Noam Chomsky Explains the Best Way for Ordinary People to Make Change in the World, Even When It Seems Daunting

The threat of wide­spread vio­lence and unrest descends upon the coun­try, thanks again to a col­lec­tion of actors vicious­ly opposed to civ­il rights, and in many cas­es, to the very exis­tence of peo­ple who are dif­fer­ent from them. They have been giv­en aid and com­fort by very pow­er­ful enablers. Vet­er­an activists swing into action. Young peo­ple turn out by the hun­dreds week after week. But for many ordi­nary peo­ple with jobs, kids, mort­gages, etc. the cost of par­tic­i­pat­ing in con­stant protests and civ­il actions may seem too great to bear. Yet, giv­en many awful exam­ples in recent his­to­ry, the cost of inac­tion may be also.

What can be done? Not all of us are Rosa Parks or Howard Zinn or Mar­tin Luther King, Jr. or Thich Nat Hanh or Cesar Chavez or Dolores Huer­ta, after all. Few of us are rev­o­lu­tion­ar­ies and few may wish to be. Not every­one is brave enough or tal­ent­ed enough or knowl­edge­able enough or com­mit­ted enough or, what­ev­er.

The prob­lem with this kind of think­ing is a prob­lem with so much think­ing about pol­i­tics. We look to leaders—men and women we think of as supe­ri­or beings—to do every­thing for us. This can mean del­e­gat­ing all the work of democ­ra­cy to some­times very flawed indi­vid­u­als. It can also mean we fun­da­men­tal­ly mis­un­der­stand how demo­c­ra­t­ic move­ments work.

In the video above, Noam Chom­sky address­es the ques­tion of what ordi­nary peo­ple can do in the face of seem­ing­ly insur­mount­able injus­tice. (The clip comes from the 1992 doc­u­men­tary Man­u­fac­tur­ing Con­sent.) “The way things change,” he says, “is because lots of peo­ple are work­ing all the time, and they’re work­ing in their com­mu­ni­ties or their work­place or wher­ev­er they hap­pen to be, and they’re build­ing up the basis for pop­u­lar move­ments.”

In the his­to­ry books, there’s a cou­ple of lead­ers, you know, George Wash­ing­ton or Mar­tin Luther King, or what­ev­er, and I don’t want to say that those peo­ple are unim­por­tant. Mar­tin Luther King was cer­tain­ly impor­tant, but he was not the Civ­il Rights Move­ment. Mar­tin Luther King can appear in the his­to­ry books ‘cause lots of peo­ple whose names you will nev­er know, and whose names are all for­got­ten and who may have been killed and so on were work­ing down in the South.

King him­self often said as much. For exam­ple, in the Pref­ace of his Stride Toward Free­dom he wrote—referring to the 50,000 most­ly ordi­nary, anony­mous peo­ple who made the Mont­gomery Bus Boy­cott happen—“While the nature of this account caus­es me to make fre­quent use of the pro­noun ‘I,’ in every impor­tant part of the sto­ry it should be ‘we.’ This is not a dra­ma with only one actor.”

As for pub­lic intel­lec­tu­als like him­self engaged in polit­i­cal strug­gle, Chom­sky says, “peo­ple like me can appear, and we can appear to be promi­nent… only because some­body else is doing the work.” He defines his own work as “help­ing peo­ple devel­op cours­es of intel­lec­tu­al self-defense” against pro­pa­gan­da and mis­in­for­ma­tion. For King, the issue came down to love in action. Respond­ing in a 1963 inter­view above to a crit­i­cal ques­tion about his meth­ods, he coun­ters the sug­ges­tion that non­vi­o­lence means sit­ting on the side­lines.

I think of love as some­thing strong and that orga­nizes itself into pow­er­ful, direct action…. We are not engaged in a strug­gle that means we sit down and do noth­ing. There’s a great deal of dif­fer­ence between non­re­sis­tance to evil and non­vi­o­lent resis­tance. Non­re­sis­tance leaves you in a state of stag­nant pas­siv­i­ty and dead­en­ing com­pla­cen­cy, where­as non­vi­o­lent resis­tance means that you do resist in a very strong and deter­mined man­ner.

Both Chom­sky, King, and every oth­er voice for jus­tice and human rights would agree that the peo­ple need to act instead of rely­ing on move­ment lead­ers. What­ev­er actions one can take—whether it’s engag­ing in informed debate with fam­i­ly, friends, or cowork­ers, writ­ing let­ters, mak­ing dona­tions to activists and orga­ni­za­tions, doc­u­ment­ing injus­tice, or tak­ing to the streets in protest or acts of civ­il disobedience—makes a dif­fer­ence. These are the small indi­vid­ual actions that, when prac­ticed dili­gent­ly and coor­di­nat­ed togeth­er in the thou­sands, make every pow­er­ful social move­ment pos­si­ble.

Note: This post orig­i­nal­ly appeared on our site in August 2017 when white suprema­cists (aka the pres­i­den­t’s “many fine peo­ple”) marched in Char­lottesville, VA. It speaks no less direct­ly to the trau­ma of the cur­rent moment, so we’re bring­ing it back.

Relat­ed Con­tent:

Noam Chom­sky & Har­ry Bela­fonte Speak on Stage for the First Time Togeth­er: Talk Trump, Klan & Hav­ing a Rebel­lious Heart

Noam Chom­sky Defines What It Means to Be a Tru­ly Edu­cat­ed Per­son

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

Howard Zinn’s “What the Class­room Didn’t Teach Me About the Amer­i­can Empire”: An Illus­trat­ed Video Nar­rat­ed by Vig­go Mortensen

Hen­ry David Thore­au on When Civ­il Dis­obe­di­ence and Resis­tance Are Jus­ti­fied (1849)

Saul Alinsky’s 13 Tried-and-True Rules for Cre­at­ing Mean­ing­ful Social Change

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

Ava DuVernay’s Selma Is Now Free to Stream Online: Watch the Award-Winning Director’s Film About Martin Luther King’s 1965 Voting-Rights March

Ava DuVer­nay made her award-win­ning doc­u­men­tary 13th free to stream online. Now comes her film Sel­maThe 2014 film chron­i­cles Dr. Mar­tin Luther King, Jr.‘s cam­paign to secure equal vot­ing rights with an epic march from Sel­ma to Mont­gomery, Alaba­ma, in 1965. Ava DuVer­nay writes on Twit­ter: “Para­mount Pic­tures is offer­ing SELMA for free rental on all US dig­i­tal plat­forms for June, start­ing today. We’ve got­ta under­stand where we’ve been to strate­gize where we’re going. His­to­ry helps us cre­ate the blue­print. Onward.” You can watch Sel­ma on YouTube/Google Play, Apple, Ama­zon Prime and oth­er stream­ing plat­forms list­ed here. The trail­er appears above.

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:

Watch Ava DuVernay’s 13th Free Online: An Award-Win­ning Doc­u­men­tary Reveal­ing the Inequal­i­ties in the US Crim­i­nal Jus­tice Sys­tem

Watch Free Films by African Amer­i­can Film­mak­ers in the Cri­te­ri­on Col­lec­tion … and the New Civ­il Rights Film, Just Mer­cy

1,150 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

Watch Ava DuVernay’s 13th Free Online: An Award-Winning Documentary Revealing the Inequalities in the US Criminal Justice System

Ear­li­er today, we high­light­ed some free cin­e­mat­ic offer­ings online, includ­ing the new civ­il rights film Just Mer­cy, and a slew of films in the Cri­te­ri­on Col­lec­tion made by African Amer­i­can direc­tors. Then we stum­bled upon this. Above, you can watch Ava DuVer­nay’s Oscar-nom­i­nat­ed film 13th. Com­bin­ing archival footage with tes­ti­mo­ny from activists and schol­ars, DuVer­nay’s doc­u­men­tary focus­es on the U.S. prison sys­tem and “how the coun­try’s his­to­ry of racial inequal­i­ty dri­ves the high rate of incar­cer­a­tion in Amer­i­ca.” It won Best Doc­u­men­tary at the Emmys, the BAF­TAs and the NAACP Image Awards.

Update: Dur­ing the month of June, DuVer­nay’s film, Sel­ma, is also stream­ing free online.

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:

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Ava DuVernay’s Sel­ma Is Now Free to Stream Online: Watch the Award-Win­ning Director’s Film About Mar­tin Luther King’s 1965 Vot­ing-Rights March

Watch Free Films by African Amer­i­can Film­mak­ers in the Cri­te­ri­on Col­lec­tion … and the New Civ­il Rights Film, Just Mer­cy

Watch the First-Ever Kiss on Film Between Two Black Actors, Just Hon­ored by the Library of Con­gress (1898)

Watch the Pio­neer­ing Films of Oscar Micheaux, America’s First Great African-Amer­i­can Film­mak­er

The Art of The Black Pan­thers: A Short Doc­u­men­tary on the Rev­o­lu­tion­ary Artist Emory Dou­glas

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Documentary Portraits of Allen Ginsberg, John Ashbery, William Carlos Williams, Anne Sexton & Other American Poets (1965)

The annals of Amer­i­can his­to­ry offer lit­tle in the way of doc­u­men­tar­i­an-poets. But luck­i­ly for us today — and espe­cial­ly for those of us who enjoy Amer­i­can poet­ry of the mid-2oth cen­tu­ry — one of the coun­try’s few such hyphen­ates lived an uncom­mon­ly pro­duc­tive life. Though known pri­mar­i­ly as a poet of the San Fran­cis­co Renais­sance, Richard O. Moore also had a career in inde­pen­dent and pub­lic media, begin­ning in 1949 with the very first broad­cast of Berke­ley’s KPFA. In the ear­ly 1950s he moved to San Fran­cis­co’s new­ly found­ed KQED, one of the coun­try’s first pub­lic tele­vi­sion sta­tions. After a stint at Colum­bia study­ing Wittgen­stein, Moore returned to KQED in 1961, where­upon he began pro­duc­ing a wide vari­ety of doc­u­men­taries.

As sub­ject mat­ter, poet­ry may not nat­u­ral­ly lend itself to tele­vi­sion. But giv­en Moore’s con­nec­tions to major Amer­i­can poets on both coasts and else­where besides, if any­one could make it work, he could. It cer­tain­ly helped that so many of those poets had com­pelling per­son­al­i­ties, not least Allen Gins­berg and Lawrence Fer­linghet­ti, the stars of one episode of Moore’s 1965 doc­u­men­tary series USA: Poet­ry. “The footage he cap­tured is noth­ing short of mirac­u­lous, a nation­al trea­sure type time cap­sule of anoth­er, more lit­er­ary age,” says the web side of San­ta Cruz’s Bad Ani­mal Books, which has gath­ered a selec­tion of episodes togeth­er on one page. “Moore pro­vid­ed a rare glimpse of some of the finest Amer­i­can poets of the twen­ti­eth cen­tu­ry at the sum­mit of their pow­ers,” a line­up also includ­ing Ken­neth Koch, John Ash­bery, Anne Sex­ton, Frank O’Hara, Ed Sanders, Philip Whalen, and Gary Sny­der.

Moore’s doc­u­men­tary por­traits unfail­ing­ly include read­ings of the sub­jects’ work, but they don’t stop there. They also offer glimpses into these poets’ lives, pro­fes­sion­al, domes­tic, and oth­er­wise, show­ing us the cities, towns, homes, book­stores, and libraries they inhab­it. A few of these sub­jects, like Sanders, Sny­der, and the espe­cial­ly ven­er­a­ble Fer­linghet­ti con­tin­ue to inhab­it them, though most have by now shuf­fled off this mor­tal coil. William Car­los Williams had already done so by the time of USA: Poet­ry’s episode about him, and so in addi­tion to footage illus­trat­ing the bard of Pater­son­’s verse and let­ters (sights that may remind mod­ern-day view­ers of Pater­son, Jim Jar­musch’s trib­ute to the worka­day Amer­i­can poet), Moore fea­tures Williams’ son William E. Williams. Though Williams fils did­n’t fol­low Williams père into poet­ry, he did fol­low him into med­i­cine, which con­sti­tut­ed not just the poet­’s day job but —as we hear read aloud — “my food and drink, the very thing that made it pos­si­ble for me to write.”

Relat­ed Con­tent:

Ladies and Gen­tle­men… Mr. Leonard Cohen: The Poet-Musi­cian Fea­tured in a 1965 Doc­u­men­tary

John Ash­bery Reads “Self-Por­trait in a Con­vex Mir­ror”

13 Lec­tures from Allen Ginsberg’s “His­to­ry of Poet­ry” Course (1975)

Pablo Neruda’s Poem, “The Me Bird,” Becomes a Short, Beau­ti­ful­ly Ani­mat­ed Film

Poems as Short Films: Langston Hugh­es, Pablo Neru­da and More

Allen Ginsberg’s Top 10 Favorite Films

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Watch Free Films by African American Filmmakers in the Criterion Collection … and the New Civil Rights Film, Just Mercy

The Michael B. Jor­dan- and Jaime Foxx-star­ring Just Mer­cy had “the mis­for­tune of hit­ting the­aters at the same time as Clemen­cy, a more dar­ing and bet­ter film set on a prison’s Death Row,” wrote Odie Hen­der­son in a Decem­ber 2019 review at RogerEbert.com. Read­ing the state­ment now feels like look­ing through the wrong end of a tele­scope (“hit­ting the­aters?”). None of the movie’s mid­dling reviews could have pre­dict­ed the kinds of mis­for­tunes that lay just around the cor­ner.

If Just Mer­cy is your kind of dis­trac­tion, you can watch it free of charge through June. Hen­der­son­’s review gives me the impres­sion it may not be equal to the moment.

Since the days of ’50s-era mes­sage pic­tures, the major­i­ty of films about African-Amer­i­can suf­fer­ing have always been cal­i­brat­ed the way “Just Mer­cy” is, with an eye to not offend­ing White view­ers with any­thing remote­ly resem­bling Black anger. We can be beat­en, raped, enslaved, shot for no rea­son by police, vic­tim­ized by a jus­tice sys­tem rigged to dis­fa­vor us or any oth­er num­ber of real-world things that can befall us, yet God help us if a char­ac­ter is pissed off about this. Instead, we get to be noble, to hold on to His unchang­ing hand while that tire­less Black lady goes “hmmm-HMM­M­MM!” on the sound­track to sym­bol­ize our suf­fer­ing. There’s a lot of “hmmm-HMMMMM”-ing in this movie, so much so that I had to resist laugh­ing. 

Only one critic’s opin­ion, but if such pious, boil­er­plate films haven’t changed any­thing since the 50s they prob­a­bly aren’t about to now.

The Cri­te­ri­on Col­lec­tion offers a refresh­ing alter­na­tive for rep­re­sen­ta­tions of the black expe­ri­ence on film, as envi­sioned by black film­mak­ers, writ­ers, actors, pro­duc­ers, etc. “This has been a pow­er­ful­ly emo­tion­al time,” the Col­lec­tion writes, cit­ing a string of high-pro­file, well-doc­u­ment­ed racist threats and mur­ders that lead up to the break­ing point:

Black Lives Mat­ter. The anguish and fury unleashed all across the coun­try are root­ed in cen­turies of dehu­man­iza­tion and death. This pat­tern must stop. We sup­port the pro­test­ers who have tak­en to the streets to demand jus­tice, and we share their hopes. We are com­mit­ted to fight­ing sys­temic racism.

The Col­lec­tion has estab­lished an “employ­ee-guid­ed fund with a $25,000 ini­tial con­tri­bu­tion and an ongo­ing $5000 month­ly com­mit­ment to sup­port orga­ni­za­tions fight­ing racism in Amer­i­ca.”

More to the point of their cen­tral mis­sion, they’re allow­ing vis­i­tors to the Cri­te­ri­on Chan­nel to stream “works by ear­ly pio­neers of African Amer­i­can Cin­e­ma” as well as those by cur­rent film­mak­ers. These are films that can be dif­fi­cult to find out­side of art­house cin­e­mas and col­lege screen­ing rooms. “Titles stream­ing for free,” notes IndieWire, “include Julie Dash’s Daugh­ters of the Dust, Maya Angelou’s Down in the Delta, Shirley Clarke’s Por­trait of Jason, Agnès Varda’s Black Pan­thers, Kath­leen Collins’ Los­ing Ground, and many more.”

Also stream­ing free on the site is “con­tem­po­rary work by Kha­lik Allah and Leilah Wein­raub; and doc­u­men­tary por­traits of the black expe­ri­ence by white film­mak­ers Les Blank and Shier­ley Clarke,” Cri­te­ri­on writes, not­ing that they’ve “tak­en down the pay­wall on as many of these titles as we can.”

This announce­ment will have lit­tle effect on peo­ple com­mit­ted to a par­tic­u­lar­ly vicious way of see­ing things, but it offers a rare oppor­tu­ni­ty to watch a diverse col­lec­tion of enlight­en­ing, often brac­ing, often deeply mov­ing films, stretch­ing over a cen­tu­ry, for free. This body of work offers new per­spec­tives on the past and wider under­stand­ing of film his­to­ry. They may just be what you need to get through June. Check out the Cri­te­ri­on Chan­nel col­lec­tions here.

Relat­ed Con­tent:   

Watch the First-Ever Kiss on Film Between Two Black Actors, Just Hon­ored by the Library of Con­gress (1898)

Watch the Pio­neer­ing Films of Oscar Micheaux, America’s First Great African-Amer­i­can Film­mak­er

The Art of The Black Pan­thers: A Short Doc­u­men­tary on the Rev­o­lu­tion­ary Artist Emory Dou­glas

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

When Lucy Lawless Impersonated Stevie Nicks & Imagined Her as the Owner of a Bad Tex-Mex Restaurant: A Cult Classic SNL Skit

What we wouldn’t give to trav­el back in time to Sedona, Ari­zona for a non-social­ly-dis­tanced $2.99 Tues­day night bur­ri­to spe­cial at Ste­vie Nicks’ Faji­ta Roundup, the hun­dredth best restau­rant in this 161-restau­rant town accord­ing to one rat­ings site.

Alas, the clos­est this Fleet­wood Mac‑flavored Tex-Mex estab­lish­ment has ever come to phys­i­cal exis­tence was in Octo­ber 1998 when actor Lucy Law­less, famous then as now for play­ing Xena the War­rior Princess, was host­ing Sat­ur­day Night Live.

The day before the Wednes­day table read to deter­mine which sketch­es will make it on air, writer Hugh Fink got wind of Law­less’ Ste­vie Nicks imper­son­ation (she also does a mean Chrissie Hyn­de…)

Fink thought this was some­thing to build on, inspired by his dad’s Fleet­wood Mac fan­dom, and the fact that Nicks’ star had dimmed a bit since the band’s 70’s hey­day, when its mem­bers’ inter­per­son­al rela­tions were a hot top­ic and Rumours, still the 8th best sell­ing album of all time, dom­i­nat­ed.

He joined forces with fel­low staff writer, Nicks fan Scott Wainio, tar­ry­ing ’til the wee hours of Wednes­day morn­ing to begin cast­ing about for com­ic ideas of how the sexy, shawl-draped fairy god­moth­er of rock ‘n’ roll might spend her off duty hours, now that “Lind­say Buck­ing­ham and cocaine” were in the rear view.

They decid­ed that hav­ing her own a bar­gain-priced local eatery sim­i­lar to the ones Fink remem­bered din­ing in as a tour­ing stand up was their best bet…and what more fit­ting locale than New Age mec­ca Sedona?

Plot-dri­ven SNL skits often peter out en route from a strong open­ing premise to the end­ing.

As a com­mer­cial par­o­dy, Ste­vie Nicks’ Faji­ta Roundup has no such trou­ble.

As Fink recent­ly recalled in an inter­view with The Ringer’s Dan Devine:

I want­ed this com­mer­cial to come off as not a classy, nation­al­ly pro­duced ad, but clear­ly a cheap, local­ly pro­duced com­mer­cial for a shit­ty restau­rant and that’s why, even in the script, at the time, I put in those cut­aways of, like, real­ly unap­peal­ing, bad-look­ing food with the price, and adver­tis­ing spe­cials. Comed­ical­ly, I thought it’d be even fun­nier if the restau­rant was cheap. The research depart­ment had to get me pho­tos of the Mex­i­can food, which I would approve. I would tell them, ‘No, I want it to look shit­ti­er than that. That looks too good.

The research depart­ment def­i­nite­ly deliv­ered. As did New Zealan­der Law­less, though she lacked the cul­tur­al ref­er­ence points to get the joke, and game as she was, dis­creet­ly tried to get pro­duc­er Lorne Michaels to pull the skit, wor­ried that it was a lead bal­loon.

It came by its laughs hon­est­ly in per­for­mance, the audi­ence eat­ing up retooled Fleet­wood Mac hits pro­mot­ing bur­ri­tos and nachos, but with Youtube some 8 years away, Ste­vie Nicks’ Faji­ta Round Up fad­ed into obscu­ri­ty….

It took a man with vision and a long mem­o­ry to bring it back.

In 2012, Matthew Amador truf­fled up the fond­ly remem­bered clip and start­ed a Face­book page for the hypo­thet­i­cal restau­rant, large­ly so he could claim it had catered the end-of-year intern-appre­ci­a­tion buf­fet at the cast­ing agency where he was work­ing.

The first likes came from the duti­ful interns, but even­tu­al­ly the page attract­ed oth­er like­mind­ed fans, who’d caught the orig­i­nal per­for­mance over a decade before.

It has since migrat­ed to Twit­ter, where “Stevie”—the first female dou­ble inductee to the Rock & Roll Hall of Fame —is eager­ly await­ing reopen­ing while remind­ing her fol­low­ers that the Roundup’s tables “have always been a MINIMUM of 6’ apart, giv­ing you a safer din­ing expe­ri­ence you’ll nev­er for­get and giv­ing me plen­ty of room to twirl depend­ing on the length of my fringe.”

View the full tran­script here. And yes, you are cor­rect, that’s Jim­my Fal­lon at the piano, in his 3rd SNL appear­ance.

via The Ringer and Metafil­ter

Relat­ed Con­tent:

Ste­vie Nicks “Shows Us How to Kick Ass in High-Heeled Boots” in a 1983 Women’s Self Defense Man­u­al

How Fleet­wood Mac Makes A Song: A Video Essay Explor­ing the “Son­ic Paint­ings” on the Clas­sic Album, Rumours

Actress Lucy Law­less Per­forms the Pro­to-Fem­i­nist Com­e­dy “Lysis­tra­ta” for The Par­tial­ly Exam­ined Life Pod­cast

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

How Jazz Helped Fuel the 1960s Civil Rights Movement

Oh, Lord, don’t let ‘em shoot us!
Oh, Lord, don’t let ‘em stab us!
Oh, Lord, don’t let ‘em tar and feath­er us!
Oh, Lord, no more swastikas!
Oh, Lord, no more Ku Klux Klan!

—Charles Min­gus, “Fables of Faubus”

In 1957, Arkansas Gov­er­nor Orval Faubus decid­ed that integration—mandated three years ear­li­er by Brown v. Board of Ed.—constituted such a state of emer­gency that he mobi­lized the Nation­al Guard to pre­vent nine black stu­dents from going to school. An out­raged Charles Min­gus respond­ed with the lyrics to “Fables of Faubus,” a com­po­si­tion that first appeared on his cel­e­brat­ed Min­gus Ah Um in 1959.

Those who know the album may be puzzled—there are no lyrics on that record­ing. Colum­bia Records, notes Michael Ver­i­ty, found them “so incen­di­ary that they refused to allow them to be record­ed.” Min­gus re-record­ed the song the fol­low­ing year for Can­did Records, “lyrics and all, on Charles Min­gus Presents Charles Min­gus.” The iras­ci­ble bassist and bandleader’s words “offer some of the most bla­tant and harsh­est cri­tiques of Jim Crow atti­tudes in all of jazz activism.”

Min­gus’ expe­ri­ence with Colum­bia shows the line most jazz artists had to walk in the ear­ly years of the Civ­il Rights move­ment. Sev­er­al of Min­gus’ elders, like Louis Arm­strong and Duke Elling­ton, refrained from mak­ing pub­lic state­ments about racial injus­tice, for which they were lat­er harsh­ly crit­i­cized.

But between Min­gus’ two ver­sions of “Fables of Faubus,” jazz rad­i­cal­ly broke with old­er tra­di­tions that catered to and depend­ed on white audi­ences. “’If you don’t like it, don’t lis­ten,’ was the atti­tude,” as Amiri Bara­ka wrote in 1962.

Musi­cians turned inward: they played for each oth­er and for their com­mu­ni­ties, invent­ed new lan­guages to con­found jazz appro­pri­a­tors and car­ry the music for­ward on its own terms. Can­did Records own­er Nat Hentoff, long­time Vil­lage Voice jazz crit­ic and colum­nist, not only issued Min­gus’ vocal Faubus protest, but also that same year Max Roach’s We Insist! Free­dom Now Suite, which fea­tured a cov­er pho­to of a lunch counter protest and per­for­mances from his then-wife, singer and activist Abbey Lin­coln.

Roach record­ed two oth­er albums with promi­nent Civ­il Rights themes, Speak Broth­er Speak in 1962 and Lift Every Voice and Sing in 1971. Jazz’s turn toward the move­ment was in full swing as the 60s dawned. “Nina Simone sang the incen­di­ary ‘Mis­sis­sip­pi God­dam,’” writes KCRW’s Tom Schn­abel, “Coltrane per­formed a sad dirge, ‘Alaba­ma’ to mourn the Birm­ing­ham, Alaba­ma church bomb­ing in 1963. Son­ny Rollins record­ed The Free­dom Suite for River­side Records as a dec­la­ra­tion of musi­cal and racial free­dom.”

Every Civ­il Rights gen­er­a­tion up to the present has had its songs of sor­row, anger, and cel­e­bra­tion. Where gospel guid­ed the ear­ly marchers, jazz musi­cians of the 1960s took it upon them­selves to score the move­ment. Though he didn’t much like to talk about it in inter­views, “Coltrane was deeply involved in the civ­il rights move­ment,” writes Blank on Blank, “and shared many of Mal­colm X’s views on black con­scious­ness and Pan-African­ism, which he incor­po­rat­ed into his music.”

Jazz clubs even became spaces for orga­niz­ing:

In 1963, CORE—Congress of Racial Equality—organized two ben­e­fit shows at the Five Spot Café, [fea­tur­ing] a host of promi­nent musi­cians and music jour­nal­ists.

In the wake of Dr. King’s “I have a dream” speech at the March on Wash­ing­ton and with the church bomb­ing in Birm­ing­ham that killed 4 lit­tle girls only the month before, the ben­e­fit attract­ed a host of musi­cians like Ben Web­ster, Al Cohn, and Zoot Sims in sup­port of the orga­ni­za­tion, which, along with the NAACP and SNCC, was one of the lead­ing civ­il rights groups at the time.

The new jazz, hot or cool, became more deeply expres­sive of musi­cians’ indi­vid­ual per­son­al­i­ties, and thus of their whole polit­i­cal, social, and spir­i­tu­al selves. This was no small thing; jazz may have been an Amer­i­can inven­tion, but it was an inter­na­tion­al phe­nom­e­non. Artists in the 60s car­ried the strug­gle abroad with music and activism. After a wave of bru­tal bomb­ings, mur­ders, and beat­ings, “there were no more side­lines,” writes Ashawn­ta Jack­son at JSTOR Dai­ly. “Jazz musi­cians, like any oth­er Amer­i­can, had the duty to speak to the world around them.” And the world lis­tened.

The first Berlin Jazz Fes­ti­val, held in 1964, was intro­duced with an address by Mar­tin Luther King, Jr. (who did not attend in per­son). “Jazz is export­ed to the world,” King wrote, and “much of the pow­er of our Free­dom Move­ment in the Unit­ed States has come from this music. It has strength­ened us with its sweet rhythms when courage began to fail. It has calmed us with its rich har­monies when spir­its were down.” Music still plays the same role in today’s strug­gles. It’s a dif­fer­ent sound now, but you’ll still hear Min­gus’ vers­es in the streets, against more waves of hatred and brute force:

Boo! Nazi Fas­cist suprema­cists
Boo! Ku Klux Klan (with your Jim Crow plan)

Relat­ed Con­tent:

John Coltrane Talks About the Sacred Mean­ing of Music in the Human Expe­ri­ence: Lis­ten to One of His Final Inter­views (1966)

Mar­tin Luther King Jr. Explains the Impor­tance of Jazz: Hear the Speech He Gave at the First Berlin Jazz Fes­ti­val (1964)

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

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

How David Chase Breathed Life into the The Sopranos

Warn­ing: watch­ing the above video essay with David Chase, Matthew Wein­er, Ter­ence Win­ter, and the oth­er writ­ers of The Sopra­nos (along with select longer-form videos below) may send you into a binge watch (or re-watch) of the HBO series. Just say­ing, because you might want to set aside some time.

It is hard to believe that the series pre­miere was over 20 years ago, since its insights into Amer­i­ca, our love affair with vio­lence, and the mob hasn’t changed. (I mean, look at the gang­sters cur­rent­ly run­ning the coun­try).

David Chase orig­i­nal­ly balked at the idea of a God­fa­ther-type show after it was pitched to him, but the gang­ster idea stuck and mutat­ed into an idea for a fea­ture film about a mob boss seek­ing ther­a­py. Across town in one of those Hol­ly­wood coin­ci­dences, Harold Ramis was hav­ing the same idea for a film called Ana­lyze This.

Ramis’ film would be a per­fect­ly fine com­e­dy and Chase wound up tak­ing his fea­ture idea and turn­ing it into a tele­vi­sion series. It would go on to rev­o­lu­tion­ize tele­vi­sion and change the gang­ster genre for good. For now here was a show about gang­sters who were all very aware of the film and tele­vi­sion his­to­ry of the genre, and they act­ed accord­ing to the roles that they idol­ized from The God­fa­ther and from Good Fel­las. Yet, as Chase points out, the char­ac­ters nev­er real­ly know how to feel about all this:

To me it wasn’t just the end­ing that was ambigu­ous. There was ambi­gu­i­ty going on all the time. And you know what that comes down to now that I think about it—the char­ac­ters in the piece were ambigu­ous them­selves. They didn’t know how they felt. When you write a scene some­times you think, does this guy real­ly believe what he’s say­ing? Does he real­ly feel this? Or is this just a place­hold­er in his mind? ‘I’ll say this line just so I can eat my sandwich’…That’s why [the show] is so fun to write, because usu­al­ly you are writ­ing what peo­ple are think­ing of feel­ing, but in The Sopra­nos you’re always writ­ing what they’re *not* think­ing or feel­ing.

These were brutish, dumb guys who believed they were the clever, fun­ny guys they grew up watch­ing, and you can extrap­o­late that to quite a lot of our his­to­ry from the Cold War and beyond—electing peo­ple based on who we want them to be, or for the role they play, not for who they actu­al­ly are. The end point of Tony Soprano’s ther­a­py ses­sions is not that he was “cured,” but that he learned the lan­guage of ther­a­py in order to jus­ti­fy his actions to him­self. As Wein­er says, Dr. Melfi’s real­iza­tion was, “This was all a waste of time. He can’t be helped. I’ve just made him be a bet­ter crim­i­nal.” Once a sociopath, always a sociopath.

Chase also reveals how the show was struc­tured for each of its sev­en, 13-episode sea­sons, with char­ac­ter arcs orig­i­nal­ly being plot­ted as sep­a­rate sto­ries. But inevitably in the writ­ers’ room, the the­mat­ic con­nec­tions between the sto­ries would reveal them­selves and the scripts would be tweaked accord­ing­ly. Con­ver­sa­tions in the room would often be about every­thing *except* the sto­ry and the char­ac­ters. In the end this was all mate­r­i­al that would wind up in the show, the mulch that would cre­ate the gar­den.

This is a good time indeed for a rewatch. Not only did crit­ics Matthew Zoller Seitz and Alan Sepin­wall drop the lov­ing­ly detailed The Sopra­no Ses­sions last year, but actors Michael Impe­ri­oli (Christo­pher Molti­san­ti) and Steve Schirri­pa (Bob­by Bac­calieri) have a pod­cast where they are cur­rent­ly rewatch­ing and com­ment­ing on the show, one episode at a time. You can find all their episodes so far on this youtube playlist. The show is also list­ed in our new col­lec­tion, The 150 Best Pod­casts to Enrich Your Mind.

Relat­ed Con­tent:

HBO Is Stream­ing 500 Hours of Shows for Free: The Sopra­nos, The Wire, and More

How Mar­tin Scors­ese Directs a Movie: The Tech­niques Behind Taxi Dri­ver, Rag­ing Bull, and More

60 Free Film Noir Movies

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.

The History of the 1918 Flu Pandemic, “The Deadliest Epidemic of All Time”: Three Free Lectures from The Great Courses

In one cas­cade of events after anoth­er, peo­ple are find­ing out the nor­mal they once knew doesn’t exist any­more. Instead it feels as if we’re liv­ing through sev­er­al past crises at once, try­ing to cram as much his­tor­i­cal knowl­edge as we can to make sense of the moment. 2020 espe­cial­ly feels like an echo of 1918–1919, when the “dead­liest epi­dem­ic of all time,” as The Great Cours­es calls the “Span­ish flu,” killed mil­lions (then the U.S. devolved into a wave of racist vio­lence.) By offer­ing exam­ples of both neg­a­tive and pos­i­tive respons­es, the his­to­ry, soci­ol­o­gy, and epi­demi­ol­o­gy of the 1918 flu can guide deci­sion-mak­ing as we pre­pare for a sec­ond wave of COVID-19 infec­tions.

The Great Cours­es start­ed offer­ing free resources on the coro­n­avirus out­break back in March, with a brief “What You Need to Know” explain­er and a free lec­ture course on infec­tious dis­eases. After catch­ing up on the his­to­ry of epi­demics, we’ll find our­selves nat­u­ral­ly won­der­ing why we learned lit­tle to noth­ing about the Span­ish flu.

The three-part lec­ture series here, excerpt­ed from the larg­er course Mys­ter­ies of the Micro­scop­ic World (avail­able with a Free Tri­al to the Great Cours­es Plus), begins by bold­ly call­ing this his­tor­i­cal lacu­na “A Con­spir­a­cy of Silence.” Tulane pro­fes­sor Bruce E. Fleury quotes Alfred Cros­by, who writes in America’s For­got­ten Pan­dem­ic, “the impor­tant and almost incom­pre­hen­si­ble fact about the Span­ish influen­za, is that it killed mil­lions upon mil­lions of peo­ple in a year or less… and yet, it has nev­er inspired awe, not in 1918 and not since.”

Epi­dem­ic dis­eases that have had tremen­dous impact in the past have become the sub­ject of lit­er­ary epics. Few epi­demics have accom­plished mass death “through sheer brute force” like the 1918 flu. The num­bers are tru­ly stag­ger­ing, in the tens to hun­dreds of mil­lions world­wide, with U.S. deaths dwarf­ing the com­bined casu­al­ties of all the coun­try’s major wars. Yet there are only a few men­tions of the flu in Amer­i­can lit­er­a­ture from the time. Fleury men­tions some rea­sons for the amne­sia: WWI “took cen­ter stage,” sur­vivors were too trau­ma­tized to want to remem­ber. We may still won­der why we should look back over 100 years ago and learn about the past when cur­rent events are so all-con­sum­ing.

“His­to­ry com­pels us not to look away,” pro­fes­sor Fleury says, “lest we fail to learn the lessons paid for by our par­ents and our grand­par­ents.” Faulkn­er, it seems, was right that the past is nev­er past. But we need not respond in the same failed ways each time. The abil­i­ty to study and learn from his­to­ry gives us crit­i­cal per­spec­tive in per­ilous, uncer­tain times.

Sign up here for a free tri­al to the Great Cours­es Plus now rebrand­ed as Won­dri­um.

Relat­ed Con­tent:

Span­ish Flu: A Warn­ing from His­to­ry

Louis Arm­strong Remem­bers How He Sur­vived the 1918 Flu Epi­dem­ic in New Orleans

Watch “Coro­n­avirus Out­break: What You Need to Know,” and the 24-Lec­ture Course “An Intro­duc­tion to Infec­tious Dis­eases,” Both Free from The Great Cours­es

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

An Introduction to the Sublime, Entrepreneurial Art of Christo & Jeanne-Claude (Courtesy of Alain de Botton’s School of Life)

Of all the work that made Chris­to and Jeanne-Claude the most famous instal­la­tion artists of the past fifty years, none still exists. If you want­ed to see the Reich­stag wrapped in sil­ver fab­ric, you’d have to have been in Berlin in the sum­mer of 1995. If you want­ed to see Cen­tral Park thread­ed with Shin­to shrine-style gates, you’d have to have been in New York in the win­ter of 2005. If you want­ed to see an enor­mous Mesopotami­an masta­ba made out of 7,506 oil bar­rels, you’d have to have been in Lon­don in the sum­mer of 2018. Though often cel­e­brat­ed for its “ephemer­al” nature, Chris­to and Jeanne-Claude’s art neces­si­tat­ed a for­mi­da­ble amount of polit­i­cal, orga­ni­za­tion­al, logis­ti­cal, and man­u­al work to pull it off — and in that con­trast lies its sub­lim­i­ty.

“To oper­ate real­is­ti­cal­ly on a large scale, they need­ed to deploy many of the skills tra­di­tion­al­ly asso­ci­at­ed with busi­ness and which we think of as the domain of the entre­pre­neur,” says the arti­cle on Chris­to and Jeanne-Claude at The Book of Life, a prod­uct of Alain de Bot­ton’s School of Life. The two “had to nego­ti­ate with city coun­cils and gov­ern­ments; they had to draw up busi­ness plans, arrange large scale finance, employ the tal­ents and time of hun­dreds even thou­sands of peo­ple, coor­di­nate vast efforts and deal with mil­lions of users or vis­i­tors. And all the while, they held on to the high ambi­tions asso­ci­at­ed with being an artist.” What’s more, since the cou­ple nev­er took grants or pub­lic mon­ey of any kind, they had to turn enough of a prof­it from each project to finance the next, even more majes­tic (and to some, fool­hardy) one.

You can see more of Chris­to and Jeanne-Claude’s projects, and footage of those projects under con­struc­tion, in the School of Life video at the top of the post. It also shows Chris­to cre­at­ing the prepara­to­ry mate­ri­als that made their work pos­si­ble, not only in that they pre­sent­ed the visions of the wrapped-up pieces of infra­struc­ture or val­leys full of umbrel­las to come, but that the sale of the plans and draw­ings financed the process of mak­ing those visions real. All this in the ser­vice of what Jeanne-Claude, who died in 2009, called “works of art of joy beau­ty,” and through Chris­to depart­ed the realm of exis­tence him­self last Sun­day, the rest of us have anoth­er such work to look for­ward to: L’Arc de Tri­om­phe, Wrapped. Based on an idea that came to Chris­to when he and Jeanne-Claude lived in Paris in the late 1950s and ear­ly 60s (and recent­ly delayed one more year due to the coro­n­avirus pan­dem­ic), it will pro­vide more than rea­son enough to be in Paris in the fall of 2021.

Relat­ed Con­tent:

How the Vision­ary Artist Chris­to (RIP) Changed the Way We See the World

Cli­mate Change Gets Strik­ing­ly Visu­al­ized by a Scot­tish Art Instal­la­tion

Pi in the Sky: The World’s Largest Ephemer­al Art Instal­la­tion over Beau­ti­ful San Fran­cis­co

This Huge Crash­ing Wave in a Seoul Aquar­i­um Is Actu­al­ly a Gigan­tic Opti­cal Illu­sion

Alain de Bot­ton Shows How Art Can Answer Life’s Big Ques­tions in Art as Ther­a­py

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Watch Martin Scorsese’s Brand New Short Film, Made Entirely in His Office Under Quarantine

Most who saw the last fea­ture by Mar­tin Scors­ese, 2019’s The Irish­man, saw it at home. That had to do with the fact that the bud­get came from Net­flix, which sure­ly aimed to get its not incon­sid­er­able mon­ey’s worth by offer­ing the film on its own stream­ing ser­vice as soon as pos­si­ble. If The Irish­man’s financ­ing and dis­tri­b­u­tion was a sign of the times, Scors­ese’s new short is even more so: shot on a smart­phone by the famed direc­tor him­self, it recent­ly pre­miered on Mary Beard’s BBC spe­cial about “lock­down cul­ture.” See­ing as the coro­n­avirus isn’t known to spare famous auteurs — and indeed does seem dis­pro­por­tion­ate­ly to harm indi­vid­u­als over age 70 — Scors­ese has spent a great deal of time at home over the past few months. But like all true cre­ators, he has­n’t stopped doing what he does.

“Been quite a while, now, that I’ve been quar­an­tined,” says Scors­ese, turn­ing his cam­era away from a screen­ing of Alfred Hitch­cock­’s The Wrong Man on his office wall. “We had been work­ing so hard on so many dif­fer­ent projects, and things were spin­ning and spin­ning and spin­ning, and sud­den­ly there was a crash. And a stop.” At first, “there was a day or so of a kind of relief. I did­n’t have to go any­where or do any­thing. I mean, I had to do every­thing, but I did­n’t have to do it then.” Then, “the anx­i­ety set in.” But as time passed, and as he tru­ly felt that time pass­ing, “a sense of relief set­tled in. And a real sense of free­dom, because you can’t do any­thing else. I don’t know how much longer I’m going to be in this room. I don’t know when we’re going to be able to actu­al­ly start pro­duc­tion in this film.”

By “this film” Scors­ese means Killers of the Flower Moon, a $200 mil­lion true-crime West­ern set in 1920s Okla­homa that will bring Leonar­do DiCaprio and Robert De Niro, the direc­tor’s lead­ing men of choice, togeth­er in a Scors­ese fea­ture for the first time. As a joint pro­duc­tion between Apple and Para­mount, notes the Observ­er’s Bran­don Katz, the pic­ture “will receive all the nec­es­sary fund­ing it needs while still receiv­ing a world­wide the­atri­cal roll­out,” but the ques­tion of when its shoot can start — and indeed, when movie­go­ers will return to the­aters — remains open. “I do know that, giv­en the grace of time and life, we will be in pro­duc­tion some­how,” says Scors­ese in his lock­down short, after a few shots of the mem­o­ra­bil­ia on his shelves.

Toward the end of this per­son­al dis­patch, Scors­ese remem­bers his final con­ver­sa­tion with the Iran­ian film­mak­er Abbas Kiarosta­mi. “We were at a din­ner in Lyon a few years ago and he looked at me and said, ‘Don’t do any­thing you don’t want to do.’ He knew. He under­stood. One can’t depend on time. One does­n’t know. Ulti­mate­ly that time has to be worth it, even if it’s just exist­ing. Even if it’s just being alive, breath­ing — if you can, under these cir­cum­stances.” But as we’ve all learned, cir­cum­stances can change, and sud­den­ly; it falls to us only to make best use of the sit­u­a­tion in which we find our­selves. To under­score that last truth, Scors­ese char­ac­ter­is­ti­cal­ly cites a clas­sic Amer­i­can movie. Though our lives may be restrict­ed, as we see in Robert Siod­mak’s Hem­ing­way adap­ta­tion The Killers, noth­ing’s stop­ping us from keep­ing our eyes on the stars.

Relat­ed Con­tent:

The Film­mak­ing of Mar­tin Scors­ese Demys­ti­fied in 6 Video Essays

How Mar­tin Scors­ese Directs a Movie: The Tech­niques Behind Taxi Dri­ver, Rag­ing Bull, and More

What Makes Taxi Dri­ver So Pow­er­ful? An In-Depth Study of Mar­tin Scorsese’s Exis­ten­tial Film on the Human Con­di­tion

Mar­tin Scors­ese Explains the Dif­fer­ence Between Cin­e­ma and Movies

Mar­tin Scorsese’s Very First Films: Three Imag­i­na­tive Short Works

11-Year-Old Mar­tin Scors­ese Draws Sto­ry­boards for His Imag­ined Roman Epic Film, The Eter­nal City

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.


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