Winston Churchill Gets a Doctor’s Note to Drink “Unlimited” Alcohol in Prohibition America (1932)

churchill alcohol letter

In Decem­ber 1931, hav­ing just embarked on a 40-stop lec­ture tour of the Unit­ed States, Win­ston Churchill was run­ning late to dine with financier Bernard Baruch on New York City’s Upper East Side. He hadn’t both­ered to bring Baruch’s address, oper­at­ing under the incor­rect assump­tion that his friend was so dis­tin­guished a per­son­age, any ran­dom cab-dri­ving com­mon­er would auto­mat­i­cal­ly rec­og­nize his build­ing.

Such were the days before cell phones and Google Maps.…

Even­tu­al­ly, Churchill bagged the cab, and shot out across 5th Avenue mid-block, think­ing he would fare bet­ter on foot.

Instead, he was very near­ly “squashed like a goose­ber­ry” when he was struck by a car trav­el­ing about 35 miles an hour.

Churchill, who wast­ed no time ped­dling his mem­o­ries of the acci­dent and sub­se­quent hos­pi­tal­iza­tion to The Dai­ly Mail, explained his mis­cal­cu­la­tion thus­ly:

In Eng­land we fre­quent­ly cross roads along which fast traf­fic is mov­ing in both direc­tions. I did not think the task I set myself now either dif­fi­cult or rash. But at this moment habit played me a dead­ly trick. I no soon­er got out of the cab some­where about the mid­dle of the road and told the dri­ver to wait than I instinc­tive­ly turned my eyes to the left. About 200 yards away were the yel­low head­lights of an approach­ing car. I thought I had just time to cross the road before it arrived; and I start­ed to do so in the prepossession—wholly unwar­rant­ed— that my only dan­gers were from the left.

Yeah, well, that’s why we paint the word “LOOK” in the cross­walk, pal, equip­ping the Os with left-lean­ing pupils for good mea­sure.

Anoth­er cab fer­ried the wound­ed Churchill to Lenox Hill Hos­pi­tal, where he iden­ti­fied him­self as “Win­ston Churchill, a British States­man” and was treat­ed for a deep gash to the head, a frac­tured nose, frac­tured ribs, and severe shock.

“I do not wish to be hurt any more. Give me chlo­ro­form or some­thing,” he direct­ed, while wait­ing for the anes­thetist.

After two weeks in the hos­pi­tal, where he man­aged to devel­op pleurisy in addi­tion to his injuries, Churchill and his fam­i­ly repaired to the Bahamas for some R&R.

It didn’t take long to feel the finan­cial pinch of all those can­celled lec­ture dates, how­ev­er. Six weeks after the acci­dent, he resumed an abbre­vi­at­ed but still gru­el­ing 14-stop ver­sion of the tour, despite his fears that he would prove unfit.

Otto Pick­hardt, Lenox Hill’s admit­ting physi­cian came to the res­cue by issu­ing Churchill the Get Out of Pro­hi­bi­tion Free Pass, above. To wit:

…the post-acci­dent con­va­les­cence of the Hon. Win­ston S. Churchill neces­si­tates the use of alco­holic spir­its espe­cial­ly at meal times. The quan­ti­ty is nat­u­ral­ly indef­i­nite but the min­i­mum require­ments would be 250 cubic cen­time­ters.

Per­haps this is what the emi­nent British States­man meant by chlo­ro­form “or some­thing”? No doubt he was relieved about those indef­i­nite quan­ti­ties. Cheers.

Read Churchill’s “My New York Mis­ad­ven­ture” in its entire­ty here. You can also learn more by perus­ing this sec­tion of Mar­tin Gilbert’s biog­ra­phy, Win­ston Churchill: The Wilder­ness Years.

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

Relat­ed Con­tent:

Win­ston Churchill’s List of Tips for Sur­viv­ing a Ger­man Inva­sion: See the Nev­er-Dis­trib­uted Doc­u­ment (1940)

Win­ston Churchill’s Paint­ings: Great States­man, Sur­pris­ing­ly Good Artist

Col­or Footage of Win­ston Churchill’s Funer­al in 1965

Oh My God! Win­ston Churchill Received the First Ever Let­ter Con­tain­ing “O.M.G.” (1917)

Ani­mat­ed: Win­ston Churchill’s Top 10 Say­ings About Fail­ure, Courage, Set­backs, Haters & Suc­cess

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. She lives in New York City, some 30 blocks to the north of the scene of Churchill’s acci­dent. Fol­low her @AyunHalliday

Pink Floyd Drummer Nick Mason Presents the History of Music & Technology in a Nine-Part BBC Podcast

Image by Phil Guest, via Wiki­me­dia Com­mons

If you’ve seen Pink Floyd in the news late­ly, it’s maybe because gui­tarist David Gilmour recent­ly put up his col­lec­tion of over 120 gui­tars for a char­i­ty auc­tion, fetch­ing “cer­ti­fi­ably insane” prices like a whop­ping $3.975 mil­lion for the famous black Strat played on Dark Side of the Moon. (The gui­tar now “wears the crown as the world’s most expen­sive six string,” notes Enmore Audio.)

But there’s more going on with ex-Pink Floyd mem­bers than Gilmour’s gui­tars or Roger Waters’ polit­i­cal activism. Drum­mer Nick Mason, long renowned post-Floyd for his huge­ly expen­sive car col­lec­tion, has tak­en on anoth­er role this month: as a pod­cast host and music his­to­ri­an in a nine-part series for the Open University/BBC pro­duc­tion, The Doc­u­men­tary Pod­cast.

Titled A His­to­ry of Music in Tech­nol­o­gy, Mason’s series cov­ers an awful lot of ground, “chart­ing the his­to­ry of music and tech­nol­o­gy and explor­ing the world of leg­endary artists, pro­duc­ers and inven­tors. The series shines a light on game-chang­ing inno­va­tions includ­ing the syn­the­siz­er, elec­tric gui­tar, sam­plers, drum machines and the record­ing stu­dio itself.”

A His­to­ry of Music in Tech­nol­o­gy fin­ish­es its run tomor­row. Cur­rent­ly, you can stream all but the final install­ment at BBC News, Apple pod­casts, and Stitch­er. The first episode— “Sound Recording”—which you can hear above, begins in pre­his­to­ry. Long before the tech­nol­o­gy for repro­duc­ing sound could be imag­ined, ear­ly humans showed keen inter­est in the acoustic prop­er­ties of caves, as Uni­ver­si­ty of North Car­oli­na pro­fes­sor Mark Katz explains.

“I think peo­ple have always had an infat­u­a­tion with try­ing to hold on to [sound], to mod­i­fy it, to cap­ture it,” says Katz—whether that meant seek­ing out the best set­tings for pre­his­toric drum cir­cles or build­ing struc­tures like cathe­drals with spe­cial­ly-designed son­ic prop­er­ties. But for thou­sands of years, the only way to pre­serve music was to write it down in nota­tion.

It took until “the back half of the 19th cen­tu­ry,” says Mason, “before cred­i­ble attempts were made to bot­tle sound for the first time.” (Those very first attempts could record sound but could not play it back.) From the ear­ly tech­no­log­i­cal achieve­ments, it’s a long series of leaps, bounds, zig zags, stum­bles, and cir­cling back around to find ways not only to record sound but also to ampli­fy and mod­i­fy it and cre­ate it whole­sale from elec­tri­cal sig­nals.

Above and below, you can hear Mason’s hour-long his­to­ry of the elec­tric gui­tar (Episode 3), the syn­the­siz­er (Episode 5), and sam­plers and drum machines (Episode 6). Mason ded­i­cates two episodes, 7 and 8, to the devel­op­ment of the record­ing stu­dio itself—unsurprising for a mem­ber of Pink Floyd, a band who, like Hen­drix, the Beach Boys, and the Bea­t­les, craft­ed the essence of their psy­che­del­ic sound from stu­dio exper­i­ments.

“When sound record­ing first emerged,” says Mason in “The Stu­dio Part 1” intro, “crit­ics claimed it could be the end of music.” For the dozens of new gen­res record­ing and pro­duc­tion tech­nol­o­gy has enabled, it was only the very begin­ning. Those of us who see com­put­ers killing the spon­tane­ity of rock and roll, for exam­ple, or the very human­i­ty of music itself, might reflect on how our reac­tions mir­ror those of some myopic ear­ly crit­ics.

Amer­i­can com­pos­er John Philip Sousa, for exam­ple, saw record­ing as “reduc­ing the expres­sion of music to a math­e­mat­i­cal sys­tem of wheels, cogs, discs, and cylin­ders,” lan­guage that sounds very like the com­plaints of cur­rent-day purists. Maybe arti­fi­cial intel­li­gence will nev­er write a great love song, but it will most cer­tain­ly help humans cre­ate music as unimag­in­able to us today as the syn­co­pat­ed thump of elec­tron­ic music would have been unimag­in­able to Sousa, king of syn­co­pat­ed brass band march­es.

Lud­dites and technophiles and every­one in-between will learn much from Mason’s series, and the kind of musi­cal edu­ca­tion he’s offering—replete with expert informed opin­ion from schol­ars and musi­cians like himself—will go a long way to prepar­ing us for a musi­cal future we might only dim­ly glimpse now in the most inno­v­a­tive tech­nolo­gies Mason is sure to cov­er in his final episode

Relat­ed Con­tent:

Bri­an Eno Presents a Crash Course on How the Record­ing Stu­dio Rad­i­cal­ly Changed Music: Hear His Influ­en­tial Lec­ture “The Record­ing Stu­dio as a Com­po­si­tion­al Tool” (1979)

Nick Cave Answers the Hot­ly Debat­ed Ques­tion: Will Arti­fi­cial Intel­li­gence Ever Be Able to Write a Great Song?

How Com­put­ers Ruined Rock Music

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

What the Textbooks Don’t Tell Us About The Atlantic Slave Trade: An Animated Video Fills In Historical Gaps

The scale of the Atlantic Slave Trade is hard to imag­ine. It can be tempt­ing to min­i­mize it in order to alle­vi­ate some anx­i­ety. One way of min­i­miz­ing slav­ery assumes a kind of inno­cence in the enter­prise, an “every­body was doing it” atti­tude. But, of course, not every­one in Europe prof­it­ed from the kid­nap­ping, sale, and life­time cap­tive labor of over 10 mil­lion African peo­ple in the Amer­i­c­as. Only few peo­ple on any con­ti­nent real­ly did, though the insti­tu­tion flood­ed the mar­kets with often addic­tive con­sumer goods that raised the gen­er­al stan­dard of liv­ing for a few more.

Not only did slav­ery leave a last­ing impact on the mil­lions of descen­dants of enslaved peo­ple, but also on “the economies and his­to­ries of large parts of the world,” notes Antho­ny Hazard’s TED-Ed video above. Slav­ery was inte­gral to the most for­ma­tive peri­ods of West­ern cap­i­tal­ist democ­ra­cies in Europe and the U.S. “The crops grown in the new colonies, sug­ar cane, tobac­co, and cot­ton,” were com­modi­ties trad­ed in the first glob­al mar­kets and built dynas­ties of cap­i­tal and wealth.

Slav­ery has occurred all over the world, with insti­tu­tion­al­ized inequal­i­ty and some form of forced labor form­ing the basis of every empire. The Atlantic slave trade “stands out,” says Haz­ard, “for both its glob­al scale and its last­ing lega­cy.” At the time, African slav­ery resem­bled oth­er forms of forced servi­tude exist­ing con­tem­po­ra­ne­ous­ly in Europe and the colonies, such as inden­tured servi­tude and serf­dom. Euro­pean slave traders exploit­ed trib­al divi­sions, and the greed of African chief­tains and kings led to an arms race on the con­ti­nent.

Some African lead­ers prof­it­ed, but a large part of the con­ti­nent suf­fered demo­graph­ic loss­es that have res­onat­ed into the present. “Not only did the con­ti­nent lose tens of mil­lions of its able-bod­ied pop­u­la­tion,” but these loss­es caused economies to col­lapse, and the war­fare begun by com­pe­ti­tion for Euro­pean cap­i­tal con­tin­ued, leav­ing African coun­tries open to col­o­niza­tion. This despo­li­a­tion and mass ren­di­tion of enslaved peo­ple was accom­pa­nied by racist pro­pa­gan­da that assuaged the con­sciences of Chris­tians, as Ibram X. Ken­di has exhaus­tive­ly shown in his Nation­al Book Award-win­ning his­to­ry, Stamped from the Begin­ning.

Slav­ery acquired its specif­i­cal­ly racial­ized char­ac­ter. Africans, Euro­peans were told, were bio­log­i­cal­ly infe­ri­or, thus slav­ery did not vio­late Chris­t­ian ethics and, in fact, improved people’s lot by Chris­tian­iz­ing and civ­i­liz­ing them. Before the age of print­ing and a pop­u­lar press, how­ev­er, few peo­ple in Europe knew what was hap­pen­ing in the colonies, or knew any­thing at all about African peo­ple, who might as well have been the mon­sters of sailors’ myth and leg­end in many people’s minds.

As lit­er­a­cy spread, and more peo­ple read and heard accounts and argu­ments, even from for­mer slaves them­selves, increas­ing num­bers came to staunch­ly oppose slav­ery, as would hap­pen a few decades lat­er in the north­ern part of the U.S. Part­ly due to the activ­i­ties of Quak­er pub­lish­ers and writ­ers, British pop­u­lar sen­ti­ment in the 18th cen­tu­ry turned toward abo­li­tion in waves. “In 1788 over one hun­dred peti­tions were pre­sent­ed to Par­lia­ment,” wrote his­to­ri­an John Pin­fold on the 100th anniver­sary of Britain’s abo­li­tion of the slave trade.

“A fur­ther wave of peti­tions fol­lowed in 1792,” Pin­fold goes on, “when no few­er than 519 were pre­sent­ed, the largest num­ber ever pre­sent­ed dur­ing a sin­gle ses­sion in Par­lia­ment. On this occa­sion every sin­gle Eng­lish coun­ty was rep­re­sent­ed amongst the peti­tions, with some also from Scot­land and Wales, and it has been esti­mat­ed that around 400,000 peo­ple, rough­ly 13 per­cent of the adult male pop­u­la­tion of the time, had put their names to them.” It took anoth­er 15 years, but the slave trade was abol­ished in 1807.

Those num­bers don’t nec­es­sar­i­ly indi­cate such wide­spread sup­port for the total abo­li­tion of race-based slav­ery in the colonies. Racist ide­ol­o­gy runs through abo­li­tion­ist lit­er­a­ture, as it did, and does, through the cul­ture in gen­er­al. But they tell an essen­tial part of this hun­dreds-of-years-long sto­ry: one in which access to infor­ma­tion swayed huge num­bers of peo­ple to make what we uni­ver­sal­ly (with excep­tions unwor­thy of men­tion) believe to be the only moral course of action. Inform­ing our­selves about this his­to­ry shows us that Atlantic slav­ery was dri­ven by the desire of a rel­a­tive­ly small num­ber of peo­ple for a mas­sive accu­mu­la­tion of cap­i­tal at the cost of mil­lions of lives. And that it took the resis­tance of much larg­er num­bers to end the inde­fen­si­ble prac­tice.

Relat­ed Con­tent:

The “Slave Bible” Removed Key Bib­li­cal Pas­sages In Order to Legit­imize Slav­ery & Dis­cour­age a Slave Rebel­lion (1807)

The Atlantic Slave Trade Visu­al­ized in Two Min­utes: 10 Mil­lion Lives, 20,000 Voy­ages, Over 315 Years

Christo­pher Hitch­es Makes the Case for Pay­ing Repa­ra­tions for Slav­ery in the Unit­ed States

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

What Advice Would You Give Your Younger Self?: What Research Shows, and What You Have to Say

Pho­to of Dr. Esther Pohl Love­joy via Wiki­me­dia Com­mons

Almost every­one has advice they’d glad­ly give their younger self, so much so that Clem­son Uni­ver­si­ty psy­chol­o­gy pro­fes­sor Robin Kowal­s­ki and doc­tor­al stu­dent Annie McCord, were moved to ini­ti­ate a sys­tem­at­ic study of it.

The first of its kind, this study com­piled the respons­es of more than 400 par­tic­i­pants over 30, whose hypo­thet­i­cal younger self­’s aver­age age was 18.

The study’s data was culled from a sur­vey con­duct­ed over Amazon’s crowd­sourc­ing mar­ket­place, MTurk. Respon­dents spent 45 min­utes or so answer­ing hypo­thet­i­cal ques­tions online, receiv­ing $3 for their efforts.

Mon­ey-grub­bing, data-skew­ing shirk­ers were held at bay by ques­tion 36.

(Play along at home after the fact here.)

Kowal­s­ki and McCord’s find­ings, pub­lished in the bimonth­ly aca­d­e­m­ic Jour­nal of Social Psy­chol­o­gy, echo many recur­rent themes in their oth­er sur­vey of the same demo­graph­ic, this one hav­ing to do with regret—the one that got away, blown edu­ca­tion­al oppor­tu­ni­ties, mon­ey squan­dered, and risks not tak­en.

Per­son­al­i­ty and sit­u­a­tion fig­ure in, of course, but over­whelm­ing­ly, the crowd-sourced advice takes aim at the fate­ful choic­es (or non-choic­es) of youth.

Some com­mon pieces of advice include:

  • “Be kinder to your­self.”
  • “Always know your worth.”
  • “The world is big­ger than you think it is and your wor­ries aren’t as impor­tant as you think they are, just be you.”
  • “Don’t wor­ry if you look dif­fer­ent, or feel you look dif­fer­ent, from most oth­er peo­ple. There is much more to you than what oth­ers see on the sur­face.”
  • “Don’t get so caught up in the dif­fi­cul­ties of the moment since they are only tem­po­rary.”
  • “Don’t dwell on the past. Just because it was that way doesn’t mean it will be that way again.”

There’s not much research to sug­gest how recep­tive the par­tic­i­pants’ younger selves would have been to these unso­licit­ed pearls of wis­dom, but 65.7% of respon­dents report that they have imple­ment­ed some changes as a result of tak­ing Kowalk­si and McCord’s sur­vey.

Dr. Kowal­s­ki, who’s come to believe her “laser-focused on school” younger self would have ben­e­fit­ed from some inter­vals of rose-smelling, writes that the bet­ter-late-than-nev­er approach “can facil­i­tate well-being and bring us more in line with the per­son that we would like to be should we fol­low that advice.”

If you want to dou­ble down, share your advice with chil­dren, prefer­ably your own.

And for those who can’t rest easy til they’ve com­pared them­selves with Oprah Win­frey:

Be relaxed

Stop being afraid

Every­thing will be alright

No sur­prise there.

READERS—WHAT ADVICE WOULD YOU GIVE YOUR YOUNGER SELVES? Add your advice to the com­ments sec­tion below. (The author’s is some­what unprint­able…)

For inspi­ra­tion, see the Advice to My Younger Self Sur­vey Ques­tions here and the relat­ed sur­vey deal­ing with regret here.

via Big Think

Relat­ed Con­tent:

Stephen Fry: What I Wish I Knew When I Was 18

The Top Five Regrets of the Dying

Bertrand Russell’s Advice For How (Not) to Grow Old: “Make Your Inter­ests Grad­u­al­ly Wider and More Imper­son­al”

36 Artists Give Advice to Young Cre­ators: Wim Wen­ders, Jonathan Franzen, Lydia Davis, Pat­ti Smith, David Byrne, Umber­to Eco & More

Bri­an Eno’s Advice for Those Who Want to Do Their Best Cre­ative Work: Don’t Get a Job

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inkyzine.  Her month­ly install­ment book-based vari­ety show, Necro­mancers of the Pub­lic Domain, will resume in the fall. Fol­low her @AyunHalliday.

Hear a Previously Unheard Freddie Mercury Song, “Time Waits for No One,” Unearthed After 33 Years

Fred­die Mer­cury, now gone for more than a quar­ter-cen­tu­ry, seems to have become a star again in the late 2010s. It has hap­pened in not just the Eng­land where he grew up and first hit it big with his band Queen, but in Amer­i­ca (where Queen took longer to catch on) and indeed most of the rest of the world as well: the release of the Mer­cury biopic Bohemi­an Rhap­sody last year renewed inter­est in him even in South Korea, where I live, and where any­one of the age to have lis­tened to Queen’s “Bohemi­an Rhap­sody” at the time of its release would have need­ed to pirate a copy. All this has nat­u­ral­ly prompt­ed a return to the stu­dio vaults in search of more Mer­cury mate­r­i­al, the lat­est find from that expe­di­tion being “Time Waits for No One.”

Astute fans will rec­og­nize the song as a ver­sion of “Time,” the title song Mer­cury record­ed for the 1986 sci-fi musi­cal by Dave Clark of the Dave Clark Five. Elab­o­rate­ly pro­duced with 96 tracks in total, the ver­sion that came out at the time did well enough, but “Clark had always remem­bered that per­for­mance of Fred­die Mer­cury at Abbey Road Stu­dios from 1986,” says Mer­cury’s web site.

The orig­i­nal had sold mil­lions, and in his own words ‘worked.  But the feel­ing he had dur­ing the orig­i­nal rehearsal, expe­ri­enc­ing goose­bumps, hadn’t dis­si­pat­ed over the decades, and he want­ed to hear this orig­i­nal record­ing — just Fred­die on vocals and Mike Moran on piano.” And so, three decades lat­er, Clark brought Moran back into the stu­dio to re-record his piano part for Mer­cury’s orig­i­nal vocal track.

Like every big song of the 2010s, the stripped-down “Time Waits for No One” (the orig­i­nal title of “Time”) need­ed an impres­sive video to go with it. Mer­cury, who died in the mid­dle of the first music-video era, would sure­ly appre­ci­ate the way that the inter­net has restored a cer­tain vital­i­ty to the form. Clark, who still pos­sessed the neg­a­tives from the orig­i­nal “Time” video shoot, used the mate­r­i­al he did­n’t the first time around to cre­ate a pre­vi­ous­ly unseen Mer­cury per­for­mance to go with this pre­vi­ous­ly unheard — or at least not prop­er­ly heard — Mer­cury song. Like few rock singers before him, Fred­die Mer­cury under­stood the impor­tance of the star­tling, the elab­o­rate, and the oper­at­ic to his craft. But it takes a rel­a­tive­ly sim­ple pro­duc­tion like the new “Time Waits for No One” and its accom­pa­ny­ing video to reveal just why he has endured in a way so many of his con­tem­po­raries haven’t.

Relat­ed Con­tent:

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

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

A Stun­ning Live Con­cert Film of Queen Per­form­ing in Mon­tre­al, Dig­i­tal­ly Restored to Per­fec­tion (1981)

Lis­ten to Fred­die Mer­cury and David Bowie on the Iso­lat­ed Vocal Track for the Queen Hit ‘Under Pres­sure,’ 1981

Scenes from Bohemi­an Rhap­sody Com­pared to Real Life: A 21-Minute Com­pi­la­tion

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.

The Atlas of Space: Behold Brilliant Maps of Constellations, Asteroids, Planets & “Everything in the Solar System Bigger Than 10km”

A great deal remains to be learned about our solar sys­tem, but a great deal has already been learned about it as well. Yet huge amounts of data such as those pro­duced by out­er-space research so far can’t do much for us unless we can inter­pret them. Luck­i­ly, the age of the inter­net has made pos­si­ble unprece­dent­ed­ly easy access to data as well as unprece­dent­ed­ly easy dis­tri­b­u­tion of inter­pre­ta­tions of that data. Eleanor Lutz, a biol­o­gy grad­u­ate stu­dent at the Uni­ver­si­ty of Wash­ing­ton and the cre­ator of the sci­ence illus­tra­tion blog Table­top Whale, has tak­en advan­tage of both con­di­tions to wow her ever-grow­ing fan base with her maps of the realms beyond Earth.

Atlas of Space, her lat­est project, is all about the solar sys­tem,” writes Wired’s Sara Har­ri­son. “She plumbed the depths of pub­licly avail­able data sets from agen­cies like NASA and the US Geo­log­i­cal Sur­vey and used them to cre­ate vivid maps of con­stel­la­tions, aster­oids, and plan­ets. In one image, lumi­nes­cent bands of fuch­sia and aqua­ma­rine aster­oids swirl around the bright, white point of the Sun. In anoth­er, Earth seems to pul­sate as an ani­ma­tion of Arc­tic sea ice shows how it extends down the con­ti­nents dur­ing the win­ter and then retracts back to the poles in sum­mer.”

Lutz plans to release all the images she has cre­at­ed for her Atlas of Space over the next few weeks, along with instruc­tions teach­ing read­ers how to cre­ate sim­i­lar illus­tra­tions them­selves. In her intro­duc­to­ry post to the project, she promis­es “an ani­mat­ed map of the sea­sons on Earth, a map of Mars geol­o­gy, and a map of every­thing in the solar sys­tem big­ger than 10km.”

Lutz also briefly describes her plans to write about every­thing from “work­ing with Dig­i­tal Ele­va­tion Mod­els (DEMs) in Bash and Python” to “using the NASA HORIZONS orbital mechan­ics serv­er and scrap­ing inter­net data” to “updat­ing vin­tage illus­tra­tions and paint­ing in Pho­to­shop.” That last ele­ment has already made the project par­tic­u­lar­ly eye-catch­ing: you’ll notice the Atlas of Space pages pub­lished so far, “An Orbit Map of the Solar Sys­tem” and “A Topo­graph­ic Map of Mer­cury,” both pos­sess a strong retro design sen­si­bil­i­ty, though each of a com­plete­ly dif­fer­ent kind. Levi Wal­ter Yag­gy would be proud — and no doubt aston­ished by just how much more infor­ma­tion we’ve man­aged to gath­er about the solar sys­tem over the past 130 years.

via Wired

Relat­ed Con­tent:

The Strik­ing­ly Beau­ti­ful Maps & Charts That Fired the Imag­i­na­tion of Stu­dents in the 1880s

A Plan­e­tary Per­spec­tive: Tril­lions of Pic­tures of the Earth Avail­able Through Google Earth Engine

3D Map of Uni­verse Cap­tures 43,000 Galax­ies

A Mas­sive, Knit­ted Tapes­try of the Galaxy: Soft­ware Engi­neer Hacks a Knit­ting Machine & Cre­ates a Star Map Fea­tur­ing 88 Con­stel­la­tions

The Solar Sys­tem Quilt: In 1876, a Teacher Cre­ates a Hand­craft­ed Quilt to Use as a Teach­ing Aid in Her Astron­o­my Class

The Solar Sys­tem Drawn Amaz­ing­ly to Scale Across 7 Miles of Nevada’s Black Rock Desert

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.

Stanford’s Robert Sapolsky Demystifies Depression, Which, Like Diabetes, Is Rooted in Biology

We know that depres­sion affects peo­ple from all walks of life. Rich. Poor. Celebs. Ordi­nary Joes. Young. Old. But, some­how after the death of Robin Williams, there’s a renewed focus on depres­sion, and my mind turned imme­di­ate­ly to a lec­ture we fea­tured on the site way back in 2009. The lec­ture is by Robert Sapol­sky, a Stan­ford biol­o­gist, who has a tal­ent for mak­ing sci­en­tif­ic sub­jects pub­licly acces­si­ble. A recip­i­ent of the MacArthur genius grant, Sapol­sky notes that depres­sion — cur­rent­ly the 4th great­est cause of dis­abil­i­ty world­wide, and soon the 2nd — is deeply bio­log­i­cal. Depres­sion is root­ed in biol­o­gy, much as is, say, dia­betes. As the lec­ture unfolds, you will see how depres­sion changes the body. When depressed, our brains func­tion dif­fer­ent­ly while sleep­ing, our stress response goes way up 24/7, our bio­chem­istry lev­els change, etc. You will see that biol­o­gy is at work.

Sapol­sky is one com­pelling teacher. So you might not want to miss his Stan­ford course, Intro­duc­tion to Human Biol­o­gy. It’s equal­ly worth your time. You can always find it housed in our col­lec­tion 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Note: An ear­li­er ver­sion of this post appeared on the site in August, 2014.

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:

Exer­cise May Prove an Effec­tive Nat­ur­al Treat­ment for Depres­sion & Anx­i­ety, New Study Shows

Stephen Fry on Cop­ing with Depres­sion: It’s Rain­ing, But the Sun Will Come Out Again

Nutri­tion­al Psy­chi­a­try: Why Diet May Play an Essen­tial Role in Treat­ing Men­tal Health Con­di­tions, Includ­ing Depres­sion, Anx­i­ety & Beyond

Psilo­cy­bin Could Soon Be a Legal Treat­ment for Depres­sion: Johns Hop­kins Pro­fes­sor, Roland Grif­fiths, Explains How Psilo­cy­bin Can Relieve Suf­fer­ing

Apollo 11 in Real Time: A New Web Site Lets You Take a Real-Time Journey Through First Landing on the Moon

It only took four days. Four, long, nail-bit­ing days where any­thing could go wrong, with so many fraught steps, between the liftoff of Apol­lo 11 and Neil Arm­strong leav­ing the first foot­print on the moon. And now fifty years stretch­es between us and those days, very brief days indeed, where the pop­u­la­tion of the earth came togeth­er over one stun­ning act of sci­ence and inge­nu­ity. Yes, it was an Amer­i­can flag plant­ed on the moon, but it was one giant leap for mankind.

This July we might want to revis­it those warm feel­ings about human­i­ty in what feels like a dimin­ished world, and look in won­der at the stars again. The Apol­lo In Real Time web­site is here to do just that.

Now you can go to this web­site, sit back and watch as the entire Apol­lo 11 mis­sion unfolds in real time.

It’s a beau­ti­ful­ly designed web­site, look­ing like a con­trol pan­el from NASA itself. There are three time­lines up top to show exact­ly where we are over the entire course of the nine days, from launch to re-entry. On the left there is a sum­ma­ry of Mis­sion Sta­tus, includ­ing veloc­i­ty and dis­tance from the earth. Below is a real time tran­script between mis­sion con­trol and the craft. And a strip down the mid­dle offers over 40 dif­fer­ent chan­nels of audio from all the main and not-so-main play­ers, a total of 11,000 hours, most of which has nev­er been heard before. Where avail­able there’s film and video footage, along with pho­tographs, a lot of it tak­en by the astro­nauts them­selves, and all in the best pos­si­ble qual­i­ty. So if you think you’ve seen this footage over and over, think again.

(Side note: I find just lis­ten­ing to the sounds of mis­sion con­trol is very relax­ing. I’m think­ing a lot of you will agree.)

The site is the cre­ation of Ben Feist, a soft­ware engi­neer and his­to­ri­an at NASA, along with his team of col­lab­o­ra­tors, who under­took some­thing sim­i­lar a few years ago for Apol­lo 17.

via Kottke.org

Relat­ed Con­tent:

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

Watch the Orig­i­nal TV Cov­er­age of the His­toric Apol­lo 11 Moon Land­ing: Record­ed on July 20, 1969

The Source Code for the Apol­lo 11 Moon Land­ing Mis­sion Is Now Free on Github

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

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Open Culture was founded by Dan Colman.