How to Wear a Toga the Official Ancient Roman Way

What does it take to wear an ancient Roman toga with dig­ni­ty and grace?

Judg­ing from the above demon­stra­tion by Dr Mary Har­low, Asso­ciate Pro­fes­sor of Ancient His­to­ry at the Uni­ver­si­ty of Leices­ter, a cou­ple of helpers, who, in the first cen­tu­ry CE, would have invari­ably been enslaved, and thus inel­i­gi­ble for togas of their own.

The icon­ic out­er gar­ments, tra­di­tion­al­ly made of wool, begin as sin­gle, 12–16m lengths of fab­ric.

Extra hands were need­ed to keep the cloth from drag­ging on the dirty floor while the wear­er was being wrapped, to secure the gar­ment with addi­tion­al pleats and tucks, and to cre­ate the pouch-like umbo at chest lev­el, in a man­ner as aes­thet­i­cal­ly pleas­ing as every oth­er fold and drape was expect­ed to be.

As for­mal citizen’s garb, the toga was suit­able for vir­tu­al­ly every pub­lic occa­sion, as well as an audi­ence with the emper­or.

In addi­tion to slaves, the toga was off-lim­its to for­eign­ers, freed­men, and, with the notable excep­tion of adul­ter­ess­es and pros­ti­tutes, women.

Wealth­i­er indi­vid­u­als flaunt­ed their sta­tus by accent­ing their out­fit with stripes of Tyr­i­an Pur­ple.

The BBC reports that dying even a sin­gle small swatch of fab­ric this shade “took tens of thou­sands of des­ic­cat­ed hypo­branchial glands wrenched from the cal­ci­fied coils of spiny murex sea snails” and that thus dyed, the fibers “retained the stench of the invertebrate’s marine excre­tions.”

Achiev­ing that Tyr­i­an Pur­ple hue was “a very smelly process,” Dr. Har­low con­firms, “but if you could retain a lit­tle bit of that fishy smell in your final gar­ment, it would show your col­leagues that you could afford the best.”

Giv­en the laun­dry-relat­ed rev­e­la­tions of some toga inves­ti­gat­ing stu­dents in Sal­is­bury Uni­ver­si­ty’s Depart­ment of The­atre and Dance study abroad pro­gram, above, a fishy odor might not have been the great­est olfac­to­ry chal­lenge asso­ci­at­ed with this gar­ment.

The stu­dents also share how toga-clad Romans dealt with stairs, and intro­duce view­ers to 5 forms of toga:

Toga Vir­ilis  — the toga of man­hood

Toga Prae­tex­ta — the pre-toga of man­hood toga

Toga Pul­la — a dark mourn­ing toga

Toga Can­di­da- a chalk whitened toga sport­ed by those run­ning for office

Toga Pic­ta- to be worn by gen­er­als, prae­tors cel­e­brat­ing games and con­suls. The emperor’s toga pic­ta was dyed pur­ple. Uh-oh.

Their youth­ful enthu­si­asm for antiq­ui­ty is rous­ing, though Quin­til­ian, the first cen­tu­ry CE edu­ca­tor and expert in rhetoric might have had some thoughts on their clown­ish antics.

He cer­tain­ly had a lot of thoughts about togas, which he shared in his instruc­tive mas­ter­work, Insti­tu­tio Ora­to­ria:

The toga itself should, in my opin­ion, be round, and cut to fit, oth­er­wise there are a num­ber of ways in which it may be unshape­ly. Its front edge should by pref­er­ence reach to the mid­dle of the shin, while the back should be high­er in pro­por­tion as the gir­dle is high­er 

behind than in front. The fold is most becom­ing, if it fall to a point a lit­tle above the low­er edge of the tunic, and should cer­tain­ly nev­er fall below it. The oth­er fold which pass­es oblique­ly like a belt under the right shoul­der and over the left, should nei­ther be too tight nor too loose. The por­tion of the toga which is last to be arranged should fall rather low, since it will sit bet­ter thus and be kept in its place. A por­tion of the tunic also should be drawn back in order that it may not fall over the arm when we are plead­ing, and the fold should be thrown over the shoul­der, while it will not be unbe­com­ing if the edge be turned back. On the oth­er hand, we should not cov­er the shoul­der and the whole of the throat, oth­er­wise our dress will be undu­ly nar­rowed and will lose the impres­sive effect pro­duced by breadth at the chest. The left arm should only be raised so far as to form a right angle at the elbow, while the edge of the toga should fall in equal lengths on either side. 

Quin­til­lian was will­ing to let some of his high stan­dards slide if the wearer’s toga had been unti­died by the heat of rous­ing ora­tion:

When, how­ev­er, our speech draws near its close, more espe­cial­ly if for­tune shows her­self kind, prac­ti­cal­ly every­thing is becom­ing; we may stream with sweat, show signs of fatigue, and let our dress fall in care­less dis­or­der and the toga slip loose from us on every side…On the oth­er hand, if the toga falls down at the begin­ning of our speech, or when we have only pro­ceed­ed but a lit­tle way, the fail­ure to replace it is a sign of indif­fer­ence, or sloth, or sheer igno­rance of the way in which clothes should be worn.

We’re pret­ty sure he would have frowned on clas­si­cal archae­ol­o­gist Shel­by Brown’s exper­i­ments using a twin-size poly-blend bed sheet in advance of an ear­ly 21st-cen­tu­ry Col­lege Night at the Get­ty Vil­la.

Prospec­tive guests were encour­aged to attend in their “best togas.”

Could it be that the par­ty plan­ners , envi­sion­ing a civ­i­lized night of pho­to booths, clas­si­cal art view­ing, and light refresh­ments in the Her­cu­la­neum-inspired Get­ty Vil­la, were so igno­rant of 1978’s noto­ri­ous John Belushi vehi­cle Ani­mal House?

Estne vol­u­men in toga, an solum tibi libet me videre?

Relat­ed Con­tent 

 

- 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.

The Depths of Wikipedia: Enjoy a Compendium of the Online Encyclopedia’s Most Bizarre Pages

@depthsofwikipedia If the author­i­ties kill me for mak­ing this tik­tok just know I loved you guys #learnon­tik­tok #tik­tok­part­ner ♬ orig­i­nal sound — Annie Rauw­er­da

What’s your stance on Wikipedia, the free, open con­tent online ency­clo­pe­dia?

Stu­dents are often dis­cour­aged or dis­al­lowed from cit­ing Wikipedia as a source, a bias that a Wikipedia entry titled “Wikipedia should not be con­sid­ered a defin­i­tive source in and of itself” sup­ports:

As a user-gen­er­at­ed source, it can be edit­ed by any­one at any time, and any infor­ma­tion it con­tains at a par­tic­u­lar time could be van­dal­ism, a work in progress, or sim­ply incor­rect. Biogra­phies of liv­ing per­sons, sub­jects that hap­pen to be in the news, and polit­i­cal­ly or cul­tur­al­ly con­tentious top­ics are espe­cial­ly vul­ner­a­ble to these issues…because Wikipedia is a vol­un­teer-run project, it can­not con­stant­ly mon­i­tor every con­tri­bu­tion. There are many errors that remain unno­ticed for hours, days, weeks, months, or even years.


(Anoth­er entry coun­sels those who would per­sist to cite the exact time, date, and arti­cle ver­sion they are ref­er­enc­ing.)

Wikipedia has a clear­ly stat­ed pol­i­cy pro­hibit­ing con­trib­u­tors from close para­phras­ing or out­right copy­ing and past­ing from out­side sources, though in a bit of a cir­cle-in-a-cir­cle sit­u­a­tion, sev­er­al not­ed authors and jour­nal­ists have been caught pla­gia­riz­ing Wikipedia arti­cles.

A list of Wikipedia con­tro­ver­sies, pub­lished on — where else? — Wikipedia is a hair rais­ing litany of polit­i­cal sab­o­tage, char­ac­ter assas­si­na­tion, and “revenge edits”. (The list is cur­rent­ly sub­stan­ti­at­ed by 338 ref­er­ence links, and has been char­ac­ter­ized as in need of update since Octo­ber 2021, owing to a lack of edits regard­ing the “con­tro­ver­sy about Main­land Chi­nese edi­tors.”)

It can be a pret­ty scary place, but Uni­ver­si­ty of Michi­gan senior Annie Rauw­er­da, cre­ator of the Insta­gram account Depths of Wikipedia is unfazed. As she wrote in an arti­cle for the tech pub­li­ca­tion Input:

Wikipedia is a splen­did­ly exten­sive record of almost every­thing that mat­ters; a mod­ern-day Library of Alexan­dria that’s free, acces­si­ble, and dynam­ic. But Wikipedia is char­ac­ter­ized not only by what it is but also by what it is not. It’s not a soap­box, a bat­tle­ground, nor a blog.


It’s also becom­ing famous as Rauw­er­da’s play­ground, or more accu­rate­ly, a packed swap shop in which mil­lions of bizarre items are tucked away.

If your sched­ule lim­its the amount time you can spend down its myr­i­ad rab­bit holes, Rauw­er­da will do the dig­ging for you.

Turn­ing a selec­tion of Wikipedia excerpts into a col­lage for a friend’s quaran-zine inspired her to keep the par­ty going with screen­shots of odd­ball entries post­ed to a ded­i­cat­ed Insta­gram account.

Her fol­low­ers don’t seem to care whether a post con­tains an image or not, though the neu­ro­science major finds that emo­tion­al, short or ani­mal-relat­ed posts gen­er­ate the most excite­ment. “I used to post more things that were con­cep­tu­al,” she told Lithi­um Mag­a­zine,  “like mind-blow­ing physics con­cepts, but those didn’t lend them­selves to Insta­gram as well since they require a few min­utes of think­ing and read­ing.”

The bulk of what she posts come to her as read­er sub­mis­sions, though in a pinch, she can always turn to the “holy grail” — Wikipedia’s own list of unusu­al arti­cles.

In addi­tion to Insta­gram, her dis­cov­er­ies find their way into an infre­quent­ly pub­lished newslet­ter, and onto Tik­Tok and Twit­ter, where some of our recent faves include the def­i­n­i­tion of hum­ster, a list of games that Bud­dha would not play, and the Paul O’Sullivan Band, “an inter­na­tion­al­ly based, pop-rock band con­sist­ing of four mem­bers, all of whom are named Paul O’Sullivan.”

Along the way, she has found ways to give back, co-host­ing a vir­tu­al edit-a-thon and bring­ing some gen­uine glam­our to a livestreamed Wikipedia triv­ia con­test.

And she recent­ly authored a seri­ous arti­cle for Slate about Rus­sians scram­bling to down­load a 29-giga­byte file con­tain­ing Russ­ian-lan­guage Wikipedia after the Fed­er­al Ser­vice for Super­vi­sion of Com­mu­ni­ca­tions, Infor­ma­tion Tech­nol­o­gy and Mass Media (Roskom­nad­zor) threat­ened to block it over con­tent relat­ed to the inva­sion of Ukraine.

(You can read more about how that’s going on Wikipedia…)

Sub­mit a link to Wikipedia page for pos­si­ble inclu­sion on the Depths of Wikipedia here.

Fol­low Annie Rauwin­da’s Depths of Wikipedia on Insta­gram and Tik­Tok.

via NYTimes

Relat­ed Con­tent 

Lis­ten to Wikipedia: A Web Site That Turns Every Wikipedia Edit Into Ambi­ent Music in Real Time

- 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.

A Survival Guide to the Biblical Apocalypse

The Book of Rev­e­la­tion is a strong com­peti­tor for weird­est text in all of ancient lit­er­a­ture. Or, at least, it is “the strangest and most dis­turb­ing book in the whole Bible,” says the nar­ra­tor of the video above from a chan­nel called hochela­ga, which fea­tures “obscure top­ics that deserve more atten­tion.” Most of these are super­nat­ur­al or reli­gious in nature. But if you’re look­ing for a reli­gious or the­o­log­i­cal inter­pre­ta­tion of St. John of Pat­mos’ bizarre prophet­ic vision, look else­where. The exam­i­na­tion above pro­ceeds “from a sec­u­lar, non-reli­gious per­spec­tive.”

Instead, we’re promised a sur­vival guide in the unlike­ly (but who knows, right) event that the prophe­cy comes true. But what, exact­ly, would that look like? Rev­e­la­tion is “high­ly sym­bol­ic” and very “non-lit­er­al.” The mean­ings of its sym­bols are rather inscrutable and have seemed to shift and change each cen­tu­ry, depend­ing on how its inter­preters want­ed to use it to for­ward agen­das of their own.

This has, of course, been no less true in the 20th and 21st cen­turies. If you grew up in the 1970s and 80s, for exam­ple, you were bound to have come across the works of Hal Lind­say – author of The Late Great Plan­et Earth (turned into a 1977 film nar­rat­ed by Orson Welles). And if you lived through the 1990s, you sure­ly heard of his enter­tain­ing suc­ces­sors: the bloody-mind­ed Left Behind series by Tim LaHaye and Jer­ry Jenk­ins.

The Apoc­a­lypse has been big busi­ness in pub­lish­ing and oth­er media for 50 plus years now. Rev­e­la­tion itself is an incred­i­bly obscure book, but the use of its lan­guage and imagery for prof­it and pros­e­lyt­ing “made the Apoc­a­lypse a pop­u­lar con­cern,” as Erin A. Smith writes for Human­i­ties. Lind­say’s book sold both as reli­gious fact and sci­ence fic­tion, a genre lat­er evan­gel­i­cal writ­ers like LaHaye and Jenk­ins exploit­ed on pur­pose. The influ­ence has always gone both ways. “A kind of sec­u­lar apoc­a­lyp­tic sen­si­bil­i­ty per­vades much con­tem­po­rary writ­ing about our cur­rent world,” Paul Boy­er, Pro­fes­sor of His­to­ry at the Uni­ver­si­ty of Wis­con­sin, Madi­son, tells PBS.

Whether it’s a dis­cus­sion of cli­mate cat­a­stro­phe, viral pan­dem­ic, eco­nom­ic col­lapse, the rise of arti­fi­cial intel­li­gence, or civ­il strife and inter­na­tion­al war­fare, the apoc­a­lyp­tic metaphors stack up in our imag­i­na­tions, often with­out us even notic­ing. Get to know one of their pri­ma­ry sources in the video intro­duc­tion to Rev­e­la­tion just above.

Relat­ed Con­tent:

Isaac Asimov’s Guide to the Bible: A Wit­ty, Eru­dite Atheist’s Guide to the World’s Most Famous Book

Chris­tian­i­ty Through Its Scrip­tures: A Free Course from Har­vard Uni­ver­si­ty 

Free Online Reli­gion Cours­es 

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

Home Movies of Frida Kahlo (and a Side Order of Romantic Entanglements)

Ear­ly home movies have a cer­tain pre­dictable qual­i­ty. Their sub­jects wan­der around, point­ing at things. They shoo the cam­era away with embar­rassed grins, clus­ter togeth­er awk­ward­ly, and casu­al­ly chat up their side pieces in front of their spous­es….

Wait, what now?

The vis­it between mar­ried artists Fri­da Kahlo and Diego Rivera and exiled Russ­ian Com­mu­nist leader Leon Trot­sky and his wife Natalia Sedo­va appears both cor­dial and ordi­nary in Amer­i­can pho­tog­ra­ph­er Ivan Heisler’s footage, above.

The Trot­skys took up res­i­dence in La Casa Azul, Kahlo’s fam­i­ly home in Jan­u­ary 1937,  after Rivera per­suad­ed Pres­i­dent Lázaro Cár­de­nas to offer them sanc­tu­ary in Mex­i­co.

Short­ly after arrival, Sedo­va wrote a let­ter to friends, speak­ing warm­ly of the hos­pi­tal­i­ty she was receiv­ing:

We were breath­ing puri­fied air…A motorcar…carried us across the fields of palms and cac­ti to the sub­urbs of Mex­i­co City; a blue house, a patio filled with plants, airy rooms, col­lec­tions of Pre-Columbian art, paint­ings from all over: we were on a new plan­et, in Rivera’s house.

Heisler’s slice of life film would appear to be a con­tin­u­a­tion of this relaxed and hap­py vibe.

Trot­sky pats Rivera on the back and con­vers­es ani­mat­ed­ly with Kahlo, near­ly 30 years his junior. The two women embrace and stroll arm in arm, as the men take inter­est in a cac­tus.  Sedo­va seems  delight­ed when Rivera kiss­es her hand. Then every­one stands around and looks at trees.

Gosh, isn’t it nice when all mem­bers of two cou­ples get along so well?

Is it pos­si­ble, though, that an extra cou­ple was lurk­ing in plain sight?

Short­ly after meet­ing, Trot­sky and Kahlo entered into a brief but pas­sion­ate fling, exchang­ing sweet noth­ings in Eng­lish, con­ceal­ing love notes between the pages of books, and bor­row­ing Kahlo’s sis­ter Cristina’s house for trysts.

They called it quits in July of 1937, after Sedo­va caught on and issued her hus­band an ulti­ma­tum.

Accord­ing to the Hoover Insti­tu­tion Library and Archives, Heisler’s film was shot in 1938.

So we will amend our state­ment to say, isn’t it nice when two cou­ples get along so well, even after two of them were dis­cov­ered to be cheat­ing on their part­ners with each oth­er?

Kahlo’s and Rivera’s extra­mar­i­tal dal­liances are hard­ly news, of course.

Dan­ger­ous Minds sug­gests that part of what drew Kahlo to Trot­sky was the oppor­tu­ni­ty to get back at Rivera for his affair with Cristi­na — the sis­ter who vol­un­teered her house as love nest.

And in Van­i­ty Fair, Amy Fine Collins details how Rivera “boast­ed to any­one who would lis­ten” about Kahlo’s same sex lia­sons, but was apoplec­tic over her entan­gle­ments with men, includ­ing sculp­tor Isamu Noguchi, pho­tog­ra­ph­er Nick­o­las Muray, and Trotsky’s sec­re­tary Jean van Hei­jenoort, wit­ness to the bla­tant flir­ta­tion between the artist and his boss.

The romance with Trot­sky “infu­ri­at­ed him most” Collins writes, adding that “long after Trotsky’s assas­si­na­tion, Kahlo delight­ed in dri­ving Rivera into a rage by humil­i­at­ing him with the mem­o­ry of her affair with the great Com­mu­nist.”

…kind of makes one wish this lit­tle film had sound.

The absence of audio is also lament­ed by view­ers of this col­orized assem­blage of ama­teur footage star­ring Kahlo and Rivera.

Trot­sky appears again at the 1:03 mark. Dare we describe him as look­ing smit­ten?

There’s some spec­u­la­tion that the young woman at 1:17 is musi­cian Chavela Var­gas, anoth­er of Kahlo’s lovers. In that same moment, Kahlo proves her­self as in com­mand of her cin­e­mat­ic image as she was in her self-por­traits. She’s as self-pos­sessed as a movie star through­out.

Which makes the ear­ly glimpse of her sketch­ing en plein air in a fur coat and West­ern style hat, feet propped on a low wall, all the more dis­arm­ing.

It’s rare to see Fri­da Kahlo caught off guard, or so she appears, smil­ing and ges­tur­ing off­screen toward the osten­si­ble sub­ject of her draw­ing.

Is there a lip read­er in the house?

(Seri­ous ques­tion.)

For good mea­sure, here is even more footage — the Kahlo-Riveras at the Casa Azul, as cap­tured by Kahlo’s lover Nick­o­las Muray, whose famous 1939 por­trait of the artist in a magen­ta rebo­zo was declared “mar­velous as a Piero del­la Francesca” by her hus­band.

“To me it is more than that,” Kahlo wrote to Muray:

It is a trea­sure, and besides, it will always remind me [of] that morn­ing we had break­fast togeth­er.

Under­stand­ably, some view­ers remain dis­ap­point­ed that the snip­pets of Kahlo on film lack sound, but sure­ly the “voice” in which she wrote her many loves, Diego includ­ed, is far more expres­sive than any audio that a home movie might have cap­tured.

Which is not to say we’ll nev­er hear Fri­da. Above is a record­ing the Nation­al Sound Library of Mex­i­co believes to be her, from a radio show aired the year after her death.

The title of the text from which she is heard read­ing?

Por­trait of Diego.

Relat­ed Con­tent 

The Inti­ma­cy of Fri­da Kahlo’s Self-Por­traits: A Video Essay

A Brief Ani­mat­ed Intro­duc­tion to the Life and Work of Fri­da Kahlo

What the Icon­ic Paint­ing The Two Fridas Actu­al­ly Tells Us About Fri­da Kahlo

Vis­it the Largest Col­lec­tion of Fri­da Kahlo’s Work Ever Assem­bled: 800 Arti­facts from 33 Muse­ums, All Free Online

Take a Vir­tu­al Tour of Fri­da Kahlo’s Blue House Free Online

Dis­cov­er Fri­da Kahlo’s Wild­ly Illus­trat­ed Diary: It Chron­i­cled the Last 10 Years of Her Life, and Then Got Locked Away for Decades

– Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and cre­ator, most just late­ly, of Inven­tive, Not Well-known: The Small Pota­to Man­i­festo.  Com­ply with her @AyunHalliday.

Watch Brian Cox of “Succession” Read Hunter S. Thompson’s Profanity-Laden Letter

Bri­an Cox has maneu­vered over four decades of act­ing while remain­ing a bit anony­mous from one role to the next. Or at least that was the case until his star turn as Logan Roy, the sten­to­ri­an patri­arch at the cen­ter of HBO’s Suc­ces­sion. Now it is hard to sep­a­rate Cox from his char­ac­ter. His way of deliv­er­ing the deli­cious insults of the show’s scripts are both fright­en­ing and hilarious–as is his way of punc­tu­at­ing a scene with two sim­ple words: “Fuc& Off.”

Look, we try to keep swear­ing to a min­i­mum on this site, but Cox does won­ders with that phrase. Just watch one of the many super­cuts of Logan Roy say­ing it, and hear a mas­ter at work.

So the clip above, from a UK event series called Let­ters Live, shows why Cox is a per­fect fit to read Hunter S. Thompson’s let­ter to a cer­tain Dave Allen, direc­tor of pro­gram­ming at the writer’s local net­work affil­i­ate, KREX-TV. Allen had tak­en the CBS news off the local sta­tion, and Thomp­son was hav­ing none of it.

Thomp­son wrote many blis­ter­ing, pro­fan­i­ty-laden let­ters from his Col­orado home. The above was col­lect­ed in Hunter S. Thomp­son, Fear and Loathing in Amer­i­ca: The Bru­tal Odyssey of an Out­law Jour­nal­ist (Gonzo Let­ters, Vol­ume II, 1968–1976). Allen joins a list of recip­i­ents of Thompson’s ven­om that includes his edi­tor at Ran­dom House, Loren Jenk­ins of Newsweek, Paul Gor­man of WBAI-FM, and many oth­ers, most of whom owed him mon­ey for this or that writ­ing assign­ment.

Let­ters Live keeps its epis­tles short, and Bri­an Cox acts out Thompson’s short note, pour­ing con­tempt through every turn of phrase.

The pro­jec­t’s YouTube chan­nel offers many oth­er let­ters from his­to­ry, read by actors like Olivia Cole­man, Bene­dict Cum­ber­batch, Stephen Fry, Matt Berry, Carey Mul­li­gan, Gillian Ander­son, Ian McK­ellen, and many more. It’s worth check­ing out, espe­cial­ly if his­tor­i­cal swear­ing is your thing.

Relat­ed Con­tent:

Hunter S. Thomp­son Writes a Blis­ter­ing, Over-the-Top Let­ter to Antho­ny Burgess (1973)

Hunter S. Thomp­son Calls Tech Sup­port, Unleash­es a Tirade Full of Fear and Loathing (NSFW)

Shake­speare­an Actor Bri­an Cox Teach­es Hamlet’s Solil­o­quy to a 2‑Year-Old Child

The His­to­ry of Ancient Greece in 18 Min­utes: A Brisk Primer Nar­rat­ed by Bri­an Cox

The Scotch Pro­nun­ci­a­tion Guide: Bri­an Cox Teach­es You How To Ask Authen­ti­cal­ly for 40 Scotch­es

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

Can We Still Consume the Work of Disgraced Artists — Pretty Much Pop: A Culture Podcast #119

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Come­di­an Genevieve Joy, philosopher/NY Times enter­tain­ment writer Lawrence Ware, and nov­el­ist Sarahlyn Bruck join your host Mark Lin­sen­may­er to dis­cuss how we as spec­ta­tors deal with enter­tain­ers like R. Kel­ly, Michael Jack­son, Woody Allen, et al. We all watched W. Kamau Bel­l’s Show­time doc­u­men­tary We Need to Talk About Cos­by, so most of our dis­cus­sion is around that.

None of us seem able to sep­a­rate the art from the artist, but this varies by art form, how much of the per­son­’s per­son­al­i­ty and val­ues went into the art, and the specifics of the alleged crimes or bad behav­ior. Cos­by presents such a dra­mat­ic, unam­bigu­ous case because he was so uni­ver­sal­ly beloved, and vital­ly impor­tant to the black com­mu­ni­ty, yet his crimes were so numer­ous, heinous, well doc­u­ment­ed, and thor­ough­ly under­mine the image that he sought to con­vey. Does our dis­il­lu­sion­ment with him per­haps reflect not just on rape cul­ture but the impor­tance we put on celebri­ty itself that made Cos­by for a long time “too big to fail”?

It’s fine if you haven’t seen the doc­u­men­tary. You can expe­ri­ence Bell talk­ing about it on WTF and in Slate. For in-depth info on the charges against Bill Cos­by, try the Chas­ing Cos­by pod­cast.

Fol­low us @CAtFightJOy, @law_writes, @sarahlynbruck, and @MarkLinsenmayer.

This episode includes bonus dis­cus­sion fea­tur­ing all of our guests that you can access by sup­port­ing the pod­cast at patreon.com/prettymuchpop or by choos­ing a paid sub­scrip­tion through Apple Pod­casts. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

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

Principles for Dealing with the Changing World Order: An Animated Video Explaining Key Ideas in Ray Dalio’s New Bestselling Book

Over the past five years, Ray Dalio, one of Amer­i­ca’s most suc­cess­ful investors, has pub­lished a series of books, each meant to impart wis­dom to a younger gen­er­a­tion. The first book, Prin­ci­ples: Life and Work, shared the uncon­ven­tion­al prin­ci­ples that have guid­ed his life and career. It became a best­seller, sell­ing well over one mil­lion copies. Next came Big Debt Crises, a study of finan­cial crises and how nations nav­i­gate them. Final­ly, he has just pub­lished his lat­est best­seller, Prin­ci­ples for Deal­ing with the Chang­ing World: Why Nations Suc­ceed and Fail. A his­to­ry of the rise and fall of empires over the last 500 years, the book uses the past to con­tem­plate the future, par­tic­u­lar­ly the fate of the Unit­ed States and Chi­na. As was the case with Prin­ci­ples, Dalio has pro­duced an ani­mat­ed video that explains key ideas in the book. Released in ear­ly March, the video has already been viewed 8.6 mil­lion times. Watch it above, and con­sid­er pair­ing it with his oth­er ani­mat­ed video, How the Eco­nom­ic Machine Works.

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

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

Relat­ed Con­tent 

The Prin­ci­ples for Suc­cess by Entre­pre­neur & Investor Ray Dalio: A 30-Minute Ani­mat­ed Primer

Eco­nom­ics 101: Hedge Fund Investor Ray Dalio Explains How the Econ­o­my Works in a 30-Minute Ani­mat­ed Video

Ray Dalio & Adam Grant Launch Free Online Per­son­al­i­ty Assess­ment to Help You Under­stand Your­self (and Oth­ers Under­stand You)

A Gallery of Fantastical Alchemical Drawings

I once had to tell a ten-year-old that the Har­ry Pot­ter book series was not a his­tor­i­cal lit­er­ary clas­sic but a recent pub­lish­ing phe­nom­e­non that occurred in my life­time. She was amazed, but she was­n’t sil­ly for think­ing that the books might date from a far­away past. They do, after all, make fre­quent ref­er­ence to fig­ures from cen­turies when alche­my flour­ished in Europe, and magi­cians like Paracel­sus and Nicholas Flamel (both of whom appear in Pot­ter books and spin-offs) plied their soli­tary craft, such as it was. Should we call it mag­ic, ear­ly sci­ence, occult reli­gion, out­sider art, or some admix­ture of the above?

We can call it “black mag­ic,” but the term was not, as the Chris­tians thought, a ref­er­ence to the dev­il, but to the soil of the Nile. “Derived from the Ara­bic root ‘kimia,’” writes the Pub­lic Domain Review, “from the Cop­tic ‘khem’ (refer­ring to the fer­tile black soil of the Nile delta), the word ‘alche­my’ alludes to the dark mys­tery of the pri­mor­dial or First Mat­ter (the Khem).”

Find­ing this first sub­stance con­sti­tutes “the alchemist’s cen­tral goal – along with the dis­cov­ery of the Stone of Knowl­edge (The Philosopher’s Stone) and the key to Eter­nal Youth.”

In the descrip­tion above, we can see the roots of Rowling’s fic­tions and the ori­gins of many a world-shap­ing mod­ern myth. Alchemists study and change mat­ter to pro­duce cer­tain effects – just as ear­ly sci­en­tists did – and it may sur­prise us to learn just how fer­vent­ly some well-known ear­ly sci­en­tists, most espe­cial­ly Isaac New­ton, pur­sued the alchem­i­cal course. But the essence of alche­my was imag­i­na­tion, and the artists who depict­ed alchem­i­cal rit­u­als, mag­i­cal crea­tures, mys­ti­cal sym­bols, etc. had no short­age of it, as we see in the images here, drawn from Well­come Images and the Man­ley Palmer Hall col­lec­tion at the Inter­net Archive.

The images are strange, sur­re­al, cryp­tic, and seem to ref­er­ence no known real­i­ty. They are the inspi­ra­tion for cen­turies of occult art and eso­teric lit­er­a­ture. But each one also had prac­ti­cal intent — to illus­trate mys­te­ri­ous, often secre­tive process­es for dis­cov­er­ing the foun­da­tions of the uni­verse, and prof­it­ing from them. If these tech­niques look noth­ing like our mod­ern meth­ods for doing the same, that’s for good rea­son, but it does­n’t mean that alche­my has noth­ing to do with sci­ence. It is, rather, sci­ence’s weird dis­tant ances­tor. See more alchem­i­cal images at the Pub­lic Domain Review.

via Pub­lic Domain Review

Relat­ed Con­tent:

How the Bril­liant Col­ors of Medieval Illu­mi­nat­ed Man­u­scripts Were Made with Alche­my

Videos Recre­ate Isaac Newton’s Neat Alche­my Exper­i­ments: Watch Sil­ver Get Turned Into Gold

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

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

How To Build a 13th-Century Castle, Using Only Authentic Medieval Tools & Techniques

It’s the rare Eng­lish­man who will read­i­ly defer to a French­man — except, of course, in the field of cas­tle-build­ing. This was true after the Nor­man Con­quest of 1066, which intro­duced French cas­tles to Britain, and it remains so today, espe­cial­ly under the demands of peri­od accu­ra­cy. In order to learn first-hand just what mate­ri­als and tech­ni­cal skills went into those might­i­est struc­tures of the Mid­dle Ages, the BBC Two series Secrets of the Cas­tle had to go all the way to Bur­gundy. There Château de Guéde­lon has been under con­struc­tion for the past 25 years, with its builders adher­ing as close­ly as pos­si­ble to the way they would have done the job back in the thir­teenth cen­tu­ry, the “gold­en age of cas­tle-build­ing.”

Host­ed by his­to­ri­an Ruth Good­man along with archae­ol­o­gists Peter Ginn and Tom Pin­fold, Secrets of the Cas­tle com­pris­es five episodes that cov­er a vari­ety of aspects of the medieval cas­tle: its tools, its defense, its archi­tec­ture, its stone­ma­son­ry, and its con­nec­tions to the rest of the world.

The work of “exper­i­men­tal archae­ol­o­gy” that is Guéde­lon demands mas­tery of near­ly mil­len­nia-old build­ing meth­ods, the sim­ple inge­nious­ness of some of which remains impres­sive today. So, in our increas­ing­ly dis­em­bod­ied age, does their sheer phys­i­cal­i­ty of it all: apart from the hors­es cart­ing stone in from the quar­ry (itself a strong deter­mi­nant in the sit­ing of a cas­tle), every­thing was accom­plished with sheer human mus­cle.

Much of that man­pow­er was lever­aged with machines, often elab­o­rate and some­times amus­ing: take, for exam­ple, the pair of human-sized ham­ster wheels in which Gill and Pin­fold run in order to oper­ate a crane. Such a hard day’s work can only be fueled by a hearty meal, and so Good­man learns how to cook a sim­ple veg­etable stew. Same with how to clean and indeed craft the cook­ing pots need­ed to do so. For a cas­tle was­n’t just a for­ti­fied sym­bol of a king­dom’s strength, but a place where all man­ner of life went on, as well as a stone embod­i­ment of human knowl­edge in the Mid­dle Ages. Secrets of the Cas­tle orig­i­nal­ly aired in 2014, and since then a great deal more peri­od-accu­rate work has gone into Guéde­lon. Sched­uled for com­ple­tion next year, the cas­tle will pre­sum­ably — as long as the skills of its builders prove equal to those of their fore­bears — still be stand­ing in the 29th cen­tu­ry.

Relat­ed con­tent:

A Vir­tu­al Time-Lapse Recre­ation of the Build­ing of Notre Dame (1160)

An Ani­mat­ed Video Shows the Build­ing of a Medieval Bridge: 45 Years of Con­struc­tion in 3 Min­utes

What Did Peo­ple Eat in Medieval Times? A Video Series and New Cook­book Explain

A 13th-Cen­tu­ry Cook­book Fea­tur­ing 475 Recipes from Moor­ish Spain Gets Pub­lished in a New Trans­lat­ed Edi­tion

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

A is for Archi­tec­ture: 1960 Doc­u­men­tary on Why We Build, from the Ancient Greeks to Mod­ern Times

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.

Exploring the Greatest of Italy’s 6,000 Ghost Towns: Take a Tour of Craco, Italy

When Amer­i­cans think of ghost towns, we think tum­ble­weeds and crum­bling Old West saloons. These aban­doned set­tle­ments are mere babies com­pared to Italy’s ancient necrop­olis­es. We know, of course, the famous dead cities and towns of antiq­ui­ty – Pom­peii, the ruins of Rome, etcetera. Such famous sites are only the most obvi­ous haunt­ed ruins on any itin­er­ary through the ven­er­a­ble boot-shaped coun­try. Can they be con­sid­ered ghost towns? The first fell prey to a nat­ur­al dis­as­ter that encased its res­i­dents in ash before they had the time to leave; the sec­ond thrives as the eighth-most pop­u­lous city in Europe. It may be full of ghosts, but it’s hard to catch them in the throngs, traf­fic, and noise.

That said, there are no short­age of towns that fit the bill. Italy con­tains “more than 6,000 aban­doned vil­lages,” the video above explains, and “accord­ing to con­ser­v­a­tive esti­mates, anoth­er 15,000 have lost more than 95 per­cent of their res­i­dents.” That’s an awful lot of aban­don­ment. In the video tour above, we get to explore the “Cap­i­tal of all Ghost Towns,” Cra­co, a tow­er­ing vil­lage on the high cliffs of a region known as Basil­i­ca­ta in South­ern Italy, nes­tled in the instep of the boot. Found­ed in the 8th cen­tu­ry AD by Greek set­tlers, the vil­lage sur­vived Black Plague, “bands of maraud­ing thieves,” writes Atlas Obscu­ra, and the usu­al polit­i­cal insta­bil­i­ty and internecine con­flict of Ital­ian towns, duchies, city states, etc. before the coun­try’s 19th cen­tu­ry uni­fi­ca­tion. In the end, “a land­slide final­ly forced res­i­dents from Cra­co in 1991.”

The very loca­tion that kept the town safe for cen­turies from those who would sack it also exposed it to the ele­ments. “Once a monas­tic cen­ter, a feu­dal town and cen­ter of edu­ca­tion with a uni­ver­si­ty, cas­tle, church, and plazas,” Ancient Ori­gins writes, Cra­co has now become a des­ti­na­tion for adven­tur­ers and a set for sev­er­al films, “includ­ing Sav­ing Grace, James Bond’s Quan­tum of Solace and the hang­ing of Judas scene in Mel Gib­son’s The Pas­sion of the Christ.” Charm­ing, no? While such towns are hard­ly found in the usu­al his­to­ry text or guide­book, ancient Ital­ian ghost towns and aban­doned cas­tles have inspired actu­al ghost sto­ries for hun­dreds of years and are the very ori­gin of the goth­ic as a lit­er­ary genre, via Horace Walpole’s haunt­ed cas­tle nov­el, The Cas­tle of Otran­to.

Wal­pole might just as well have writ­ten about the cas­tle of Cra­co, which you can explore above with Mar­co, Till, Tobi, and Sam, hosts and pro­duc­ers of Aban­doned Italy, a web series devot­ed to exact­ly that. In sev­er­al sea­sons online, they trav­el to oth­er ghost­ly towns, vil­lages, and islands, ask­ing ques­tions like, “what if humans go extinct?” Answer­ing that one is a bit like pon­der­ing the tree-falling-in-the-for­est ques­tion. If no one’s there to see it.… ?

Relat­ed Con­tent:

A Data Visu­al­iza­tion of Every Ital­ian City & Town Found­ed in the BC Era

High-Res­o­lu­tion Walk­ing Tours of Italy’s Most His­toric Places: The Colos­se­um, Pom­peii, St. Peter’s Basil­i­ca & More

The Chang­ing Land­scape of Ancient Rome: A Free Online Course from Sapien­za Uni­ver­si­ty of Rome 

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

How Previous Decades Predicted the Future: The 21st Century as Imagined in the 1900s, 1950s, 1980s, and Other Eras

All of us alive today per­ceive recent his­to­ry as a series of decades. There exists, as far as we know, no qual­i­ty of real­i­ty dic­tat­ing that every­thing must rec­og­niz­ably change every ten years. But through­out the 21st cen­tu­ry, it seems to have been thus: even if we weren’t alive at the time, we can tell at a glance the cul­tur­al arti­facts of the nine­teen-thir­ties from the nine­teen-for­ties, for exam­ple, or those of the nine­teen-eight­ies from the nine­teen-nineties. Each decade has its own dis­tinct fash­ions, which arose from its dis­tinct world­view; that world­view arose from a vision of the future; and that vision of the future arose from changes in tech­nol­o­gy.

Back in the nine­teen-tens, says his­to­ry Youtu­ber Hochela­ga in the video above, “the inven­tion of the first air­plane opened mas­sive poten­tial in trans­porta­tion, and sparked the imag­i­na­tion of the pub­lic.” The devel­op­ment of avi­a­tion encour­aged pre­dic­tions that one day “the world would go air­borne; peo­ple would take to the skies in their very own per­son­al air­ships and glid­ers.” Pop­u­lar artists dreamed of  a kind of “steam­punk genre: a future vision and aes­thet­ic, but stuck in vic­to­ri­an tech­nolo­gies like steam pow­er and indus­tri­al machin­ery, as well as gog­gles and top hats.” By the twen­ties, this opti­mistic vision would be dis­placed by dark­er but more styl­ish ones, such as the Art-Deco dystopia of Fritz Lang’s Metrop­o­lis.

It was the nine­teen-fifties, specif­i­cal­ly the tri­umphant and abun­dant Amer­i­can nine­teen-fifties, that intro­duced the idea that “the future will be one of con­ve­nience and lux­u­ry.” As the Space Race pro­gressed, this notion­al world of pic­ture-phones and fly­ing cars evolved into the one of inter­stel­lar free­ways, robot maids, and Goo­gie archi­tec­ture exem­pli­fied by The Jet­sons. But as far as per­son­al tech­nol­o­gy was con­cerned, the real world had seen noth­ing yet. The rapid pop­u­lar­iza­tion of the per­son­al com­put­er in the eight­ies brought with it a vast expan­sion of ideas of what com­put­ers could do. Accord­ing to the Ter­mi­na­tor films, we were sup­posed to have an arti­fi­cial­ly intel­li­gent defense net­work that attained self-aware­ness by 1997 — though our hav­ing blown past the dead­line is prob­a­bly for the best.

Here in the twen­ty-first cen­tu­ry — an impos­si­bly dis­tant future in most of the decades dis­cussed here — very few ele­ments of these futures have been ful­ly real­ized. For that mat­ter, few of the tech­nolo­gies we actu­al­ly do use in our every­day lives were accu­rate­ly pre­dict­ed in the twen­ti­eth cen­tu­ry. (Imag­ine how social media would have looked on a col­or post­card from 1915.) “Each present moment imag­ines a future with them­selves clear­ly in it, tak­ing advan­tage of the newest tech­nol­o­gy of the day to its fur­thest lim­its,” says Hochela­ga. In oth­er words, each of these decades regards the future as an extreme ver­sion of itself. In this view, how many of us today think of the future as dull, grim, and even nonex­is­tent tells us noth­ing about what will actu­al­ly hap­pen in decades ahead. It does, how­ev­er, tell us a great deal about the twen­ty-twen­ties.

Relat­ed con­tent:

Jules Verne Accu­rate­ly Pre­dicts What the 20th Cen­tu­ry Will Look Like in His Lost Nov­el, Paris in the Twen­ti­eth Cen­tu­ry (1863)

How French Artists in 1899 Envi­sioned Life in the Year 2000: Draw­ing the Future

In 1900, Ladies’ Home Jour­nal Pub­lish­es 28 Pre­dic­tions for the Year 2000

1930s Fash­ion Design­ers Pre­dict How Peo­ple Would Dress in the Year 2000

Arthur C. Clarke Pre­dicts the Future in 1964 … and Kind of Nails It

Wal­ter Cronkite Imag­ines the Home of the 21st Cen­tu­ry … Back in 1967

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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