Alan Lomax’s Massive Music Archive Is Online: Features 17,000 Historic Blues & Folk Recordings

A huge trea­sure trove of songs and inter­views record­ed by the leg­endary folk­lorist Alan Lomax from the 1940s into the 1990s have been dig­i­tized and made avail­able online for free lis­ten­ing. The Asso­ci­a­tion for Cul­tur­al Equi­ty, a non­prof­it orga­ni­za­tion found­ed by Lomax in the 1980s, has post­ed some 17,000 record­ings.

“For the first time,” Cul­tur­al Equi­ty Exec­u­tive Direc­tor Don Flem­ing told NPR’s Joel Rose, “every­thing that we’ve dig­i­tized of Alan’s field record­ing trips are online, on our Web site. It’s every take, all the way through. False takes, inter­views, music.”

It’s an amaz­ing resource. For a quick taste, here are a few exam­ples from one of the best-known areas of Lomax’s research, his record­ings of tra­di­tion­al African Amer­i­can cul­ture:

But that’s just scratch­ing the sur­face of what’s inside the enor­mous archive. Lomax’s work extend­ed far beyond the Deep South, into oth­er areas and cul­tures of Amer­i­ca, the Caribbean, Europe and Asia. “He believed that all cul­tures should be looked at on an even play­ing field,” his daugh­ter Anna Lomax Wood told NPR. “Not that they’re all alike. But they should be giv­en the same dig­ni­ty, or they had the same dig­ni­ty and worth as any oth­er.”

You can lis­ten to Rose’s piece about the archive on the NPR web­site, as well as a 1990 inter­view with Lomax by Ter­ry Gross of Fresh Air, which includes sam­ple record­ings from Woody Guthrie, Jel­ly Roll Mor­ton, Lead Bel­ly and Mis­sis­sip­pi Fred McDow­ell. To dive into the Lomax audio archive, you can search the vast col­lec­tion by artist, date, genre, coun­try and oth­er cat­e­gories.

Note: An ear­li­er ver­sion of this post orig­i­nal­ly appeared on our site in March 2012.

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Relat­ed Con­tent:

New, Inter­ac­tive Web Site Puts Online Thou­sands of Inter­na­tion­al Folk Songs Record­ed by the Great Folk­lorist Alan Lomax

Stream 35 Hours of Clas­sic Blues, Folk, & Blue­grass Record­ings from Smith­son­ian Folk­ways: 837 Tracks Fea­tur­ing Lead Bel­ly, Woody Guthrie & More

Woody Guthrie Cre­ates a Doo­dle-Filled List of 33 New Year’s Res­o­lu­tions (1943): Beat Fas­cism, Write a Song a Day, and Keep the Hop­ing Machine Run­ning

800+ Treasured Medieval Manuscripts to Be Digitized by Cambridge & Heidelberg Universities

West­ern civ­i­liza­tion may fast be going dig­i­tal, but it still retains its roots in Ancient Greece. And so it makes a cer­tain cir­cle-clos­ing sense to dig­i­tize the lega­cy left us by our Ancient Greek fore­bears and the medieval schol­ars who pre­served it. Cam­bridge and Hei­del­berg, two of Europe’s old­est uni­ver­si­ties, this month announced their joint inten­tion to embark upon just such a project. It will take two years and cost £1.6 mil­lion, reports the BBC, but it will dig­i­tize “more than 800 vol­umes fea­tur­ing the works of Pla­to and Aris­to­tle, among oth­ers.” As the announce­ment of the project puts it, the texts will then “join the works of Charles Dar­win, Isaac New­ton, Stephen Hawk­ing and Alfred Lord Ten­nyson on the Cam­bridge Dig­i­tal Library.”

These medieval and ear­ly mod­ern Greek man­u­scripts, which date more specif­i­cal­ly “from the ear­ly Chris­t­ian peri­od to the ear­ly mod­ern era (about 1500 — 1700 AD),” present their dig­i­tiz­ers with cer­tain chal­lenges, not least the “frag­ile state” of their medieval bind­ing.

But as Hei­del­berg Uni­ver­si­ty Library direc­tor Dr. Veit Prob­st says in the announce­ment, “Numer­ous dis­cov­er­ies await. We still lack detailed knowl­edge about the pro­duc­tion and prove­nance of these books, about the iden­ti­ties and activ­i­ties of their scribes, their artists and their own­ers – and have yet to uncov­er how they were stud­ied and used, both dur­ing the medieval peri­od and in the cen­turies beyond.” And from threads includ­ing “the anno­ta­tions and mar­gin­a­lia in the orig­i­nal man­u­scripts” a “rich tapes­try of Greek schol­ar­ship will be woven.”

This mas­sive under­tak­ing involves not just Cam­bridge and Hei­del­berg but the Vat­i­can as well. Togeth­er Hei­del­berg Uni­ver­si­ty and the Vat­i­can pos­sess the entire­ty of the Bib­lio­the­ca Palati­na, split between the libraries of the two insti­tu­tions, and the dig­i­ti­za­tion of the “moth­er of all medieval libraries” pre­vi­ous­ly fea­tured here on Open Cul­ture, is a part of the project. This col­lect­ed wealth of texts includes not just the work of Pla­to, Aris­to­tle, and Homer as they were “copied and recopied through­out the medieval peri­od,” in the words of Cam­bridge Uni­ver­si­ty Library Keep­er of Rare Books and Ear­ly Man­u­scripts Dr. Suzanne Paul, but a great many oth­er “mul­ti­lin­gual, mul­ti­cul­tur­al, mul­ti­far­i­ous works, that cross bor­ders, dis­ci­plines and the cen­turies” as well. And with luck, their dig­i­tal copies will stick around for cen­turies of West­ern civ­i­liza­tion to come.

Relat­ed Con­tent:

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

Behold 3,000 Dig­i­tized Man­u­scripts from the Bib­lio­the­ca Palati­na: The Moth­er of All Medieval Libraries Is Get­ting Recon­struct­ed Online

Explore 5,300 Rare Man­u­scripts Dig­i­tized by the Vat­i­can: From The Ili­ad & Aeneid, to Japan­ese & Aztec Illus­tra­tions

How the Mys­ter­ies of the Vat­i­can Secret Archives Are Being Revealed by Arti­fi­cial Intel­li­gence

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 or on Face­book.

NASA Captures First Air-to-Air Images of Supersonic Shockwaves Interacting in Flight

“We nev­er dreamt that it would be this clear, this beau­ti­ful.” That’s how NASA sci­en­tist J.T. Hei­neck respond­ed when he got his first glimpse of images that cap­tured “the first-ever images of the inter­ac­tion of shock­waves from two super­son­ic air­craft in flight.”

NASA writes:

The images fea­ture a pair of T‑38s from the U.S. Air Force Test Pilot School at Edwards Air Force Base, fly­ing in for­ma­tion at super­son­ic speeds. The T‑38s are fly­ing approx­i­mate­ly 30 feet away from each oth­er, with the trail­ing air­craft fly­ing about 10 feet low­er than the lead­ing T‑38. With excep­tion­al clar­i­ty, the flow of the shock waves from both air­craft is seen, and for the first time, the inter­ac­tion of the shocks can be seen in flight.

“We’re look­ing at a super­son­ic flow, which is why we’re get­ting these shock­waves,” said Neal Smith, a research engi­neer with Aero­space­Com­put­ing Inc. at NASA Ames’ flu­id mechan­ics lab­o­ra­to­ry.

“What’s inter­est­ing is, if you look at the rear T‑38, you see these shocks kind of inter­act in a curve,” he said. “This is because the trail­ing T‑38 is fly­ing in the wake of the lead­ing air­craft, so the shocks are going to be shaped dif­fer­ent­ly. This data is real­ly going to help us advance our under­stand­ing of how these shocks inter­act…”

While NASA has pre­vi­ous­ly used the schlieren pho­tog­ra­phy tech­nique to study shock­waves, the Air­BOS 4 flights fea­tured an upgrad­ed ver­sion of the pre­vi­ous air­borne schlieren sys­tems, allow­ing researchers to cap­ture three times the amount of data in the same amount of time.

“We’re see­ing a lev­el of phys­i­cal detail here that I don’t think any­body has ever seen before,” said Dan Banks, senior research engi­neer at NASA Arm­strong. “Just look­ing at the data for the first time, I think things worked out bet­ter than we’d imag­ined. This is a very big step.”

via Boing­Bo­ing

Relat­ed Con­tent:

Down­load 14 Free Posters from NASA That Depict the Future of Space Trav­el in a Cap­ti­vat­ing­ly Retro Style

NASA Dig­i­tizes 20,000 Hours of Audio from the His­toric Apol­lo 11 Mis­sion: Stream Them Free Online

The Full Rota­tion of the Moon: A Beau­ti­ful, High Res­o­lu­tion Time Lapse Film

Hear the Very First Sounds Ever Record­ed on Mars, Cour­tesy of NASA

NASA Cre­ates Movie Par­o­dy Posters for Its Expe­di­tion Flights: Down­load Par­o­dies of Metrop­o­lis, The Matrix, The Hitchhiker’s Guide to the Galaxy and More

 

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A Brief Animated Introduction to the Life and Work of Frida Kahlo

Reduc­ing an artist’s work to their biog­ra­phy pro­duces crude under­stand­ing. But in very many cas­es, life and work can­not be teased apart. This applies not only to Sylvia Plath and her con­tem­po­rary con­fes­sion­al poets but also to James Joyce and Mar­cel Proust and writ­ers they admired, like Dante and Cer­vantes.

Such an artist too is Fri­da Kahlo, a prac­ti­tion­er of nar­ra­tive self-por­traits in a mod­ern­iz­ing idiom that at the same time draws exten­sive­ly on tra­di­tion. The lit­er­ary nature of her art is a sub­ject much neglect­ed in pop­u­lar dis­cus­sions of her work. She wrote pas­sion­ate, elo­quent love poems and let­ters to her hus­band Diego Rivera and oth­ers, full of the same kind of vis­cer­al, vio­lent, ver­dant imagery she deployed in her paint­ings.

More gen­er­al­ly, the “obses­sion with Kahlo’s biog­ra­phy,” writes Maria Gar­cia at WBUR, ends up focus­ing “almost voyeuristically—on the trag­ic expe­ri­ences of her life more than her artistry.” Those ter­ri­bly com­pound­ed tragedies include sur­viv­ing polio and, as you’ll learn in Iseult Gillespie’s short TED-Ed video above, a bus crash that near­ly tore her in half. She began paint­ing while recov­er­ing in bed. She was nev­er the same and lived her life in chron­ic pain and fre­quent hos­pi­tal­iza­tions.

Per­haps a cer­tain cult of Kahlo does place mor­bid fas­ci­na­tion above real appre­ci­a­tion for her vision. “There’s a com­pul­sion that’s sati­at­ed only through con­sum­ing Kahlo’s agony,” Gar­cia writes. But it’s also true that we can­not rea­son­ably sep­a­rate her sto­ry from her work. It’s just that there is so more to the sto­ry than suf­fer­ing, all of it woven into the texts of her paint­ings. Kahlo’s mythol­o­gy, or “inspi­ra­tional per­son­al brand,” ties togeth­er her com­mit­ments to Marx­ism and Mex­i­co, indige­nous cul­ture, and native spir­i­tu­al­i­ty.

Like all self-mythol­o­giz­ers before her, she fold­ed her per­son­al sto­ry into that of her nation. And unlike Euro­pean sur­re­al­ists, who “used dream­like images to explore the uncon­scious mind, Kahlo used them to rep­re­sent her phys­i­cal body and life expe­ri­ences.” The expe­ri­ence of dis­abil­i­ty was no less a part of her ecol­o­gy than mor­tal­i­ty, sym­bol­ic land­scapes, flo­ral tapes­tries, ani­mals, and the phys­i­cal­ly anguished expe­ri­ences of love and loss.

Gen­er­ous approach­es to Kahlo’s work, and this short overview is one of them, implic­it­ly rec­og­nize that there is no need to sep­a­rate the life from the work, to the extent that the artist saw no rea­son to do so. But also, there is no need to iso­late one nar­ra­tive theme, whether intense phys­i­cal or emo­tion­al suf­fer­ing, from themes of self-trans­for­ma­tion and trans­fig­u­ra­tion or exper­i­ments in re-cre­at­ing per­son­al iden­ti­ty as a polit­i­cal act.

Relat­ed Con­tent:

Vis­it the Largest Col­lec­tion of Fri­da Kahlo’s Work Ever Assem­bled: 800 Arti­facts from 33 Muse­ums, All Free Online

Artists Fri­da Kahlo & Diego Rivera Vis­it Leon Trot­sky in Mex­i­co: Vin­tage Footage from 1938

Fri­da Kahlo’s Pas­sion­ate Love Let­ters to Diego Rivera

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

 

High School Kids Stage Alien: The Play, Get Kudos from Ridley Scott and Sigourney Weaver

High school dra­ma depart­ments tend to work from a pret­ty stan­dard­ized reper­toire, which makes sense giv­en the strict lim­i­ta­tions they work under: short time frames, school-sized bud­gets, teenage actors. The elab­o­rate, Hol­ly­wood film-like pro­duc­tions staged by Max Fis­ch­er in Wes Ander­son­’s Rush­more speak to frus­trat­ed high-school the­ater direc­tors and their fan­tasies about what they could put on stage with a bit more in the way of resources. But just this month, a real high-school dra­ma club put on a show that out-Max Fis­chered Max Fis­ch­er, draw­ing not just the aston­ish­ment of the inter­net but the respect of one of the most emi­nent film­mak­ers alive.

“A New Jer­sey high school has found itself the unex­pect­ed recip­i­ent of online acclaim and viral atten­tion for its recent stage pro­duc­tion of Alien, the 1979 sci­ence-fic­tion thriller,” writes the New York Times’ Dave Itzkoff. “Alien: The Play, pre­sent­ed last week­end by the dra­ma club of North Bergen High School, starred a cast of eight stu­dents in the film roles orig­i­nal­ly played by Sigour­ney Weaver, Tom Sker­ritt, John Hurt and Ian Holm. Where­as the movie had a bud­get in the range of about $10 mil­lion, Alien: The Play had cos­tumes, props and set designs made most­ly from donat­ed and recy­cled mate­ri­als.” Or as North Bergen stu­dent Justin Pier­son put it in NJ.com’s video on the sur­prise hit: “This is going to sound real­ly fun­ny but (the set crew) used garbage essen­tial­ly.”

With that “garbage” — “just any­thing that was lying around, like card­board and met­al” — they built not only a set that con­vinc­ing­ly evokes the dark claus­tro­pho­bia of the space ship Nos­tro­mo, but a shock­ing­ly accu­rate-look­ing alien, the ter­ri­fy­ing crea­ture orig­i­nal­ly born from the mind of Swiss illus­tra­tor H.R. Giger.

The young cast and crew get into detail about how they did it on Syfy’s Fan­dom File pod­cast: “Much of the atten­tion has high­light­ed and embraced their DIY approach,” writes host Jor­dan Zakarin, and “they were end­less­ly cre­ative in build­ing the sets, with hand-pup­pet aliens, egg crate walls, a stuffed cat (the stand-in for Jones was a par­tic­u­lar­ly inge­nious idea), and oth­er swed­ed props.”

Respons­es to the video clips of Alien: The Play that have cir­cu­lat­ed on the inter­net include a per­son­al con­grat­u­la­to­ry mes­sage from the orig­i­nal film’s star Sigour­ney Weaver as well as a let­ter from its direc­tor Rid­ley Scott, which Alien: The Play’s direc­tor, North Bergen Eng­lish-teacher-by-day Per­fec­to Cuer­vo, post­ed on Twit­ter. “Lim­i­ta­tions often pro­duce the best results because imag­i­na­tion and deter­mi­na­tion can sur­pass any short­falls and deter­mine the way for­ward — ALWAYS,” writes Scott, who has built his rep­u­ta­tion in the film indus­try on tak­ing firm and deci­sive action in the face of any and all pro­duc­tion dif­fi­cul­ties. He also offers both the funds for an encore pro­duc­tion as well as a sug­ges­tion: “How about your next TEAM pro­duc­tion being Glad­i­a­tor.” No doubt Cuer­vo and his enter­pris­ing play­ers are feel­ing pret­ty vin­di­cat­ed in their deci­sion not to do Our Town right about now.

Relat­ed Con­tent:

Rid­ley Scott Demys­ti­fies the Art of Sto­ry­board­ing (and How to Jump­start Your Cre­ative Project)

Rid­ley Scott Walks You Through His Favorite Scene from Blade Run­ner

Ele­men­tary School Stu­dents Per­form in a Play Inspired by David Lynch’s Twin Peaks

Orson Welles Presents Thorn­ton Wilder’s Our Town, the Most Pop­u­lar High School Play of All Time (1939)

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 or on Face­book.

It’s Official: The “Nones”– People Who Profess No Religion–Are Now as Big as Catholics & Evangelicals in the United States

The usu­al irreg­u­lar­i­ties and shenani­gans notwith­stand­ing, the vot­ing pat­terns of the U.S. elec­torate may under­go a sea change in the com­ing decades as the num­bers of peo­ple who iden­ti­fy as non-reli­gious con­tin­ue to rise. One of the biggest demo­graph­ic sto­ries of the last few decades, the rise of the “nones” has been inter­pret­ed as a threat and as an inevitable reck­on­ing for cor­rupt and scan­dal-rid­den insti­tu­tions dri­ving mil­lions of peo­ple out of church­es across the coun­try.

Pol­i­tics and social issues are hard­ly the only rea­sons, though they poll sec­ond in list from a 2017 Pew sur­vey. At num­ber one is “I ques­tion a lot of reli­gious teach­ings,” at num­ber three, the slight­ly more vague “I don’t like reli­gious orga­ni­za­tions.” It’s maybe a sur­prise that non­be­lief in God appears all the way at num­ber four. Which speaks to an impor­tant point.

Not all of those exit­ing the pews have renounced their faith or con­vert­ed to anoth­er, but huge num­bers have joined the ranks of those who claim “no reli­gion” in sur­vey and polling data. Their num­bers are now equiv­a­lent to Catholics and evan­gel­i­cals, the two reli­gious groups most in decline behind main­line Protes­tant church­es. Polit­i­cal sci­en­tist Ryan P. Burge of East­ern Illi­nois Uni­ver­si­ty is not sur­prised. “It’s been a con­stant steady increase for 20 years now,” he says, point­ing to data from a Gen­er­al Social Sur­vey visu­al­ized in the graph above.

The last decade has seen the sharpest upturn yet, with “nones” now esti­mat­ed at 23.1 per­cent of the pop­u­la­tion. If this rise—and sub­se­quent plateaus and declines in the major reli­gious groups sur­veyed (and the batch of non-Judeo-Chris­t­ian “Oth­er Faith”s dis­mis­sive­ly lumped together)—continues, the shift could be dra­mat­ic. In 2014, 78% of the unaf­fil­i­at­ed, accord­ing to Pew polling, were raised in and walked away from a reli­gion. The shift in iden­ti­ty among young peo­ple tends to cor­re­late with a shift in pol­i­tics.

The “ris­ing tide of reli­gious­ly unaf­fil­i­at­ed vot­ers,” writes Jack Jenk­ins at Reli­gion News Ser­vice, is “a group that a 2016 PRRI analy­sis found skews young and lib­er­al.” It’s one that might off­set the over­sized influ­ence of white evan­gel­i­cals, who now make up 26% of the elec­torate and 22.5% of the pop­u­la­tion.

Any such con­clu­sions should be drawn with sev­er­al caveats. “Evan­gel­i­cals punch way above their weight,” says Burge. “They turn out a bunch at the bal­lot box. That’s large­ly a func­tion of the fact that they’re white and they’re old.” And, he might have added, many are in less eco­nom­i­cal­ly pre­car­i­ous straits than their chil­dren and grand­chil­dren, more sus­cep­ti­ble to mass media mes­sag­ing, and less prone, by design, to find­ing their vote sup­pressed. A 2016 PRRI report not­ed that “reli­gious­ly unaf­fil­i­at­ed Amer­i­cans do not vote in the same per­cent­ages as evan­gel­i­cals, and are often under­rep­re­sent­ed at the polls.”

Addi­tion­al­ly, and most impor­tant­ly to point out any time these num­bers come up: “the nones” is an entire­ly overde­ter­mined cat­e­go­ry full of peo­ple who agree on lit­tle, but they’re not sign­ing up for any church com­mit­tees any time soon for a hand­ful of loose­ly-relat­ed rea­sons. If herd­ing athe­ists, only one part of this group, is like herd­ing cats, try­ing to cor­ral 23% of the pop­u­la­tion with­out any shared creed or spe­cif­ic ide­ol­o­gy is cor­ralling an even less pre­dictable menagerie. We need to know far more about what peo­ple affirm, as well as what they deny, if we want a clear­er pic­ture of where the country’s politics—if not its gov­ern­ment or policies—might be head­ed.

via Kot­tke

Relat­ed Con­tent:

A Visu­al Map of the World’s Major Reli­gions (and Non-Reli­gions)

Ani­mat­ed Map Shows How the Five Major Reli­gions Spread Across the World (3000 BC – 2000 AD)

Does Democ­ra­cy Demand the Tol­er­ance of the Intol­er­ant? Karl Popper’s Para­dox

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

Noam Chomsky Makes His First Power Point Presentation

90 years old, and still going strong…

Relat­ed Con­tent:

A Brief Ani­mat­ed Intro­duc­tion to Noam Chomsky’s Lin­guis­tic The­o­ry, Nar­rat­ed by The X‑Files‘ Gillian Ander­son

The Ideas of Noam Chom­sky: An Intro­duc­tion to His The­o­ries on Lan­guage & Knowl­edge (1977)

Noam Chom­sky Defines What It Means to Be a Tru­ly Edu­cat­ed Per­son

5 Ani­ma­tions Intro­duce the Media The­o­ry of Noam Chom­sky, Roland Barthes, Mar­shall McLuhan, Edward Said & Stu­art Hall

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The First American Picture Book, Wanda Gág’s Millions of Cats (1928)

For bet­ter (I’d say), or worse, the inter­net has turned cat peo­ple into what may be the world’s most pow­er­ful ani­mal lob­by. It has brought us fas­ci­nat­ing ani­mat­ed his­to­ries of cats and ani­mat­ed sto­ries about the cats of goth­ic genius and cat-lov­ing author and illus­tra­tor Edward Gorey; cats blithe­ly leav­ing inky paw­prints on medieval man­u­scripts and polite­ly but firm­ly refus­ing to be denied entry into a Japan­ese art muse­um. It has giv­en us no short­age of delight­ful pho­tos of artists with their cat famil­iars

Cat antics and awe have always been a very online phe­nom­e­non, but the mys­te­ri­ous and ridicu­lous, diminu­tive beasts of prey have also always been insep­a­ra­ble from art and cul­ture. As fur­ther evi­dence, we bring you Mil­lions of Cats, like­ly the “first tru­ly Amer­i­can pic­ture book done by an Amer­i­can author/artist,” explains a site devot­ed to it.

“Pri­or to its pub­li­ca­tion in 1928, there were only Eng­lish pic­ture books for the children’s perusal.” The book “sky rock­et­ed Wan­da Gág into instant fame and set in stone her rep­u­ta­tion as a children’s author and illus­tra­tor.”

It set a stan­dard for Calde­cott-win­ning children’s lit­er­a­ture for close to a hun­dred years since its appear­ance, though the award did not yet exist at the time. The book’s cre­ator was “a fierce ide­al­ist and did not believe in alter­ing her own aes­theti­cism just because she was pro­duc­ing work for chil­dren. She liked to use styl­ized human fig­ures, asym­met­ri­cal com­po­si­tions, strong lines and slight spa­tial dis­tor­tion.” She also loved cats, as befits an artist of her inde­pen­dent tem­pera­ment, one shared by the likes of oth­er cat-lov­ing artists like T.S. Eliot and Charles Dick­ens.

Mil­lions of Cats’ author and illus­tra­tor may not share in the fame of so many oth­er artists who took pic­tures with their cats, but she and her cat Noopy were as pho­to­genic as any oth­er feline/human artis­tic duo, and she was a peer to the best of them. The book’s edi­tor, Ernes­tine Evans, wrote in the Nation that Mil­lions of Cats “is as impor­tant as the librar­i­ans say it is. Not only does it bring to book-mak­ing one of the most tal­ent­ed and orig­i­nal of Amer­i­can lith­o­g­ra­phers… but it is a mar­riage of pic­ture and tale that is per­fect­ly bal­anced.”

Gág (rhymes with “jog”) was “a cel­e­brat­ed artist… in the Green­wich Vil­lage-cen­tic Mod­ernist art scene in the 1920s,” writes Lithub, “a free-think­ing, sex-pos­i­tive left­ist who also designed her own clothes and trans­lat­ed fairy tales.” She adapt­ed the text from “a sto­ry she had made up to enter­tain her friends’ chil­dren,” with the mil­lions of cats mod­eled on Noopy. Gág is the found­ing moth­er of children’s book dynas­ties like The Cat in the Hat and Pete the Cat, an artist whom mil­lions of cat lovers can dis­cov­er again or for the first time in a New­bery-win­ning 2006 collector’s edi­tion.

Read a sum­ma­ry of the charm­ing sto­ry of Mil­lions of Cats at Lithub and learn more about her, the tal­ent­ed Gág fam­i­ly of artists, and her charm­ing, very cat-friend­ly house here.

via LitHub

Relat­ed Con­tent:

Insane­ly Cute Cat Com­mer­cials from Stu­dio Ghi­b­li, Hayao Miyazaki’s Leg­endary Ani­ma­tion Shop

Enter an Archive of 6,000 His­tor­i­cal Children’s Books, All Dig­i­tized and Free to Read Online

A Dig­i­tal Archive of 1,800+ Children’s Books from UCLA

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

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