Frederick Douglass’s Fiery 1852 Speech, “The Meaning of July 4th for the Negro,” Read by James Earl Jones

Every year on this day, Fred­er­ick Douglass’s fiery, uncom­pro­mis­ing 1852 speech, “The Mean­ing of July 4th for the Negro,” gets a new hear­ing, and takes on added res­o­nance in the con­text of con­tem­po­rary pol­i­tics. It has nev­er ceased to speak direct­ly to those for whom the cel­e­bra­tions can seem like a hol­low mock­ery of free­dom and inde­pen­dence. The Amer­i­can hol­i­day com­mem­o­rates the adop­tion of the Dec­la­ra­tion of Inde­pen­dence—next to the Con­sti­tu­tion, the U.S.A.’s most cher­ished found­ing doc­u­ment, and a text, for all its rhetor­i­cal ele­gance, which can­not escape the irony that it was writ­ten by a slave­hold­er for an emerg­ing slave nation.

Slav­ery had always been a con­tentious sub­ject among the colonists. And yet the Amer­i­can Rev­o­lu­tion was a war waged for the full free­dom and enfran­chise­ment of only a very few white men of prop­er­ty. Not only were black peo­ple exclud­ed from the nation’s free­doms, but so too were con­quered Native Amer­i­can nations, and in great part, poor white men and women who could not vote—though they were not chained in per­pet­u­al servi­tude as human chat­tel, with lit­tle hope of lib­er­ty for them­selves or their descen­dants.

Dou­glass gave the speech in Rochester, NY, sev­en­ty-six years after the first July 4th and at a time when the coun­try was riv­en with irrec­on­cil­able ten­sions between abo­li­tion­ists, free-soil­ers, and the slave­hold­ing South. The Com­pro­mise of 1850 and the Fugi­tive Slave Act—at least, in hindsight—made the impend­ing Civ­il War all but inevitable. The speech reveals the cel­e­bra­tion as a sham for those who were or had been enslaved, and who could not con­sid­er them­selves Amer­i­can cit­i­zens regard­less of their sta­tus (as Supreme Court Chief Jus­tice Roger B. Taney would affirm five years lat­er.)

Just above, you can hear a pow­er­ful read­ing of Douglass’s speech by James Earl Jones, deliv­ered as part of Howard Zinn’s Voic­es of a People’s His­to­ry of the Unit­ed States. Read an excerpt of the speech below.

What, to the Amer­i­can slave, is your Fourth of July? I answer: a day that reveals to him, more than all oth­er days of the year, the gross injus­tice and cru­el­ty to which he is a con­stant vic­tim. To him, your cel­e­bra­tion is a sham; your boast­ed lib­er­ty, an unholy license; your nation­al great­ness, swelling van­i­ty; your sounds of rejoic­ing are emp­ty and heart­less; your denun­ci­a­tion of tyrants, brass front­ed impu­dence; your shouts of lib­er­ty and equal­i­ty, hol­low mock­ery; your prayers and hymns, your ser­mons and thanks­giv­ings, with all your reli­gious parade and solem­ni­ty, are, to Him, mere bom­bast, fraud, decep­tion, impi­ety, and hypocrisy—a thin veil to cov­er up crimes that would dis­grace a nation of sav­ages. There is not a nation of the earth guilty of prac­tices more shock­ing and bloody than are the peo­ple of these Unit­ed States at this very hour.

Douglass’s speech con­demned the “scorch­ing irony” of Amer­i­can inde­pen­dence even after the Civ­il War, as racist ter­ror­ism and Jim Crow destroyed the promise of Recon­struc­tion. In our present time, writes Pulitzer Prize-win­ning author and pro­fes­sor Isabel Wilk­er­son, amidst the rash of high pro­file police killings and an ensu­ing lack of jus­tice, events “have forced us to con­front our place in a coun­try where we were enslaved for far longer than we have been free. Forced us to face the dispir­it­ing ero­sion that we have wit­nessed in recent years—from the birther assaults on a sit­ting black pres­i­dent to the gut­ting of the Vot­ing Rights Act that we had believed was carved in gran­ite.” We might add to this list the resump­tion of the failed “War on Drugs” and the fed­er­al gov­ern­men­t’s announce­ments that it would do lit­tle to safe­guard civ­il rights nor to inves­ti­gate and pros­e­cute the surge of white suprema­cist vio­lence.

And yet the “self evi­dent” mythol­o­gy of Amer­i­can free­dom and equality—and of Amer­i­can innocence—remains potent and seduc­tive to many peo­ple in the coun­try. As the con­ser­v­a­tive think tank Amer­i­can Enter­prise Insti­tute put it a few days ago, “The birth of the Unit­ed States was unique because it was a nation found­ed not on blood or eth­nic­i­ty, but on ideas.” To this ahis­tor­i­cal fic­tion, which man­ages to erase the founders’ own state­ments on race, the col­o­niza­tion of indige­nous lands, and even the bloody Rev­o­lu­tion­ary War in its strange­ly des­per­ate zeal to sweep the past away, Dou­glass would reply: “The feel­ing of the nation must be quick­ened; the con­science of the nation must be roused; the pro­pri­ety of the nation must be star­tled; the hypocrisy of the nation must be exposed; and the crimes against God and man must be pro­claimed and denounced.”

Note: This post orig­i­nal­ly appeared on our site in 2017.

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:

The Civ­il War & Recon­struc­tion: A Free Course from Yale Uni­ver­si­ty

Take Free Cours­es on African-Amer­i­can His­to­ry from Yale and Stan­ford: From Eman­ci­pa­tion, to the Civ­il Rights Move­ment, and Beyond

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

Albert Ein­stein Explains How Slav­ery Has Crip­pled Everyone’s Abil­i­ty (Even Aristotle’s) to Think Clear­ly About Racism

Visu­al­iz­ing Slav­ery: The Map Abra­ham Lin­coln Spent Hours Study­ing Dur­ing the Civ­il War

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

Stravinsky’s “Illegal” Arrangement of “The Star Spangled Banner” (1944)

In 1939, Igor Stravin­sky emi­grat­ed to the Unit­ed States, first arriv­ing in New York City, before set­tling in Cam­bridge, Mass­a­chu­setts, where he deliv­ered the Charles Eliot Nor­ton lec­tures at Har­vard dur­ing the 1939–40 aca­d­e­m­ic year. While liv­ing in Boston, the com­pos­er con­duct­ed the Boston Sym­pho­ny and, on one famous occa­sion, he decid­ed to con­duct his own arrange­ment of the “The Star-Span­gled Ban­ner,” which he made out a “desire to do my bit in these griev­ous times toward fos­ter­ing and pre­serv­ing the spir­it of patri­o­tism in this coun­try.” The date was Jan­u­ary, 1944. And he was, of course, refer­ring to Amer­i­ca’s role in World War II.

As you might expect, Stravin­sky’s ver­sion on “The Star-Span­gled Ban­ner” was­n’t entire­ly con­ven­tion­al, see­ing that it added a dom­i­nant sev­enth chord to the arrange­ment. And the Boston police, not exact­ly an orga­ni­za­tion with avant-garde sen­si­bil­i­ties, issued Stravin­sky a warn­ing, claim­ing there was a law against tam­per­ing with the nation­al anthem. (They were mis­read­ing the statute.) Grudg­ing­ly, Stravin­sky pulled it from the bill.

You can hear Stravin­sky’s “Star-Span­gled Ban­ner” above, appar­ent­ly per­formed by the Lon­don Sym­pho­ny Orches­tra, and con­duct­ed by Michael Tilson Thomas. The Youtube video fea­tures an apoc­ryphal mugshot of Stravin­sky. Despite the mythol­o­gy cre­at­ed around this event, Stravin­sky was nev­er arrest­ed.

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:

The Night When Char­lie Park­er Played for Igor Stravin­sky (1951)

Stravinsky’s The Rite of Spring, Visu­al­ized in a Com­put­er Ani­ma­tion for Its 100th Anniver­sary

Watch 82-Year-Old Igor Stravin­sky Con­duct The Fire­bird, the Bal­let Mas­ter­piece That First Made Him Famous (1965)

Hear 46 Ver­sions of Stravinsky’s Rite of Spring in 3 Min­utes: A Clas­sic Mashup

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How Stanley Kubrick Adapted Stephen King’s The Shining into a Cinematic Masterpiece

For most of us, the title The Shin­ing first calls to mind the Stan­ley Kubrick film, not the Stephen King nov­el from which it was adapt­ed. Though it would be an exag­ger­a­tion to say that the for­mer has entire­ly eclipsed the lat­ter, the enor­mous dif­fer­ence between the works’ rel­a­tive cul­tur­al impact speaks for itself — as does the resent­ment King occa­sion­al­ly airs about Kubrick­’s exten­sive rework­ing of his orig­i­nal sto­ry. At the cen­ter of both ver­sions of The Shin­ing is a win­ter care­tak­er at a moun­tain resort who goes insane and tries to mur­der his own fam­i­ly, but in most oth­er respects, the expe­ri­ence of the two works could hard­ly be more dif­fer­ent.

How King’s The Shin­ing became Kubrick­’s The Shin­ing is the sub­ject of the video essay above from Tyler Knud­sen, bet­ter known as Cin­e­maTyler, pre­vi­ous­ly fea­tured here on Open Cul­ture for his videos on such auteurs as Robert Wiene, Jean Renoir, and Andrei Tarkovsky (as well as a sev­en-part series on Kubrick­’s own 2001: A Space Odyssey). It begins with Kubrick­’s search for a new idea after com­plet­ing Bar­ry Lyn­don, which involved open­ing book after book at ran­dom and toss­ing against the wall any and all that proved unable to hold his atten­tion. When it became clear that The Shin­ing, the young King’s third nov­el, would­n’t go fly­ing, Kubrick enlist­ed the more expe­ri­enced nov­el­ist Diane John­son to col­lab­o­rate with him on an adap­ta­tion for the screen.

Almost all of Kubrick­’s films are based on books. As Knud­sen explains it, “Kubrick felt that there aren’t many orig­i­nal screen­writ­ers who are a high enough cal­iber as some of the great­est nov­el­ists,” and that start­ing with an already-writ­ten work “allowed him to see the sto­ry more objec­tive­ly.” In deter­min­ing the qual­i­ties that res­onat­ed with him, per­son­al­ly, “he could get at the core of what was good about the sto­ry, strip away the clut­ter, and enhance the most bril­liant aspects with a pro­found sense of hind­sight.” In no case do the trans­for­ma­tive effects of this process come through more clear­ly than The Shin­ing: Kubrick and John­son reduced King’s almost 450 dia­logue- and flash­back-filled pages to a res­o­nant­ly stark two and a half hours of film that has haunt­ed view­ers for four decades now.

“I don’t think the audi­ence is like­ly to miss the many and self-con­scious­ly ‘heavy’ pages King devotes to things like Jack­’s father’s drink­ing prob­lem or Wendy’s moth­er,” Kubrick once said. Still, any­one can hack a sto­ry down: the hard part is know­ing what to keep, and even more so what to inten­si­fy for max­i­mum effect. Knud­sen lists off a host of choic­es Kubrick and John­son con­sid­ered (includ­ing show­ing more Native Amer­i­can imagery, which should please fans of Bill Blake­more’s analy­sis in “The Fam­i­ly of Man”) but ulti­mate­ly reject­ed. The result is a film with an abun­dance of visu­al detail, but only enough nar­ra­tive and char­ac­ter detail to facil­i­tate Kubrick­’s aim of “using the audi­ence’s own imag­i­na­tion against them,” let­ting them fill in the gaps with fears of their own. While his ver­sion of The Shin­ing evades near­ly all clichés, it does demon­strate the truth of one: less is more.

Relat­ed con­tent:

Decod­ing the Screen­plays of The Shin­ing, Moon­rise King­dom & The Dark Knight: Watch Lessons from the Screen­play

How Stan­ley Kubrick Made 2001: A Space Odyssey: A Sev­en-Part Video Essay

Stan­ley Kubrick’s The Shin­ing Reimag­ined as Wes Ander­son and David Lynch Movies

The Shin­ing and Oth­er Com­plex Stan­ley Kubrick Films Recut as Sim­ple Hol­ly­wood Movies

A Kubrick Schol­ar Dis­cov­ers an Eerie Detail in The Shin­ing That’s Gone Unno­ticed for More Than 40 Years

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.

Watch Footage from New York City’s First Gay Pride March (1970)

The fore­cast­ed rain held off, the poor air qual­i­ty caused by Cana­di­an wild­fires had abat­ed, and the world’s largest Pride parade stepped off with­out inci­dent in New York City on the final Sun­day in June.

It’s grown quite a bit since the last Sun­day of June 1970, when Christo­pher Street Lib­er­a­tion Day March par­tic­i­pants parad­ed from Sheri­dan Square to Cen­tral Park’s Sheep Mead­ow.

Seek­ing to com­mem­o­rate the one year anniver­sary of the Stonewall Upris­ing, when a police raid touched off a riot at the Green­wich Vil­lage gay bar, the even­t’s plan­ners took inspi­ra­tion from the orga­nized resis­tance to the Viet­nam War and Annu­al Reminders, a year­ly call for equal­i­ty from the Philadel­phia-based East­ern Region­al Con­fer­ence of Homophile Orga­ni­za­tions.

Parade co-orga­niz­er Craig Rod­well imag­ined a more free­wheel­ing pub­lic event involv­ing larg­er num­bers than Annu­al Reminders, some­thing that could  “encom­pass the ideas and ideals of the larg­er strug­gle in which we are engaged—that of our fun­da­men­tal human rights.”

In the lead up to the parade, Gay Lib­er­a­tion Front News report­ed that soci­ety stacked the deck against open­ly gay indi­vid­u­als, an obser­va­tion echoed by a marcher in les­bian activist Lil­li M. Vin­cenz’s doc­u­men­tary footage, above:

At first I was very guilty, and then I real­ized that all the things that are taught you, not only by soci­ety but by psy­chi­a­trists are just to fit you in a mold and I’ve just reject­ed the mold. And when I reject­ed the mold, I was hap­pi­er.

Look care­ful­ly for plac­ards from var­i­ous par­tic­i­pat­ing groups, includ­ing the Mat­ta­chine Soci­eties of Wash­ing­ton and New York, Laven­der Men­ace, the Gay Activists Alliance, a church, and gay stu­dent groups at Rut­gers and Yale.

Esti­mates place the crowd at any­where from 3,000 to 20,000. In addi­tion to marchers, the parade drew plen­ty of onlook­ers, some voic­ing sup­port like a uni­formed sol­dier sta­tioned at Fort Dix who says “Great, man, do your thing!”. Oth­ers came pre­pared to voice their vig­or­ous oppo­si­tion.

“He’s a clos­et queen and you can find him in Howard Johnson’s any night,” a marcher cracks when asked his opin­ion of a counter demon­stra­tor bran­dish­ing a sign invok­ing Sodom and Gomor­rah.

Pre­sum­ably the sec­ond part of this marcher’s com­ment was not intend­ed to sig­ni­fy that the gent in ques­tion had a pow­er­ful attrac­tion to the ven­er­a­ble Times Square diner’s fried clams, but rather its upstairs neigh­bor, the all-male Gai­ety strip club.

Com­pared to the flashy fes­tive cos­tumes and boom­ing club music that have become a sta­ple of this millennia’s Pride March­es, 1970’s pro­ceed­ings were a com­par­a­tive­ly mod­est affair. Marchers chant­ed in uni­son, pro­cess­ing uptown in street clothes — hip­pie-style duds of the peri­od with a cou­ple of square suits and fedo­ras in the mix.

A clean cut young man in a wind­break­er and nat­ty star-span­gled tie expressed frank dis­ap­point­ment that May­or John Lind­say and oth­er polit­i­cal fig­ures had kept their dis­tance.

Younger read­ers may be tak­en aback to hear Vin­cenz ask­ing him how long he had been gay, but grat­i­fied when he responds, “I was born homo­sex­u­al, it’s beau­ti­ful.”

By the time the marchers reached the Sheep Mead­ow, a num­ber of men had shed their shirts. The parade mor­phed into a pas­toral cel­e­bra­tion in which rev­el­ers can be seen play­ing Ring Around the Rosie, pluck­ing weeds to dec­o­rate each other’s hair, and attempt­ing to break the record for longest kiss.

A man whose bib over­alls have been cus­tomized with iron-on let­ters arranged to spell out Stud Farm express­es regret that he spent so many years in the clos­et.

Co-orga­niz­er Fos­ter Gun­ni­son Jr.’s wish was for every queer par­tic­i­pant to leave the parade with “a new feel­ing of pride and self-con­fi­dence … to raise the con­sciences of par­tic­i­pat­ing homo­sex­u­als-to devel­op courage, and feel­ings of dig­ni­ty and self-worth.”

That first parade’s mar­shal, Mark Segal, cofounder of Gay Lib­er­a­tion Front, summed it up on the 50th anniver­sary of the orig­i­nal event:

The march was a reflec­tion of us: out, loud and proud.

Enjoy a glimpse of 2023’s New York City Pride March here.

Via Kot­tke

Relat­ed Con­tent 

The Untold Sto­ry of Dis­co and Its Black, Lati­no & LGBTQ Roots

Dif­fer­ent From the Oth­ers (1919): The First Gay Rights Movie Ever … Lat­er Destroyed by the Nazis

Sig­mund Freud Writes to Con­cerned Moth­er: “Homo­sex­u­al­i­ty is Noth­ing to Be Ashamed Of” (1935)

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

3,900 Pages of Paul Klee’s Personal Notebooks Are Now Online, Highlighting His Bauhaus Teachings (1921–1931)

Paul Klee led an artis­tic life that spanned the 19th and 20th cen­turies, but he kept his aes­thet­ic sen­si­bil­i­ty tuned to the future. Because of that, much of the Swiss-Ger­man Bauhaus-asso­ci­at­ed painter’s work, which at its most dis­tinc­tive defines its own cat­e­go­ry of abstrac­tion, still exudes a vital­i­ty today.

And he left behind not just those 9,000 pieces of art (not count­ing the hand pup­pets he made for his son), but plen­ty of writ­ings as well, the best known of which came out in Eng­lish as Paul Klee Note­books, two vol­umes (The Think­ing Eye and The Nature of Nature) col­lect­ing the artist’s essays on mod­ern art and the lec­tures he gave at the Bauhaus schools in the 1920s.

Klee Notebooks 2

“These works are con­sid­ered so impor­tant for under­stand­ing mod­ern art that they are com­pared to the impor­tance that Leonardo’s A Trea­tise on Paint­ing had for Renais­sance,” says Mono­skop. Their descrip­tion also quotes crit­ic Her­bert Read, who described the books as  “the most com­plete pre­sen­ta­tion of the prin­ci­ples of design ever made by a mod­ern artist – it con­sti­tutes the Prin­cip­ia Aes­thet­i­ca of a new era of art, in which Klee occu­pies a posi­tion com­pa­ra­ble to Newton’s in the realm of physics.”

Klee Notebooks 3

More recent­ly, the Zen­trum Paul Klee made avail­able online almost all 3,900 pages of Klee’s per­son­al note­books, which he used as the source for his Bauhaus teach­ing between 1921 and 1931. If you can’t read Ger­man, his exten­sive­ly detailed tex­tu­al the­o­riz­ing on the mechan­ics of art (espe­cial­ly the use of col­or, with which he strug­gled before return­ing from a 1914 trip to Tunisia declar­ing, “Col­or and I are one. I am a painter”) may not imme­di­ate­ly res­onate with you. But his copi­ous illus­tra­tions of all these obser­va­tions and prin­ci­ples, in their vivid­ness, clar­i­ty, and reflec­tion of a tru­ly active mind, can still cap­ti­vate any­body  — just as his paint­ings do.

Klee Notebooks 4

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!

Note: An ear­li­er ver­sion of this post appeared on our site in 2016.

via Mono­skop

Relat­ed Con­tent:

The Home­made Hand Pup­pets of Bauhaus Artist Paul Klee

Watch Bauhaus World, a Free Doc­u­men­tary That Cel­e­brates the 100th Anniver­sary of Germany’s Leg­endary Art, Archi­tec­ture & Design School

The Women of the Bauhaus: See Hip, Avant-Garde Pho­tographs of Female Stu­dents & Instruc­tors at the Famous Art School

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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The Rarest Sounds Across All Human Languages: Learn What They Are, and How to Say Them

When first we start learn­ing a new for­eign lan­guage, any num­ber of its ele­ments rise up to frus­trate us, even to dis­suade us from going any fur­ther: the moun­tain of vocab­u­lary to be acquired, the gram­mar in which to ori­ent our­selves, the details of pro­nun­ci­a­tion to get our mouths around. In these and all oth­er respects, some lan­guages seem easy, some hard, and oth­ers seem­ing­ly impos­si­ble — those last out­er reach­es being a spe­cial­ty of Youtu­ber Joshua Rud­der, cre­ator of the chan­nel NativLang. In the video above, he not only presents us with a few of the rarest sounds — or phonemes, to use the lin­guis­tic term — in any lan­guage, he also shows us how to make them our­selves.

Sev­er­al African lan­guages use the phoneme gb, as seen twice in the name of the Ivo­rian dance Gbég­bé. “You might be tempt­ed to go all French on it,” Rud­der says, but in fact, you should “bring your tongue up to the soft palate” to make the g sound, and at the same time “close and release your lips” to add the b sound.

Evi­dent­ly, Rud­der pulls it off: “Haven’t heard a for­eign­er say the gb sound right!” says a pre­sum­ably African com­menter below. From there, the phone­mic world tour con­tin­ues to the bil­abi­al trilled africate and pha­ryn­geals used by the Pirahã peo­ple of the Ama­zon and the whis­tles used on one par­tic­u­lar Canary Island — some­thing like the whis­tled lan­guage of Oax­a­ca, Mex­i­co pre­vi­ous­ly fea­tured here on Open Cul­ture.

Rud­der also includes Oax­a­ca in his sur­vey, but he finds an entire­ly dif­fer­ent set of rare sounds used in a riv­er town whose res­i­dents speak the Maza­tec lan­guage. “For every one nor­mal vow­el you give ’em,” he explains, “they have three for you”: one “modal” vari­ety, one “breathy,” and one “creaky.” He ends the video where he began, in Africa, albeit in a dif­fer­ent region of Africa, where he finds some of the rarest phonemes, albeit ones we also might have expect­ed: bil­abi­al clicks, whose speak­ers “close their tongue against the back of their mouth and also close both lips, but don’t purse them.” Then, “using the tongue, they suck a pock­et of air into that enclosed area. Final­ly, they let go of the lips and out pops a” — well, bet­ter to hear Rud­der pro­nounce it. If you can do the same, con­sid­er your­self one step clos­er to readi­ness for a Khoekhoe immer­sion course.

Relat­ed con­tent:

Speak­ing in Whis­tles: The Whis­tled Lan­guage of Oax­a­ca, Mex­i­co

What Eng­lish Would Sound Like If It Was Pro­nounced Pho­net­i­cal­ly

Why Do Peo­ple Talk Fun­ny in Old Movies?, or The Ori­gin of the Mid-Atlantic Accent

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

Was There a First Human Lan­guage?: The­o­ries from the Enlight­en­ment Through Noam Chom­sky

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.

A Brief History of Japanese Art: From Prehistoric Pottery to Yayoi Kusama in Half an Hour

The ear­li­est known works of Japan­ese art date from the Jōmon peri­od, which last­ed from 10,500 to 300 BC. In fact, the peri­od’s very name comes from the pat­terns its pot­ters cre­at­ed by press­ing twist­ed cords into clay, result­ing in a pre­de­ces­sor of the “wave pat­terns” that have been much used since. In the Heian peri­od, which began in 794, a new aris­to­crat­ic class arose, and with it a new form of art: Yamato‑e, an ele­gant paint­ing style ded­i­cat­ed to the depic­tion of Japan­ese land­scapes, poet­ry, his­to­ry, and mythol­o­gy, usu­al­ly on fold­ing screens or scrolls (the best known of which illus­trates The Tale of Gen­ji, known as the first nov­el ever writ­ten).

This is the begin­ning of the sto­ry of Japan­ese art as told in the half-hour-long Behind the Mas­ter­piece video above. It con­tin­ues in 1185 with the Kamaku­ra peri­od, whose brew­ing sociopo­lit­i­cal tur­moil inten­si­fied in the sub­se­quent Nan­boku­cho peri­od, which began in 1333. As life in Japan became more chaot­ic, Bud­dhism gained pop­u­lar­i­ty, and along with that Indi­an reli­gion spread a shift in pref­er­ences toward more vital, real­is­tic art, includ­ing cel­e­bra­tions of rig­or­ous samu­rai virtues and depic­tions of Bud­dhas. In this time arose the form of sumi‑e, lit­er­al­ly “ink pic­ture,” whose tran­quil mono­chro­mat­ic min­i­mal­ism stands in the minds of many still today for Japan­ese art itself.

Japan’s long his­to­ry of frac­tious­ness came to an end in 1568, when the feu­dal lord Oda Nobuna­ga made deci­sive moves that would result in the uni­fi­ca­tion of the coun­try. This began the Azuchi-Momoya­ma peri­od, named for the cas­tles occu­pied by Nobuna­ga and his suc­ces­sor Toy­oto­mi Hideyoshi. The cas­tle walls were lav­ish­ly dec­o­rat­ed with large-scale paint­ings that would define the Kanō school. Tra­di­tion­al Japan itself came to an end in the long, and mil­i­tary-gov­erned Edo peri­od, which last­ed from 1615 to 1868. The sta­bil­i­ty and pros­per­i­ty of that era gave rise to the best-known of all clas­si­cal Japan­ese art forms: kabu­ki the­atre, haiku poet­ry, and ukiyo‑e wood­block prints.

With their large mar­ket of mer­chant-class buy­ers, ukiyo‑e artists had to be pro­lif­ic. Many of their works sur­vive still today, the most rec­og­niz­able being those of mas­ters like Uta­maro, Hoku­sai, and Hiroshige. Here on Open Cul­ture, we’ve pre­vi­ous­ly fea­tured Hoku­sai’s series Thir­ty-Six Views of Mount Fuji as well as its famous install­ment The Great Wave Off Kana­gawa. As Japan opened up to the west from the mid­dle of the nine­teenth cen­tu­ry, the var­i­ous styles of ukiyo‑e became prime ingre­di­ents of the Japon­isme trend, which extend­ed the influ­ence of Japan­ese art to the work of major West­ern artists like Degas, Manet, Mon­et, van Gogh, and Toulouse-Lautrec.

The Mei­ji Restora­tion of 1868 opened the long-iso­lat­ed Japan to world trade, re-estab­lished impe­r­i­al rule, and also, for his­tor­i­cal pur­pos­es, marked the coun­try’s entry into moder­ni­ty. This inspired an explo­sion of new artis­tic tech­niques and move­ments includ­ing Yōga, whose par­tic­i­pants ren­dered Japan­ese sub­ject mat­ter with Euro­pean tech­niques and mate­ri­als. Born ear­ly in the Shōwa era but still active in her nineties, Yay­oi Kusama now stands (and in Paris, at enor­mous scale in stat­ue form) as the most promi­nent Japan­ese artist in the world. The rich psy­che­delia of her work belongs obvi­ous­ly to no sin­gle cul­ture or tra­di­tion — but then again, could an artist of any oth­er coun­try have come up with it?

Relat­ed con­tent:

Down­load 215,000 Japan­ese Wood­block Prints by Mas­ters Span­ning the Tradition’s 350-Year His­to­ry

Down­load Vin­cent van Gogh’s Col­lec­tion of 500 Japan­ese Prints, Which Inspired Him to Cre­ate “the Art of the Future”

Japan­ese Com­put­er Artist Makes “Dig­i­tal Mon­dri­ans” in 1964: When Giant Main­frame Com­put­ers Were First Used to Cre­ate Art

How to Paint Like Yay­oi Kusama, the Avant-Garde Japan­ese Artist

The Entire His­to­ry of Japan in 9 Quirky Min­utes

The His­to­ry of West­ern Art in 23 Min­utes: From the Pre­his­toric to the Con­tem­po­rary

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.

A Newly-Discovered Fresco in Pompeii Reveals a Precursor to Pizza

Archae­ol­o­gists dig­ging in Pom­peii have unearthed a fres­co con­tain­ing what may be a “dis­tant ances­tor” of the mod­ern piz­za. The fres­co fea­tures a plat­ter with wine, fruit, and a piece of flat focac­cia. Accord­ing to Pom­peii archae­ol­o­gists, the focac­cia does­n’t have toma­toes and moz­zarel­la on top. Rather, it seem­ing­ly sports “pome­gran­ate,” spices, per­haps a type of pesto, and “pos­si­bly condiments”–which is just a short hop, skip and a jump away to piz­za.

Found in the atri­um of a house con­nect­ed to a bak­ery, the fine­ly-detailed fres­co grew out of a Greek tra­di­tion (called xenia) where gifts of hos­pi­tal­i­ty, includ­ing food, are offered to vis­i­tors. Nat­u­ral­ly, the fres­co was entombed (and pre­served) for cen­turies by the erup­tion of Mt. Vesu­vius in 79 A.D.

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

Explore the Roman Cook­book, De Re Coquinar­ia, the Old­est Known Cook­book in Exis­tence

How to Bake Ancient Roman Bread from 79 AD: A Video Intro­duc­tion

Watch the Destruc­tion of Pom­peii by Mount Vesu­vius, Re-Cre­at­ed with Com­put­er Ani­ma­tion (79 AD)

1,500 Paintings & Drawings by Vincent van Gogh Have Been Digitized & Put Online

Every artist explores dimen­sions of space and place, ori­ent­ing them­selves and their works in the world, and ori­ent­ing their audi­ences. Then there are artists like Vin­cent van Gogh, who make space and place a pri­ma­ry sub­ject. In his ear­ly paint­ings of peas­ant homes and fields, his fig­ures’ mus­cu­lar shoul­ders and hands inter­act with stur­dy walls and gnarled trees. Lat­er coun­try scenes—whether curl­ing and del­i­cate, like Wheat­field with a Reaper, or heavy and omi­nous, like Wheat­field with Crows (both below)—give us the sense of the land­scape as a sin­gle liv­ing enti­ty, pul­sat­ing, writhing, blaz­ing in bril­liant yel­lows, reds, greens, and blues.

Van Gogh paint­ed inte­ri­or scenes, such as his famous The Bed­room, at the top (the first of three ver­sions), with an eye toward using col­or as the means of mak­ing space pur­pose­ful: “It’s just sim­ply my bed­room,” he wrote to Paul Gau­guin of the 1888 paint­ing, “only here col­or is to do every­thing… to be sug­ges­tive here of rest or of sleep in gen­er­al. In a word, look­ing at the pic­ture ought to rest the brain, or rather the imag­i­na­tion.”

So tak­en was the painter with the con­cept of using col­or to induce “rest or sleep” in his view­ers’ imag­i­na­tions that when water dam­age threat­ened the “sta­bil­i­ty” of the first paint­ing, Chicago’s Art Insti­tute notes, “he became deter­mined to pre­serve the com­po­si­tion by paint­ing a sec­ond ver­sion while at an asy­lum in Saint-Rémy in 1889,” then demon­strat­ed the deep emo­tion­al res­o­nance this scene had for him by paint­ing a third, small­er ver­sion for his moth­er and sis­ter.

The oppor­tu­ni­ty to see all of Van Gogh’s bed­room paint­ings in one place may have passed us by for now—an exhib­it in Chica­go brought them togeth­er in 2016. But we can see the orig­i­nal bed­room at the yel­low house in Arles in a vir­tu­al space, along with 1,500 more Van Gogh paint­ings and draw­ings, at the Van Gogh Muse­um in Ams­ter­dam’s site. The dig­i­tized col­lec­tion show­cas­es a vast amount of Van Gogh’s work—including not only land­scapes, but also his many por­traits, self-por­traits, draw­ings, city scenes, and still-lifes.

One way to approach these works is through the uni­fy­ing themes above: how does van Gogh use col­or to com­mu­ni­cate space and place, and to what effect? Even in por­traits and still-lifes, his fig­ures com­pete with the ground. The scored and scal­loped paint­ings of walls, floors, and wall­pa­per force our atten­tion past the star­ing eyes of the painter or the fine­ly-ren­dered fruits and shoes, and into the depths and tex­tures of shad­ow and light. We begin to see peo­ple and objects as insep­a­ra­ble from their sur­round­ings.

“Paint­ing is a faith,” Van Gogh once wrote, and it is as if his paint­ings ask us to con­tem­plate the spir­i­tu­al uni­ty of all things; the same ani­mat­ing flame brings every object in his blaz­ing worlds to life. The Van Gogh Muse­um hous­es the largest col­lec­tion of the artist’s work in the world. On their web­site you can read essays about his life and work, plan a vis­it, or shop at the online store. But most impor­tant­ly, you can expe­ri­ence the stun­ning breadth of his art through your screen—no replace­ment for the phys­i­cal spaces of gal­leries, but a wor­thy means nonethe­less of com­muning with Van Gogh’s vision.

Note: An ear­li­er ver­sion of this post appeared on our site in 2018.

Relat­ed Con­tent:

Vin­cent van Gogh Vis­its a Mod­ern Art Gallery & Gets to See His Artis­tic Lega­cy: A Touch­ing Scene from Doc­tor Who

Expe­ri­ence the Van Gogh Muse­um in 4K Res­o­lu­tion: A Video Tour in Sev­en Parts

Vin­cent Van Gogh’s Self Por­traits: Explore & Down­load a Col­lec­tion of 17 Paint­ings Free Online

Vin­cent Van Gogh’s “The Star­ry Night”: Why It’s a Great Paint­ing in 15 Min­utes

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

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How Wes Anderson Uses Miniatures to Create His Aesthetic: A Primer from His Model Maker & Prop Painter

If you haven’t yet seen Wes Ander­son­’s new movie Aster­oid City, I rec­om­mend doing so not just in the the­ater, but in a seat as close to the screen as you can han­dle. You’ll feel more enveloped by the desert land­scapes (the Span­ish desert, stand­ing in for Ari­zona), but you’ll also be bet­ter placed to appre­ci­ate the detail of all the minia­tures that fill it. Over his past two and a half decades of fea­ture films, Ander­son­’s sig­na­ture aes­thet­ic has become ever more Ander­son­ian. This has many aspects, one of them being an inten­sive use of mod­els: real, phys­i­cal mod­els, as opposed to dig­i­tal visu­als cre­at­ed entire­ly by com­put­er. In the new Vox video above, mod­el mak­er and prop painter Simon Weisse, vet­er­an also of Isle of Dogs and The French Dis­patch, explains the how and the why behind it

Aster­oid City opens with a train cross­ing a vast, parched expanse, pass­ing along­side (or through) the occa­sion­al rock for­ma­tion. Any view­er would assume the train is a minia­ture, though not every view­er would imme­di­ate­ly think — as revealed in this video’s behind-the-scenes shots — that the same is true of the rocks.

In both cas­es, the “minia­tures” are only so minia­ture: the rel­a­tive­ly large scale offers a can­vas for an abun­dance of paint­ed detail, which as Weisse explains goes a long way to mak­ing them believ­able onscreen. And even if they don’t quite look “real,” per se, they con­jure up a real­i­ty of their own, an increas­ing­ly cen­tral task of Ander­son­’s cin­e­mat­ic project, in a way that pure CGI — which once seemed to have dis­placed the art of minia­tures entire­ly — so often fails to do.

The video quotes Ander­son as say­ing that audi­ences pick up on arti­fi­cial­i­ty in all its forms, whether dig­i­tal or phys­i­cal; the film­mak­er must com­mit to his own arti­fi­cial­i­ty, accept­ing its short­com­ings and exploit­ing its strengths. “The par­tic­u­lar brand of arti­fi­cial­i­ty that I like to use is an old-fash­ioned one,” he adds (but needs not, giv­en his undis­put­ed rep­u­ta­tion as the auteur of the retro). Christo­pher Nolan, a direc­tor of the same gen­er­a­tion who has an entire­ly dif­fer­ent sen­si­bil­i­ty from Ander­son, also goes in for large, detailed minia­tures: most­ly build­ings that blow up, it seems, but his choic­es still show an under­stand­ing of the kind of phys­i­cal­i­ty that even the most advanced dig­i­tal effects have nev­er repli­cat­ed. If he’s seen the alien space­ship that descends on Aster­oid City (the men­tion of which no longer seems to count as a spoil­er), he must have felt at least a touch of envy.

Relat­ed con­tent:

Wes Ander­son Movie Sets Recre­at­ed in Cute, Minia­ture Dio­ra­mas

How the Aston­ish­ing Sushi Scene in Wes Anderson’s Isle of Dogs Was Ani­mat­ed: A Time-Lapse of the Month-Long Shoot

An Archi­tect Breaks Down the Design Details of Wes Anderson’s The Grand Budapest Hotel

Why Do Wes Ander­son Movies Look Like That?

Wes Ander­son Explains How He Writes and Directs Movies, and What Goes Into His Dis­tinc­tive Film­mak­ing Style

Blade Run­ner’s Minia­ture Props Revealed in 142 Behind-the-Scenes Pho­tos

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.

Why Hasn’t the Pantheon’s Dome Collapsed?: How the Romans Engineered the Dome to Last 19 Centuries and Counting

In Rome, one does­n’t have to look ter­ri­bly hard to find ancient build­ings. But even in the Eter­nal City, not all ancient build­ings have come down to us in equal­ly good shape, and prac­ti­cal­ly none of them have held up as well as the Pan­theon. Once a Roman tem­ple and now a Catholic church (as well as a for­mi­da­ble tourist attrac­tion), it gives its vis­i­tors the clear­est and most direct sense pos­si­ble of the majesty of antiq­ui­ty. But how has it man­aged to remain intact for nine­teen cen­turies and count­ing when so much else in ancient Rome’s built envi­ron­ment has been lost? Ancient-his­to­ry Youtu­ber Gar­rett Ryan explains that in the video above.

“Any answer has to begin with con­crete,” Ryan says, the Roman vari­ety of which “cured incred­i­bly hard, even under­wa­ter. Sea water, in fact, made it stronger.” Its strength “enabled the cre­ation of vaults and domes that rev­o­lu­tion­ized archi­tec­ture,” not least the still-sub­lime dome of the Pan­theon itself.

Anoth­er impor­tant fac­tor is the Roman bricks, “more like thick tiles than mod­ern rec­tan­gu­lar bricks,” used to con­struct the arch­es in its walls. These “helped to direct the gar­gan­tu­an weight of the rotun­da toward the mason­ry ‘piers’ between the recess­es. And since the arch­es, made almost entire­ly of brick, set much more quick­ly than the con­crete fill in which they were embed­ded, they stiff­ened the struc­ture as it rose.”

This has­n’t kept the Pan­theon’s floor from sink­ing, cracks from open­ing in its walls, but such com­par­a­tive­ly minor defects could hard­ly dis­tract from the spec­ta­cle of the dome (a feat not equaled until Fil­ip­po Brunelleschi came along about 1300 years lat­er). “The archi­tect of the Pan­theon man­aged hor­i­zon­tal thrust — that is, pre­vent­ed the dome from spread­ing or push­ing out the build­ing beneath it – by mak­ing the wall of the rotun­da extreme­ly thick and embed­ding the low­er third of the dome in their mass.” Even the ocu­lus at the very top strength­ens it, “both by obvi­at­ing the need for a struc­tural­ly dan­ger­ous crown and through its mason­ry rim, which func­tioned like the key­stone of an arch.” We may no longer pay trib­ute to the gods or emper­ors to whom it was first ded­i­cat­ed, but as an object of archi­tec­tur­al wor­ship, the Pan­theon will sure­ly out­last many gen­er­a­tions to come.

Relat­ed con­tent:

The Beau­ty & Inge­nu­ity of the Pan­theon, Ancient Rome’s Best-Pre­served Mon­u­ment: An Intro­duc­tion

How to Make Roman Con­crete, One of Human Civilization’s Longest-Last­ing Build­ing Mate­ri­als

A Street Musi­cian Plays Pink Floyd’s “Time” in Front of the 1,900-Year-Old Pan­theon in Rome

How the World’s Biggest Dome Was Built: The Sto­ry of Fil­ip­po Brunelleschi and the Duo­mo in Flo­rence

The Mys­tery Final­ly Solved: Why Has Roman Con­crete Been So Durable?

Build­ing The Colos­se­um: The Icon of Rome

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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