Watch a Never-Aired TV Profile of James Baldwin (1979)

In 1979, just a cou­ple of months into his stint with 20/20, ABC’s fledg­ling tele­vi­sion news mag­a­zine, pro­duc­er and doc­u­men­tar­i­an Joseph Lovett was “beyond thrilled” to be assigned an inter­view with author James Bald­win, whose work he had dis­cov­ered as a teen.

Know­ing that Bald­win liked to break out the bour­bon in the after­noon, Lovett arranged for his crew to arrive ear­ly in the morn­ing to set up light­ing and have break­fast wait­ing before Bald­win awak­ened:

He hadn’t had a drop to drink and he was bril­liant, utter­ly bril­liant. We couldn’t have been hap­pi­er.

Pio­neer­ing jour­nal­ist Sylvia Chase con­duct­ed the inter­view. The seg­ment also includ­ed stops at Lin­coln Cen­ter for a rehearsal of Baldwin’s play, The Amen Cor­ner, and the Police Ath­let­ic League’s Harlem Cen­ter where Bald­win (and per­haps the cam­era) seems to unnerve a teen reporter, cup­ping his chin at length while answer­ing his ques­tion about a Black writer’s chances:

There nev­er was a chance for a Black writer.  Lis­ten, a writer, Black or white, doesn’t have much of a chance. Right? Nobody wants a writer until he’s dead. But to answer your ques­tion, there’s a greater chance for a Black writer today than there ever has been.

In the Man­hat­tan build­ing Bald­win bought to house a num­ber of his close-knit fam­i­ly, Chase cor­ners his moth­er in the kitchen to ask if she’d had any inkling her son would become such a suc­cess.

“No, I didn’t think that,” Mrs. Bald­win cuts her off. “But I knew he had to write.”

Bald­win speaks frankly about out­ing him­self to the gen­er­al pub­lic with his 1956 nov­el Giovanni’s Room and about what it means to live as a Black man in a nation that has always favored its white cit­i­zens:

The Amer­i­can sense of real­i­ty is dic­tat­ed by what Amer­i­cans are try­ing to avoid. And if you’re try­ing to avoid real­i­ty, how can you face it?

Near­ly 35 years before Black Lives Matter’s for­ma­tion, he tack­les the issue of white fragili­ty by telling Chase, “Look, I don’t mean it to you per­son­al­ly. I don’t even know you. I have noth­ing against you. I don’t know you per­son­al­ly, but I know you his­tor­i­cal­ly. You can’t have it both ways. You can’t swear to the free­dom of all mankind and put me in chains.”

The fin­ished piece is a superb, 60 Min­utes-style pro­file that cov­ers a lot of ground, and yet, 20/20 chose not to air it.

After the show ran Chase’s inter­view with Michael Jack­son, pro­duc­er Lovett inquired as to the delay and was told that no one would be inter­est­ed in a “queer, Black has-been”:

I was stunned, I was absolute­ly stunned, because in my mind James Bald­win was no has-been. He was a clas­sic Amer­i­can writer, trans­lat­ed into every lan­guage in the world, and would live on for­ev­er, and indeed he has. His courage and his elo­quence con­tin­ue to inspire us today.

On June 24, Joseph Lovett will mod­er­ate James Bald­win: Race, Media, and Psy­cho­analy­sis, a free vir­tu­al pan­el dis­cus­sion cen­ter­ing on his 20/20 pro­file of James Bald­win, with psy­cho­an­a­lysts Vic­tor P. Bon­fil­io and Annie Lee Jones, and Baldwin’s niece, author Aisha Kare­fa-Smart. Reg­is­ter here.

H/T to author Sarah Schul­man

Relat­ed Con­tent: 

Why James Baldwin’s Writ­ing Stays Pow­er­ful: An Art­ful­ly Ani­mat­ed Intro­duc­tion to the Author of Notes of a Native Son

Watch the Famous James Bald­win-William F. Buck­ley Debate in Full, With Restored Audio (1965)

James Baldwin’s One & Only, Delight­ful­ly-Illus­trat­ed Children’s Book, Lit­tle Man Lit­tle Man: A Sto­ry of Child­hood (1976)

Lis­ten to James Baldwin’s Record Col­lec­tion in a 478-track, 32-Hour Spo­ti­fy Playlist

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

Revisiting Marvin Gaye’s “What’s Goin’ On,” and the Album That Opened R&B to Resistance: Revisited 50 Years Later

I just want to be heard and that’s all that mat­ters. — Mar­vin Gaye

R&B super­star Mar­vin Gaye was more than will­ing to risk his career on a record.

His pol­ished pub­lic per­sona was a false front behind which lurked some seri­ous demons — depres­sion and addic­tion, exac­er­bat­ed by the ill­ness and death of his close friend and duet mate, Tam­mi Ter­rell.

His down­ward spi­ral was also fueled by his dis­tress over events of the late 60s.

How else to respond to the Viet­nam War, the mur­der of civ­il rights lead­ers, police bru­tal­i­ty, the Watts Riots, a dire envi­ron­men­tal sit­u­a­tion, and the dis­en­fran­chise­ment and aban­don­ment of low­er income Black com­mu­ni­ties?

Per­haps by refus­ing to adhere to pro­duc­er Bar­ry Gordy’s man­date that all Motown artists were to steer clear of overt polit­i­cal stances….

He con­trolled their careers, but art is a pow­er­ful out­let.

Obie Ben­son also came under Gordy’s thumb as a mem­ber of the R&B quar­tet, the Four Tops. The shock­ing vio­lence he wit­nessed in Berkeley’s Peo­ple’s Park on Bloody Thurs­day while on tour with his band pro­vid­ed the lyri­cal inspi­ra­tion for “What’s Goin’ On.”

When the oth­er mem­bers of the group refused to touch it, not want­i­ng to rock the boat with a protest song, he took it to Gaye, who had lost all enthu­si­asm for the “bull­shit” love songs that had made him a star

Ben­son recalled that Gaye added some “things that were more ghet­to, more nat­ur­al, which made it seem more like a sto­ry than a song… we mea­sured him for the suit and he tai­lored the hell out of it.”

Gordy was not pleased with the song’s mes­sage, nor his loosey goosey approach to lay­ing down the track. Eli Fontaine’s famous sax­o­phone intro was impro­vised and “Motown’s secret weapon,” bassist James Jamer­son was so plas­tered on Metaxa, he was record­ed sprawl­ing on the floor.

Jamer­son told his wife they’d been work­ing on a “mas­ter­piece,” but Gordy dubbed “What’s Going On” “the worst thing I ever heard in my life,” pooh-poohing the “Dizzy Gille­spie stuff in the mid­dle, that scat­ting.” He refused to release it.

Gaye stonewalled by going on strike, refus­ing to record any music what­so­ev­er.

Eight months in, Motown’s A&R Head Har­ry Balk, des­per­ate for anoth­er release from one of the label’s most pop­u­lar acts, direct­ed sales vice pres­i­dent Bar­ney Ales to drop the new sin­gle behind Gordy’s back.

It imme­di­ate­ly shot to the top of the charts, sell­ing 70,000 copies in its first week.

Gordy, warm­ing to the idea of more sales, abrupt­ly reversed course, direct­ing Gaye to come up with an entire album of protest songs. It ush­ered in a new era in which Black record­ing artists were not only free, but encour­aged to use their voic­es to bring about social change.

The album, What’s Going On, recent­ly claimed top hon­ors when Rolling Stone updat­ed its  500 Great­est Albums list. Now, it is cel­e­brat­ing its 50th anniver­sary, and as Poly­phon­ic, pro­duc­ers of the mini-doc above note, its sen­ti­ments couldn’t be more time­ly.

Relat­ed Con­tent: 

Hear Mar­vin Gaye Sing “I Heard It Through the Grapevine” A Capel­la: The Haunt­ing Iso­lat­ed Vocal Track

Nina Simone’s Live Per­for­mances of Her Poignant Civ­il Rights Protest Songs

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Mar­ley, Pub­lic Ene­my, Bil­ly Bragg & More

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her June 7 for a Necro­mancers of the Pub­lic Domain: The Peri­od­i­cal Cica­da, a free vir­tu­al vari­ety hon­or­ing the 17-Year Cicadas of Brood X. Fol­low her @AyunHalliday.

What Karl Marx Meant by “Alienation”: Two Animated Videos Explain

A com­mon polit­i­cal dis­tor­tion claims that social­ists are lazy and want to live off oth­er people’s labor. Nev­er mind that this descrip­tion best applies to those who do not work but live off rents, div­i­dends, and tax breaks. A big­ger prob­lem with the idea lies in its def­i­n­i­tion of “work,” con­flat­ing labor-for-hire with labor for a pur­pose. In Karl Marx’s the­o­ries, work occu­pies a cen­tral posi­tion as a human val­ue. We all want to work, he thought. We are not born, how­ev­er, want­i­ng to max­i­mize share­hold­er val­ue.

Marx believed that “work, at its best, is what makes us human,” X‑Files star Gillian Ander­son tells us in the BBC Radio 4 ani­ma­tion above. “‘It ful­fills our species essence,’ as he put it. Work allows us “to live, to be cre­ative, to flour­ish.” Work in the indus­tri­al 19th cen­tu­ry, how­ev­er, did noth­ing of the kind. You only need to imag­ine for a moment the soot-filled fac­to­ries, child labor, com­plete lack of work­er pro­tec­tions and ben­e­fits to see the kinds of con­di­tions to which Marx wrote in response. “Work,” says Ander­son, in brief, “destroyed work­ers.”

Under cap­i­tal­ism, Marx main­tained, work­ers are “alien­at­ed” from their labor, a con­cept that does not just mean emo­tion­al­ly depressed or cre­ative­ly unful­filled. As ear­ly as 1844, over twen­ty years before the first vol­ume of Cap­i­tal appeared, Marx would elab­o­rate the con­cept of “estranged labor”  in an essay of the same name:

The work­er becomes all the poor­er the more wealth he pro­duces, the more his pro­duc­tion increas­es in pow­er and size. The work­er becomes an ever cheap­er com­mod­i­ty the more com­modi­ties he cre­ates. The deval­u­a­tion of the world of men is in direct pro­por­tion to the increas­ing val­ue of the world of things. Labor pro­duces not only com­modi­ties; it pro­duces itself and the work­er as a com­mod­i­ty.

In an econ­o­my where things mat­ter more than peo­ple, peo­ple become deval­ued things: the “real­iza­tion of labor appears as loss of real­iza­tion for the work­ers; objec­ti­fi­ca­tion as loss of the object and bondage to it; appro­pri­a­tion as estrange­ment, as alien­ation.” Work­ers are not only spir­i­tu­al­ly dis­sat­is­fied under cap­i­tal­ism, they are alien­at­ed from the fruit of their labor “to the point of starv­ing to death.” To be an alien­at­ed work­er means to be lit­er­al­ly kept from things one needs to live.

This is the kind of work Marx­ists and social­ists have opposed, that which gross­ly enrich­es a few at the expense of most every­one else. Whether or not we are con­tent with Marx­ist solu­tions or feel a need for new the­o­ries, every seri­ous stu­dent of his­to­ry, econ­o­my, and cul­ture has to come to grips with Marx’s for­mi­da­ble cri­tiques. In the video above, Alain de Botton’s School of Life, a self-described “pro-Cap­i­tal­ist insti­tu­tion,” attempts to do so in ten min­utes or less.

“Most peo­ple agree that we need to improve our eco­nom­ic sys­tem some­how,” says de Bot­ton. “It threat­ens our plan­et through exces­sive con­sump­tion, dis­tracts us with irrel­e­vant adver­tis­ing, leaves peo­ple hun­gry and with­out health­care, and fuels unnec­es­sary wars.” It per­pet­u­ates, in oth­er words, pro­found alien­ation on a mas­sive scale. Of course it does, Marx might respond. That’s exact­ly what the sys­tem is designed to do. Or as he actu­al­ly wrote, “the only wheels which polit­i­cal econ­o­my sets in motion are greed, and the war amongst the greedy — com­pe­ti­tion.”

Relat­ed Con­tent: 

Marx­ism by Ray­mond Geuss: A Free Online Course 

A Short Ani­mat­ed Intro­duc­tion to Karl Marx

5 Free Online Cours­es on Marx’s Cap­i­tal from Prof. David Har­vey

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

Rick Steves Tells the Story of Fascism’s Rise & Fall in Germany

“Healthy, vig­or­ous, respectable: every­one’s favorite uncle.” How many of us hear these words and think of that most beloved of all Amer­i­can trav­el-tele­vi­sion per­son­al­i­ties, Rick Steves? Indeed, in the video above they’re spo­ken by Steves, though to describe a fig­ure very dif­fer­ent from him­self: Adolf Hitler, who con­vinced his peo­ple not to tour Europe but to invade it, spark­ing the dead­liest con­flict of all time. How and why this hap­pened has been a his­tor­i­cal ques­tion writ­ten about per­haps more volu­mi­nous­ly than any oth­er. But the Stevesian method of under­stand­ing demands first-hand expe­ri­ence of Ger­many, the land in which the Nazi par­ty came to pow­er.

Hence “Ger­many’s Fas­cist Sto­ry,” a 2020 episode of Rick Steves’ Europe whose itin­er­ary includes such des­ti­na­tions as Nurem­berg, site of the epony­mous Nazi ral­lies; Hitler’s moun­tain retreat in Bercht­es­gaden; the Gestapo and SS head­quar­ters in Berlin. We’re a long way indeed from Steves’ usu­al cir­cuit of cathe­drals, mar­kets, and bed-and-break­fasts.

Enriched with the his­tor­i­cal footage and the reflec­tions of Ger­man inter­vie­wees, this trav­el­ogue explains the rise in the 1930s and fall in the 1940s of a pow­er­ful Euro­pean strain of fas­cism. This man­i­fest­ed in pop­u­lar capit­u­la­tion to race-based, nation­al­is­tic, and ulti­mate­ly total­i­tar­i­an state pow­er, not just in Ger­many but oth­er coun­tries also once regard­ed as the cen­ter of Euro­pean civ­i­liza­tion.

We all know how World War II end­ed, and the blue-jeaned Steves sums up the rel­e­vant chap­ter of the sto­ry while stand­ing atop the under­ground bunker in which Hitler killed him­self. But such a defeat can nev­er tru­ly be con­sid­ered final, an idea that under­lies the con­tin­u­ing encour­age­ment of tourism to places like Berlin’s Memo­r­i­al to the Mur­dered Jews of Europe and the con­cen­tra­tion camp of Auschwitz-Birke­nau, which fig­ures briefly into this episode despite being locat­ed in Poland. As any ded­i­cat­ed “Rick­nick” knows, the pur­suit of any giv­en cul­tur­al or his­tor­i­cal inter­est inevitably leads the trav­el­er through a vari­ety of lands. Hence a project like The Sto­ry of Fas­cism, Steves’ hour­long doc­u­men­tary on that ide­ol­o­gy’s traces as found all through­out his favorite con­ti­nent. As he him­self has put it, trav­el is a polit­i­cal act — and it’s one nec­es­sary to under­stand­ing both the pol­i­tics you like and the pol­i­tics you don’t.

For those inter­est­ed in how Steves built his trav­el empire, we’d rec­om­mend lis­ten­ing to Guy Raz’s lengthy inter­view with Steves, one episode in his How I Built This pod­cast.

Relat­ed Con­tent:

The Sto­ry of Fas­cism: Rick Steves’ Doc­u­men­tary Helps Us Learn from the Hard Lessons of the 20th Cen­tu­ry

Rick Steves’ Europe: Binge Watch 9 Sea­sons of America’s Favorite Trav­el­er Free Online

20 Lessons from the 20th Cen­tu­ry About How to Defend Democ­ra­cy from Author­i­tar­i­an­ism, Accord­ing to Yale His­to­ri­an Tim­o­thy Sny­der

How Did Hitler Rise to Pow­er? : New TED-ED Ani­ma­tion Pro­vides a Case Study in How Fas­cists Get Demo­c­ra­t­i­cal­ly Elect­ed

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.

Invisible People: Watch Poignant Mini-Documentaries Where Homeless People Tell Their Stories

Over the past year, the sto­ry of evic­tions dur­ing COVID has often risen above the muck. It’s made head­lines in major news­pa­pers and TIME mag­a­zine, and received seri­ous atten­tion from the gov­ern­ment, with stop-gap evic­tion mora­to­ri­ums put in effect and renewed sev­er­al times, and like­ly due to be renewed again. Stop­ping evic­tions is not enough. “For many land­lords,” notes the Unit­ed Way, “the order cre­at­ed a finan­cial bur­den of hous­ing renters with no pay­ments,” and with­out income, they have no way to pay. But these mea­sures have kept many thou­sands of vul­ner­a­ble adults and chil­dren from expe­ri­enc­ing home­less­ness.

And yet mora­to­ri­ums aside, the num­ber of peo­ple los­ing their homes is on the rise dur­ing the pan­dem­ic, with a dis­pro­por­tion­ate impact on Black, Lat­inx, and Indige­nous com­mu­ni­ties, and shel­ters have been forced to close or low­er capac­i­ty. Fram­ing increas­ing home­lessnes sole­ly as a cri­sis dri­ven by the virus miss­es the fact that it has been grow­ing since 2016, though it is down from pre-2007 lev­els. “Even before the cur­rent health/economic cri­sis,” notes a Home­less­ness Research Insti­tute report, “the old­er adult home­less pop­u­la­tion was pro­ject­ed to trend upwards until 2030.”

Indeed, home­less­ness has seemed like a sad, inevitable fact of Amer­i­can life for decades. Rather than accept the sit­u­a­tion, orga­ni­za­tions like Invis­i­ble Peo­ple have worked to end it. “The first step to solv­ing home­less­ness,” they write, “is acknowl­edg­ing that its vic­tims are peo­ple. Reg­u­lar peo­ple. Fathers. Moth­ers. Vet­er­ans. Whole fam­i­lies. Folks who fell on hard times and lost their core foun­da­tion of being human — their homes.” No one asks to be in the sit­u­a­tion, and the longer a per­son goes unhoused, the hard­er it is for them to rebuild their lives.

Invis­i­ble Peo­ple offers action steps and pub­lish­es well-researched jour­nal­ism on the prob­lems, and solu­tions, for the mil­lions of peo­ple expe­ri­enc­ing home­less­ness at any giv­en time. But as their name sug­gests, their pri­ma­ry aim is to make the lives of unhoused peo­ple vis­i­ble to those of us who tend to walk right by them in our haste. We can feel over­whelmed by the intractable scale of the prob­lem, which tends to turn indi­vid­u­als into sta­tis­tics. Invis­i­ble Peo­ple asks us to “change the sto­ry,” and to start by approach­ing home­less­ness one per­son, or one fam­i­ly, at a time.

Invis­i­ble Peo­ple was found­ed in Los Ange­les by Mark Hor­vath, a for­mer TV exec­u­tive who became home­less after drug and alco­hol addic­tion in 1995. After recov­er­ing, he lost his home again dur­ing the 2008 Reces­sion. Hor­vath began inter­view­ing peo­ple he met on the streets of L.A. and post­ing the videos to YouTube and Twit­ter. Soon, the project became a glob­al one, incor­po­rat­ed as a non-prof­it, and Hor­vath has trav­eled across the U.S. and to Cana­da, Peru, and the UK to inter­view peo­ple liv­ing with­out homes.

The project, says Hor­vath is designed to fos­ter  “a con­ver­sa­tion about solu­tions to end home­less­ness [that] gives home­less peo­ple a chance to tell their own sto­ry.” Those sto­ries are mov­ing, human, unfor­get­table, and usu­al­ly not at all what you might expect. You can see some of them here, and many more at the Invis­i­ble Peo­ple YouTube chan­nel. Con­nect with the orga­ni­za­tion and find out what you can do here.

via Boing­Bo­ing

Relat­ed Con­tent: 

Design­er Cre­ates Origa­mi Card­board Tents to Shel­ter the Home­less from the Win­ter Cold

How Josephine Bak­er Went From Home­less Street Per­former to Inter­na­tion­al Super­star, French Resis­tance Fight­er & Civ­il Rights Hero

The New York Pub­lic Library Lets Patrons Check Out Ties, Brief­cas­es & Hand­bags for Job Inter­views

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

The Beautiful, Innovative & Sometimes Dark World of Animated Soviet Propaganda (1925–1984)

Grow­ing up, we assem­bled our world­view from sev­er­al dif­fer­ent sources: par­ents, sib­lings, class­mates. But for most of us, wher­ev­er and when­ev­er we passed our for­ma­tive years, noth­ing shaped our ear­ly per­cep­tions of life as vivid­ly, and as thor­ough­ly, as car­toons — and this is just as Lenin knew it would be. “With the estab­lish­ment of the Sovi­et Union in 1922,” writes New York Times film crit­ic Dave Kehr, “Lenin pro­claimed the cin­e­ma the most impor­tant of all the arts, pre­sum­ably for its abil­i­ty to com­mu­ni­cate direct­ly with the oppressed and wide­ly illit­er­ate mass­es.”

Lenin cer­tain­ly did­n’t exclude ani­ma­tion, which assumed its role in the Sovi­et pro­pa­gan­da machine right away: Sovi­et Toys, the first U.S.S.R.-made car­toon, pre­miered just two years lat­er. It was direct­ed by Dzi­ga Ver­tov, the inno­v­a­tive film­mak­er best known for 1929’s A Man with a Movie Cam­era, a thrilling artic­u­la­tion of the artis­tic pos­si­bil­i­ties of doc­u­men­tary. Ver­tov stands as per­haps the most rep­re­sen­ta­tive fig­ure of Sovi­et cin­e­ma’s ear­ly years, in which tight polit­i­cal con­fines nev­er­the­less per­mit­ted a free­dom of  artis­tic exper­i­men­ta­tion lim­it­ed only by the film­mak­er’s skill and imag­i­na­tion.

This changed with the times: the 1940s saw the ele­va­tion of skilled but West-imi­ta­tive ani­ma­tors like Ivan Ivanov-Vano, whom Kehr calls the “Sovi­et Dis­ney.” That label is suit­able enough, since an Ivanov-Vano short like Some­one Else’s Voice from 1949 “could eas­i­ly pass for a Dis­ney ‘Sil­ly Sym­pho­ny,’ ” if not for its un-Dis­ney­like “threat­en­ing under­tone.” (Not that Dis­ney could­n’t get dark­ly pro­pa­gan­dis­tic them­selves.)

With its mag­pie who “returns from a flight abroad and dares to war­ble some of the jazz music she has heard on her trav­els” only to have “the hearty peas­ant birds of the for­est swoop down and rip her feath­ers out,” Some­one Else’s Voice tells a more alle­gor­i­cal sto­ry than those in most of the shorts gath­ered in this Sovi­et pro­pa­gan­da ani­ma­tion playlist.

The playlist’s selec­tions come from the col­lec­tion Ani­mat­ed Sovi­et Pro­pa­gan­da: From the Octo­ber Rev­o­lu­tion to Per­e­stroi­ka; “work­ers are strong-chinned, noble, and gener­ic,” writes the A.V. Club’s Tasha Robin­son. “Cap­i­tal­ists are fat, pig­gish cig­ar-chom­pers, and for­eign­ers are ugly car­i­ca­tures sim­i­lar to those seen in Amer­i­can World War II pro­pa­gan­da.” With their strong “anti-Amer­i­can, anti-Ger­man, anti-British, anti-Japan­ese, anti-Cap­i­tal­ist, anti-Impe­ri­al­ist, and pro-Com­mu­nist slant,” as Kehr puts it, they would require an impres­sion­able audi­ence indeed to do any con­vinc­ing out­side Sovi­et ter­ri­to­ry. But they send an unmis­tak­able mes­sage to view­ers back in the U.S.S.R.: you don’t know how lucky you are.

Relat­ed Con­tent:

Watch Dzi­ga Vertov’s Unset­tling Sovi­et Toys: The First Sovi­et Ani­mat­ed Movie Ever (1924)

Watch Inter­plan­e­tary Rev­o­lu­tion (1924): The Most Bizarre Sovi­et Ani­mat­ed Pro­pa­gan­da Film You’ll Ever See

Watch the Sur­re­al­ist Glass Har­mon­i­ca, the Only Ani­mat­ed Film Ever Banned by Sovi­et Cen­sors (1968)

When Sovi­et Artists Turned Tex­tiles (Scarves, Table­cloths & Cur­tains) into Beau­ti­ful Pro­pa­gan­da in the 1920s & 1930s

Ani­mat­ed Films Made Dur­ing the Cold War Explain Why Amer­i­ca is Excep­tion­al­ly Excep­tion­al

The Red Men­ace: A Strik­ing Gallery of Anti-Com­mu­nist Posters, Ads, Com­ic Books, Mag­a­zines & Films

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.

5 Free Online Courses on Marx’s Capital from Prof. David Harvey

Geo­g­ra­ph­er and Marx­ist schol­ar David Har­vey did not set out to become a Marx­ist. He didn’t even know what a Marx­ist was. He sim­ply start­ed to read Marx one day, at the age of 35, because all of the oth­er social sci­ence meth­ods he had applied in his study of the hous­ing mar­ket and social unrest in US cities “didn’t seem to be work­ing well,” he says in a Jacobin inter­view. “So, I start­ed to read Marx, and I found it more and more rel­e­vant…. After I cit­ed Marx a few times favor­ably, peo­ple pret­ty soon said I was a Marx­ist. I didn’t know what it meant… and I still don’t know what it means. It clear­ly does have a polit­i­cal mes­sage, though, as a cri­tique of cap­i­tal.”

The word “Marx­ist” has been as much a defam­a­to­ry term of moral and polit­i­cal abuse as it has a coher­ent descrip­tion of a posi­tion. But ask Har­vey to explain what Marx means in the Ger­man philosopher’s mas­sive analy­sis of polit­i­cal econ­o­my, Cap­i­tal, and he will glad­ly tell you at length. Har­vey has not only read all three vol­umes of the work many times over, a feat very few can claim, but he has expli­cat­ed them in detail in his cours­es at Johns Hop­kins and the City Uni­ver­si­ty of New York since the 1970s. In the age of YouTube, Har­vey post­ed his lec­tures online, and they became so pop­u­lar they inspired a series of equal­ly pop­u­lar writ­ten com­pan­ion books.

Why study a dead 19th-cen­tu­ry social­ist? What could he pos­si­bly have to say about the world of AI, COVID, and cli­mate change? “I think Marx is more rel­e­vant today than ever before,” says Har­vey. “When Marx was writ­ing, cap­i­tal was not dom­i­nant in the world. It was dom­i­nant in Britain and West­ern Europe and the east­ern Unit­ed States, but it wasn’t dom­i­nant in Chi­na or India. Now it’s dom­i­nant every­where. So, I think Marx’s analy­sis of what cap­i­tal is and its con­tra­dic­tions is more rel­e­vant now than ever.”

To illus­trate, and exhaus­tive­ly explain, the point, Har­vey announced by tweet recent­ly that he’s made 5 cours­es freely avail­able online as videos and pod­casts. Find links to all 5 cours­es below. Or find them in our col­lec­tion: 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Read­ing Marx’s Cap­i­tal Vol­ume 1 with David Har­vey – 2019 Edi­tion

Read­ing Marx’s Cap­i­tal Vol­ume I with David Har­vey – 2007 Edi­tion

Read­ing Marx’s Cap­i­tal Vol­ume 2 with David Har­vey

Read­ing Marx’s Grun­drisse with David Har­vey

Marx, Cap­i­tal, and the Mad­ness of Eco­nom­ic Rea­son

Relat­ed Con­tent: 

Marx­ism by Ray­mond Geuss: A Free Course 

A Short Ani­mat­ed Intro­duc­tion to Karl Marx

David Harvey’s Course on Marx’s Cap­i­tal: Vol­umes 1 & 2 Now Avail­able Free Online

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

A List of 132 Radical, Mind-Expanding Books from Rage Against the Machine

If you like Rage Against the Machine, but don’t like their “polit­i­cal bs,” you haven’t actu­al­ly lis­tened to Rage Against the Machine, whose entire rai­son d’être is con­tained with­in the name. What is “the Machine”? Let’s hear it from the band them­selves. Singer Zack de la Rocha point­ed out that the title of their sec­ond album, 1996’s Evil Empire, came from “Ronald Reagan’s slan­der of the Sovi­et Union in the eight­ies, which the band feels could just as eas­i­ly apply to the Unit­ed States.”

The Machine is cap­i­tal­ism and mil­i­tarism, what Dwight D. Eisen­how­er once famous­ly called the “mil­i­tary-indus­tri­al com­plex” but which has fold­ed in oth­er oppres­sive mech­a­nisms since the coin­ing of that phrase, includ­ing the prison-indus­tri­al com­plex and immi­gra­tion-indus­tri­al com­plex. The Machine is a mega-com­plex with a lot of mov­ing parts, and the mem­bers of RATM have done the work to crit­i­cal­ly exam­ine them, inform­ing their music and activism with read­ing and study.

Evil Empire, for exam­ple, fea­tured in its lin­er notes a pho­to of “a pile of rad­i­cal books,” “and the group post­ed a lengthy read­ing list to com­ple­ment it on their site,” declares the site Rad­i­cal Reads. Debates often rage on social media over whether activists should read the­o­ry. One answer to the ques­tion might be the com­mit­ment of RATM, who have stead­fast­ly lived out their con­vic­tions over the decades while also, osten­si­bly, read­ing Marx, Mar­cuse, and Fanon.

There are more acces­si­ble the­o­rists on the list: fierce essay­ists like for­mer death row inmate and Black Pan­ther Mumia Abu-Jamal and Hen­ry David Thore­au, whose Walden and “Civ­il Dis­obe­di­ence” both appear. The Anar­chist Cook­book shows up, but so too does Dr. Suess’ The Lorax, biogra­phies of Miles Davis and Bob Mar­ley, Taschen’s Dali: The Paint­ings, James Joyce’s A Por­trait of the Artist of a Young Man, and Hen­ry Miller’s Trop­ic of Can­cer. This is not a list of strict­ly “polit­i­cal” books so much as a list of books that open us up to oth­er ways of see­ing.

These are also, in many cas­es, books we do not encounter unless we seek them out. “I cer­tain­ly didn’t find any of those books at my Uni­ver­si­ty High School library,” de la Rocha told MTV in 1996, “Many of those books may give peo­ple new insight into some of the fear and some of the pain they might be expe­ri­enc­ing as a result of some of the very ugly poli­cies the gov­ern­ment is impos­ing upon us right now.” Doubt­less, he would still endorse the sen­ti­ment. The work­ings of the Machine, after all, don’t seem to change much for the peo­ple on the bot­tom when it gets new man­age­ment at the top.

Read the full list of Evil Empire book rec­om­men­da­tions on Good Reads. And as a bonus, hear a Spo­ti­fy playlist of rad­i­cal music just above, com­piled by RATM gui­tarist Tom Morel­lo. The 241 song list runs

via Rad­i­cal Reads

Relat­ed Con­tent: 

Tom Morel­lo Responds to Angry Fans Who Sud­den­ly Real­ize That Rage Against the Machine’s Music Is Polit­i­cal: “What Music of Mine DIDN’T Con­tain Polit­i­cal BS?”

Hear a 4 Hour Playlist of Great Protest Songs: Bob Dylan, Nina Simone, Bob Mar­ley, Pub­lic Ene­my, Bil­ly Bragg & More

The Entire Archives of Rad­i­cal Phi­los­o­phy Go Online: Read Essays by Michel Fou­cault, Alain Badiou, Judith But­ler & More (1972–2018)

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

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