Behold the Bridges in India Made of Living Tree Roots

Liv­ing green walls and upcy­cled build­ing mate­ri­als are wel­come envi­ron­men­tal­ly-con­scious design trends, but when it comes to sus­tain­able archi­tec­ture, the liv­ing root bridges made by indige­nous Khasi and Jain­tia peo­ple in the north-east­ern Indi­an state of Megha­laya have them beat by cen­turies.

These tra­di­tion­al plant-based sus­pen­sion bridges make it much eas­i­er for vil­lagers to trav­el to neigh­bor­ing com­mu­ni­ties, mar­kets and out­ly­ing farms by span­ning the dense trop­i­cal rainforest’s many gorges and rivers.

Their con­struc­tion requires patience, as builders train the aer­i­al roots of well-sit­u­at­ed, mature rub­ber fig trees into posi­tion using bam­boo, old tree trunks, and wire for sup­port, weav­ing more roots in as they become avail­able.

This mul­ti-gen­er­a­tional con­struc­tion project can take up to 30 years to com­plete. The care­ful­ly-tend­ed bridges become stur­dier with age, as the roots that form the deck and handrails thick­en.

The vil­lage of Non­gri­at has one bridge that has been in place for 200-some years. An upper bridge, sus­pend­ed direct­ly over­head, is a hun­dred years younger.

As vil­lage head and life­long res­i­dent Wis­ton Miwa told Great Big Sto­ry, above, when he was a child, peo­ple were leery of using the new­er bridge, wor­ried that it was not yet strong enough to be safe. Six decades lat­er, vil­lagers (and tourists) tra­verse it reg­u­lar­ly.

Archi­tect San­jeev Shankar, in a study of 11 liv­ing root bridges, learned that new struc­tures are loaded with stones, planks, and soil to test their weight bear­ing capac­i­ty. Some of the old­est can han­dle 50 pedes­tri­ans at once.

Humans are not the only crea­tures mak­ing the cross­ing. Bark deer and cloud­ed leop­ards are also known trav­el­ers. Squir­rels, birds, and insects set­tle in for per­ma­nent stays.

The Khasi peo­ple fol­low an oral tra­di­tion, and have lit­tle writ­ten doc­u­men­ta­tion regard­ing their his­to­ry and cus­toms, includ­ing the con­struc­tion of liv­ing root bridges.

Archi­tect Fer­di­nand Lud­wig, a cham­pi­on of Baub­otanik — or liv­ing plant con­struc­tion — notes that there is no set design being fol­lowed. Both nature and the vil­lagers tend­ing to the grow­ing struc­tures can be con­sid­ered the archi­tects here:

When we con­struct a bridge or a build­ing, we have a plan – we know what it’s going to look like. But this isn’t pos­si­ble with liv­ing archi­tec­ture. Khasi peo­ple know this; they are extreme­ly clever in how they con­stant­ly ana­lyze and inter­act with tree growth, and accord­ing­ly adapt to the conditions…How these roots are pulled, tied and woven togeth­er dif­fer from builder to builder. None of the bridges looks sim­i­lar.

The bridges, while remote, are becom­ing a buck­et list des­ti­na­tion for adven­tur­ers and eco­tourists, Nongriat’s dou­ble bridge in par­tic­u­lar.

The BBC’s Zinara Rath­nayake reports that such out­side inter­est has pro­vid­ed vil­lagers with an addi­tion­al source of income, as well as some pre­dictable headaches — lit­ter, inap­pro­pri­ate behav­ior, and over­crowd­ing:

Some root bridges see crowds of hun­dreds at a time as tourists clam­ber for self­ies, poten­tial­ly over­bur­den­ing the trees.

The Liv­ing Bridge Foun­da­tion, which works to pre­serve the liv­ing root bridges while pro­mot­ing respon­si­ble eco­tourism is seek­ing to have the area des­ig­nat­ed as a UNESCO World Her­itage Site.


Relat­ed Con­tent 

1,100 Del­i­cate Draw­ings of Root Sys­tems Reveals the Hid­den World of Plants

The Secret Lan­guage of Trees: A Charm­ing Ani­mat­ed Les­son Explains How Trees Share Infor­ma­tion with Each Oth­er

Daisu­gi, the 600-Year-Old Japan­ese Tech­nique of Grow­ing Trees Out of Oth­er Trees, Cre­at­ing Per­fect­ly Straight Lum­ber

The Tree of Lan­guages Illus­trat­ed in a Big, Beau­ti­ful Info­graph­ic

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and Cre­ative, Not Famous Activ­i­ty Book. Fol­low her @AyunHalliday.

Jonathan Demme Turns the Kurt Vonnegut Story, “Who Am I This Time?,” Into a TV Movie, with Susan Sarandon & Christopher Walken in Starring Roles (1982)

Back in 1982, the PBS Amer­i­can Play­house series aired Jonathan Dem­me’s made-for-TV film based on the Kurt Von­negut sto­ry, “Who Am I This Time?” Now, thanks to the YouTube chan­nel Chick­en Soup for the Soul TV, you can watch the rarely-seen film online. The chan­nel writes:

Mix togeth­er a small town com­mu­ni­ty the­atre’s shy lead­ing man and the love­ly tele­phone work­er who moves into town and you have a per­fect recipe for a delight­ful roman­tic com­e­dy. Acad­e­my Award-win­ners Susan Saran­don and Christo­pher Walken star as the cou­ple who dis­cov­er that affairs of the heart on the stage may be a bit less com­pli­cat­ed than con­tin­u­ing the romance off the stage. Direc­tor Jonathan Demme, an Acad­e­my Award-win­ner, deft­ly weaves this endear­ing tale of love in bloom from Kurt Von­negut, Jr.‘s sto­ry.

While the video qual­i­ty is grainy, the movie is still sig­nif­i­cant for serv­ing as an ear­ly career vehi­cle for Saran­don, Walken and direc­tor Demme. This isn’t exact­ly ‘Before They Were Stars’ — after all, by 1982, Walken had already won an Oscar for “The Deer Hunter,”
Saran­don had already starred in “Rocky Hor­ror” and been nom­i­nat­ed for an Oscar for Atlantic City, and Demme, although still a decade away from his biggest work, had already direct­ed the acclaimed “Melvin & Howard.”

Watch oth­er com­plete films on the Chick­en Soup for the Soul TV Youtube Channel, or on their free-stand­ing web­site. Enjoy.

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 and BlueSky.

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!

via Metafil­ter

Relat­ed Con­tent 

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Watch the New Trail­er for a Kurt Von­negut Doc­u­men­tary 40 Years In the Mak­ing

Kurt Vonnegut’s 8 Tips on How to Write a Good Short Sto­ry

Hear Christo­pher Walken’s Won­der­ful Read­ing of Edgar Allan Poe’s “The Raven”

Susan Saran­don Reads an Ani­mat­ed Ver­sion of Good Night Moon … With­out Cry­ing

How John Keats Writes a Poem: A Line-by-Line Breakdown of “Ode on a Grecian Urn”

The Greek term ekphra­sis sounds rather exot­ic if you sel­dom come across it, but it refers to an act in which we’ve all engaged at one time or anoth­er: that is, describ­ing a work of art. The best ekphras­es make that descrip­tion as vivid as pos­si­ble, to the point where it becomes a work of art in itself. The Eng­lish lan­guage offers no bet­ter-known exam­ple of ekphras­tic poet­ry than John Keats’ “Ode on a Gre­cian Urn,” from 1819, which pulls off the neat trick of tak­ing both its sub­ject and its genre from the same ancient cul­ture — among oth­er virtues, of course, sev­er­al of which are explained by Evan Puschak, bet­ter known as the Nerd­writer, in his new video above, “How John Keats Writes a Poem.”

Puschak calls “Ode on a Gre­cian Urn” “arguably the best poem from arguably the best roman­tic poet,” then launch­es into a line-by-line exe­ge­sis, iden­ti­fy­ing the tech­niques Keats employs in its con­struc­tion. “The speak­er craves the ide­al, ever­last­ing love depict­ed on and sym­bol­ized by the urn,” he says. “But the way he express­es him­self — well, it’s almost embar­rass­ing, even hys­ter­i­cal, fever­ish.”

Keats uses com­pul­sive-sound­ing rep­e­ti­tion of words like hap­py and for­ev­er to “com­mu­ni­cate some­thing about the speak­er that runs counter to his words. It reminds me of those times when you hear some­one insist on how hap­py they are, but you know they’re just try­ing to will that fact into exis­tence by speak­ing it.”

In the course of the poem, “the speak­er begins to doubt his own crav­ings for the per­ma­nence of art. Is it real­ly as per­fect as he imag­ines?” Through­out, “he’s looked to the urn, to art, to assuage his despair about life,” a task to which it final­ly proves not quite equal. “In life, things change and fade, but they’re real. In art, things may be eter­nal, but they’re life­less.” The famous final lines of “Ode on a Gre­cian Urn” arrive at the con­clu­sion that “beau­ty is truth, truth beau­ty,” and how lit­er­al an inter­pre­ta­tion to grant it remains a mat­ter of debate. It may not real­ly be all we know on Earth, nor even all we need to know, but the fact that we’re still argu­ing about it two cen­turies lat­er speaks to the pow­er of art — as well as art about art.

Relat­ed con­tent:

Hear Bene­dict Cum­ber­batch Read John Keats’ “Ode to a Nightin­gale” and Oth­er Great Works by Shake­speare, Dante & Coleridge

Watch Art on Ancient Greek Vas­es Come to Life with 21st Cen­tu­ry Ani­ma­tion

F. Scott Fitzger­ald Reads Shakespeare’s Oth­el­lo and Keats’ “Ode to a Nightin­gale” (1940)

Learn to Write Through a Video Game Inspired by the Roman­tic Poets: Shel­ley, Byron, Keats

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals Their Bold, Bright Col­ors and Pat­terns

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Google & Coursera Create a Career Certificate That Prepares Students for Cybersecurity Jobs in 6 Months

This spring, Google has launched sev­er­al online cer­tifi­cate pro­grams designed to help stu­dents land an entry-lev­el job, with­out nec­es­sar­i­ly hav­ing a col­lege degree. The tech com­pa­ny’s lat­est pro­gram cov­ers Cyber­se­cu­ri­ty, a field that stands poised to grow as com­pa­nies become more dig­i­tal, and cyber­at­tacks inevitably con­tin­ue.

Offered on Cours­er­a’s edu­ca­tion­al plat­form, the new Google Cyber­se­cu­ri­ty Pro­fes­sion­al Cer­tifi­cate fea­tures eight online cours­es, which col­lec­tive­ly help stu­dents learn how to:

  • Under­stand the impor­tance of cyber­se­cu­ri­ty prac­tices and their impact for orga­ni­za­tions.
  • Iden­ti­fy com­mon risks, threats, and vul­ner­a­bil­i­ties, as well as tech­niques to mit­i­gate them.
  • Pro­tect net­works, devices, peo­ple, and data from unau­tho­rized access and cyber­at­tacks using Secu­ri­ty Infor­ma­tion and Event Man­age­ment (SIEM) tools.
  • Gain hands-on expe­ri­ence with Python, Lin­ux, and SQL.

The Cyber­se­cu­ri­ty Pro­fes­sion­al Cer­tifi­cate joins a larg­er col­lec­tion of cer­tifi­cate pro­grams cre­at­ed by Google, with sub­jects cov­er­ing User Expe­ri­ence Design, Busi­ness Intel­li­gence, Data Ana­lyt­ics, Advanced Data Ana­lyt­ics, Project Man­age­ment, IT Sup­port and final­ly IT Automa­tion.

Stu­dents can take indi­vid­ual cours­es in these pro­fes­sion­al cer­tifi­cate pro­grams for free. (Above, you can watch video from the first course in the cyber­se­cu­ri­ty cer­tifi­cate pro­gram, enti­tled “Foun­da­tions of Cyber­se­cu­ri­ty.”) How­ev­er, if you would like to receive a cer­tifi­cate, Cours­era will charge $49 per month (after an ini­tial 7‑day free tri­al peri­od). That means that the Cyber­se­cu­ri­ty Pro­fes­sion­al Cer­tifi­cate, designed to be com­plet­ed in 6 months, will cost rough­ly $300 in total.

Once stu­dents com­plete the cyber­se­cu­ri­ty cer­tifi­cate, they can add the cre­den­tial to their LinkedIn pro­file, resume, or CV. As a perk, stu­dents in the U.S. can also con­nect with 150+ employ­ers (e.g., Amer­i­can Express, Col­gate-Pal­mo­live, T‑Mobile, Wal­mart, and Google) who have pledged to con­sid­er cer­tifi­cate hold­ers for open posi­tions. Accord­ing to Cours­era, this cer­tifi­cate can pre­pare stu­dents to become an entry-lev­el “cyber­se­cu­ri­ty ana­lyst and SOC (secu­ri­ty oper­a­tions cen­ter) ana­lyst.”

You can start a 7‑day free tri­al of the Cyber­se­cu­ri­ty Pro­fes­sion­al Cer­tifi­cate here.

Note: Open Cul­ture has a part­ner­ship with Cours­era. If read­ers enroll in cer­tain Cours­era cours­es and pro­grams, it helps sup­port Open Cul­ture.

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Tina Turner (RIP) Delivers a Blistering Live Performance of “Proud Mary” on Italian TV (1971)

Note: The great Tina Turn­er passed away today at her home in Switzer­land. She was 83. From our archive, we’re bring­ing back an elec­tric 1971 per­for­mance, a reminder of what made her … sim­ply the best. The post below first appeared on our site in April 2021.

John Foger­ty once said that he con­ceived the open­ing bars of “Proud Mary” in imi­ta­tion of Beethoven’s Fifth sym­pho­ny. It’s an unusu­al asso­ci­a­tion for a song about a steam­boat, but it works as a clas­sic blues rock hook. Most peo­ple would say, how­ev­er, that the song didn’t tru­ly come into its own until Tina Turn­er began cov­er­ing it in 1969.

“Proud Mary” helped Turn­er come back after a sui­cide attempt the pre­vi­ous year. Her ver­sion, released as a sin­gle in Jan­u­ary 1971, “plant­ed the seeds of her lib­er­a­tion as both an artist and a woman,” Jason Heller writes at The Atlantic, bring­ing Ike and Tina major crossover suc­cess. Their ver­sion of the CCR song “rose to No.4 on Bill­board’s pop chart, sold more than 1 mil­lion copies, and earned Turn­er the first of her 12 Gram­my Awards.” See her, Ike, and the Ikettes per­form it live on Ital­ian TV, above.

It’s a sad­ly iron­ic part of her sto­ry that the suc­cess of “Proud Mary” also helped keep Turn­er in an abu­sive rela­tion­ship with her musi­cal part­ner and hus­band Ike for anoth­er five years until she final­ly left him in 1976. She spent the next sev­er­al decades telling her sto­ry as she rose to inter­na­tion­al fame as a solo artist, in mem­oirs, inter­views, and in the biopic What’s Love Got to Do With It.

The new HBO doc­u­men­tary, Tina, tells the sto­ry again but also includes Turner’s weary response to it. Asked in 1993 why she did not go see What’s Love Got to Do With It, Turn­er replied, “the sto­ry was actu­al­ly writ­ten so that I would no longer have to dis­cuss the issue. I don’t love that it’s always talked about… this con­stant reminder, it’s not so good. I’m not so hap­py about it.”

Like all musi­cians, Turn­er liked to talk about the music. “Proud Mary,” the sec­ond sin­gle from Ike and Tina’s Workin’ Togeth­er, came about when they heard an audi­tion tape of the song, which they’d been cov­er­ing on stage. “Ike said, ‘You know, I for­got all about that tune.’ And I said let’s do it, but let’s change it. So in the car Ike plays the gui­tar, we just sort of jam. And we just sort of broke into the black ver­sion of it.”

She may have giv­en Ike cred­it for the idea, but the exe­cu­tion was all Tina (and the extra­or­di­nary Ikettes), and the song became a sta­ple of her solo act for decades. Now, with Tina, it seems she may be leav­ing pub­lic life for good. “When do you stop being proud? How do you bow out slow­ly — just go away?” she says.

It’s a ques­tion she’s been ask­ing with “Proud Mary” for half a cen­tu­ry — onstage work­ing day and night — a song, she said last year, that could be summed up in a sin­gle word, “Free­dom.”

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 and BlueSky.

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: 

How Aretha Franklin Turned Otis Redding’s “Respect” Into a Civ­il Rights and Fem­i­nist Anthem

Watch the Ear­li­est Known Footage of the Jimi Hen­drix Expe­ri­ence (Feb­ru­ary, 1967)

How Gior­gio Moroder & Don­na Summer’s “I Feel Love” Cre­at­ed the “Blue­print for All Elec­tron­ic Dance Music Today” (1977)

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

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Helen Keller Writes a Letter to Nazi Students Before They Burn Her Book: “History Has Taught You Nothing If You Think You Can Kill Ideas” (1933)

Helen Keller achieved noto­ri­ety not only as an indi­vid­ual suc­cess sto­ry, but also as a pro­lif­ic essay­ist, activist, and fierce advo­cate for poor and mar­gin­al­ized peo­ple. She “was a life­long rad­i­cal,” writes Peter Dreier at Yes! mag­a­zine, whose “inves­ti­ga­tion into the caus­es of blind­ness” even­tu­al­ly led her to “embrace social­ism, fem­i­nism, and paci­fism.” Keller sup­port­ed the NAACP and ACLU, and protest­ed strong­ly against patron­iz­ing calls for her to “con­fine my activ­i­ties to social ser­vice and the blind.” Her crit­ics, she wrote, mis­char­ac­ter­ized her ideas as “a Utopi­an dream, and one who seri­ous­ly con­tem­plates its real­iza­tion indeed must be deaf, dumb, and blind.”

Twen­ty years lat­er she found a dif­fer­ent set of read­ers treat­ing her ideas with con­tempt. This time, how­ev­er, the crit­ics were in Nazi Ger­many, and instead of sim­ply dis­agree­ing with her, they added her col­lec­tion of essays, How I Became a Social­ist, to a list of “degen­er­ate” books to be burned on May 10, 1933. Such was the date cho­sen by Hitler for “a nation­wide ‘Action Against the Un-Ger­man Spir­it,’” writes Rafael Med­off, to take place at Ger­man Universities—“a series of pub­lic burn­ings of the banned books” that “dif­fered from the Nazis’ per­spec­tive on polit­i­cal, social, or cul­tur­al mat­ters, as well as all books by Jew­ish authors.”

Books burned includ­ed works by Ein­stein and Freud, H.G. Wells, Hem­ing­way, and Jack Lon­don, Stu­dents hauled books out of the libraries as part of the spec­ta­cle. “The largest of the 34 book-burn­ing ral­lies, held in Berlin,” Med­off notes, “was attend­ed by an esti­mat­ed 40,000 peo­ple.”

Not only were these demon­stra­tions of anti-Semi­tism, but their con­tempt for ideas appealed broad­ly to the Nazi phi­los­o­phy of “Blood and Soil,” a nation­al­ist car­i­ca­ture of rur­al val­ues over a sup­pos­ed­ly “degen­er­ate,” poly­glot urban­ism. “The soul of the Ger­man peo­ple can again express itself,” declared Joseph Goebbels omi­nous­ly at the Berlin ral­ly. “These flames not only illu­mi­nate the final end of an old era; they also light up the new.”

“Some Amer­i­can edi­to­r­i­al respons­es” before and after the burn­ings, “made light of the event,” remarks the Unit­ed States Holo­caust Muse­um, call­ing it “sil­ly” and “infan­tile.”  Oth­ers fore­saw much worse to come. In one very explic­it expres­sion of the ter­ri­ble pos­si­bil­i­ties, artist and polit­i­cal car­toon­ist Jacob Bur­ck drew the image above, evok­ing the obser­va­tion of 19th cen­tu­ry Ger­man writer Hein­rich Heine: “Where one burns books, one will soon burn peo­ple.” Newsweek described the events as “’a holo­caust of books’… one of the first instances in which the term ‘holo­caust’ (an ancient Greek word mean­ing a burnt offer­ing to a deity) was used in con­nec­tion with the Nazis.”

The day before the burn­ings, Keller also dis­played a keen sense for the grav­i­ty of book burn­ings, as well as a “notable… ear­ly con­cern,” notes Rebec­ca Onion at Slate—out­side the Jew­ish com­mu­ni­ty, that is—for what she called the “bar­bar­i­ties to the Jews.” On May 9, 1933, Keller pub­lished a short but point­ed open let­ter to the Nazi stu­dents in The New York Times and else­where, abjur­ing them to stop the pro­posed burn­ings. She wrote in a reli­gious idiom, invok­ing the “judg­ment” of God and para­phras­ing the Bible. (Not a tra­di­tion­al Chris­t­ian, she belonged to a mys­ti­cal sect called Swe­den­bor­gian­ism.) At the top of the post, you can see the type­script of her let­ter, with cor­rec­tions and anno­ta­tions by Pol­ly Thomp­son, one of her pri­ma­ry aides. Read the full tran­script below:

To the stu­dent body of Ger­many:

His­to­ry has taught you noth­ing if you think you can kill ideas. Tyrants have tried to do that often before, and the ideas have risen up in their might and destroyed them.

You can burn my books and the books of the best minds in Europe, but the ideas in them have seeped through a mil­lion chan­nels and will con­tin­ue to quick­en oth­er minds. I gave all the roy­al­ties of my books for all time to the Ger­man sol­diers blind­ed in the World War with no thought in my heart but love and com­pas­sion for the Ger­man peo­ple.

I acknowl­edge the griev­ous com­pli­ca­tions that have led to your intol­er­ance; all the more do I deplore the injus­tice and unwis­dom of pass­ing on to unborn gen­er­a­tions the stig­ma of your deeds.

Do not imag­ine that your bar­bar­i­ties to the Jews are unknown here. God sleep­eth not, and He will vis­it His judg­ment upon you. Bet­ter were it for you to have a mill-stone hung around your neck and sink into the sea than to be hat­ed and despised of all men.

Keller added the penul­ti­mate para­graph of the pub­lished text lat­er. (See the hand­writ­ten addi­tion at the bot­tom of the typed draft.) Her con­cern for the “griev­ous com­pli­ca­tions” of the Ger­man peo­ple was cer­tain­ly gen­uine. The expres­sion also seems like a tar­get­ed rhetor­i­cal move for a stu­dent audi­ence, con­ced­ing the sit­u­a­tion as “com­plex,” and appeal­ing in more philo­soph­i­cal lan­guage to “jus­tice” and “wis­dom.” The Nazis ignored her protest, as they did the “mas­sive street demon­stra­tions” that took place on the 10th “in dozens of Amer­i­can cities,” the Holo­caust Muse­um writes, “skill­ful­ly orga­nized by the Amer­i­can Jew­ish Con­gress” and spark­ing “the largest demon­stra­tion in New York City his­to­ry up to that date.”

Five years lat­er, how­ev­er, anoth­er planned book burning—this time in Aus­tria before its annexation—was pre­vent­ed by stu­dents at Williams Col­lege, Yale, and oth­er uni­ver­si­ties in the U.S., where pro- and anti-Nazi par­ti­sans fought each oth­er on sev­er­al Amer­i­can cam­pus­es. U.S. stu­dents were able to push the Aus­tri­an Nation­al Library to lock the books away rather than burn them. Keller “is not known to have com­ment­ed specif­i­cal­ly” on these stu­dent protests, writes Med­off, “but one may assume she was deeply proud that at a time when too many Amer­i­cans did not want to be both­ered with Europe’s prob­lems, these young men and women under­stood the mes­sage of her 1933 letter—that the prin­ci­ples under attack by the Nazis were some­thing that should mat­ter to all mankind.”

Note: This post orig­i­nal­ly appeared on our site in 2017.

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 and BlueSky.

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 Brook­lyn Pub­lic Library Gives Every Teenag­er in the U.S. Free Access to Books Get­ting Cen­sored by Amer­i­can Schools

The 850 Books a Texas Law­mak­er Wants to Ban Because They Could Make Stu­dents Feel Uncom­fort­able

Mark Twain & Helen Keller’s Spe­cial Friend­ship: He Treat­ed Me Not as a Freak, But as a Per­son Deal­ing with Great Dif­fi­cul­ties

America’s First Banned Book: Dis­cov­er the 1637 Book That Mocked the Puri­tans

John Singer Sargent’s Scandalous Paintings: An Introduction to Madame X and Dr. Pozzi at Home

Hen­ry James, per­haps the most famous Amer­i­can expa­tri­ate nov­el­ist of the nine­teenth cen­tu­ry, won a great deal of his fame with The Por­trait of a Lady. John Singer Sar­gent, per­haps the most famous Amer­i­can expa­tri­ate painter of the nine­teenth cen­tu­ry, won a great deal of his fame with a por­trait of a lady — but not before it seemed to kill his illus­tri­ous career at a stroke. When it was first shown to the pub­lic at the Paris Salon of 1884, Sar­gen­t’s Por­trait of Madame X drew a range of reac­tions from bit­ter dis­missal to near-vio­lent anger. But today, as Great Art Explained host James Payne says in the new video above, “it is gen­uine­ly hard to see what the fuss was about.”

“Twen­ty years before, in 1865, Manet had shown Olympia at the Salon, to a scan­dal­ized Paris. So why the shock now? The dif­fer­ence was that Manet’s Olympia was a pros­ti­tute, like the women in Toulouse-Lautrec’s paint­ing also on dis­play in 1884. But Madame X was part of French high soci­ety.” She was, all those first view­ers would have known, the socialite, banker’s wife, and “pro­fes­sion­al beau­ty” Vir­ginie Amélie Aveg­no Gautreau. Her rumored pen­chant for infi­deli­ties would­n’t have been unusu­al for her par­tic­u­lar place and time, but her back­ground as the New Orleans-born daugh­ter of a Euro­pean Cre­ole fam­i­ly cer­tain­ly would have.

Behold­ing Madame X, “Parisians were forced to con­front their own deca­dence, which they pre­ferred not to acknowl­edge, and this was where Sar­gent went wrong. The salons were a sacro­sanct part of French cul­ture, and he, a for­eign­er, was flaunt­ing immoral­i­ty in their faces with a paint­ing of anoth­er for­eign­er, an exot­ic one at that.” He’d already stirred up a cer­tain amount of con­tro­ver­sy three years ear­li­er with Dr. Pozzi at Home, anoth­er full-length por­trait that por­trayed its sub­ject – the high­ly accom­plished and noto­ri­ous­ly hand­some gyne­col­o­gist Samuel-Jean Pozzi — in a man­ner whose sheer infor­mal­i­ty verges on the con­cu­pis­cent.

Payne thus regards Dr. Pozzi and Madame X as “male-female ver­sions of the same type. They are both flam­boy­ant pea­cock fig­ures, with a streak of van­i­ty and a knack for seduc­tion. There is some­thing in the way they are posed which is uncon­ven­tion­al. They have an indi­rect gaze, and they both have supreme con­fi­dence verg­ing on arro­gance.” That only Sar­gent could have — or, at least, would have — cap­tured and trans­mit­ted those qual­i­ties with such direct­ness was­n’t appre­ci­at­ed quite so much at the time. Ostra­cized in Paris, where he’d been a sought-after por­traitist to the wealthy, he packed up Madame and set off for Lon­don, where he soon rebuilt his career. The advice to do so came from none oth­er than Hen­ry James, who knew a thing or two about advan­ta­geous relo­ca­tion.

Relat­ed con­tent:

How John Singer Sar­gent Became the Great­est Por­traitist Who Ever Lived — by Paint­ing “Out­side the Lines”

When John Singer Sargent’s “Madame X” Scan­dal­ized the Art World in 1884

The Scan­dalous Paint­ing That Helped Cre­ate Mod­ern Art: An Intro­duc­tion to Édouard Manet’s Olympia

Great Art Explained: Watch 15 Minute Intro­duc­tions to Great Works by Warhol, Rothko, Kahlo, Picas­so & More

Art His­to­ry School: Learn About the Art & Lives of Toulouse-Lautrec, Gus­tav Klimt, Frances Bacon, Edvard Munch & Many More

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Considering Rocky/Creed, Our Most Successful Sports Film Franchise — Pretty Much Pop: A Culture Podcast #149

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Your Pret­ty Much Pop hosts Mark Lin­sen­may­er, Lawrence Ware, Sarahlyn Bruck, and Al Bak­er talk through the ups and downs of this nine-film fran­chise that start­ed with Rocky, the high­est gross­ing film of 1976 and win­ner of that year’s Acad­e­my Award for Best Pic­ture. We’re espe­cial­ly con­cerned with this year’s Creed III, direct­ed by its star Michael B. Jor­dan, which is the first entry in the fran­chise that’s entire­ly free of Sylvester Stal­lone.

How can such an appar­ent­ly sim­ple for­mu­la (start as an under­dog, train, and win at least a moral vic­to­ry) stay fresh? Why was there a robot in Rocky IV? Is there any ratio­nale for an extend­ed, con­tin­u­ing Rocky-verse? Does enjoy­ing these films involve approv­ing of box­ing as a sport, or the glo­ri­fi­ca­tion of fic­tion­al sports heroes over real-life ones?

For var­i­ous arti­cles about things going on in the fran­chise, check out totalrocky.com. Sarahlyn men­tions the NPR pod­cast The Stat­ue.

Fol­low us @law_writes@sarahlynbruck@ixisnox@MarkLinsenmayer.

Hear more Pret­ty Much Pop. If you’re not sub­scribed to the pod­cast, you’re miss­ing lots of good episodes. Sup­port the show and hear bonus talk­ing for this and near­ly every oth­er episode at patreon.com/prettymuchpop or by choos­ing a paid sub­scrip­tion through Apple Pod­casts. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

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