Malcolm Gladwell Asks Hard Questions about Money & Meritocracy in American Higher Education: Stream 3 Episodes of His New Podcast

gladwell education

Image by Kris Krüg, via Flickr Com­mons

Mal­colm Gladwell’s Revi­sion­ist His­to­ry pod­cast kicked off this sum­mer and in his very first episode, he took on the ques­tion of how women have bro­ken into male-dom­i­nat­ed fields, and the many rea­sons that so often hasn’t hap­pened. Hav­ing set this tone, Glad­well asks in a more recent inquiry—a three-part series span­ning Episodes 4 through 7—a sim­i­lar ques­tion about what we might call mer­i­toc­ra­cy in edu­ca­tion, a val­ue fun­da­men­tal to lib­er­al democ­ra­cy, how­ev­er that’s inter­pret­ed. As Glad­well puts it in “Car­los Doesn’t Remem­ber,” “This is what civ­i­lized soci­eties are sup­posed to do: to pro­vide oppor­tu­ni­ties for peo­ple to make the most of their abil­i­ty. So that if you’re born poor, you can move up. If you work hard, you can improve your life.”

Over some sen­ti­men­tal, home­spun orches­tra­tion, Glad­well points out that Amer­i­cans have told our­selves that this is our birthright, “that every kid can become pres­i­dent.” We have seen our­selves this way despite the fact that at the country’s ori­gin, high­er offices were sole­ly the prop­er­ty of prop­er­tied men, a small minor­i­ty even then. Lest we for­get, for all their good inten­tions, Ben Franklin’s Poor Richard’s Almanack and lat­er col­lec­tion, “The Way to Wealth,” were writ­ten as satires, “relent­less­ly scathing social and polit­i­cal com­men­tary,” writes Jill Lep­ore, that mock wish­ful think­ing and exag­ger­at­ed ambi­tion even as they offer help­ful hints for orga­nized, dili­gent liv­ing. Amer­i­cans, the more cyn­i­cal of us might think, have always believed impos­si­ble things, and the myth of mer­i­toc­ra­cy is one of them.

But Glad­well, skim­ming past the cul­tur­al his­to­ry, wants to gen­uine­ly ask the ques­tion, “is it true? Is the sys­tem geared to serve the poor smart kid, or the rich smart kid?” Apart from our beliefs and polit­i­cal ide­olo­gies, what can we real­ly say about what he calls, in eco­nom­ics terms, “the rate of cap­i­tal­iza­tion” in the U.S.? This num­ber, Glad­well explains, mea­sures “the per­cent­age of peo­ple in any group who are able to reach their poten­tial.” Bet­ter than “its GDP, or its growth rate, or its per-capi­ta income,” a society’s cap­i­tal­iza­tion rate, he says, allows us to judge “how suc­cess­ful and just” a coun­try is—and in the case of the U.S. in par­tic­u­lar, how much it lives up to its ideals.

The first episode in the series (Episode 4 of the pod­cast, stream it above) intro­duces us to Gladwell’s first sub­ject, Car­los, a very bright high school stu­dent in Los Ange­les, and Eric Eis­ner, a retired enter­tain­ment lawyer who devotes his time to scout­ing out tal­ent­ed kids from low income fam­i­lies and help­ing them get into pri­vate schools. Eis­ner did exact­ly that for Car­los, find­ing him a place in an upscale pri­vate Brent­wood school in the fifth grade. Ear­ly in Gladwell’s inter­view with Car­los, the ques­tion of what James Heck­man at Boston Review iden­ti­fies as the “non-cog­ni­tive char­ac­ter­is­tics” that inhib­it social suc­cess comes up. These are as often “phys­i­cal and men­tal health” and the soft skills of social inter­ac­tion as they are access to some­thing as seem­ing­ly mun­dane as a pair of ten­nis shoes that fit.

Car­los, a “real­ly, real­ly gift­ed kid,” Glad­well reit­er­ates, can­not make it into and through the com­pli­cat­ed social sys­tem of pri­vate school with­out Eis­ner, who bought him new ten­nis shoes, and who pro­vides oth­er mate­r­i­al and social forms of sup­port for the stu­dents he men­tors. Stu­dents like Car­los, Glad­well argues, need not only men­tors, but patrons in the mold of an ancient Roman patri­cian: “not just any advo­cate: a high-pow­ered guy with lots of con­nec­tions, who can get you in and watch over you.” The key to class mobil­i­ty, in oth­er words, lies with the arbi­trary noblesse oblige of those who have already made it, gen­er­al­ly with some con­sid­er­able advan­tages of their own. The remain­der of the episode explores the obvi­ous and non-obvi­ous prob­lems with this mod­ern-day patron­age sys­tem.

In “Food Fight,” the next part of the mini-series on “cap­i­tal­iza­tion,” Glad­well and his col­leagues open the door on the world of pres­ti­gious lib­er­al arts col­leges’ din­ing ser­vices, start­ing at Bow­doin Col­lege in Maine, a place where the food ser­vices are “in a whole dif­fer­ent class.” Bowdoin’s excel­lent food, Glad­well argues, rep­re­sents a “moral prob­lem.” To help us under­stand, he makes a direct com­par­i­son with Bowdoin’s elite com­peti­tor, Vas­sar Col­lege, whose stu­dent din­ing is more in line with what most of us expe­ri­enced at col­lege; in one student’s under­stat­ed phrase, there’s “room for improve­ment.” What the food com­par­i­son illus­trates is this: when many elite insti­tu­tions dou­bled their finan­cial aid bud­gets a decade or so ago to increase enroll­ment of low-income stu­dents, oth­er bud­get lines, so Vassar’s pres­i­dent claims, took such a hit that food, facil­i­ties, and oth­er ser­vices suf­fered.

Vassar’s cur­rent pres­i­dent trans­formed the stu­dent body from pri­mar­i­ly full-tuition-pay­ing stu­dents to pri­mar­i­ly stu­dents “who pay very lit­tle.” The egal­i­tar­i­an move means the col­lege must lean too heav­i­ly on its endow­ment and on the pay­ing stu­dents. Glad­well doesn’t delve into what we’ve also been hear­ing about for at least the last decade: as insti­tu­tions like Vas­sar accept and fund increas­ing num­bers of low-income stu­dents, oth­er schools charged legal­ly with pro­vid­ing for the pub­lic good, like the Uni­ver­si­ty of Cal­i­for­nia sys­tem, have raised tuition to lev­els unaf­ford­able to thou­sands of prospec­tive stu­dents.

Col­leges across the coun­try may have raised tuition rates to their cur­rent astro­nom­i­cal lev­els in part to bet­ter fund poor­er appli­cants, but they have also faced stiff crit­i­cism for spend­ing huge amounts on ath­let­ics, build­ing projects, and exor­bi­tant admin­is­tra­tive salaries. The food com­par­i­son presents us with an either/or sce­nario, but the moral prob­lem inhab­its a much gray­er real­i­ty than Glad­well acknowl­edges. Like­wise, in the sto­ry of Car­los, we come to under­stand why smart kids from poor neigh­bor­hoods face so many imped­i­ments once they arrive at elite insti­tu­tions. But we don’t hear about why so many poor kids fail to achieve at all due to what what Heck­man calls “the prin­ci­ple source of inequal­i­ty today”—children born into pover­ty begin life at a severe dis­ad­van­tage from the very start, lead­ing to social divi­sions of the “skilled and unskilled” even in ear­ly child­hood.

We do get a broad­er pic­ture in the final episode in the series, “My Lit­tle Hun­dred Mil­lions,” in which Glad­well looks into anoth­er moral prob­lem: In the sto­ry of Hen­ry Rowan, who in the ear­ly ‘90s donat­ed $100 mil­lion to a tiny uni­ver­si­ty in New Jer­sey, we see a stark con­trast to the way most phil­an­thropists oper­ate, almost as a rule mak­ing their gen­er­ous gifts to elite, already wealthy schools like Har­vard, Stan­ford, and Yale. This sys­tem of phil­an­thropy per­pet­u­ates inequal­i­ty in high­er edu­ca­tion and keeps elite insti­tu­tions elite, even as—in places like Vassar—it gives them the reserve cap­i­tal they need to fund low­er-income stu­dents. Like any com­plex insti­tu­tion­al sys­tem with a long, tan­gled his­to­ry of exclu­sion and priv­i­lege, high­er edu­ca­tion in the U.S. offers us a very good mod­el for study­ing inequal­i­ty.

To hear Glad­well’s full assess­ment of mer­i­toc­ra­cy or “cap­i­tal­iza­tion,” you’ll need to lis­ten to the full series as it builds on each exam­ple to make its larg­er point. Each episode’s web­page also includes links to ref­er­ence doc­u­ments and fea­tured books so that you can con­tin­ue the inves­ti­ga­tion on your own, cor­rect­ing for the podcast’s blind spots and bias­es. What Gladwell’s series does well, as do many of his pop soci­o­log­i­cal best­sellers, is give us con­crete exam­ples that run up against many of our abstract pre­con­cep­tions. It’s an inter­est­ing approach—structuring an extend­ed look at excep­tion­al­ism and its prob­lems around three excep­tion­al cas­es. But it is these cas­es, with all their com­pli­ca­tions and com­plex­i­ty, that often get lost in over-gen­er­al­ized dis­cus­sions about high­er edu­ca­tion and the myths and real­i­ties of social mobil­i­ty.

Relat­ed Con­tent:

Mal­colm Glad­well Has Launched a New Pod­cast, Revi­sion­ist His­to­ry: Hear the First Episode

Mal­colm Glad­well: Tax­es Were High and Life Was Just Fine

Mal­colm Glad­well: What We Can Learn from Spaghet­ti Sauce

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

The Last Bookstore: A Short Documentary on Perseverance & the Love of Books

It takes some guts to open an inde­pen­dent, bricks-and-mor­tar book­store these days. But that’s what Josh Spencer did. He’s the pro­pri­etor of “The Last Book­store,” the play­ful­ly-named shop locat­ed in down­town Los Ange­les.

The short doc­u­men­tary above takes you into Josh’s world. And it tells the sto­ry of per­se­ver­ance. Straight­away, you dis­cov­er that Josh is a para­plegic. He sur­vived a ter­ri­ble acci­dent, bat­tled depres­sion, and spent time liv­ing on wel­fare and food stamps. Then, he per­se­vered. The Last Book­store flour­ish­es while so many indie book­stores floun­der. If you’re in LA, pay The Last Book­store a vis­it. Find their loca­tion here.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

A Secret Book­store in a New York City Apart­ment: The Last of a Dying Breed

What Are the Most Stolen Books? Book­store Lists Fea­ture Works by Muraka­mi, Bukows­ki, Bur­roughs, Von­negut, Ker­ouac & Palah­niuk

Test Your Lit­er­ary Met­tle: Take a 50 Ques­tion Quiz from The Strand Book­store

Watch “Traffic Stop,” an Emmy-Nominated, Animated Film About a Traffic Stop Gone Horribly Wrong

As the Black Lives Mat­ter move­ment has come to occu­py a greater swath of America’s atten­tion span, a con­ver­sa­tion has arisen around the pit­falls of ally­ship, a term that lends itself to dis­cus­sions of gen­der and dis­abil­i­ty, as well as race.

Sim­ply put, the self-pro­claimed allies are mem­bers of a more priv­i­leged major­i­ty, eager to lend sup­port through word and deed.

Unfor­tu­nate­ly, their enthu­si­asm often turns them into micro­phone hogs in what activist Princess Har­mo­ny Rodriguez has referred to as “ally the­ater.”

A num­ber of would-be allies con­fuse humil­i­ty with the seek­ing of brown­ie points. If they real­ly got it, those at the cen­ter of the move­ment say, they would not expect mem­bers of the minor­i­ty to rearrange their to-do lists to bring them up to speed on what it’s like to be a per­son of col­or (or a trans­gen­dered per­son or a dis­abled per­son).

Would-be allies are there­fore advised to step out of the spot­light, stuff a sock in it, and edu­cate them­selves, by work­ing to find exist­ing essays and nar­ra­tives, authored by those with whom they would be in sol­i­dar­i­ty.

Human nature ensures that tem­pers will flare and hurt feel­ings will be aired. The hor­ri­fy­ing social ill that gave rise to the movement—the shoot­ing of unarmed black men by those charged with pro­tect­ing the whole of the public—is elbowed off­stage, so that a phe­nom­e­non such as ally­ship can be the num­ber one top­ic of debate on col­lege cam­pus­es, web­sites, and social media.

“Traf­fic Stop,” above, pro­vides a rare moment of racial accord, stem­ming from yet anoth­er ghast­ly tale of police bru­tal­i­ty.

The short ani­ma­tion was born of a con­ver­sa­tion record­ed by Alex Lan­dau and Pat­sy Hath­away in a Sto­ryCorps booth, a mas­sive oral his­to­ry project designed to attract a wide diver­si­ty of par­tic­i­pants.

Lan­dau is African-Amer­i­can.

His adop­tive moth­er, Hath­away, is white.

Those who would clas­si­fy adopt­ing a child of anoth­er race as “ally­ship” must con­cede that, if so, it is cer­tain­ly of no casu­al stripe.

The events of Jan­u­ary 15, 2009, when Den­ver police stopped the 19-year-old Lan­dau and a white friend for mak­ing an ille­gal left turn, caused Hath­away to rethink the col­or­blind world­view she had espoused while rais­ing her son.

“I thought that love would con­quer all and skin col­or real­ly did­n’t mat­ter,” Hath­away tells Lan­dau. “I had to learn the real­ly hard way when they almost killed you.”

Had the attack hap­pened a few years lat­er, Landau’s friend might have man­aged to doc­u­ment the pro­ceed­ings with a cell phone, despite the hand­cuffs that were placed on him after a bag of mar­i­jua­na was found in his pock­et.

Instead, this ani­ma­tion, and the gris­ly graph­ic pho­to that fol­lows of Landau’s face pri­or to receiv­ing 45 stitch­es, will have to suf­fice. His rec­ol­lec­tion of the laugh­ter and racial epi­thets direct­ed his way as he lay bleed­ing on the ground are stom­ach-churn­ers, too.

Like his moth­er, Landau’s child­hood per­cep­tion of an all-inclu­sive, benev­o­lent world was shat­tered. They mourned it togeth­er when they were reunit­ed in the emer­gency room on the night of the ill-fat­ed traf­fic stop.

Look and lis­ten.

Then, if you are ready to wade into thornier ter­ri­to­ry, read the hun­dreds of com­ments view­ers have post­ed on youtube.

Ulti­mate­ly, the City of Den­ver award­ed Lan­dau a $795,000 set­tle­ment, while the Den­ver Police Depart­ment, cit­ing a lack of evi­dence, cleared all three offi­cers of mis­con­duct. Fol­low up arti­cles from 2011 and 2013 are avail­able here and here.

Traf­fic Stop was ani­mat­ed by  Gina Kamentsky & Julie Zam­marchi (read an inter­view with them here). It was recent­ly nom­i­nat­ed for an Emmy award last week.

via West­word

Relat­ed Con­tent:

Read Online Key Doc­u­ments from the Fer­gu­son Grand Jury: Wit­ness Tes­ti­mo­ny, Foren­sic Evi­dence & More

‘Tired of Giv­ing In’: The Arrest Report, Mug Shot and Fin­ger­prints of Rosa Parks (Decem­ber 1, 1955)

Pep­per Spray­ing Peace­ful Pro­tes­tors Con­tin­ues; This Time at UC Davis

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

In Touching Video, People with Alzheimer’s Tell Us Which Memories They Never Want to Forget

Direc­tor Hirokazu Kore-eda’s 1999 film After­life tasks its recent­ly deceased char­ac­ters with choos­ing a sin­gle mem­o­ry to take with them, as they move into the great unknown.

The sub­jects of “On Mem­o­ry,” above, are all very much alive, but they too, have great cause to sift through a life­time’s worth of mem­o­ries. All have been diag­nosed with Alzheimer’s dis­ease. They range in age from 48 to 70. Two have been liv­ing with their diag­noses for six years. The baby of the group received hers just last year.

Those who have no per­son­al con­nec­tion to Alzheimer’s are like­ly to have a clear­er pic­ture of the disease’s advanced stage than its ear­ly pre­sen­ta­tion. A few min­utes with Myr­i­am Mar­quez, Lon Cole, Frances Smersh, Irene Japha, Nan­cy John­son, and Bob Welling­ton should rem­e­dy that.

All six are able to recall and describe the sig­nif­i­cant events of their youth. At the interviewer’s request, they reflect on the pain of los­ing beloved par­ents and the plea­sure of first kiss­es. Their pow­ers of sen­so­ry recall bring back their ear­li­est mem­o­ries, includ­ing what the weath­er was like that day.

The recent past? Much hazier. At present, these indi­vid­u­als’ mild cog­ni­tive impair­ment resem­ble benign age-relat­ed mem­o­ry slips quite close­ly. Their diag­noses are what lends urgency to their answers. The prospect of for­get­ting chil­dren and spouse’s names is very real to them.

Knowl­edge of the inter­vie­wees’ diag­noses can’t but help sharp­en view­ers’ eyes for dis­tinct facial expres­sions, speech pat­terns, and indi­vid­ual tem­pera­ments. They share a com­mon diag­no­sis, but for now, there’s no dif­fi­cul­ty dis­tin­guish­ing between the six unique per­son­al­i­ties, each informed by a wealth of expe­ri­ence.

The video is a step up for viral video pro­duc­er Cut, cre­ator of such inter­net sen­sa­tions as the Truth or Drink series and Grand­mas Smok­ing Weed for the First Time. This video, which directs view­ers to the Alzheimer’s Asso­ci­a­tion for more infor­ma­tion, deserves an even wider audi­ence.

Relat­ed Con­tent:

Exis­ten­tial­ist Psy­chol­o­gist Vik­tor Fran­kl Explains How to Find Mean­ing in Life, No Mat­ter What Chal­lenges You Face

Dai­ly Med­i­ta­tion Boosts & Revi­tal­izes the Brain and Reduces Stress, Har­vard Study Finds

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

French Artist Creates Digital Street Art in the Sky

We humans are a quar­rel­some lot. But one thing that unites us is the time spent on our backs, gaz­ing at clouds for the plea­sure of iden­ti­fy­ing what­ev­er objects they may fleet­ing­ly resem­ble.

It’s a very relax­ing activ­i­ty.

I was sur­prised there’s an actu­al, med­ical name for it: parei­do­lia, defined by Mer­ri­am-Web­ster as “the ten­den­cy to per­ceive a spe­cif­ic, often mean­ing­ful, image in a ran­dom or ambigu­ous visu­al pat­tern.”

Thomas Lamadieu, the artist whose work is show­cased above, has a dif­fer­ent, but not whol­ly unre­lat­ed con­di­tion.

A pho­to post­ed by Art­zop® (@artzop) on

Most of us pre­fer to con­tem­plate the heav­ens in a bucol­ic set­ting. Lamadieu’s art com­pels him to look upwards from a more urban land­scape. The tops of the build­ings hem­ming him in sup­ply with irreg­u­lar­ly shaped frames, which he cap­tures using a fish eye lens. Lat­er, he fills them in with Microsoft Paint draw­ings, which fre­quent­ly fea­ture a beard­ed man whose t‑shirt is striped in sky blue. Neg­a­tive space, not Cray­ola, sup­plies the col­or here.

Think of it as street art in the sky.

Not every day can be a bril­liant azure, but it hard­ly mat­ters when even Lamadieu’s grayest views exhib­it a deter­mined play­ful­ness. It takes a very unique sort of eye to tease a pink nip­pled, stripe-limbed bun­ny from a steely UK sky.

Like many street artists, he takes a glob­al approach, trav­el­ing the world in search of giant unclaimed can­vas­es. His port­fo­lio con­tains vis­tas orig­i­nal­ly cap­tured in Hong Kong, South Korea, Ger­many, Spain, Aus­tria, Cana­da, Bel­gium, and the Unit­ed States, as well as his native France.

“The beard­ed man in my images stands for the sky itself,” he told The Inde­pen­dent, adding that his is a whol­ly sec­u­lar vision.

View a gallery of Lamadieu’s sky art here.

h/t to read­er Alan Gold­wass­er

Relat­ed Con­tent:

Google Puts Online 10,000 Works of Street Art from Across the Globe

The Cre­ativ­i­ty of Female Graf­fi­ti & Street Artists Will Be Cel­e­brat­ed in Street Hero­ines, a New Doc­u­men­tary

3D Street Art

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

Marie Osmond Performs the Dadaist Poem “Karawane” on the TV Show, Ripley’s Believe It or Not (1985)

Remem­ber Don­ny and Marie Osmond, the toothy, teenage Mor­mon sib­lings whose epony­mous tele­vi­sion vari­ety show was a whole­some 70’s mix of skits, songs, and ice skat­ing?

Their sur­pris­ing­ly endur­ing theme song reduced their pop­u­lar­i­ty to an eas­i­ly gras­pable bina­ry for­mu­la:

She was a lit­tle bit coun­try. He was a lit­tle bit rock and roll.

Turns out Marie was also more than a lit­tle bit Dada.

From 1985 to 1986, Marie served as actor Jack Palance’s cohost on Ripley’s Believe It or Not, a TV series explor­ing strange occur­rences, bizarre his­tor­i­cal facts, and oth­er such crowd-pleas­ing odd­i­ties… one of which was appar­ent­ly the afore­men­tioned Euro­pean avant-garde art move­ment, found­ed a hun­dred years ago this week.

If you don’t know as much about Dada as you’d like, Ms. Osmond’s brief primer is a sur­pris­ing­ly stur­dy intro­duc­tion.

No cutesy boot­sy, easy ref­er­ences to melt­ing clocks here.

The high­light is her per­for­mance of Dada poet and man­i­festo author Hugo Bal­l’s non­sen­si­cal 1916 sound poem “Karawane.”

Lose the yel­low bathrobe and she could be a cap­tive war­rior princess on Game of Thrones, fierce­ly peti­tion­ing the Moth­er of Drag­ons on behalf of her peo­ple. (Invent some sub­ti­tles for extra Dada-inflect­ed fun!)

A sharp eyed young art stu­dent named Ethan Bates did catch one error in Marie’s les­son. The ’13’ cos­tume she pulls from a handy dress­ing room niche was not worn by Hugo Ball, but rather Dutch painter Theo Van Does­burg, one of the founders of the De Sti­jl move­ment.

Still you’ve got to hand it to Marie, who was slat­ed to per­form just a sin­gle line of the poem. When it came time to tape, she aban­doned the cue cards, blow­ing pro­duc­ers’ and crew’s minds by deliv­er­ing the poem in its unhinged entire­ty from mem­o­ry.

Now that’s rock and roll.

Below you’ll find footage of Ball him­self per­form­ing the work in 1916.

Marie’s ver­sion was even­tu­al­ly released by Rough Trade Records as a track on Lip­stick Traces, a com­pan­ion sound­track to Greil Mar­cus’ sem­i­nal book.

Relat­ed Con­tent:

Dada Was Born 100 Years Ago: Cel­e­brate the Avant-Garde Move­ment Launched by Hugo Ball on July 14, 1916

Hear the Exper­i­men­tal Music of the Dada Move­ment: Avant-Garde Sounds from a Cen­tu­ry Ago

Down­load All 8 Issues of Dada, the Arts Jour­nal That Pub­li­cized the Avant-Garde Move­ment a Cen­tu­ry Ago (1917–21)

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

 

A Young Nora Ephron Gets Animated About Breasts, Feminism, Journalism & New Possibilities (1975)

In 1975, Nora Ephron sat down with Studs Terkel to talk about Crazy Sal­ad, her col­lec­tion of essays about women and the wom­en’s rights move­ment dur­ing the 1970s. If the excerpts ani­mat­ed by Blank on Blank above reflect the entire­ty of the con­ver­sa­tion (lis­ten here), then you can’t help but notice that the gen­der issues being dis­cussed then, dur­ing that late stage of sec­ond wave fem­i­nism, haven’t gone away today. They’re still very much out there. The dif­fer­ence is the enthu­si­asm, the sense of pos­si­bil­i­ty, that Ephron could­n’t con­tain then. “It’s excit­ing.” “It’s ok being a woman now. I like it. Try it some time!” Indeed.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Simone de Beau­voir Tells Studs Terkel How She Became an Intel­lec­tu­al and Fem­i­nist (1960)

11 Essen­tial Fem­i­nist Books: A New Read­ing List by The New York Pub­lic Library

Nora Ephron’s Lists: “What I Will Miss” and “What I Won’t Miss”

The Creativity of Female Graffiti & Street Artists Will Be Celebrated in Street Heroines, a New Documentary

Street art is a fre­quent­ly dan­ger­ous game. The threat of arrest pales in com­par­i­son to some of the haz­ards long time prac­ti­tion­ers describe. While oth­er artists sketch in pleas­ant cafes, cre­ators of large-scale street pieces often have no choice but to wrig­gle through ragged holes in chain link fences and climb to ver­tig­i­nous heights to get to their can­vas­es.

There’s a pop­u­lar con­cep­tion of graf­fi­ti artist as lone wolf, but when it comes to the per­ils of the street, there’s safe­ty in num­bers. You need a crew. Female street artists must draw on the pow­er of sis­ter­hood.

As pho­to­jour­nal­ist Martha Coop­er notes in the trail­er for direc­tor Alexan­dra Hen­ry’s Street Hero­ines, above:

I think bring­ing women togeth­er empow­ers them and there’s been some resis­tance on the part of men…it has to do with cama­raderie too. It’s not that they’re say­ing, “You can’t do it,” but they’re just not allow­ing them in to their inner group.

Appar­ent­ly, street art is some­thing of an old boy’s club.

“What!?” gasps Lady Pink, a well known vet­er­an with over 35 years’ expe­ri­ence. “You need a penis to climb a lad­der? Does it help you hold on?”

The female cama­raderie Coop­er cites extends to the suc­cess­ful fund­ing of a Kick­starter cam­paign to com­plete this doc­u­men­tary on “the courage and cre­ativ­i­ty of female graf­fi­ti & street artists from around the world.” As the dead­line loomed, Lexi Bel­la & Danielle Mas­tri­on, two of the women fea­tured in the doc­u­men­tary, issued an open invi­ta­tion to New York City-based female artists to join them in cre­at­ing a spur-of-the-moment mur­al in Brook­lyn, sur­ren­der­ing artis­tic con­trol to embrace com­mu­ni­ty spir­it.

street heroines2

Many of the 25 artists Hen­ry has pro­filed thus far speak of using their work to bring beau­ty to the street, and to advo­cate on behalf of the oppressed. Such earnest­ness may dimin­ish them even fur­ther in the eyes of the old school He Man Woman Haters Club. Lexi Bel­la coun­ter­bal­ances the laugh­ably soft image cer­tain macho prac­ti­tion­ers may assign to them by speak­ing unapolo­get­i­cal­ly of the thrill of mak­ing one’s work as big as pos­si­ble “so mil­lions of peo­ple can see it.”

Street Hero­ines is aim­ing for release in 2017.

via The Cre­ators Project

Relat­ed Con­tent:

Google Puts Online 10,000 Works of Street Art from Across the Globe

The Bat­tle for LA’s Murals

The Odd Cou­ple: Jean-Michel Basquiat and Andy Warhol, 1986

Ayun Hal­l­i­day is an author, illus­tra­tor, and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday

« Go BackMore in this category... »
Quantcast
Open Culture was founded by Dan Colman.