, Five Leaves Left remains more “inter­est­ing” than ever.

Relat­ed Con­tent:

Ladies and Gen­tle­men… Mr. Leonard Cohen: The Poet-Musi­cian Fea­tured in a 1965 Doc­u­men­tary

Paul McCart­ney Breaks Down His Most Famous Songs and Answers Most-Asked Fan Ques­tions in Two New Videos

James Tay­lor Per­forms Live in 1970, Thanks to a Lit­tle Help from His Friends, The Bea­t­les

89 Essen­tial Songs from The Sum­mer of Love: A 50th Anniver­sary Playlist

Joni Mitchell: Singer, Song­writer, Artist, Smok­ing Grand­ma

Tom Pet­ty Takes You Inside His Song­writ­ing Craft

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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, on Face­book, or on Insta­gram.

Anton Chekhov’s Six Rules For Writing Fiction

Whether due to inse­cu­ri­ty, inex­pe­ri­ence, or just intel­lec­tu­al curios­i­ty, writ­ers of fic­tion can some­times priv­i­lege sound­ing smart over con­nect­ing with their read­ers. The result is the dread­ed “infor­ma­tion dump,” an attempt to include every­thing: every­thing, that is, but that which makes fic­tion com­pelling: minute­ly detailed descrip­tions of char­ac­ters we care about; sharply observed sit­u­a­tions that move us; moral com­plex­i­ty that feels earned and gen­uine…

All qual­i­ties that might fall under the adjec­tive “Chekhov­ian.”

Anton Pavlovich Chekhov, coun­try doc­tor and mas­ter­ful short sto­ry writer, put him­self through med­ical school by writ­ing fic­tion read­ers could not put down. He has since become a stan­dard for real­ist concision—the short sto­ry ana­logue to Gus­tave Flaubert’s mas­tery of the nov­el form.

And like Flaubert, Chekhov mas­tered his art by plac­ing strict lim­its on him­self. These he out­lined in an 1886 let­ter to his broth­er Alek­san­dr in a con­cise six-point list, which you’ll find below.

  1. Absence of lengthy ver­biage of polit­i­cal-social-eco­nom­ic nature;
  2. Total objec­tiv­i­ty;
  3. Truth­ful descrip­tion of per­sons and objects;
  4. Extreme brevi­ty;
  5. Audac­i­ty and orig­i­nal­i­ty: flee the stereo­type;
  6. Com­pas­sion

Many of these pre­scrip­tions can sound like the CIA-approved rules infor­mal­ly enforced by the 20th-cen­tu­ry Iowa Writer’s Work­shop. One can draw a line from Chekhov to Ray­mond Carv­er, Flan­nery O’Connor, John Updike, and oth­er writ­ers like­ly to have appeared in The New York­er. But many writ­ers besides Chekhov have com­plained of over­ly ver­bose, opin­ion­at­ed fic­tion.

19th cen­tu­ry writer Hen­ry James dis­par­aged what he called the “large loose bag­gy mon­sters” of Fyo­dor Dos­to­evsky and oth­er ser­i­al nov­el­ists, for exam­ple. Anoth­er nov­el­ist, Jay McIn­er­ney takes a phrase from Renais­sance schol­ar Wal­ter Pater to describe the brevi­ty of the short sto­ry: the form, he writes, cre­ates a “hard, gem­like flame.” This seems to be what Chekhov strove for in his mature work.

But three years ear­li­er, he had per­fect­ed a very dif­fer­ent kind of sto­ry, and issued a very dif­fer­ent list of pre­scrip­tions to his broth­er. In 1883, Chekhov advised that if Alek­san­dr wished to get pub­lished in the mag­a­zine Frag­ments, he should observe the fol­low­ing: “1. The short­er, the bet­ter; 2. A bit of ide­ol­o­gy and being up to date is most à pro­pos; 3. Car­i­ca­ture is just fine, but igno­rance of civ­il ser­vice ranks and of the sea­sons is strict­ly pro­hib­it­ed.”

We can see the author’s not­ed con­cern for accu­ra­cy, but not the ulti­mate and most con­cise item on his mature list: Com­pas­sion, a qual­i­ty that eclipses typol­o­gy and ide­ol­o­gy. Chekhov may not always have adhered close­ly to some of his own rules, as ethno­graph­ic writer Kirin Narayan shows. After all, who can achieve “total objec­tiv­i­ty”? But “embed­ded” in this ide­al is “the recog­ni­tion” writes Maria Popo­va at Brain Pick­ings, “that no depic­tion of real­i­ty is real­is­tic unless it includes an empath­ic account of all per­spec­tives.”

via Brain Pick­ings

Relat­ed Con­tent:

Flan­nery O’Connor Explains the Lim­it­ed Val­ue of MFA Pro­grams: “Com­pe­tence By Itself Is Dead­ly”

Kurt Von­negut Offers 8 Tips on How to Write Good Short Sto­ries (and Amus­ing­ly Graphs the Shapes Those Sto­ries Can Take)

Toni Mor­ri­son Dis­pens­es Sound Writ­ing Advice: Tips You Can Apply to Your Own Work

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

Hear Wade in the Water: An Unprecedented 26-Hour-Long Exploration of the African American Sacred Music Tradition

Pho­to of Mahalia Jack­son by Dave Brinkman, via Wiki­me­dia Com­mons

It may well be a tru­ism to say that Amer­i­can music is African Amer­i­can music, but that doesn’t make it any less true. And when we reduce truths down to tru­isms they lose the gran­u­lar detail that makes them inter­est­ing and rel­e­vant. Every­one knows, for exam­ple, that there would be no rock and roll with­out Robert John­son at the cross­roads and Lit­tle Richard in his sequined jack­et and pom­padour. But how many peo­ple know that with­out North Car­oli­na-born Les­ley Rid­dle, A.P. Carter’s one­time musi­cal part­ner, folk and coun­try music as we know it might not exist?

Like­wise, Negro Spir­i­tu­als and the black gospel tra­di­tion are legendary—birthing such tow­er­ing fig­ures as Aretha Franklin and Sam Cooke. But that his­to­ry has often been turned into stereo­type, an easy ref­er­ence for down-home authen­tic­i­ty. Divorced from their roots, easy evo­ca­tions of African Amer­i­can gospel glide over a com­plex tapes­try of syn­cretism and syn­chronic­i­ty, inno­va­tion and preser­va­tion, and the build­ing of local and nation­al com­mu­ni­ties with a glob­al scope and pres­ence.

Black sacred music touch­es every part of U.S. his­to­ry. To hear this his­to­ry in gran­u­lar detail, you need to hear NPR’s just-re-released audio series Wade in the Water: African Amer­i­can Sacred Music Tra­di­tions. First released in 1994 by NPR and the Smith­son­ian, the 26-part doc­u­men­tary details “the his­to­ry of Amer­i­can gospel music and its impact on soul, jazz and R&B.” The series begins with a con­cep­tu­al overview and car­ries us all the way through to the con­tem­po­rary gospel scene.

Along the way, we learn about region­al scenes, the growth and world­wide pop­u­lar­i­ty of the Jubilee singers who so inspired W.E.B. Du Bois, the lined hymn and shaped-note tra­di­tions, and the use of gospel as a doc­u­men­tary medi­um itself, chron­i­cling the sink­ing of the Titan­ic, the Depres­sion, World Wars I and II, and more. Sacred music sup­port­ed Civ­il Rights strug­gles, and move­ment lead­ers like Fan­nie Lou Hamer sang as they marched and orga­nized, a pow­er­ful sound folk singers like Pete Seeger and Bob Dylan picked up and emu­lat­ed.

Talk­ing about music can only take us so far. Wade in the Water suc­ceed­ed by keep­ing music at the cen­ter, even releas­ing a four-CD set, with exten­sive lin­er notes. This time around, the dig­i­tal release comes with Spo­ti­fy playlists like the one above in which you can hear a sam­pling of songs from the series. Here you’ll find the usu­al crossover gospel greats—Aretha, the Sta­ple Singers, Bil­ly Pre­ston, Mahalia Jack­son, BeBe and Cece Winans. You’ll also hear unknown com­mu­ni­ty groups like a Demopo­lis, Alaba­ma Con­gre­ga­tion singing “Come and Go with Me” and the Gatling Funer­al Home singing “Gatling Devo­tion­al.”

The series was researched, pro­duced, and pre­sent­ed by Ber­nice John­son Reagon, who is both a liv­ing exam­ple and a his­to­ri­an of the African Amer­i­can musi­cal tra­di­tion. A founder of the SNCC Free­dom Singers dur­ing the Civ­il Rights move­ment, she went on to found and direct Sweet Hon­ey in the Rock, who appear in Wade in the Water and the playlist above. Reagon earned her Ph.D. from Howard Uni­ver­si­ty and pub­lished sev­er­al schol­ar­ly books on the his­to­ry she explores in the doc­u­men­tary series. Learn more about her (and hear more of her music) here, and hear all 26 episodes of Wade in the Water at NPR.

via metafil­ter

Relat­ed Con­tent:

African-Amer­i­can His­to­ry: Mod­ern Free­dom Strug­gle (A Free Course from Stan­ford) 

Hear the First Record­ed Blues Song by an African Amer­i­can Singer: Mamie Smith’s “Crazy Blues” (1920)

Eliz­a­beth Cot­ten Wrote “Freight Train” at 11, Won a Gram­my at 90, and Changed Amer­i­can Music In-Between

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

A Witty Dictionary of Victorian Slang (1909)

In the intro­duc­tion to his Dic­tio­nary of Con­tem­po­rary Slang, Tony Thorne writes of the dif­fi­cul­ty of defin­ing infor­mal speech: “A sym­po­sium on slang held in France in 1989 broke up after sev­er­al days with­out hav­ing arrived at a def­i­n­i­tion accept­able to even the major­i­ty of par­tic­i­pants.” If you’re think­ing maybe this seems like tak­ing the sub­ject a lit­tle too seri­ous­ly, I’d agree. But if we trav­el back eighty years in time and across the Eng­lish Chan­nel, we’ll meet an eccen­tric lex­i­cog­ra­ph­er who approached the task in the right spir­it.

“Here is a numer­i­cal­ly weak col­lec­tion of ‘Pass­ing Eng­lish.’ ” writes James Red­ding Ware in the Pref­ace to his posthu­mous­ly-pub­lished 1909 Pass­ing Eng­lish of the Vic­to­ri­an Era, A Dic­tio­nary of Het­ero­dox Eng­lish, Slang and Phrase.

 

“It may be hoped that there are errors on every page, and also that no entry is ‘quite too dull.’” He goes on in a more seri­ous tone to sum­ma­rize the rapid lan­guage change occur­ring in Eng­land in the last few decades of the 19th cen­tu­ry:

Thou­sands of words and phras­es in exis­tence in 1870 have drift­ed away, or changed their forms, or been absorbed, while as many have been added or are being added. ‘Pass­ing Eng­lish’ rip­ples from count­less sources, form­ing a riv­er of new lan­guage which has its tide and its ebb, while its cur­rent brings down new ideas and car­ries away those that have drib­bled out of fash­ion. Not only is ‘Pass­ing Eng­lish’ gen­er­al ; it is local ; often very sea­son­ably local. 

Ware—a pen name of British writer Andrew Forrester—goes on to get very local indeed in his descrip­tions, from “Pet­ty Italia behind Hat­ton Gar­den” to “Anglo-Yid­dish.” The Pub­lic Domain Review high­lights the fol­low­ing quirky entries.

Got the Morbs – tem­po­rary melan­choly
Mut­ton Shunter – the police
Bat­ty-Fang – to thrash thor­ough­ly
Doing the Bear – court­ing that involves hug­ging
Maf­fick­ing – get­ting row­dy in the streets
Orf Chump – no appetite
Poked Up – embar­rassed
Nan­ty Nark­ing – great fun

Ware’s atti­tude may be appro­pri­ate­ly infor­mal, but his method­ol­o­gy is suit­ably rig­or­ous, and this com­pre­hen­sive lex­i­con was clear­ly a labor of love. His book is a seri­ous resource for schol­ars of the peri­od, and, hell, it’s also just great fun. Read and down­load the full dic­tio­nary at the Inter­net Archive.

via The Pub­lic Domain Review

Relat­ed Con­tent:

Read A Clas­si­cal Dic­tio­nary of the Vul­gar Tongue, a Hilar­i­ous & Infor­ma­tive Col­lec­tion of Ear­ly Mod­ern Eng­lish Slang (1785)

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

The Very First Writ­ten Use of the F Word in Eng­lish (1528)

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

How Sleep Can Become Your “Superpower:” Scientist Matt Walker Explains Why Sleep Helps You Learn More and Live Longer

“I’ll sleep when I’m dead”: those words have been a mantra to hard-liv­ing types every­where since War­ren Zevon first sang them back in 1976, but as Berke­ley sleep sci­en­tist and Why We Sleep author Matt Walk­er sees it, tak­ing them to heart is a “mor­tal­ly unwise” choice. The exam­ple of Zevon him­self, who died at the age of 53, would seem to val­i­date that judge­ment, but it also comes backed by seri­ous research. In the TED Talk “Sleep Is Your Super­pow­er” above, Walk­er builds on what we all know — that we need to sleep, reg­u­lar­ly and with­out inter­rup­tion — by explain­ing “the won­der­ful­ly good things that hap­pen when you get sleep, but the alarm­ing­ly bad things that hap­pen when you don’t get enough, both for your brain and for your body.”

Not only, for exam­ple, do “you need sleep after learn­ing to essen­tial­ly hit the save but­ton on those new mem­o­ries so that you don’t for­get,” you also “need sleep before learn­ing to actu­al­ly pre­pare your brain, almost like a dry sponge ready to ini­tial­ly soak up new infor­ma­tion.”

As any­one who has tried to pull an all-nighter before a big test has felt, sleep depri­va­tion shuts down your “your mem­o­ry inbox,” and any incom­ing files just get “bounced” with­out being retained. But deep-sleep brain­waves, as Walk­er puts it, act as a “file-trans­fer mech­a­nism at night, shift­ing mem­o­ries from a short-term vul­ner­a­ble reser­voir to a more per­ma­nent long-term stor­age site with­in the brain, and there­fore pro­tect­ing them, mak­ing them safe.”

Improp­er sleep threat­ens not just learn­ing but life itself: com­pro­mised sleep means a com­pro­mised immune sys­tem, hence the “sig­nif­i­cant links between short sleep dura­tion and your risk for the devel­op­ment of numer­ous forms of can­cer” now being dis­cov­ered. “The short­er your sleep, the short­er your life,” as Walk­er stark­ly puts it. As far as how to improve your sleep and, with luck, elon­gate your life, he has two main pieces of advice: “Go to bed at the same time, wake up at the same time, no mat­ter whether it’s the week­day or the week­end,” and “aim for a bed­room tem­per­a­ture of around 65 degrees, or about 18 degrees Cel­sius,” slight­ly cool­er than may feel nor­mal. We’d also do well to remem­ber the impor­tance of break­ing the habit of stay­ing on the inter­net late into the night — or more specif­i­cal­ly, hav­ing stayed up well past mid­night writ­ing this very post, I’d do well to remem­ber it.

Relat­ed Con­tent:

Sleep or Die: Neu­ro­sci­en­tist Matthew Walk­er Explains How Sleep Can Restore or Imper­il Our Health

How a Good Night’s Sleep — and a Bad Night’s Sleep — Can Enhance Your Cre­ativ­i­ty

Dr. Weil’s 60-Sec­ond Tech­nique for Falling Asleep

240 Hours of Relax­ing, Sleep-Induc­ing Sounds from Sci-Fi Video Games: From Blade Run­ner to Star Wars

Buck­min­ster Fuller’s Dymax­ion Sleep Plan: He Slept Two Hours a Day for Two Years & Felt “Vig­or­ous” and “Alert”

The Pow­er of Pow­er Naps: Sal­vador Dali Teach­es You How Micro-Naps Can Give You Cre­ative Inspi­ra­tion

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, 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, on Face­book, or on Insta­gram.

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