The Birth and Rapid Rise of Islam, Animated (622‑1453)

To any­one unfa­mil­iar with the his­to­ry of Islam, it comes as some­thing of a shock that it got start­ed less than a mil­len­ni­um and a half ago. In that rel­a­tive­ly short span of time, Islam has become the world’s sec­ond-largest reli­gion, a fact that becomes more under­stand­able when you see the run­ning start to which it got off visu­al­ized in the video above. Cre­at­ed by Ollie Bye — pre­vi­ous­ly fea­tured here on Open Cul­ture for his car­to­graph­i­cal ani­ma­tions of the rise and fall of the British Empire, the spread of writ­ing, and the his­to­ry of the world — it depicts the spread of Islam, which began in earnest after the death of its founder, the prophet Muham­mad, in the year 632, and whose lega­cy is the “Mus­lim world” as we know it today.

“By con­quest and con­ver­sion, the new reli­gion spread quick­ly west­wards through the ter­ri­to­ries of the Byzan­tine empire,” says the Vic­to­ria and Albert Muse­um’s page on lux­u­ry objects of the peri­od. “By the 640s, Mus­lim forces were advanc­ing across North Africa, con­quer­ing Sici­ly in 652 and the Iber­ian Penin­su­la in 711.”

Let’s pause to give that achieve­ment due con­sid­er­a­tion: Islam over­took Spain just a cen­tu­ry after its foun­da­tion, a con­quer­ing speed that puts the Roman Empire in the shade. (The Mus­lims also man­aged to get the upper hand of the Per­sians, who’d pre­sent­ed such a stiff chal­lenge to not just the Romans but the Greeks before them.) “By the ear­ly 8th cen­tu­ry, Islam­ic ter­ri­to­ries had almost encir­cled the Mediter­ranean.“ ‘

“Dur­ing this time Mus­lim rulers, sol­diers, traders, Sufis, schol­ars, poets and archi­tects all con­tributed to the shap­ing of dis­tinc­tive Islam­ic cul­tures,” says the site of Har­vard’s Plu­ral­ism Project. “Across the wide-reach­ing Islam­ic world, tran­sre­gion­al Islam­ic cul­ture mixed with local tra­di­tions to pro­duce dis­tinc­tive forms of state­craft, the­ol­o­gy, art, archi­tec­ture, and sci­ence.” (Nor should we neglect the delights of Moor­ish cui­sine.) This Islam­ic Gold­en Age, like all gold­en ages, even­tu­al­ly came to an end. The cen­ter of civ­i­liza­tion had shift­ed unde­ni­ably by the time of the Euro­pean Renais­sance — which, accord­ing to the Plu­ral­ism Project, may nev­er have tak­en place “with­out the cre­ativ­i­ty and myr­i­ad achieve­ments of Mus­lim schol­ars, thinkers, and civ­i­liza­tions.” And giv­en that Islam remains the world’s fastest-grow­ing major reli­gion by births, it sure­ly has­n’t exert­ed the last of its glob­al influ­ence just yet.

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to the World’s Five Major Reli­gions: Hin­duism, Judaism, Bud­dhism, Chris­tian­i­ty & Islam

Ani­mat­ed Map Shows How the Five Major Reli­gions Spread Across the World (3000 BC – 2000 AD)

The Com­plex Geom­e­try of Islam­ic Art & Design: A Short Intro­duc­tion

How Ara­bic Trans­la­tors Helped Pre­serve Greek Phi­los­o­phy … and the Clas­si­cal Tra­di­tion

A Visu­al Map of the World’s Major Reli­gions (and Non-Reli­gions)

The His­to­ry of the World in One Video: Every Year from 200,000 BCE to Today

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.

Albert Einstein Appears in Remarkably Colorized Video & Contemplates the Fate of Humanity After the Atomic Bomb (1946)

We lived in one world before August 6, 1945, and have lived in anoth­er ever since. Nobody under­stood this more clear­ly than Albert Ein­stein, who had advo­cat­ed for the research that cul­mi­nat­ed in that day. “A let­ter from Dr. Ein­stein in 1939 informed Pres­i­dent Roo­sevelt that the Ger­mans were engaged in the devel­op­ment of an atom­ic bomb and urged that sci­ence and tech­nol­o­gy in the Unit­ed States be mobi­lized on a sim­i­lar effort,” says a 1946 New York Times arti­cle. “This [1939] let­ter gave the first impe­tus to the devel­op­ment of the Atom­ic Bomb.” This sto­ry was includ­ed by way of con­text of a new call to action by Ein­stein and oth­er promi­nent sci­en­tists, one meant to secure human­i­ty’s future in a world with the bomb.

“Our world faces a cri­sis as yet unper­ceived by those pos­sess­ing pow­er to make great deci­sions for good or evil,” declares a telegram sent by Ein­stein to what the Times calls “sev­er­al hun­dred promi­nent Amer­i­cans.” “The unleashed pow­er of the atom has changed every­thing save our modes of think­ing and we thus drift toward unpar­al­leled cat­a­stro­phe. We sci­en­tists who released this immense pow­er have an over­whelm­ing respon­si­bil­i­ty in this world life-and-death strug­gle to har­ness the atom for the ben­e­fit of mankind and not for humanity’s destruc­tion.”

Hence the for­ma­tion of the Emer­gency Com­mit­tee of Atom­ic Sci­en­tists, chaired by Ein­stein and includ­ing as mem­bers such fig­ures as Hans A. Bethe, who’d direct­ed the The­o­ret­i­cal Divi­sion at Los Alam­os, and Leo Szi­lard, Ein­stein’s col­lab­o­ra­tor on the 1939 let­ter to Roo­sevelt.

Szi­lard also appears along Ein­stein in the col­orized short film clip above, in which they lis­ten to a ver­sion of their telegram read aloud “We beg you to sup­port our efforts to bring real­iza­tion to Amer­i­ca that mankind’s des­tiny is being decid­ed today, now, this moment,” reads the announc­er. The telegram itself spec­i­fies that “we need two hun­dred thou­sand dol­lars at once for a nation-wide cam­paign to let the peo­ple know that a new type of think­ing is essen­tial if mankind is to sur­vive and move toward high­er lev­els.” In oth­er words, one mind­set had enabled the cre­ation of nuclear weapons, and quite anoth­er was need­ed to pre­vent them from ever being used again. In 1954, the year before his death, Ein­stein wrote that “I made one great mis­take in my life — when I signed the let­ter to Pres­i­dent Roo­sevelt rec­om­mend­ing that atom bombs be made.” It’s one kind of ambi­tion to change the mind of a politi­cian, and quite anoth­er to change the mind of human­i­ty.

Relat­ed con­tent:

Albert Ein­stein in Four Col­or Films

Hear Albert Ein­stein Read “The Com­mon Lan­guage of Sci­ence” (1941)

Albert Ein­stein Explains Why We Need to Read the Clas­sics

Hear the Voice of Albert Ein­stein: Vin­tage Album Fea­tures Him Talk­ing About E=MC2, World Peace & More

“The Most Intel­li­gent Pho­to Ever Tak­en”: The 1927 Solvay Coun­cil Con­fer­ence, Fea­tur­ing Ein­stein, Bohr, Curie, Heisen­berg, Schrödinger & More

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.

Alfred Hitchcock’s Strict Rules for Watching Psycho in Theaters (1960)

Psy­cho, one of Alfred Hitch­cock­’s icon­ic films, did­n’t come togeth­er very eas­i­ly. Hitch­cock­’s stu­dio, Para­mount Pic­tures, did­n’t like any­thing about the film and denied him a prop­er bud­get. So the direc­tor went solo and fund­ed the film through his tele­vi­sion com­pa­ny Sham­ley Pro­duc­tions. The bud­get was tight — less than $1,000,000. Costs were firm­ly con­trolled. Hence why, in 1960, the film was shot in black and white.

When Psy­cho hit the­aters, Hitch­cock con­trolled the pro­mo­tion. The stars — Antho­ny Perkins and Janet Leigh — did­n’t make the usu­al rounds in the media. Crit­ics weren’t giv­en pri­vate screen­ings. And Hitch­cock cre­at­ed buzz for the film when he exert­ed direc­to­r­i­al con­trol over the view­ing expe­ri­ence of the audi­ence. Show­ings of the film began on a tight­ly-con­trolled sched­ule in the­aters in New York, Chica­go, Boston, and Philadel­phia. And a firm “no late admis­sion” pol­i­cy was put in place. You either saw the film from the very begin­ning, or you did­n’t see it all. Signs appeared in front of cin­e­mas read­ing:

We won’t allow you to cheat your­self. You must see PSYCHO from the very begin­ning. There­fore, do not expect to be admit­ted into the the­atre after the start of each per­for­mance of the pic­ture. We say no one — and we mean no one — not even the man­ager’s broth­er, the Pres­i­dent of the Unit­ed States, or the Queen of Eng­land (God bless her)!

The­ater man­agers ini­tial­ly balked at the idea, fear­ing finan­cial loss­es. But Hitch­cock had his way. And he was right. Long lines formed out­side the the­aters. Psy­cho enjoyed crit­i­cal and com­mer­cial suc­cess, so much so the film was re-released in 1965.

Note: An ear­li­er ver­sion of this post appeared on our site in 2012.

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:

Who Cre­at­ed the Famous Show­er Scene in Psy­cho? Alfred Hitch­cock or the Leg­endary Design­er Saul Bass?

How Cin­e­mas Taught Ear­ly Movie-Goers the Rules & Eti­quette for Watch­ing Films (1912): No Whistling, Stand­ing or Wear­ing Big Hats

The 5 Essen­tial Rules of Film Noir

Watch Alfred Hitch­cock Make Cameo Appear­ances in 37 of His Films

Alfred Hitch­cock Reveals The Secret Sauce for Cre­at­ing Sus­pense

How the Avant-Garde Art of Gustav Klimt Got Perversely Appropriated by the Nazis

On paper, the Nazis should­n’t have liked Gus­tav Klimt. As gal­lerist and Youtu­ber James Payne says in his new Great Art Explained video above, their denun­ci­a­to­ry “Degen­er­ate Art Exhi­bi­tion” of 1937 includ­ed the work of “Paul Klee, Otto Dix, Pablo Picas­so, Marc Cha­gall, and Piet Mon­dri­an, as well as Egon Schiele and Oskar Kokosch­ka” — but some­how not Klimt, “who, at one time or anoth­er, had been described as moral­ly ques­tion­able, obscene, or even porno­graph­ic, and was friends with Jew­ish patrons, intel­lec­tu­als, and artists.” And it isn’t as if the Nazis just ignored his work; in fact, they active­ly pressed a few of his paint­ings into the ser­vice of their ide­ol­o­gy.

The search for those paint­ings, and thus an answer to the ques­tion of how they could have been giv­en a pro-Nazi spin, takes Payne to Vien­na (this video being part of his Great Art Cities sub-series). It was there that the 22-year-old Klimt — along with his broth­er Ernst and their friend Franz Mach — received the career-mak­ing com­mis­sion, straight from the emper­or him­self, to paint a series of ten his­tor­i­cal murals on the ceil­ings and walls of the city’s sto­ried Burgth­e­ater. This made pos­si­ble Klimt and Mach’s next major mur­al project for the Uni­ver­si­ty of Vien­na, though the for­mer’s con­tri­bu­tions were reject­ed by the offi­cials, and lat­er delib­er­ate­ly destroyed by Ger­man forces retreat­ing at the war’s end.

Hav­ing died in 1918, Klimt nev­er learned of his work’s ulti­mate fate (much less its more recent recon­struc­tion with arti­fi­cial intel­li­gence). Even by the time the Nazis rose to pow­er, he’d been dead long enough for them to appro­pri­ate his art, and even the much more dar­ing art he made after the Uni­ver­si­ty of Vien­na deba­cle. Take his Beethoven Frieze from 1902, a “34-meter-long homage to Beethoven’s Ninth Sym­pho­ny as inter­pret­ed by Richard Wag­n­er: Hitler’s favorite piece of music, often played at Nazi ral­lies, inter­pret­ed by his favorite com­pos­er.” That Klimt “cel­e­brates the tri­umph of ide­al­ism over mate­ri­al­ism” seems to have rep­re­sent­ed enough of a philo­soph­i­cal over­lap to be use­ful to the Third Reich.

“In 1943, in Vien­na, the Nazis even spon­sored the largest-ever ret­ro­spec­tive of Klimt’s art.” Indeed, Payne iden­ti­fies “a Teu­ton­ic qual­i­ty to Klimt’s work that would have appealed to the Nazi aes­thet­ic.” But he could also be por­trayed as “part of the Aus­tri­an folk tra­di­tion” with “Ger­man philo­soph­i­cal roots,” and like con­ven­tion­al Nazi artists, Klimt made much use of clas­si­cal icons and nude bod­ies. Yet there is lit­tle in his life or world­view of which the Nazis could pos­si­bly have approved, and even his work itself sug­gests that he knew full well the dan­gers of pop­u­lar appeal. “If you can­not please every­one with your actions and art, you should sat­is­fy a few,” says the quo­ta­tion from the poet and philoso­pher Friedrich Schiller incor­po­rat­ed into Klimt’s 1899 paint­ing Nuda Ver­i­tas. “To please many is dan­ger­ous.”

Relat­ed con­tent:

Gus­tav Klimt’s Icon­ic Paint­ing The Kiss: An Intro­duc­tion to Aus­tri­an Painter’s Gold­en, Erot­ic Mas­ter­piece (1908)

The Nazis’ Philis­tine Grudge Against Abstract Art and The “Degen­er­ate Art Exhi­bi­tion” of 1937

Gus­tav Klimt’s Mas­ter­pieces Destroyed Dur­ing World War II Get Recre­at­ed with Arti­fi­cial Intel­li­gence

Vienna’s Alberti­na Muse­um Puts 150,000 Dig­i­tized Art­works Into the Pub­lic Domain: Klimt, Munch, Dür­er, and More

136 Paint­ings by Gus­tav Klimt Now Online (Includ­ing 63 Paint­ings in an Immer­sive Aug­ment­ed Real­i­ty Gallery)

The Life & Art of Gus­tav Klimt: A Short Art His­to­ry Les­son on the Aus­tri­an Sym­bol­ist Painter and His Work

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 Hiroshima, Despite Being Hit with the Atomic Bomb, Isn’t a Nuclear Wasteland Today

Jan Mor­ris vis­it­ed Hiroshi­ma in 1959, four­teen years after its dev­as­ta­tion by the Unit­ed States’ atom­ic bomb. “The city has long been rebuilt, and a new pop­u­la­tion has flood­ed in to replace the vic­tims of the holo­caust,” she wrote, “but for all the bright new build­ings and the broad boule­vards, no Pom­peii is more sure­ly frozen in its atti­tude of dis­as­ter, and no Mont Pelée more per­ma­nent­ly scarred.” Despite the robust urban form and activ­i­ty around her, she felt “for all the world as though the tall new build­ings are not there at all, and the islands of the Ota delta are still black­ened and smok­ing. Assured indeed must be the vis­i­tor who has not, just for a fleet­ing fool­ish moment, won­dered if the stones of Hiroshi­ma were still radioac­tive, or eyed the run­ning water thought­ful­ly.”

Today, the very name of Hiroshi­ma still evokes one thing and one thing only, at least to most for­eign­ers. But if those for­eign­ers actu­al­ly make the trip to that once-destroyed city, it will prob­a­bly strike them as even more incon­gru­ous­ly alive than it did Mor­ris those six decades ago.

Some would imag­ine that, giv­en that the drop­ping of the bomb known as “Lit­tle Boy” remains just with­in liv­ing mem­o­ry — its 78th anniver­sary passed just last Sun­day — Hiroshi­ma would be an aban­doned nuclear waste­land. Here to explain why it flour­ish­es instead is Youtu­ber Kyle Hill, whose new video above explains the dif­fer­ence between the long-term effects of nuclear dev­as­ta­tion on Hiroshi­ma and those on a place like the region of the Cher­nobyl nuclear pow­er plant.

“For all the destruc­tion it caused, the Lit­tle Boy bomb was ter­ri­bly inef­fi­cient,” Hill says. “Of the bom­b’s 64 kilo­grams of ura­ni­um, less than one kilo­gram under­went fis­sion. This means that “every joule of ener­gy that dev­as­tat­ed Hiroshi­ma, a fire­ball so hot it etched ‘neg­a­tives’ of peo­ple into con­crete, a blast wave so intense, it shat­tered win­dows 200 kilo­me­ters away, came from less than a gram of mat­ter con­vert­ed direct­ly into ener­gy.” To the much more pow­er­ful nuclear weapons devel­oped since there can be no com­par­i­son, even con­sid­er­ing that Lit­tle Boy (like “Fat Man,” which hit Nagasa­ki) was det­o­nat­ed high in the air, not on the ground, thus caus­ing rel­a­tive­ly lit­tle last­ing con­t­a­m­i­na­tion. As a result, there’s no need to feel radi­a­tion-relat­ed hes­i­ta­tion about vis­it­ing Hiroshi­ma. If you go, by all means vis­it the Hiroshi­ma Peace Memo­r­i­al Muse­um, but don’t for­get to enjoy an okonomiya­ki or two as well.

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 Chill­ing Footage of the Hiroshi­ma & Nagasa­ki Bomb­ings in Restored Col­or

The Sto­ry of Akiko Takaku­ra, One of the Last Sur­vivors of the Hiroshi­ma Bomb­ing, Told in a Short Ani­mat­ed Doc­u­men­tary

This 392-Year-Old Bon­sai Tree Sur­vived the Hiroshi­ma Atom­ic Blast & Still Flour­ish­es Today: The Pow­er of Resilience

The “Shad­ow” of a Hiroshi­ma Vic­tim, Etched into Stone, Is All That Remains After 1945 Atom­ic Blast

A Look Into the Won­drous Life & Expan­sive Work of the Late Jan Mor­ris, Who Wrote the Entire World

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.

How to Be a Stoic in Your Everyday Life: Philosophy Professor Massimo Pigliucci Explains

To a view­er on the inter­net, TED Talks and TEDx talks may seem more or less the same. That makes sense, since the main dif­fer­ence between them isn’t of for­mat, but phys­i­cal loca­tion: TED talks take place at offi­cial TED con­fer­ences, and TEDx talks at TED-licensed but inde­pen­dent­ly-orga­nized events. The lat­ter are more numer­ous, and also more geo­graph­i­cal­ly var­ied. Take the talk above from TEDxA­thens, the ide­al place for speak­er Mas­si­mo Pigli­uc­ci to deliv­er his open­ing his­tor­i­cal sketch, which he begins by ask­ing his audi­ence to “imag­ine, if you will, that you’re walk­ing down the streets of Athens 24 cen­turies ago, give or take.”

In such a set­ting, “you might meet this guy: Zeno of Citium.” A once-pros­per­ous mer­chant strand­ed by a ship­wreck, he’d wound up in the Greek metrop­o­lis, where he spent his days hang­ing around book­stores. One day “he read Xenophon’s Mem­o­ra­bil­ia, which is a book about Socrates, and he was so intrigued that he turned to the book­seller and said, ‘Where I can find me one of these peo­ple, one of these philoso­pher folks?’ ” Luck­i­ly for Zeno, the streets of Athens were crawl­ing with philoso­phers at the time, and it was under their tute­lage that he devel­oped his own philo­soph­i­cal acu­men to a lev­el that pre­pared him to found his own school: Sto­icism, so named because its mem­bers met in the stoa, where the mar­kets set up.

The ear­ly Sto­ics were con­cerned with every­day life, and how it can be lived “accord­ing to nature”: the world’s nature, but also our own. Then, as now, a great many peo­ple suf­fered unnec­es­sar­i­ly out of con­fu­sion as to where the world end­ed and they began. They had, in oth­er words, no clear sense of what was under their con­trol and what was­n’t, a con­di­tion that the core teach­ings of Sto­icism are designed to rec­ti­fy. “The idea is that you can do things, you can make deci­sions about your health, your rep­u­ta­tion, et cetera, et cetera, but ulti­mate­ly, you don’t con­trol the out­come,” Pigli­uc­ci explains. In prac­tice, this means that “we should try to walk through life by inter­nal­iz­ing our goals — not wor­ry about the out­comes, because those are out­side our con­trol, but wor­ry about our inten­tions and our efforts, because those are very much under our con­trol.”

“Wor­ry” may not be quite the appro­pri­ate term. It con­notes, in any case, a self-defeat­ing habit that would hard­ly be con­doned by his­to­ry’s best-known pro­po­nents of Sto­icism, like the first cen­tu­ry Roman states­man and man of let­ters Seneca, the sec­ond-cen­tu­ry Roman emper­or Mar­cus Aure­lius, and espe­cial­ly the Greek ex-slave Epicte­tus, whose life bridged those eras. Epicte­tus believed, as Pigli­uc­ci puts it, that “a great part of hap­pi­ness lies in the seren­i­ty,” in “the idea that you always walk through life by know­ing that you’ve done your best, and that noth­ing else could be done on top of that.” We can learn more about how, exact­ly, to do our best from the work these Sto­ics left behind, all of which is free online: Epicte­tus’ Enchirid­ion, Mar­cus Aure­lius’ Med­i­ta­tions, the col­lec­tion of Seneca’s writ­ings pre­vi­ous­ly fea­tured here on Open Cul­ture.

Of course, we could also read Pigli­uc­ci’s own book, How to Be A Sto­ic: Using Ancient Phi­los­o­phy to Live a Mod­ern Life, or even watch “Think Like a Sto­ic: Ancient Wis­dom for Today’s World,” his series from The Great Cours­es (which is also avail­able through Audi­ble free to its mem­bers). Pigli­uc­ci is but one of the host of prac­ti­tion­ers will­ing to intro­duce us to the prin­ci­ples of Sto­icism, even these 24 cen­turies — give or take — after its inven­tion. But whether on the streets of ancient Athens or in the dig­i­tal labyrinths of the 21st cen­tu­ry, the best teach­ers of this par­tic­u­lar phi­los­o­phy are the vicis­si­tudes of life itself. Whether we can meet them with virtue and equa­nim­i­ty is up to us — and indeed, to put it Sto­ical­ly, the only thing that’s ever been up to us.

Relat­ed con­tent:

An Ani­mat­ed Intro­duc­tion to Sto­icism, the Ancient Greek Phi­los­o­phy That Lets You Lead a Hap­py, Ful­fill­ing Life

What Is Sto­icism? A Short Intro­duc­tion to the Ancient Phi­los­o­phy That Can Help You Cope with Our Hard Mod­ern Times

Three Huge Vol­umes of Sto­ic Writ­ings by Seneca Now Free Online, Thanks to Tim Fer­riss

350 Ani­mat­ed Videos That Will Teach You Phi­los­o­phy, from Ancient to Post-Mod­ern

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 Nina Simone’s Flawless Tribute to Johann Sebastian Bach on The Ed Sullivan Show (1960)

Some 80 years ago, in a small North Car­oli­na town, Eunice Way­mon, a musi­cal­ly gift­ed, nine-year-old black girl, began tak­ing piano lessons in the home of an exact­ing Eng­lish­woman named Muriel Maz­zanovich.

At first, young Eunice — the giv­en name of jazz super­star Nina Simone — felt intim­i­dat­ed, recall­ing in her auto­bi­og­ra­phy, I Put a Spell on You, that they “only played Bach and he seemed so com­pli­cat­ed and dif­fer­ent:”

In those first lessons, it seemed like the only thing she said was, “You must do it this way, Eunice. Bach would like it this way. Do it again.” And so I would.

As time went on I under­stood why Mrs. Maz­zanovich only allowed me to prac­tice Bach and soon I loved him as much as she did. He is tech­ni­cal­ly per­fect… Once I under­stood Bach’s music I nev­er want­ed to be any­thing oth­er than a con­cert pianist. Bach made me ded­i­cate my life to music.

Her tal­ent, com­mit­ment, and progress were such that oth­er cit­i­zens of Try­on, North Car­oli­na pitched in to help her afford a sum­mer ses­sion at New York City’s famed Juil­liard School, pri­or to audi­tion­ing for Philadelphia’s Cur­tis Insti­tute of Music.

“I knew I was good enough, but (the Cur­tis Insti­tute) turned me down,” she says in the doc­u­men­tary, What Hap­pened, Miss Simone? “And it took me about six months to real­ize it was because I was Black. I nev­er real­ly got over that jolt of racism at the time.”

And yet, she per­se­vered, becom­ing active in the Civ­il Rights move­ment and using the pro­ceeds from her debut album, Lit­tle Girl Blue, to fur­ther her clas­si­cal train­ing.

On Sep­tem­ber 11, 1960, Simone, who had scored a Top 20 hit the pre­vi­ous year with a cov­er of “I Loves You, Por­gy” from George Gershwin’s Por­gy and Bess, made her nation­al tele­vi­sion debut on The Ed Sul­li­van Show.

Per­form­ing before an all-white stu­dio audi­ence, she paid trib­ute to both her ear­ly train­ing and the genre that would make her a star, imbu­ing the 1928 jazz stan­dard “Love Me Or Leave Me,” above, with a coun­ter­point solo in the style of Bach’s Inven­tions.

It was a skill she had devel­oped dur­ing a stand­ing piano gig at Atlantic City’s Mid­town Bar and Grill. Its own­er demand­ed that she sing as well as play, and she agreed out of neces­si­ty, impro­vis­ing, exper­i­ment­ing, and occa­sion­al­ly allow­ing her­self flights of clas­si­cal fan­cy that did not go unno­ticed by local music afi­ciona­dos.

She prid­ed her­self on bring­ing a clas­si­cal musi­cian’s absolute con­cen­tra­tion to these per­for­mances, and expect­ed the audi­ence to abide by a sim­i­lar code, tak­ing her hands off the keys if a row­dy drunk talked over her, not­ing that “if they don’t want to lis­ten, I don’t want to play:”

When you play Bach’s music, you have to under­stand that he’s a math­e­mati­cian and all the notes you play add up to some­thing — they make sense. They always add up to cli­max­es, like ocean waves get­ting big­ger and big­ger until after a while so many waves have gath­ered you have a great storm. Each note you play is con­nect­ed to the next note, and every note has to be exe­cut­ed per­fect­ly or the whole effect is lost.

Through­out her sto­ried career, she found ways to weave Bach-like fugues and oth­er clas­si­cal ref­er­ences into her work. Wit­ness her 1987 per­for­mance of “My Baby Just Cares For Me” at the Mon­treux Jazz Fes­ti­val, below.

Relat­ed Con­tent 

How Nina Simone Became Hip Hop’s “Secret Weapon”: From Lau­ryn Hill to Jay Z and Kanye West

Nina Simone Writes an Admir­ing Let­ter to Langston Hugh­es: “Broth­er, You’ve Got a Fan Now!” (1966)

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

Nina Simone Song “Col­or Is a Beau­ti­ful Thing” Ani­mat­ed in a Gor­geous Video

– 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.

A New Course Teaches You How to Tap the Powers of ChatGPT and Put It to Work for You

Released in Novem­ber 2022, Chat­G­PT gave us all a glimpse into the future world of AI–a sense of what the world will look like when chat­bots can think and exe­cute tasks on our behalf. There’s a good chance that you’ve already exper­i­ment­ed loose­ly with Chat­G­PT, try­ing to test its strengths and weak­ness­es. But have you con­sid­ered using Chat­G­PT to unlock your cre­ativ­i­ty and pro­duc­tiv­i­ty in more sub­stan­tive ways? If so, Van­der­bilt Uni­ver­si­ty has a new course for you: Prompt Engi­neer­ing for Chat­G­PT.

Cre­at­ed by Dr. Jules White, Prompt Engi­neer­ing for Chat­G­PT will teach stu­dents how to write effec­tive “prompts” (or well-craft­ed ques­tions) so that they can lever­age Chat­G­PT and oth­er large lan­guage mod­els. Large lan­guage mod­els (LLMs) respond to “prompts” posed by users in nat­ur­al lan­guage state­ments. If users can write good prompts, they can get effec­tive answers from large lan­guage mod­els and dis­cov­er cre­ative uses for these tools. Divid­ed into six mod­ules, the Van­der­bilt course cov­ers the art of writ­ing effec­tive prompts, start­ing with basic prompts and build­ing toward more sophis­ti­cat­ed ones. By course’s end, stu­dents should feel com­fort­able using Chat­G­PT to com­plete mean­ing­ful tasks in their per­son­al and pro­fes­sion­al lives. For exam­ple, one stu­dent left this tes­ti­mo­ni­al after com­plet­ing the course:

As a med­ical researcher and med­ical writer with >30 years of expe­ri­ence, I was real­ly stunned to see what the capa­bil­i­ties of LLMs are. Dr. White made a great work of explain­ing and giv­ing exam­ples. About halfway through the course I was able to put Chat­G­PT to work on a real work-relat­ed issue. With its help, I was able in fact to com­plete in 7 hours a job that would have required at least 20. Now, after com­plet­ing the course, I believe that — by apply­ing some more com­plex for­mat­ting — I could have shaved anoth­er cou­ple of hours…”

Offered on the Cours­era plat­form, Prompt Engi­neer­ing for Chat­G­PT is designed for begin­ners. You only need a brows­er and a Chat­G­PT account. Designed to be com­plet­ed in 18 hours, stu­dents can take the course for a fee ($49) and earn a cre­den­tial at the end. Or they can also audit the course–and forego the credential–for no fee. Enroll here.

Nota Bene: Open Cul­ture has a part­ner­ship with Cours­era. We often fea­ture their cours­es because the cours­es offer val­ue to our read­ers. We typ­i­cal­ly receive fees when users sign up for a paid course, and some­times we receive a fee for fea­tur­ing an edu­ca­tion­al pro­gram itself. Those fees help sup­port our oper­a­tion.

Relat­ed Con­tent 

Google & Cours­era Launch New Career Cer­tifi­cates That Pre­pare Stu­dents for Jobs in 2–6 Months: Busi­ness Intel­li­gence & Advanced Data Ana­lyt­ics

Com­put­er Sci­en­tist Andrew Ng Presents a New Series of Machine Learn­ing Courses–an Updat­ed Ver­sion of the Pop­u­lar Course Tak­en by 5 Mil­lion Stu­dents

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Discover the Buddhist Diamond Sutra, the World’s Oldest Surviving Complete Printed Book (868 AD)

It isn’t easy to say which book is the old­est in the world, because the answer depends on what, exact­ly qual­i­fies as a book. Dat­ing from the year 868, the Chi­nese Dia­mond Sūtra is known as “the world’s ear­li­est dat­ed, print­ed book,” the words used on the web site of the British Library, which owns the thing itself. It was found in north­west Chi­na, “in a holy site called the Mogao (or ‘Peer­less’) Caves or the ‘Caves of a Thou­sand Bud­dhas,’ which was a major Bud­dhist cen­tre from the 4th to 14th cen­turies,” its page explains. “In 1900, a monk named Wang Yuan­lu dis­cov­ered the sealed entrance to a hid­den cave, where tens of thou­sands of man­u­scripts, paint­ings and oth­er arti­facts had been deposit­ed and sealed up some­time around the begin­ning of the 11th cen­tu­ry.”

Includ­ed in this trea­sure trove, this copy of the Dia­mond Sutra “was brought to Eng­land by the explor­er Sir Aurel Stein in 1907.” With the form of not a‑book-as-we-know-it but “sev­en strips of yel­low-stained paper print­ed from carved wood­en blocks and past­ed togeth­er to form a scroll 16 feet by 10. 5 inch­es wide,” as Jere­my Nor­man writes at Historyofinformation.com, it may not seem all that impres­sive when seen from a dis­tance.

But “its text, print­ed in Chi­nese, is one of the most impor­tant sacred works of the Bud­dhist faith,” a dia­logue between the Bud­dha and one of his pupils on the “per­fec­tion of insight” and the nature of real­i­ty itself, titled for its poten­tial to cut like a dia­mond blade through the lay­ers of illu­sion in which we live.

Today, we need not exam­ine the Chi­nese Dia­mond Sutra only at a dis­tance, for the British Library has made a com­plete dig­i­ti­za­tion of the scroll avail­able on its “Vir­tu­al Books” page. For those who don’t read ninth-cen­tu­ry Chi­nese, the most inter­est­ing ele­ment will be the fron­tispiece, which, as Nor­man writes, “shows the Bud­dha expound­ing the sutra to an elder­ly dis­ci­ple called Sub­huti. That is the ear­li­est dat­ed book illus­tra­tion, and the ear­li­est dat­ed wood­cut print.” The British Library notes that “the finesse in the details evi­dences the fact that print­ing had already grown into a mature tech­nol­o­gy by the ninth cen­tu­ry in Chi­na,” long before such oth­er famous books as Shake­speare’s First Folio or even the Guten­berg Bible. This is an arti­fact of great his­tor­i­cal val­ue, reflect­ed by the degree of care with which it’s been con­served. But as a believ­er might add, why focus on the age of a book when the wis­dom it offers is time­less?

Relat­ed con­tent:

The Old­est Book Print­ed with Mov­able Type is Not The Guten­berg Bible: Jikji, a Col­lec­tion of Kore­an Bud­dhist Teach­ings, Pre­dat­ed It By 78 Years and It’s Now Dig­i­tized Online

Europe’s Old­est Intact Book Was Pre­served and Found in the Cof­fin of a Saint

The Medieval Mas­ter­piece The Book of Kells Has Been Dig­i­tized and Put Online

Oxford Uni­ver­si­ty Presents the 550-Year-Old Guten­berg Bible in Spec­tac­u­lar, High-Res Detail

Behold a Dig­i­ti­za­tion of “The Most Beau­ti­ful of All Print­ed Books,” The Kelm­scott Chaucer

One of World’s Old­est Books Print­ed in Mul­ti-Col­or Now Opened & Dig­i­tized for the First Time

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.

The Band’s Classic Song, “The Weight,” Sung by Robbie Robertson (RIP) and Musicians Around the World

Yes­ter­day Rob­bie Robert­son, the Cana­di­an song­writer and gui­tarist for The Band, passed away at age 80 after a long ill­ness. As a trib­ute, we’re bring­ing back a video that pays homage to “The Weight,” a song Robert­son wrote for The Band’s influ­en­tial 1968 album, “Music from Big Pink.” The video fea­tures cameos of Robert­son him­self, and also Ringo Starr and oth­er spe­cial guests. Enjoy…

Rob­bie Robertson’s “The Weight,” the Band’s most beloved song, has the qual­i­ty of Dylan’s impres­sion­is­tic nar­ra­tives. Ellip­ti­cal vignettes that seem to make very lit­tle sense at first lis­ten, with a cho­rus that cuts right to the heart of the human predica­ment. “Robert­son admits in his auto­bi­og­ra­phy,” notes Patrick Doyle at Rolling Stone, “that he strug­gled to artic­u­late to pro­duc­er John Simon what the song was even about.” An artist needn’t under­stand a cre­ation for it to res­onate with lis­ten­ers.

A read of “The Weight”’s lyrics make its poignant themes evident—each stan­za intro­duces char­ac­ters who illus­trate some sor­row or small kind­ness. The cho­rus offers what so many peo­ple seem to crave these days: a promise of rest from cease­less toil, free­dom from con­stant trans­ac­tions, a com­mu­ni­ty that shoul­ders everyone’s bur­dens…. “It’s almost like it’s good med­i­cine,” Robert­son told Doyle, “and it’s so suit­able right now.” He refers specif­i­cal­ly to the song’s revival in a dom­i­nant musi­cal form of our iso­la­tion days—the online sing-along.

Though its lyrics aren’t near­ly as easy to remem­ber as, say, “Lean on Me,” Robertson’s clas­sic, espe­cial­ly the big har­monies of its cho­rus (which every­one knows by heart), is ide­al for big ensem­bles like the globe-span­ning col­lec­tion assem­bled by Play­ing for Change, “a group ded­i­cat­ed to ‘open­ing up how peo­ple see the world through the lens of music and art.” The group’s pro­duc­ers, Doyle writes, “recent­ly spent two years film­ing artists around the world, from Japan to Bahrain to Los Ange­les, per­form­ing the song,” with Ringo Starr on drums and Robert­son on rhythm gui­tar. They began on the 50th anniver­sary of the song’s release.

The per­for­mances they cap­tured are flaw­less, and mixed togeth­er seam­less­ly. If you want to know how this was achieved, watch the short behind-the-scenes video above with pro­duc­er Sebas­t­ian Robert­son, who hap­pens to be Rob­bie’s son. He starts by prais­ing the stel­lar con­tri­bu­tions of Larkin Poe, two sis­ters whose root­sy coun­try rock updates the All­man Broth­ers for the 21st cen­tu­ry. But there are no slouch­es in the bunch (don’t be inti­mat­ed out of your own group sing-alongs by the tal­ent on dis­play here). The song res­onates in a way that con­nects, as “The Weight”’s cho­rus con­nects its non-sequitur stan­zas, many dis­parate sto­ries and voic­es.

Robert­son was thrilled with the final prod­uct. “There’s a guy on a sitar!” he enthus­es. “There’s a guy play­ing an oud, one of my favorite instru­ments.” The song sug­gests there’s “some­thing spir­i­tu­al, mag­i­cal, unsus­pect­ing” that can come from times of dark­ness, and that we’d all feel a whole lot bet­ter if we learned to take care of each oth­er. The Play­ing for Change ver­sion “screams of uni­ty,” he says, “and I hope it spreads.”

Relat­ed Con­tent:

Jeff Bridges Nar­rates a Brief His­to­ry of Bob Dylan’s and The Band’s Base­ment Tapes

Stream Marc Maron’s Excel­lent, Long Inter­view with The Band’s Rob­bie Robert­son

Watch The Band Play “The Weight,” “Up On Crip­ple Creek” and More in Rare 1970 Con­cert Footage

Mar­tin Scors­ese Cap­tures Lev­on Helm and The Band Per­form­ing “The Weight” in The Last Waltz

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

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The Live Music Archive Lets You Stream/Download More Than 250,000 Concert Recordings–for Free

The Inter­net Archive main­tains an enor­mous Live Music Archive of con­cert record­ings, not all of them by the Grate­ful Dead. There are more than 17,000 such record­ings in its Grate­ful Dead col­lec­tion — 2,000 more than when last we fea­tured it here on Open Cul­ture — but one must com­pare that fig­ure to the 250,000 items now in the whole of the LMA. “It would be a great sto­ry to have the first item as part of the col­lec­tion to be some rare Grate­ful Dead record­ing from 1968,” says a post at the Inter­net Archive blog reflect­ing on the twen­ti­eth anniver­sary of the LMA last year, “but it is actu­al­ly an unas­sum­ing Rust­ed Root audi­ence record­ing from August 24, 2001.”

In addi­tion to Rust­ed Root and the Grate­ful Dead, you can stream or down­load a wealth of record­ed live shows from bands like Lit­tle Feat, Blues Trav­el­er, My Morn­ing Jack­et, Los Lobos, and the Smash­ing Pump­kins, as well as singer-song­writ­ers like War­ren Zevon, Elliott Smith, Jack John­son, Robyn Hitch­cock, and John May­er.

How wide or nar­row a vari­ety of musi­cal expe­ri­ences these names con­jure up will, of course, depend on your per­spec­tive. But if they do share a major char­ac­ter­is­tic in com­mon, it’s the fact, to their true fans, their live per­for­mances count for as much as — or, often, more than — their stu­dio record­ings. The truest (or at least most tech­ni­cal­ly adept) such fans have donat­ed their time and skills to make these live per­for­mances freely acces­si­ble and end­less­ly reliv­able on the LMA.

“For years, con­cert-goers record­ed and trad­ed tapes, but in 2002, the Inter­net Archive offered a reli­able infra­struc­ture to pre­serve per­for­mances files,” writes the Inter­net Archive’s Car­alee Adams in a blog post mark­ing the upload­ing of 250,000 record­ings. “Part­ner­ing with the etree music com­mu­ni­ty, the Live Music Archive was estab­lished to pro­vide ongo­ing, free access to loss­less and MP3-encod­ed audio record­ings.” Over the past 21 years, “more than 8,000 artists have giv­en per­mis­sion to have record­ings of their shows archived on the Live Music Archive, and users from around the world have lis­tened to files more than 600 mil­lion times.” Whether or not you’re into jam bands, if you’ve ever enjoyed live music, have a look through the LMA’s 250 ter­abytes of record­ings made in venues from sta­di­ums to neigh­bor­hood cof­fee shops. There’ll be a con­cert for you, no charge for admis­sion.

Relat­ed con­tent:

Jam­Base Launch­es a New Video Archive of 100,000 Stream­ing Con­certs: Phish, Wilco, the Avett Broth­ers, Grate­ful Dead & Much More

Stream 385,000 Vin­tage 78 RPM Records at the Inter­net Archive: Louis Arm­strong, Glenn Miller, Bil­lie Hol­i­day & More

Stream a Mas­sive Archive of Grate­ful Dead Con­certs from 1965–1995

Down­load 10,000 of the First Record­ings of Music Ever Made, Cour­tesy of the Uni­ver­si­ty of Cal­i­for­nia-San­ta Bar­bara

BBC Launch­es World Music Archive

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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