Ziggy Stardust Turns 50: Celebrate David Bowie’s Signature Character with a Newly Released Version of “Starman”

David Bowie’s fans have now been enjoy­ing the char­ac­ter of Zig­gy Star­dust for a full five decades. That’s hard­ly a bad run, giv­en that the open­ing track of The Rise and Fall of Zig­gy Star­dust and the Spi­ders from Mars announces that the end of the world will come in just five years. Released on June 16th, 1972, that album gave the pub­lic its intro­duc­tion to the title char­ac­ter, an androg­y­nous rock star from a dis­tant star who one day arrives, mes­si­ah-like, on the dying Earth. But as the musi­cal sto­ry goes, the result­ing fame proves too much for him: the hap­less Zig­gy ends up in sham­bles, vic­tim­ized by Earth­ly desires in all their man­i­fes­ta­tions.

One could read into all this cer­tain aspi­ra­tions and fears on the part of Zig­gy Star­dust’s cre­ator-per­former, the young David Bowie. Broad crit­i­cal con­sen­sus holds that it was on the pre­vi­ous year’s Hunky Dory that Bowie first showed his true artis­tic poten­tial.

Though that album, his fourth, boast­ed sig­na­ture-songs-to-be like “Changes” and “Life on Mars?”, Bowie declared (no doubt to the label’s frus­tra­tion) that he would­n’t both­er pro­mot­ing it, since he was just about to change his image. This turned out to be a shrewd move, since his sub­se­quent trans­for­ma­tion into Zig­gy Star­dust launched him out of the realm of the respect­ed niche singer-song­writer and into the stratos­phere of the bona fide rock star.

Why did Zig­gy Star­dust dri­ve so many lis­ten­ers to near-mani­ac appre­ci­a­tion half a cen­tu­ry ago? In Bowie’s native Eng­land, many cite his July 1972 per­for­mance of “Star­man” the BBC’s Top of the Pops as the turn­ing point. Though only mild­ly psy­che­del­ic, the seg­ment cel­e­brat­ed the col­or­ful­ly askew glam­our of Bowie-as-Zig­gy and his band the Spi­ders from Mars just when it was des­per­ate­ly need­ed. As music crit­ic Simon Reynolds writes, “It is hard to recon­struct the drab­ness, the visu­al deple­tion of Britain in 1972, which fil­tered into the music papers to form the grey and grub­by back­drop to Bowie’s phys­i­cal and sar­to­r­i­al splen­dor.” Today you can hear a new­ly released 2022 mix of “Star­man” con­struct­ed from the tracks record­ed for Top of the Pops those 50 years ago.

Imag­ine the impact on a young Eng­lish pop-music fan in 1972 who hap­pened to be watch­ing on col­or (or rather, colour) tele­vi­sion, itself intro­duced only a few years ear­li­er. Though Bowie may have cho­sen just the right his­tor­i­cal moment to debut the first of his musi­cal per­son­ae, he did­n’t cre­ate Zig­gy Star­dust ex nihi­lo. Ele­ments of the char­ac­ter have clear prece­dents ear­li­er in Bowie’s career, not least in the pro­mo­tion­al film for 1968’s “Space Odd­i­ty,” the 2001-inspired sin­gle that first asso­ci­at­ed him with the realms beyond our plan­et. But Zig­gy was Bowie’s first gen­uine alter ego, a char­ac­ter per­fect­ly suit­ed to the era of “glam rock” who could con­ve­nient­ly be retired when that era passed. Glam rock may be long gone, but Zig­gy Star­dust still looks and sounds as if he’d only just land­ed on Earth.

Relat­ed con­tent:

David Bowie Recalls the Strange Expe­ri­ence of Invent­ing the Char­ac­ter Zig­gy Star­dust (1977)

The Sto­ry of Zig­gy Star­dust: How David Bowie Cre­at­ed the Char­ac­ter that Made Him Famous

David Bowie Became Zig­gy Star­dust 48 Years Ago This Week: Watch Orig­i­nal Footage

Hear Demo Record­ings of David Bowie’s “Zig­gy Star­dust,” “Space Odd­i­ty” & “Changes”

David Bowie Remem­bers His Zig­gy Star­dust Days in Ani­mat­ed Video

How David Bowie Deliv­ered His Two Most Famous Farewells: As Zig­gy Star­dust in 1973, and at the End of His Life in 2016

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, on Face­book, or on Insta­gram.

How Wealthy Women (Like the Mona Lisa) Got Dressed in Renaissance Florence

“The inhab­i­tants of fif­teenth-cen­tu­ry Flo­rence includ­ed Brunelleschi, Ghib­er­ti, Donatel­lo, Masac­cio, Fil­ip­po Lip­pi, Fra Angeli­co, Ver­roc­chio, Bot­ti­cel­li, Leonar­do, and Michelan­ge­lo,” writes essay­ist and ven­ture cap­i­tal­ist Paul Gra­ham. “There are rough­ly a thou­sand times as many peo­ple alive in the U.S. right now as lived in Flo­rence dur­ing the fif­teenth cen­tu­ry. A thou­sand Leonar­dos and a thou­sand Michelan­ge­los walk among us.” But “to make Leonar­do you need more than his innate abil­i­ty. You also need Flo­rence in 1450”: its com­mu­ni­ty of artists, and indeed every­one of all class­es who con­sti­tut­ed its uncom­mon­ly fruit­ful soci­ety.

Flo­rence’s cul­tur­al flour­ish­ing last­ed into the six­teenth cen­tu­ry. Above, you can see a morn­ing in the life of one Flo­ren­tine of the 1500s recre­at­ed in a video by Crow’s Eye Pro­duc­tions. Pre­vi­ous­ly fea­tured here on Open Cul­ture for their re-cre­ations of the dress­ing process­es of the four­teenth, sev­en­teenth, and eigh­teenth cen­turies, they show us this time how a woman would put her­self togeth­er — or by the help, be put togeth­er — in turn-of-the-six­teenth-cen­tu­ry Flo­rence, which, “like many oth­er Ital­ian regions, had devel­oped its own dis­tinc­tive fash­ion style.” The camur­ra gown, the sep­a­rate gold­en sleeves, the infor­mal guar­nel­lo over-gown: all evoke this par­tic­u­lar time and place.

As each gar­ment and acces­so­ry is applied to the mod­el, she may begin to look odd­ly famil­iar. “In 1503, a silk mer­chant from Flo­rence, Francesco del Gio­con­do, com­mis­sioned a por­trait of his young wife to adorn a wall in their new home, and per­haps to cel­e­brate the safe arrival of their third child,” the video’s nar­ra­tor tells us. “The artist com­mis­sioned was Leonar­do da Vin­ci.” His por­trait of Madon­na Gia­con­do is “an inti­mate por­tray­al of a young mar­ried woman,” expen­sive­ly but mod­est­ly dressed, wear­ing a smile “that seems intend­ed for Francesco’s eyes only.” Yet until Leonar­do’s death, the pic­ture nev­er left his own pos­ses­sion — per­haps because he sensed it had a des­tiny much greater than the wall of the del Gio­con­dos’ bed­cham­ber.

Relat­ed con­tent:

How Women Got Dressed in the 14th & 18th Cen­turies: Watch the Very Painstak­ing Process Get Cin­e­mat­i­cal­ly Recre­at­ed

How Fash­ion­able Dutch Women (Like the Girl with a Pearl Ear­ring) Got Dressed in 1665

How Ladies & Gen­tle­men Got Dressed in the 18th Cen­tu­ry: It Was a Pret­ty Involved Process

What Makes Leonardo’s Mona Lisa a Great Paint­ing?: An Expla­na­tion in 15 Min­utes

Orig­i­nal Por­trait of the Mona Lisa Found Beneath the Paint Lay­ers of da Vinci’s Mas­ter­piece

How Did the Mona Lisa Become the World’s Most Famous Paint­ing?: It’s Not What You Think

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, on Face­book, or on Insta­gram.

Watch Two Courses by Beloved Yale Historian John Merriman (RIP): “France Since 1871” and “European Civilization, 1648 to 1945”

On May 22, his­to­ri­an John Mer­ri­man died at the age of 75. A pro­fes­sor at Yale since 1973, Mer­ri­man became an “ear­ly prac­ti­tion­er of the his­to­ry ‘from the ground up, that swept aca­d­e­m­ic study in the 1970s,” notes an obit­u­ary in Yale News. There, his­to­ri­an Alice Kaplan adds: “John Mer­ri­man became our great­est his­to­ri­an of the French left and its repres­sion, of the Com­mu­nards, the Anar­chists, and the French police, whose expe­ri­ences he brought to life in books and lec­tures informed by his work in archives in every region of France…”

The New York Times remem­bers him as “a rum­pled fig­ure who used his sto­ry­telling gifts to ani­mate his lec­tures on French and Euro­pean his­to­ry.” And they recall how author Ta-Nehisi Coates “watched some of Pro­fes­sor Merriman’s record­ed lec­tures online and described him … as a ‘kind of freestyle rap­per’ who riffed off his mate­r­i­al — anec­dotes, quotes and obser­va­tions — and ‘had this weird abil­i­ty to inhab­it the his­to­ry.’ ”

You, too, can watch his lec­tures online. A num­ber of years ago, Mer­ri­man made two of his beloved cours­es, “France Since 1871” (top) and “Euro­pean Civ­i­liza­tion, 1648 to 1945” (below) avail­able on Yale Open Cours­es. If you click on the pre­ced­ing links, you can find the syl­labus and books for each course. These cours­es are per­ma­nent­ly list­ed in our col­lec­tion of Free Online His­to­ry Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent

14,000 Free Images from the French Rev­o­lu­tion Now Avail­able Online

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

French in Action: Cult Clas­sic French Lessons from Yale (52 Episodes) Avail­able Online

Sun Tzu’s The Art of War: An Animated Chapter-by-Chapter Breakdown of the Ancient Chinese Treatise

Though not a long book, The Art of War is nev­er­the­less an intim­i­dat­ing one. Com­posed in the Chi­na of the fifth cen­tu­ry BC, it comes down to us as per­haps the defin­i­tive analy­sis of mil­i­tary strat­e­gy, applic­a­ble equal­ly to East, West, antiq­ui­ty, and moder­ni­ty alike. Hence the minor but still-pro­duc­tive indus­try that puts forth adap­ta­tions, exten­sions, and rein­ter­pre­ta­tions of The Art of War for non-mil­i­tary set­tings, trans­pos­ing its lessons into law, busi­ness, sports, and oth­er realms besides. But if you want a han­dle on what its author, the gen­er­al and strate­gist Sun Tzu, actu­al­ly wrote, watch the illus­trat­ed video above.

A pro­duc­tion of Youtube chan­nel Eudai­mo­nia, pre­vi­ous­ly fea­tured here on Open Cul­ture for a sim­i­lar­ly ani­mat­ed exe­ge­sis of Machi­avel­li’s The Prince, it runs more than two and a half hours in full. Far though it exceeds the length of the aver­age explain­er video, it does reflect the ten­den­cy of Sun Tzu’s suc­cinct obser­va­tions to expand, when seri­ous­ly con­sid­ered, into much wider and more com­plex dis­cus­sions. To each of the orig­i­nal tex­t’s chap­ters the Eudai­mo­nia video devotes a ten-to-fif­teen-minute sec­tion, con­vey­ing not just the con­tent of its lessons but also their rel­e­vance to the his­to­ry of human con­flict in the rough­ly two and a half mil­len­nia since they were writ­ten.

In chap­ter two, on wag­ing war, Sun Tzu writes that “in order to kill the ene­my, our men must be roused to anger.” It was in this spir­it that, dur­ing the Sec­ond World War, the Unit­ed King­dom’s Min­istry of Infor­ma­tion launched a media “anger cam­paign” meant to “increase resolve against the Ger­mans, as until then, the British had lit­tle sense of real hos­til­i­ty towards the aver­age Ger­man.” In the chap­ter on weak­ness­es and strengths, Sun Tzu rec­om­mends “the divine art of sub­tle­ty and secre­cy” as a means of becom­ing invis­i­ble and inaudi­ble to the ene­my — much as Julius Cae­sar did in the Gal­lic Wars, when he sent scout­ing ships “paint­ed in Venet­ian blue, which was a sim­i­lar col­or to that of the sea.”

Oth­er exam­ples come from diverse chap­ters of his­to­ry. These include the Amer­i­can Civ­il War, Gand­hi’s nego­ti­a­tion of Indi­an inde­pen­dence, the Napoleon­ic Wars, the British defeat in Zul­u­land, Joan of Arc’s siege of Orléans, the revolt against the Turk­ish led by T. E. Lawrence (bet­ter known as Lawrence of Ara­bia), and even Steve Jobs’ turn­around of a near­ly bank­rupt Apple. Most of us will nev­er find our­selves in sit­u­a­tions of quite these stakes. But giv­en that none of us can entire­ly avoid deal­ing with con­flict, we’d could do worse than to keep the guid­ance of Sun Tzu on our side.

Relat­ed con­tent:

Machiavelli’s The Prince Explained in an Illus­trat­ed Film

10 Rea­sons Why Hannibal’s Mil­i­tary Genius Still Cap­tures Our Imag­i­na­tion Today

What Ancient Chi­nese Phi­los­o­phy Can Teach Us About Liv­ing the Good Life Today: Lessons from Harvard’s Pop­u­lar Pro­fes­sor, Michael Puett

Hear an Ancient Chi­nese His­to­ri­an Describe The Roman Empire (and Oth­er Voic­es of the Past)

How Many U.S. Marines Could Bring Down the Roman Empire?

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, on Face­book, or on Insta­gram.

Werner Herzog’s New Novel, The Twilight World, Tells the Story of the WWII Japanese Soldier Who Famously Refused to Surrender

As every­one knows, Japan con­ced­ed defeat in the Sec­ond World War on August 15, 1945. But as many also know, cer­tain indi­vid­ual Japan­ese sol­diers refused to sur­ren­der, each con­tin­u­ing to fight the war for decades in his own way. The most famous was Lieu­tenant Ono­da Hiroo, who hid out in the Philip­pines mount­ing guer­ril­la attacks — at first with a few fel­low sol­diers, and final­ly alone — until 1974. Ono­da became a celebri­ty upon retun­ing to his home­land, and his admir­ers weren’t only Japan­ese. In Tokyo to direct an opera in 1997, Wern­er Her­zog request­ed an intro­duc­tion to one man only: the sol­dier who’d fought the war for 30 years.

Now Ono­da has become the sub­ject of one of Her­zog’s lat­est projects: not a film, but a nov­el called The Twi­light World. In his native Ger­man (brought into Eng­lish by trans­la­tor-crit­ic Michael Hof­mann), Her­zog has writ­ten of not just his own meet­ing with Ono­da but nar­rat­ed Onoda’s own long expe­ri­ence in the Philip­pines.

“Onoda’s war is of no mean­ing for the cos­mos, for his­to­ry, for the course of the war,” goes one pas­sage quot­ed by A. O. Scott in The Atlantic. “Onoda’s war is formed from the union of an imag­i­nary noth­ing and a dream, but Onoda’s war, sired by noth­ing, is nev­er­the­less over­whelm­ing, an event extort­ed from eter­ni­ty.”

One thinks of the pro­tag­o­nists of Her­zog’s films, both imag­ined and real: the steamship-drag­ging rub­ber baron Bri­an Sweeney Fitzger­ald, the downed Navy pilot Dieter Den­gler, the delud­ed con­quis­ta­dor Lope de Aguirre, the ill-fat­ed wildlife activist Tim­o­thy Tread­well. In Onoda’s case as well, Scott writes, “Her­zog declines to treat him as a joke. He is clear­ly fas­ci­nat­ed by the absur­di­ty of this hero’s sit­u­a­tion, and also deter­mined to defend the dig­ni­ty of a man who had no choice but to per­se­vere in an impos­si­ble mis­sion.” Any­one famil­iar with Her­zog’s career, full of har­row­ing encoun­ters and unpre­dictable turns but clear­ly oper­at­ing by an iron log­ic all its own, can imag­ine why he saw in Ono­da a kin­dred spir­it.

Eight years after his death at the age of 91, Ono­da remains a fig­ure of gen­er­al fas­ci­na­tion, the sub­ject of his­to­ry videos viewed by mil­lions as well as last year’s Ono­da: 10,000 Nights of the Jun­gle, a fea­ture by French direc­tor Arthur Harari. Of course,  “the guy who stays in the field long after the war is over is, to mod­ern eyes, a com­i­cal, cau­tion­ary fig­ure, an avatar of patri­o­tism car­ried to ridicu­lous extremes,” writes Scott. “We rarely pause to look for motives oth­er than blind obe­di­ence, or to imag­ine what those years of phan­tom com­bat in the wilder­ness must have felt like.” Per­haps we twen­ty-first cen­tu­ry West­ern­ers sim­ply lack the imag­i­na­tive pow­er nec­es­sary to do so — all of us, that, is except Wern­er Her­zog. You can pre-order his nov­el, The Twi­light World, now. It hits the shelves next week, on June 14th.

Relat­ed con­tent:

Wern­er Her­zog Offers 24 Pieces of Film­mak­ing and Life Advice

Wern­er Her­zog Tells a Book Club Why The Pere­grine Is One of His Favorite Books, a 20th-Cen­tu­ry Mas­ter­piece

Wern­er Her­zog Dis­cov­ers the Ecsta­sy of Skate­board­ing: “That’s Kind of My Peo­ple”

The Dream Dri­ven Film­mak­ing of Wern­er Her­zog: Watch the Video Essay, “The Inner Chron­i­cle of What We Are: Under­stand­ing Wern­er Her­zog”

Time Trav­el Back to Tokyo After World War II, and See the City in Remark­ably High-Qual­i­ty 1940s Video

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, on Face­book, or on Insta­gram.

What Happened to the Missing Half of the Roman Colosseum?

What hap­pened to the miss­ing half of the Colos­se­um? It may be a ques­tion about ancient Rome you were afraid to ask in school, as the title of Dr. Gar­ret Ryan’s video above sug­gests. Or maybe, after see­ing the mas­sive ancient ruin’s jagged pro­file all your life on piz­za box­es and soft­ball t‑shirts spon­sored by your local Ital­ian eatery, you nev­er thought much of the Colos­se­um’ shape at all. You could spend hun­dreds of dol­lars and build a LEGO Colos­se­um, hun­dreds more and vis­it it your­self, or dri­ve past it every day on your com­mute, and nev­er think much about it.

Despite cur­rent­ly host­ing more vis­i­tors per year than Tre­vi Foun­tain and the Sis­tine Chapel com­bined, the mon­u­ment to bread and cir­cus impe­r­i­al Rome suf­fered from severe neglect in the mil­len­nia and a‑half after it was used as a glad­i­a­tor are­na – “some 1,500 years of neglect and hap­haz­ard con­struc­tion projects,” Tom Mueller writes at Smith­son­ian, “lay­ered one upon anoth­er.” Used as a quar­ry after the 6th cen­tu­ry, for most of its long, decay­ing life, the amphithe­ater and its “hypogeum” (the intri­cate sys­tem of tun­nels and earth­works under­neath) went ful­ly to seed.

For most of its his­to­ry, that is to say, humans most­ly ignored the Colos­se­um. But curios­i­ty about its his­to­ry pays:

Down through the cen­turies, peo­ple filled the hypogeum with dirt and rub­ble, plant­ed veg­etable gar­dens, stored hay and dumped ani­mal dung. In the amphithe­ater above, the enor­mous vault­ed pas­sages shel­tered cob­blers, black­smiths, priests, glue-mak­ers and mon­ey-chang­ers, not to men­tion a fortress of the Frangi­pane, 12th-cen­tu­ry war­lords. By then, local leg­ends and pil­grim guide­books described the crum­bling ring of the amphitheater’s walls as a for­mer tem­ple to the sun. Necro­mancers went there at night to sum­mon demons.

In the late 16th cen­tu­ry — before popes parad­ed through the are­na to hon­or Chris­tians fed to wild beasts — “Pope Six­tus V, the builder of Renais­sance Rome, tried to trans­form the Colos­se­um into a wool fac­to­ry.” The ven­ture failed, and soon after the huge vari­ety of wild plant life began to attract botanists, who cat­a­logued some 337 dif­fer­ent species. The hypogeum, the archi­tec­tur­al mech­a­nism that once pow­ered spec­ta­cles on the floor above, was only cleared in the 1930s by Ben­i­to Mus­soli­ni in his glo­ri­fi­ca­tion of clas­si­cal Rome.

Restora­tion on the Colos­se­um did not begin until the 1990s and vis­i­tors have only been allowed to see the ruin’s inner work­ings since 2011, almost 2000 years since it was first con­struct­ed between 72 and 80 AD. Orig­i­nal­ly called the Fla­vian Amphithe­atre, the build­ing’s name was changed to reflect its prox­im­i­ty to the Colos­sus of Nero, a mon­u­ment to impe­r­i­al hubris that has itself long dis­ap­peared. So, what about that miss­ing half? “The short answer,” writes Dr. Ryan, “is: earth­quakes and popes, in that order.”

The longer answer, as you might imag­ine, is far more col­or­ful, and far blood­i­er, involv­ing events like the Emper­or Tra­jan’s 123-day cel­e­bra­tion of his vic­to­ry in Dacia, “in the course of which 5,000 pairs of glad­i­a­tors fought and 11,000 ani­mals were killed.” After around 500 years of this kind of blood­sport (and oth­er amuse­ments) and anoth­er 1,500 years of dete­ri­o­ra­tion, I’d say the Colos­se­um has held up remark­ably well, a trib­ute to Roman archi­tec­tur­al engi­neer­ing, the one thing the Roman Empire seemed to love more than vio­lent death.

Relat­ed Con­tent:

When the Colos­se­um in Rome Became the Home of Hun­dreds of Exot­ic Plant Species

The Roman Colos­se­um Has a Twin in Tunisia: Dis­cov­er the Amphithe­ater of El Jem, One of the Best-Pre­served Roman Ruins in the World

An Ani­mat­ed Recon­struc­tion of Ancient Rome: Take A 30-Minute Stroll Through the City’s Vir­tu­al­ly-Recre­at­ed Streets

An 8‑Minute Ani­mat­ed Flight Over Ancient Rome

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The His­to­ry of Ancient Rome in 20 Quick Min­utes: A Primer Nar­rat­ed by Bri­an Cox

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

The History of the Byzantine Empire (or East Roman Empire): An Animated Timeline Covering 1,100 Years of History

The his­to­ry of Rome is, more or less, the his­to­ry of the mod­ern world. But the Roman world seemed to shrink dur­ing the Neo­clas­si­cal peri­od, an Enlight­en­ment-era move­ment to puri­fy the arts. Where Rome once encom­passed a glob­al empire, it began to inhab­it a nar­row range of ideas, imposed by human­ist schol­ars, French Jacobins, bour­geois rev­o­lu­tion­ar­ies in the North Amer­i­can colonies, and the courts of Louis XVI, George III, and Napoleon. Neo­clas­si­cal art was an ennobling arti­fice in a time when Euro­pean empires were swal­low­ing up the globe. (It was lat­er the favored style of Mus­soli­ni and, more recent­ly, Don­ald Trump.) Aca­d­e­mics and states­men rede­fined the cul­tur­al bound­aries of ancient Rome to suit the agen­das of their age.

Elites of the Ottoman Empire in the 16th and 17th cen­tu­ry, for exam­ple, believed there was no sep­a­ra­tion between them­selves and ancient Rome. They called them­selves Rūmī, Romans, inher­i­tors of the Empire. West­ern Euro­peans, how­ev­er, exclu­sive­ly used the terms Ottomans or Turks, in rhetoric designed to evoke fears of dan­ger­ous, threat­en­ing oth­ers. Sim­i­lar­ly, the East­ern, or Byzan­tine, Empire, ruled from Con­stan­tino­ple by Con­stan­tine and his suc­ces­sors, nev­er thought of itself as any­thing oth­er than Roman, and cer­tain­ly not as “Byzan­tine,” a word that comes from the city’s ancient name, Byzan­tium.

As the poster of the video above writes, “the empire this video is about was nei­ther called ‘Byzan­tine’ nor ‘East­ern Roman,’ but sim­ply ‘Roman/Romaioi’ but its con­tem­po­raries. ‘Byzan­tine empire’ is a made up term that appeared in the course of the 16th cen­tu­ry.” Orig­i­nal­ly meant to sug­gest the Greek influ­ence on the late Roman Empire, the word became a way of brack­et­ing off the late empire as strange and exot­ic. Then it became a pejo­ra­tive adjec­tive mean­ing “exces­sive­ly com­pli­cat­ed.” Not coin­ci­den­tal­ly, this also hap­pened to be the opin­ion of the Neo­clas­si­cists when it came to the late Roman Empire. Neo­clas­si­cal ideals empha­sized order, per­fec­tion, sim­plic­i­ty, virtue, ratio­nal­i­ty, all qual­i­ties retroac­tive­ly applied to the Rome of antiq­ui­ty, but not to the “East­ern” Empire.

Like many a term of abuse, both the Ottoman Empire and Byzan­tine Empire were reclaimed by nation­al­ists who had no desire to iden­ti­fy with ancient Rome. Dur­ing the Crimean War, Greek nation­al­ists embraced the Byzan­tine Empire as a his­tor­i­cal real­i­ty and a vision of a future restora­tion once Istan­bul had been reclaimed. The inhab­i­tants of Con­stan­tino­ple and many of the ter­ri­to­ries under its sway dur­ing the peri­od cov­ered by the ani­mat­ed time­line above, how­ev­er, just called them­selves Romans. “Indeed, the ‘Byzan­tine’ sov­er­eigns,” the video notes, “nev­er ceased to con­sid­er them­selves as the legit­i­mate suc­ces­sors of the Roman empire which had been divid­ed in 395 and whose West­ern part had fall­en in 476.”

Relat­ed Con­tent: 

An Ani­mat­ed His­to­ry of the Ottoman Empire (1299 – 1922)

How the Byzan­tine Empire Rose, Fell, and Cre­at­ed the Glo­ri­ous Hagia Sophia: A His­to­ry in Ten Ani­mat­ed Min­utes

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

What Did the Roman Emper­ors Look Like?: See Pho­to­re­al­is­tic Por­traits Cre­at­ed with Machine Learn­ing

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

Machiavelli’s The Prince Explained in an Illustrated Film

Nic­colò Machi­avel­li lived in a time before the inter­net, before radio and tele­vi­sion, before drones and weapons of mass destruc­tion. Thus one nat­u­ral­ly ques­tions the rel­e­vance of his polit­i­cal the­o­ries to the twen­ty-first cen­tu­ry. Yet in dis­cus­sions about the dynam­ics of pow­er, no name has endured as long as Machi­avel­li’s. His rep­u­ta­tion as a the­o­rist rests most­ly on his 1532 trea­tise Il Principe, or The Prince, in which he pio­neered a way of ana­lyz­ing pow­er as it was actu­al­ly wield­ed, not as peo­ple would have liked it to be. How, he asked, does a ruler — a prince — attain his posi­tion in a state, and even more impor­tant­ly, how does he main­tain it?

You can hear Machi­avel­li’s answers to these ques­tions explained, and see them illus­trat­ed, in the 43-minute video above. It breaks The Prince down into sev­en parts sum­ma­riz­ing as many of the book’s main points, includ­ing “Do not be neu­tral,” “Destroy, do not would,” and “Be feared.”

These com­mand­ments would seem to align with Machi­avel­li’s pop­u­lar image as an apol­o­gist, even an advo­cate, for bru­tal and repres­sive forms of rule. But his enter­prise has less to do with offer­ing advice than with describ­ing how real fig­ures of pow­er, princes and oth­er­wise, had amassed and retained that pow­er.

The video comes from Eudai­mo­nia, a Youtube chan­nel that has also fea­tured sim­i­lar­ly ani­mat­ed exege­ses of Sto­icism and Sun Tzu’s The Art of War. Its cre­ator makes these ancient sources of knowl­edge acces­si­ble with not just his car­toon­ish illus­tra­tions, but also his inclu­sion of illu­mi­nat­ing exam­ples from more recent his­to­ry. In the case of The Prince, these come from eras like the Russ­ian Rev­o­lu­tion, World War II, and even our own time of instant glob­al com­mu­ni­ca­tion, atten­tion-hun­gry media, and a seem­ing­ly weak polit­i­cal class. In much of the world, we live in a time much less nasty and brutish than Machi­avel­li’s. But look­ing at the effec­tive­ness (or lack there­of) of our own lead­ers, we have to admit that the prin­ci­ples of The Prince may not have gone out of effect.

To delve deep­er into the world of Machi­avel­li, you can watch a BBC doc­u­men­tary on the Renais­sance polit­i­cal the­o­rist below.

Relat­ed con­tent:

What Does “Machi­avel­lian” Real­ly Mean?: An Ani­mat­ed Les­son

How Machi­avel­li Real­ly Thought We Should Use Pow­er: Two Ani­mat­ed Videos Pro­vide an Intro­duc­tion

Salman Rushdie: Machiavelli’s Bad Rap

Intro­duc­tion to Polit­i­cal Phi­los­o­phy: A Free Yale Course

Allan Bloom’s Lec­tures on Machi­avel­li (Boston Col­lege, 1983)

6 Polit­i­cal The­o­rists Intro­duced in Ani­mat­ed “School of Life” Videos: Marx, Smith, Rawls & 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, on Face­book, or on Insta­gram.

 

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