Why Russia Invaded Ukraine: A Useful Primer

Why did Rus­sia launch an unpro­voked war in Ukraine and risk cre­at­ing a wider glob­al con­flict? If you haven’t close­ly tracked the ambi­tions of Vladimir Putin, this primer offers some help­ful con­text. In 30 min­utes, the video cov­ers the geopo­lit­i­cal, eco­nom­ic and envi­ron­men­tal back­sto­ry. As you watch the explain­er, it’s worth keep­ing one thing in mind: For years, Euro­pean nations have long resist­ed bring­ing Ukraine into the NATO fold, pre­cise­ly because they knew it would trig­ger a con­flict with Putin. And there had been no recent plan to revis­it the issue. All of this sug­gests that Putin has high­light­ed the NATO threat (amply dis­cussed in the video) because it would pro­vide him a use­ful pre­text for an inva­sion. There was hard­ly an immi­nent threat.

If you’re look­ing for oth­er ratio­nales not cov­ered by this video, you could focus on two rea­sons pro­vid­ed by Hein Goe­mans, a pro­fes­sor of polit­i­cal sci­ence at the Uni­ver­si­ty of Rochester: Putin “wants to reestab­lish direct­ly or indi­rect­ly, by annex­a­tion or by pup­pet-regimes, a Russ­ian empire—be it the for­mer USSR or Tsarist Rus­sia. A sec­ond pos­si­ble answer has to do with the role of domes­tic Russ­ian pol­i­tics, which the stan­dard lit­er­a­ture on con­flict takes very seri­ous­ly: Putin has seen what hap­pened in some for­mer Sovi­et suc­ces­sor republics and the for­mer Yugoslavia, sev­er­al of which expe­ri­enced ‘Col­or Rev­o­lu­tions’ and democ­ra­tized. Indeed, it was a Col­or Rev­o­lu­tion in Ukraine in 2014, which Putin mis­char­ac­ter­izes as a mil­i­tary coup. He wants to pre­vent more of these rev­o­lu­tions and pre­vent a demo­c­ra­t­ic encir­clement of coun­tries around him, which could pro­vide a safe haven for Russ­ian dis­si­dents who’d be dan­ger­ous to Putin’s polit­i­cal sur­vival. Both of these goals over­lap in the sense that he is seek­ing regime change, which is a dan­ger­ous game.”

For a deep­er dive into the impe­r­i­al ambi­tions of Putin–his attempt to recon­sti­tute the Russ­ian Empire–read this eye-open­ing inter­view with Fiona Hill.

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Relat­ed Con­tent 

West Point Expert Gives Ukraini­ans Advice on Con­duct­ing Effec­tive Urban War­fare Against Russ­ian Troops

Why is Ukraine in Cri­sis?: A Quick Primer For Those Too Embar­rassed to Ask (2014)

Why Putin Wants Alex­ei Naval­ny Dead

Free Online His­to­ry Cours­es 

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Are You a Fascist?: Take Theodor Adorno’s Authoritarian Personality Test Created to Combat Fascism (1947)

A man of var­i­ous accom­plish­ments, Theodor Adorno is per­haps most wide­ly known as the very image of the mid­cen­tu­ry Euro­pean intel­lec­tu­al in exile. After his Jew­ish back­ground got him forced out of Nazi Ger­many, he spent fif­teen years in Eng­land and the Unit­ed States. Despite his geo­graph­i­cal dis­tance from the trou­bles of the Con­ti­nent — and even after the end of the Sec­ond World War — he under­stand­ably remained very much con­cerned with the nature of not just Hitler him­self but all those who sup­port­ed him. This led to such stud­ies as his 1947 essay “Wag­n­er, Niet­zsche and Hitler” as well as (in col­lab­o­ra­tion with Berke­ley researchers Else Frenkel-Brunswik, Daniel Levin­son, and Nevitt San­ford) the 1950 book The Author­i­tar­i­an Per­son­al­i­ty.

The Author­i­tar­i­an Per­son­al­i­ty’s best-known tool to diag­nose the tit­u­lar per­son­al and social con­di­tion is a quan­ti­ta­tive sys­tem called the “Cal­i­for­nia F‑scale” — the F stands for fas­cism — which pro­duces a score based on a sub­jec­t’s response to a set of propo­si­tions. “To cre­ate a per­son­al­i­ty test that actu­al­ly revealed latent author­i­tar­i­an­ism, the researchers had to give up on the idea that there’s a strong link between anti-Semi­tism and author­i­tar­i­an­ism,” writes Ars Tech­ni­ca’s Annalee Newitz. “Though their expe­ri­ences with the Holo­caust sug­gest­ed a causal con­nec­tion between hatred of Jews and the rise of fas­cism, it turned out that peo­ple with author­i­tar­i­an ten­den­cies were more accu­rate­ly described as eth­no­cen­tric.”

These would-be author­i­tar­i­ans also, as Adorno and his col­lab­o­ra­tors’ research found, “tend­ed to dis­trust sci­ence and strong­ly dis­liked the idea of using imag­i­na­tion to solve prob­lems. They pre­ferred to stick to tried-and-true tra­di­tion­al meth­ods of orga­niz­ing soci­ety.” Oth­er ten­den­cies includ­ed “super­sti­tion, aggres­sion, cyn­i­cism, con­ser­vatism, and an inor­di­nate inter­est in the pri­vate sex lives of oth­ers.” All these find­ings informed an F‑scale test which con­sist­ed of the state­ments below. For each state­ment, par­tic­i­pants had to select one of the fol­low­ing options : “Dis­agree Strong­ly,” “Dis­agree Most­ly,” “Dis­agree Some­what,” “Agree Some­what,” “Agree,” or “MostlyA­gree.”

  1. Obe­di­ence and respect for author­i­ty are the most impor­tant virtues chil­dren should learn.
  2. A per­son who has bad man­ners, habits, and breed­ing can hard­ly expect to get along with decent peo­ple.
  3. If peo­ple would talk less and work more, every­body would be bet­ter off.
  4. The busi­ness man and the man­u­fac­tur­er are much more impor­tant to soci­ety than the artist and the pro­fes­sor.
  5. Sci­ence has its place, but there are many impor­tant things that can nev­er be under­stood by the human mind.
  6. Every per­son should have com­plete faith in some super­nat­ur­al pow­er whose deci­sions he obeys with­out ques­tion.
  7. Young peo­ple some­times get rebel­lious ideas, but as they grow up they ought to get over them and set­tle down.
  8. What this coun­try needs most, more than laws and polit­i­cal pro­grams, is a few coura­geous, tire­less, devot­ed lead­ers in whom the peo­ple can put their faith.
  9. No sane, nor­mal, decent per­son could ever think of hurt­ing a close friend or rel­a­tive.
  10. Nobody ever learned any­thing real­ly impor­tant except through suf­fer­ing.
  11. What the youth needs most is strict dis­ci­pline, rugged deter­mi­na­tion, and the will to work and fight for fam­i­ly and coun­try.
  12. An insult to our hon­or should always be pun­ished.
  13. Sex crimes, such as rape and attacks on chil­dren, deserve more than mere impris­on­ment; such crim­i­nals ought to be pub­licly whipped, or worse.
  14. There is hard­ly any­thing low­er than a per­son who does not feel a great love, grat­i­tude, and respect for his par­ents.
  15. Most of our social prob­lems would be solved if we could some­how get rid of the immoral, crooked, and fee­ble­mind­ed peo­ple.
  16. Homo­sex­u­als are hard­ly bet­ter than crim­i­nals and ought to be severe­ly pun­ished.
  17. When a per­son has a prob­lem or wor­ry, it is best for him not to think about it, but to keep busy with more cheer­ful things.
  18. Nowa­days more and more peo­ple are pry­ing into mat­ters that should remain per­son­al and pri­vate.
  19. Some peo­ple are born with an urge to jump from high places.
  20. Peo­ple can be divid­ed into two dis­tinct class­es: the weak and the strong.
  21. Some day it will prob­a­bly be shown that astrol­o­gy can explain a lot of things.
  22. Wars and social trou­bles may some­day be end­ed by an earth­quake or flood that will destroy the whole world.
  23. No weak­ness or dif­fi­cul­ty can hold us back if we have enough will pow­er.
  24. It is best to use some pre­war author­i­ties in Ger­many to keep order and pre­vent chaos.
  25. Most peo­ple don’t real­ize how much our lives are con­trolled by plots hatched in secret places.
  26. Human nature being what it is, there will always be war and con­flict.
  27. Famil­iar­i­ty breeds con­tempt.
  28. Nowa­days when so many dif­fer­ent kinds of peo­ple move around and mix togeth­er so much, a per­son has to pro­tect him­self espe­cial­ly care­ful­ly against catch­ing an infec­tion or dis­ease from them.
  29. The wild sex life of the old Greeks and Romans was tame com­pared to some of the goings-on in this coun­try, even in places where peo­ple might least expect it.
  30. The true Amer­i­can way of life is dis­ap­pear­ing so fast that force may be nec­es­sary to pre­serve it.

You can take the test your­self here. But don’t take it too seri­ous­ly: the F‑scale “has been heav­i­ly crit­i­cized by many psy­chol­o­gists because it is a bet­ter indi­ca­tor of con­ser­vatism, an old-fash­ioned out­look, and a ten­den­cy to say ‘yes’ to any­thing rather than as a mea­sure of author­i­tar­i­an­ism,” write Fer­di­nand A. Gul and John J. Ray in their 1989 paper “Pit­falls in Using the F Scale to Mea­sure Author­i­tar­i­an­ism in Account­ing Research.” That aside, any rea­son­ably intel­li­gent sub­ject can eas­i­ly fig­ure out the motives of the test itself. Nev­er­the­less, as Giz­mod­o’s Esther Inglis-Arkell writes, it offers an occa­sion to con­sid­er whether “you’re super­sti­tious, con­formist, or any oth­er awful thing that will cause you to go out one morn­ing and annex some­thing” — no less a con­cern now, it seems, than it was in Adorno’s day.

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to Theodor Adorno & His Cri­tique of Mod­ern Cap­i­tal­ism

Theodor Adorno’s Rad­i­cal Cri­tique of Joan Baez and the Music of the Viet­nam War Protest Move­ment

Hear Theodor Adorno’s Avant-Garde Musi­cal Com­po­si­tions

Theodor Adorno’s Phi­los­o­phy of Punc­tu­a­tion

Toni Mor­ri­son Lists the 10 Steps That Lead Coun­tries to Fas­cism (1995)

Umber­to Eco Makes a List of the 14 Com­mon Fea­tures of Fas­cism

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.

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Hannah Arendt Explains How Propaganda Uses Lies to Erode All Truth & Morality: Insights from The Origins of Totalitarianism

Image by Bernd Schwabe, via Wiki­me­dia Com­mons

At least when I was in grade school, we learned the very basics of how the Third Reich came to pow­er in the ear­ly 1930s. Para­mil­i­tary gangs ter­ror­iz­ing the oppo­si­tion, the incom­pe­tence and oppor­tunism of Ger­man con­ser­v­a­tives, the Reich­stag Fire. And we learned about the crit­i­cal impor­tance of pro­pa­gan­da, the delib­er­ate mis­in­form­ing of the pub­lic in order to sway opin­ions en masse and achieve pop­u­lar sup­port (or at least the appear­ance of it). While Min­is­ter of Pro­pa­gan­da Joseph Goebbels purged Jew­ish and left­ist artists and writ­ers, he built a mas­sive media infra­struc­ture that played, writes PBS, “prob­a­bly the most impor­tant role in cre­at­ing an atmos­phere in Ger­many that made it pos­si­ble for the Nazis to com­mit ter­ri­ble atroc­i­ties against Jews, homo­sex­u­als, and oth­er minori­ties.”

How did the minor­i­ty par­ty of Hitler and Goebbels take over and break the will of the Ger­man peo­ple so thor­ough­ly that they would allow and par­tic­i­pate in mass mur­der? Post-war schol­ars of total­i­tar­i­an­ism like Theodor Adorno and Han­nah Arendt asked that ques­tion over and over, for sev­er­al decades after­ward. Their ear­li­est stud­ies on the sub­ject looked at two sides of the equa­tion. Adorno con­tributed to a mas­sive vol­ume of social psy­chol­o­gy called The Author­i­tar­i­an Per­son­al­i­ty, which stud­ied indi­vid­u­als pre­dis­posed to the appeals of total­i­tar­i­an­ism. He invent­ed what he called the F‑Scale (“F” for “fas­cism”), one of sev­er­al mea­sures he used to the­o­rize the Author­i­tar­i­an Per­son­al­i­ty Type.

Arendt, on the oth­er hand, looked close­ly at the regimes of Hitler and Stal­in and their func­tionar­ies, at the ide­ol­o­gy of sci­en­tif­ic racism, and at the mech­a­nism of pro­pa­gan­da in fos­ter­ing “a curi­ous­ly vary­ing mix­ture of gulli­bil­i­ty and cyn­i­cism with which each mem­ber… is expect­ed to react to the chang­ing lying state­ments of the lead­ers.” So she wrote in her 1951 Ori­gins of Total­i­tar­i­an­ism, going on to elab­o­rate that this “mix­ture of gulli­bil­i­ty and cyn­i­cism… is preva­lent in all ranks of total­i­tar­i­an move­ments”:

In an ever-chang­ing, incom­pre­hen­si­ble world the mass­es had reached the point where they would, at the same time, believe every­thing and noth­ing, think that every­thing was pos­si­ble and noth­ing was true… The total­i­tar­i­an mass lead­ers based their pro­pa­gan­da on the cor­rect psy­cho­log­i­cal assump­tion that, under such con­di­tions, one could make peo­ple believe the most fan­tas­tic state­ments one day, and trust that if the next day they were giv­en irrefutable proof of their false­hood, they would take refuge in cyn­i­cism; instead of desert­ing the lead­ers who had lied to them, they would protest that they had known all along that the state­ment was a lie and would admire the lead­ers for their supe­ri­or tac­ti­cal clev­er­ness.

Why the con­stant, often bla­tant lying? For one thing, it func­tioned as a means of ful­ly dom­i­nat­ing sub­or­di­nates, who would have to cast aside all their integri­ty to repeat out­ra­geous false­hoods and would then be bound to the leader by shame and com­plic­i­ty. “The great ana­lysts of truth and lan­guage in pol­i­tics”—writes McGill Uni­ver­si­ty polit­i­cal phi­los­o­phy pro­fes­sor Jacob T. Levy—includ­ing “George Orwell, Han­nah Arendt, Vaclav Havel—can help us rec­og­nize this kind of lie for what it is.… Say­ing some­thing obvi­ous­ly untrue, and mak­ing your sub­or­di­nates repeat it with a straight face in their own voice, is a par­tic­u­lar­ly star­tling dis­play of pow­er over them. It’s some­thing that was endem­ic to total­i­tar­i­an­ism.”

Arendt and oth­ers rec­og­nized, writes Levy, that “being made to repeat an obvi­ous lie makes it clear that you’re pow­er­less.” She also rec­og­nized the func­tion of an avalanche of lies to ren­der a pop­u­lace pow­er­less to resist, the phe­nom­e­non we now refer to as “gaslight­ing”:

The result of a con­sis­tent and total sub­sti­tu­tion of lies for fac­tu­al truth is not that the lie will now be accept­ed as truth and truth be defamed as a lie, but that the sense by which we take our bear­ings in the real world—and the cat­e­go­ry of truth ver­sus false­hood is among the men­tal means to this end—is being destroyed.

The epis­te­mo­log­i­cal ground thus pulled out from under them, most would depend on what­ev­er the leader said, no mat­ter its rela­tion to truth. “The essen­tial con­vic­tion shared by all ranks,” Arendt con­clud­ed, “from fel­low trav­el­er to leader, is that pol­i­tics is a game of cheat­ing and that the ‘first com­mand­ment’ of the move­ment: ‘The Fuehrer is always right,’ is as nec­es­sary for the pur­pos­es of world pol­i­tics, i.e., world-wide cheat­ing, as the rules of mil­i­tary dis­ci­pline are for the pur­pos­es of war.”

“We too,” writes Jef­frey Isaacs at The Wash­ing­ton Post, “live in dark times”—an allu­sion to anoth­er of Arendt’s sober­ing analy­ses—“even if they are dif­fer­ent and per­haps less dark.” Arendt wrote Ori­gins of Total­i­tar­i­an­ism from research and obser­va­tions gath­ered dur­ing the 1940s, a very spe­cif­ic his­tor­i­cal peri­od. Nonethe­less the book, Isaacs remarks, “rais­es a set of fun­da­men­tal ques­tions about how tyran­ny can arise and the dan­ger­ous forms of inhu­man­i­ty to which it can lead.” Arendt’s analy­sis of pro­pa­gan­da and the func­tion of lies seems par­tic­u­lar­ly rel­e­vant at this moment. The kinds of bla­tant lies she wrote of might become so com­mon­place as to become banal. We might begin to think they are an irrel­e­vant sideshow. This, she sug­gests, would be a mis­take.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

Relat­ed Con­tent:

The Ori­gins of the Word “Gaslight­ing”: Scenes from the 1944 Film Gaslight

Han­nah Arendt Explains Why Democ­ra­cies Need to Safe­guard the Free Press & Truth … to Defend Them­selves Against Dic­ta­tors and Their Lies

Han­nah Arendt’s Orig­i­nal Arti­cles on “the Banal­i­ty of Evil” in the New York­er Archive

Enter the Han­nah Arendt Archives & Dis­cov­er Rare Audio Lec­tures, Man­u­scripts, Mar­gin­a­lia, Let­ters, Post­cards & More

Han­nah Arendt Dis­cuss­es Phi­los­o­phy, Pol­i­tics & Eich­mann in Rare 1964 TV Inter­view

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

The New Herbal: A Masterpiece of Renaissance Botanical Illustrations Gets Republished in a Beautiful 900-Page Book

We’ve all have heard of the fuch­sia, a flower (or genus of flow­er­ing plant) native to Cen­tral and South Amer­i­ca but now grown far and wide. Though even the least botan­i­cal­ly lit­er­ate among us know it, we may have occa­sion­al trou­ble spelling its name. The key is to remem­ber who the fuch­sia was named for: Leon­hart Fuchs, a Ger­man physi­cian and botanist of the six­teenth cen­tu­ry. More than 450 years after his death, Fuchs is remem­bered as not just the name­sake of a flower, but as the author of an enor­mous book detail­ing the vari­eties of plants and their med­i­c­i­nal uses. His was a land­mark achieve­ment in the form known as the herbal, exam­ples of which we’ve fea­tured here on Open Cul­ture from ninth- and eigh­teenth-cen­tu­ry Eng­land.

But De His­to­ria Stir­pi­um Com­men­tarii Insignes, as this work was known upon its ini­tial 1542 pub­li­ca­tion in Latin, has worn uncom­mon­ly well through the ages. Or rather, Fuchs’ per­son­al, hand-col­ored orig­i­nal has, com­ing down to us in 2022 as the source for Taschen’s The New Herbal. “A mas­ter­piece of Renais­sance botany and pub­lish­ing,” accord­ing to the pub­lish­er, the book includes “over 500 illus­tra­tions, includ­ing the first visu­al record of New World plant types such as maize, cac­tus, and tobac­co.”

Buy­ers also have their choice of Eng­lish, Ger­man, and French edi­tions, each with its own trans­la­tions of Fuchs’ “essays describ­ing the plants’ fea­tures, ori­gins, and med­i­c­i­nal pow­ers.” (You can also read a Dutch ver­sion of the orig­i­nal online at Utrecht Uni­ver­si­ty Library Spe­cial Col­lec­tions.)

Nat­u­ral­ly, some of the infor­ma­tion con­tained in these near­ly five-cen­tu­ry-old sci­en­tif­ic writ­ings will be a bit dat­ed at this point, but the appeal of the illus­tra­tions has nev­er dimmed. “Fuchs pre­sent­ed each plant with metic­u­lous wood­cut illus­tra­tions, refin­ing the abil­i­ty for swift species iden­ti­fi­ca­tion and set­ting new stan­dards for accu­ra­cy and qual­i­ty in botan­i­cal pub­li­ca­tions.” Over 500 of them go into the book: “Weigh­ing more than 10 pounds,” writes Colos­sal’s Grace Ebert, “the near­ly 900-page vol­ume is an ode to Fuchs’ research and the field of Renais­sance botany, detail­ing plants like the leafy gar­den bal­sam and root-cov­ered man­drake.”

Taschen’s repro­duc­tions of these works of botan­i­cal art look to do jus­tice to Leon­hart Fuchs’ lega­cy, espe­cial­ly in the bril­liance of their col­ors. It’s enough to rein­force the assump­tion that the man has received trib­ute not just through fuch­sia the flower but fuch­sia the col­or as well. But such a dual con­nec­tion turns out to be in doubt: the col­or’s name derives from rosani­line hydrochlo­ride, also known as fuch­sine, orig­i­nal­ly a trade name applied by its man­u­fac­tur­er Renard frères et Franc. The name fus­chine, in turn, derives from fuchs, the Ger­man trans­la­tion of renard. The New Herbal is, of course, a work of botany rather than lin­guis­tics, but it should nev­er­the­less stim­u­late in its behold­ers an aware­ness of the inter­con­nec­tion of knowl­edge that fired up the Renais­sance mind.

via Colos­sal

Relat­ed con­tent:

Two Mil­lion Won­drous Nature Illus­tra­tions Put Online by The Bio­di­ver­si­ty Her­itage Library

Dis­cov­er Emi­ly Dickinson’s Herbar­i­um: A Beau­ti­ful Dig­i­tal Edi­tion of the Poet’s Col­lec­tion of Pressed Plants & Flow­ers Is Now Online

A Beau­ti­ful 1897 Illus­trat­ed Book Shows How Flow­ers Become Art Nou­veau Designs

His­toric Man­u­script Filled with Beau­ti­ful Illus­tra­tions of Cuban Flow­ers & Plants Is Now Online (1826)

A Curi­ous Herbal: 500 Beau­ti­ful Illus­tra­tions of Med­i­c­i­nal Plants Drawn by Eliz­a­beth Black­well in 1737 (to Save Her Fam­i­ly from Finan­cial Ruin)

1,000-Year-Old Illus­trat­ed Guide to the Med­i­c­i­nal Use of Plants Now Dig­i­tized & Put Online

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.

When Eartha Kitt Spoke Truth to Power at a 1968 White House Luncheon

Actress Eartha Kitt amassed dozens of stage and screen cred­its, but is per­haps most fond­ly remem­bered for her icon­ic turn as Cat­woman in the Bat­man TV series, a role she took over from white actress Julie New­mar.

The pro­duc­ers con­grat­u­lat­ed them­selves on this “provoca­tive, off-beat” cast­ing, exec­u­tives at net­work affil­i­ates in South­ern states expressed out­rage, and Kit­t’s 9‑year-old daugh­ter, Kitt Shapiro,  under­stood that her moth­er’s new gig was a “real­ly big deal.”

As Shapiro recalled to Clos­er Week­ly:

This was 1967, and there were no women of col­or at that time wear­ing skintight body­suits, play­ing oppo­site a white male with sex­u­al ten­sion between them! She knew the impor­tance of the role and she was proud of it. She real­ly is a part of his­to­ry. She was one of the first real­ly beau­ti­ful black women — her, Lena Horne, Dorothy Dan­dridge — who were allowed to be sexy with­out being stereo­typed. It does take a vil­lage, but I do think she helped blaze a trail.

Eartha Kitt was a trail­blaz­er in oth­er ways too.

Cat­woman vs. the White House, direc­tor Scott Caloni­co’s short doc­u­men­tary for the New York­er (above), uses vin­tage pho­tos, clip­pings and footage to relate how Kitt dis­rupt­ed a White House lun­cheon the month after her Bat­man debut, tak­ing Pres­i­dent Lyn­don B. John­son to task over the hard­ships faced by work­ing par­ents.

John­son was clear­ly under the impres­sion that he was swing­ing by the White House Fam­i­ly Din­ing Room as a favor to his wife, Lady Bird, who was host­ing 50 guests for the Women Doers’ Lun­cheon. The theme of the lun­cheon was “What Cit­i­zens Can Do to Help Insure Safe Streets.”

Chair­man of the Nation­al Coun­cil on the Arts Roger Stevens had sug­gest­ed that Kitt or actress Ruby Dee would be fine addi­tions to the guest list in recog­ni­tion for their activism with urban youth.

As Janet Mez­za­ck details in her Pres­i­den­tial Stud­ies Quar­ter­ly arti­cle, “With­out Man­ners You Are Noth­ing”: Lady Bird John­son, Eartha Kitt, and The Women Doers’ Lun­cheon of Jan­u­ary 18, 1968, Kitt had an impres­sive track record of vol­un­teerism.

She taught dance to Black chil­dren who could not afford lessons, tes­ti­fied before the House Gen­er­al Sub­com­mit­tee on Edu­ca­tion on behalf of the DC youth-led Rebels with a Cause, and estab­lished a non-prof­it orga­ni­za­tion in Watts where under­priv­i­leged youth stud­ied tra­di­tion­al African and mod­ern dance and “learned about per­son­al­i­ty devel­op­ment, poise, groom­ing, dic­tion, and phys­i­cal fit­ness.”

She was being vet­ted for a seat on Pres­i­dent John­son’s Cit­i­zens Advi­so­ry Board on Youth Oppor­tu­ni­ty, chaired by Vice Pres­i­dent Hubert Humphrey.

Sure­ly, a dream guest!

Mez­za­ck writes:


Hav­ing select­ed Kitt as a guest for the upcom­ing lun­cheon, FBI clear­ance checks were con­duct­ed on her and oth­er prospec­tive guests at the White House. The FBI cleared her through nor­mal chan­nels. Because of pre­vi­ous embar­rass­ing sit­u­a­tions involv­ing enter­tain­ers invit­ed to White House func­tions, inquiries also were made of Roger Stevens office to deter­mine if Kitt would “do any­thing to embar­rass” the White House, “and the answer was no.”

Call it embar­rass­ment for a good cause.

John­son was unpre­pared for spon­ta­neous inter­ac­tion as hard hit­ting as Kitt’s, when she stood up to say:

Mr. Pres­i­dent, you asked about delin­quen­cy across the Unit­ed States, which we are all inter­est­ed in and that’s why we’re here today. But what do we do about delin­quent par­ents? The par­ents who have to go to work, for instance, who can’t spend the time with their chil­dren that they should. This is, I think, our main prob­lem. What do we do with the chil­dren then, when the par­ents are off work­ing?

Fum­bling for an answer, John­son inti­mat­ed that the male pol­i­cy­mak­ers behind recent Social Secu­ri­ty Amend­ments that could off­set costs of day­care were “real­ly not the best judges of how to han­dle chil­dren.”

Per­haps Miss Kitt would like to take her con­cerns with the oth­er women in atten­dance?

Under­stand­ably, Kitt seethed, and con­tin­ued the con­ver­sa­tion by con­fronting the First Lady over the war in Viet­nam.

Direc­tor Caloni­co tog­gles between Kitt’s rec­ol­lec­tions of the exchange and excerpts from Mrs. Johnson’s White House audio diary, cob­bling togeth­er a recon­struc­tion that is sure­ly faith­ful to the spir­it of the thing, if not exact­ly word for word:

Kit­t’s words as recalled by Mrs. John­son:

You send the best in this coun­try off to be shot and maimed. They rebel in the street. They will take pot and get high. They don’t want to go to school because they’re going to be snatched off from their moth­ers to be shot in Viet­nam.

Kit­t’s words as recalled by the speak­er her­self:

Mrs. John­son, you are a moth­er too, although you have had daugh­ters and not sons. I am a moth­er and I know the feel­ing of hav­ing a baby come out of my gut. I have a baby and then you send him off to war. No won­der the kids rebel and take pot, and Mrs. John­son, in case you don’t under­stand the lin­go, that’s mar­i­jua­na.

That last com­ment seems fun­ny now, and Calan­i­co can’t resist infus­ing fur­ther dark humor with a shot of a masked Kitt tool­ing around in Catwoman’s campy Kit­ty­car as the actress describes how the White House can­celled her ride home from the lun­cheon.

The next day’s news­pa­pers were full of emo­tion­al­ly charged reports as to how Kitt’s remarks had left the host­ess “stunned to tears” — a descrip­tion both par­tic­i­pants resist­ed.

With­in weeks, North Viet­nam launched the Tet Offen­sive, and John­son announced he would not seek reelec­tion.

Mean­while Kitt’s out­spo­ken­ness at the lun­cheon cast an instan­ta­neous chill on her career, state­side.

She spent the next decade per­form­ing in Europe, unaware that the CIA had opened a file on her, com­pil­ing infor­ma­tion from con­fi­den­tial sources in Paris and New York City as to her “loose morals.”

Her response to the most out­ra­geous alle­ga­tions in that file should make life­long fans of fem­i­nists who were bare­ly out of dia­pers when Halle Berry slipped into Catwoman’s skintight paja­mas.

Caloni­co is right to punc­tu­ate this with Kitt’s tri­umphant growl.

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

What Made Botticelli’s The Birth of Venus a Revolutionary Painting

The Birth of Venus, we often hear, depicts the ide­al woman. Yet half a mil­len­ni­um after San­dro Bot­ti­cel­li paint­ed it, how many of us whose tastes run to the female form real­ly see it that way? “I’ve always been struck by how Venus is strange­ly asex­u­al, and her nudi­ty is clin­i­cal,” says gal­lerist James Payne, cre­ator of the Youtube chan­nel Great Art Explained. “Maybe that’s because she rep­re­sents sex as a nec­es­sary func­tion: sex for pro­cre­ation, the ulti­mate goal in a dynas­tic mar­riage.” This, safe to say, isn’t the sort of thing that gets most of us going in the 21st cen­tu­ry. But this famous paint­ing does some­thing more impor­tant than to show us a naked woman: it reveals, as Payne puts it in a new video essay, “a dra­mat­ic shift in west­ern art.”

If you accept the def­i­n­i­tion of the Renais­sance that has it start in the 15th cen­tu­ry, The Birth of Venus’ com­ple­tion in the 1480s makes it quite an ear­ly Renais­sance art­work indeed. In that peri­od, “a renewed inter­est in ancient Gre­co-Roman cul­ture led to an intel­lec­tu­al and artis­tic rebirth, a rise in human­ist phi­los­o­phy, and rad­i­cal changes in ideas about reli­gion, pol­i­tics, and sci­ence.”

In art, Bot­ti­cel­li bridged “the gap between medieval Goth­ic art and the emerg­ing human­ism.” In the Mid­dle Ages, Chris­tian­i­ty’s dom­i­nance had been total, but “the Renais­sance gave artists like Bot­ti­cel­li free­dom to explore new sub­ject mat­ter, albeit with­in a Chris­t­ian frame­work.” At the time, “the idea that art could be for plea­sure, and not just to serve God, was new and rad­i­cal.”

Bot­ti­cel­li’s “inclu­sion of a near-life-sized female nude was unprece­dent­ed in West­ern art,” and under­scored her ori­gin in not Chris­t­ian scrip­ture but Greek myth. With her “stat­ue-like pose” and alabaster skin, Venus “is unre­al, an ide­al­ized fig­ure not bound by actu­al laws,” but her shy self-cov­er­ing “makes voyeurs of us all.” Bot­ti­cel­li, in his reli­gious­ness, could have been “depict­ing Venus as an emblem of sacred or divine love,” but his genius lay in his abil­i­ty “to take a pagan sto­ry, a nude female, and make them accept­able to con­tem­po­rary Chris­t­ian think­ing.” Chaste and untouch­able though the god­dess may look in his ren­der­ing, knowl­edge of the paint­ing’s dar­ing, almost sub­ver­sive con­cep­tion makes it more excit­ing to behold. A bit of con­text, as Payne well knows, always gives art a charge.

Relat­ed con­tent:

Botticelli’s 92 Sur­viv­ing Illus­tra­tions of Dante’s Divine Com­e­dy (1481)

Ter­ry Gilliam Explains His Nev­er-End­ing Fas­ci­na­tion with Botticelli’s “The Birth of Venus”

Michelangelo’s David: The Fas­ci­nat­ing Sto­ry Behind the Renais­sance Mar­ble Cre­ation

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

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

How Quentin Tarantino Remixes History: A Brief Study of Once Upon a Time… in Hollywood

For more than two hours, Quentin Taran­ti­no’s Once Upon a Time… in Hol­ly­wood builds up to the Man­son mur­ders. Or rather, it seems to be build­ing up to the Man­son mur­ders, but then takes a sharp turn on Cielo Dri­ve; when the cred­its roll, the real-life killers are dead and the real-life vic­tims alive. Such revi­sion­ist revenge is of a piece with oth­er recent Taran­ti­no pic­tures like Inglou­ri­ous Bas­ter­ds, which ends with the mas­sacre of Hitler and Goebbels, among oth­er Nazis, and Djan­go Unchained, where­in the tit­u­lar slave lays waste to the house of the mas­ter. Long well known for bor­row­ing from oth­er movies, Taran­ti­no seems to have found just as rich a source of mate­r­i­al in his­to­ry books.

Once Upon a Time… in Hol­ly­wood “cre­ates a new sto­ry using exist­ing char­ac­ters and sit­u­a­tions, and many of them just hap­pen to be real.” So says Kir­by Fer­gu­son in the video essay above, “Taran­ti­no’s Copy­ing: Then Vs. Now.” The film’s large cast of sec­ondary char­ac­ters includes such 1960s celebri­ties as Steve McQueen and Bruce Lee, as well as count­less oth­er fig­ures rec­og­niz­able main­ly to the direc­tor’s fel­low pop-cul­ture obses­sives.

Also por­trayed is Charles Man­son and the ragged young mem­bers of the “Man­son Fam­i­ly” recruit­ed to do his bid­ding, as well as are their intend­ed vic­tims of the night of August 8, 1969, most promi­nent­ly the actress Sharon Tate. It is she, Fer­gu­son argues, who ties togeth­er Once Upon a Time… in Hol­ly­wood’s var­i­ous threads of fact and fic­tion.

Leonar­do DiCapri­o’s washed-up actor Rick Dal­ton and Brad Pit­t’s black­list­ed stunt­man Cliff Booth, the film’s main char­ac­ters, are whol­ly Taran­tin­ian cre­ations. 26 years old and preg­nant with the child of her hus­band Roman Polan­s­ki (a ver­sion of whom also shows up in one scene), the ris­ing Tate shares a méti­er with Dal­ton, and when the Man­son fam­i­ly come for her in the film, they end up face-to-face with Booth (much to their mis­for­tune), “but unlike both of them, she is a real per­son, and what is depict­ed of her is, broad­ly speak­ing, true.” Using these char­ac­ters real and imag­ined, Taran­ti­no “takes a dark, fright­en­ing, and just crush­ing­ly sad real­i­ty and gives it a hap­py end­ing with bru­tal ret­ri­bu­tion.” For all the post­mod­ern bor­row­ing and shuf­fled sto­ry­telling that launched him into Hol­ly­wood, the man knows how to give audi­ences just what they want — and some­how to sur­prise them even as he does it.

Relat­ed con­tent:

A Deep Study of the Open­ing Scene of Quentin Tarantino’s Inglou­ri­ous Bas­ter­ds

How Quentin Taran­ti­no Steals from Oth­er Movies: A Video Essay

Quentin Tarantino’s Copy­cat Cin­e­ma: How the Post­mod­ern Film­mak­er Per­fect­ed the Art of the Steal

Quentin Tarantino’s Once Upon a Time… In Hol­ly­wood Exam­ined on Pret­ty Much Pop #12

Quentin Taran­ti­no Releas­es His First Nov­el: A Pulpy Nov­el­iza­tion of Once Upon a Time… in Hol­ly­wood

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.

3,200-Year-Old Egyptian Tablet Records Excuses for Why People Missed Work: “The Scorpion Bit Him,” “Brewing Beer” & More

Image via The British Muse­um 

We mar­vel today at what we con­sid­er the won­ders of ancient Egypt, but at some point, they all had to have been built by peo­ple more or less like our­selves. (This pre­sumes, of course, that you’ve ruled out all the myr­i­ad the­o­ries involv­ing super­nat­ur­al beings or aliens from out­er space.) Safe to say that, when­ev­er in human his­to­ry work has been done, work has been skipped, espe­cial­ly when that work is per­formed by large groups. It would’ve tak­en great num­bers indeed to build the pyra­mids, but even less colos­sal­ly scaled tombs could­n’t have been built alone. And when a tomb-builder took the day off, he need­ed an excuse suit­able to be writ­ten in stone — on at any rate, on stone.

“Ancient Egypt­ian employ­ers kept track of employ­ee days off in reg­is­ters writ­ten on tablets,” writes Madeleine Muz­dakis at My Mod­ern Met. One such arti­fact “held by the British Muse­um and dat­ing to 1250 BCE is an incred­i­ble win­dow into ancient work-life bal­ance.” Called ostra­ca, these tablets were made of “flakes of lime­stone that were used as ‘notepads’ for pri­vate let­ters, laun­dry lists, records of pur­chas­es, and copies of lit­er­ary works,” accord­ing to Egyp­tol­o­gist Jen­nifer Bab­cock.

Dis­cov­ered along with thou­sands of oth­ers in the tomb builder’s vil­lage of Deir el-Med­i­na, this par­tic­u­lar ostra­con, on view at the British Muse­um’s web site, offers a rich glimpse into the lives of that trade’s prac­ti­tion­ers. Over the 280-day peri­od cov­ered by this 3,200-year-old ostra­con, com­mon excus­es for absence include “brew­ing beer” and “his wife was bleed­ing.”

Beer, Muz­dakis explains, “was a dai­ly for­ti­fy­ing drink in Egypt and was even asso­ci­at­ed with gods such as Hathor. As such, brew­ing beer was a very impor­tant activ­i­ty.” And alarm­ing though that “bleed­ing” may sound, the ref­er­ence is to men­stru­a­tion: “Clear­ly men were need­ed on the home front to pick up some slack dur­ing this time. While one’s wife men­stru­at­ing is not an excuse one hears nowa­days, cer­tain­ly the ancients seem to have had a sim­i­lar work-life jug­gling act to per­form.” Most of us today pre­sum­ably have it eas­i­er than did the aver­age ancient Egypt­ian labor­er, or even arti­san. Depend­ing on where you live, maybe you, too, could call in sick to work with the excuse of hav­ing been bit­ten by a scor­pi­on. But how well would it fly if you were to plead the need to feast, to embalm your broth­er, or to make an offer­ing to a god?

via My Mod­ern Met

Relat­ed con­tent:

A 4,000-Year-Old Stu­dent ‘Writ­ing Board’ from Ancient Egypt (with Teacher’s Cor­rec­tions in Red)

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

An Ancient Egypt­ian Home­work Assign­ment from 1800 Years Ago: Some Things Are Tru­ly Time­less

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Orig­i­nal Col­ors Still In It

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

Won­ders of Ancient Egypt: A Free Online Course from the Uni­ver­si­ty of Penn­syl­va­nia

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.

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