Mick Jagger Takes Shots at Conspiracy Theorists & Anti-Vaxxers in a New Song, “Eazy Sleazy” (with Dave Grohl on Drums, Bass & Guitar)

Fol­low along with the lyrics below, or in the video above.

W’e took it on the chin
The num­bers were so grim
Bossed around by pricks
Stiff­en upper lips
Pac­ing in the yard
You’re try­ing to take the mick
You must think i’m real­ly thick

Look­ing at the graphs with a mag­ni­fy­ing glass
Can­cel all the tours foot­balls fake applause
No more trav­el brochures
Vir­tu­al pre­mieres
Ive got noth­ing left to wear

Look­ing out from these prison walls
You got to rob peter if you’re pay­ing paul
But its easy easy everything’s gonna get real­ly freaky
Alright on the night
Soon it ll be be a mem­o­ry you’re try­ing to remem­ber to for­get

That’s a pret­ty mask
But nev­er take a chance tik tok stu­pid dance
Took a sam­ba class i land­ed on my ass
Try­ing to write a tune you bet­ter hook me up to zoom
See my pon­cey books teach myself to cook
Way too much tv its lobot­o­mis­ing me
Think ive put on weight
Ill have anoth­er drink then ill clean the kitchen sink

We escaped from the prison walls
Open the win­dows and open the doors
But its easy easy
Every­thing s gonna get real­ly freaky
Alright on the night
Its gonna be a gar­den of earth­ly delights
Easy sleazy its gonna be smooth and greasy
Yeah easy believe me
Itll only be a mem­o­ry you’re try­ing to remem­ber
To for­get

Shoot­ing the vac­cine bill gates is in my blood­stream
Its mind con­trol
The earth is flat and cold its nev­er warm­ing up
The arc­tics turned to slush
The sec­ond com­ings late
There’s aliens in the deep state

We’ll escape from these prison walls
Now were out of these prison walls
You got­ta pay peter if you’re rob­bing paul
But its easy easy every­thing s gonna be real­ly freaky
Alright on the night
Were all head­ed back to par­adise
Yeah easy believe me
It’ll be a mem­o­ry you’re try­ing to remem­ber to for­get
Easy cheesy every­one sing please please me
It’ll be a mem­o­ry you’re try­ing to remem­ber to for­get

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What Andrei Tarkovsky’s Most Notorious Scene Tells Us About Time During the Pandemic: A Video Essay

In his films, Andrei Tarkovsky shows us things no oth­er auteur does: an unbro­ken eight-minute shot, for exam­ple, of a man slow­ly walk­ing a lit can­dle across an emp­ty pool, start­ing over again when­ev­er the flame goes out. One of the best-known (or at least most often men­tioned) sequences in the Russ­ian mas­ter’s oeu­vre, it comes from Nos­tal­ghia, a late pic­ture made dur­ing his final, exiled years in Italy. Some cite it as an exam­ple of all that’s wrong with Tarkovsky’s cin­e­ma; oth­ers as an exam­ple of all that’s right with it. But both the crit­i­cism and the praise are root­ed in the direc­tor’s height­ened sen­si­tiv­i­ty to and delib­er­ate use of time — a resource about which we’ve all come to feel dif­fer­ent­ly after a year of glob­al pan­dem­ic.

“Our sense of time dur­ing the pan­dem­ic was just as warped as our sense of space,” says Evan Puschak, bet­ter known as the Nerd­writer, in his new video essay above, a fol­low-up to his pre­vi­ous explo­ration of how lock­downs turned cities around the world into de Chiri­co paint­ings.

At first, “time felt simul­ta­ne­ous­ly slow and fast: hours dragged on at a snail’s pace, but weeks flew by. 2020 seemed end­less while it was hap­pen­ing, but in ret­ro­spect it feels brief, short­er than a nor­mal year.” But even under “nor­mal” con­di­tions, it holds true that “the more atten­tion we give to time, the slow­er it feels.” And when we think back to our past expe­ri­ences, “the more we can remem­ber in a giv­en peri­od expands our sense of its length.”

Watch­ing Nos­tal­ghia’s can­dle-in-the-pool scene, “you become aware of the odd encounter you’re hav­ing with time itself. You can feel the tex­ture of it, its pres­ence, as if time were not only a con­cept, but a sub­stance, stretch­ing out in front of you, expand­ing and con­tract­ing with every breath. It’s beyond inter­est, beyond bore­dom.” Unlike most film­mak­ers, Tarkovsky does­n’t manip­u­late time to keep us on a pre-laid emo­tion­al track, but to make us aware of our own move­ment through it. “It’ll be the same for the pan­dem­ic,” says Puschak. “There are some rhythms we’ll be eager to get back to, and oth­ers, now that we’ve expe­ri­enced their absence, we’ll be eager to leave behind.” Right now, we’d do well to ques­tion the new forms of nos­tal­gia that have beset us. Or we could use the time still on our hands to hold Tarkovsky ret­ro­spec­tives of our own.

Relat­ed Con­tent:

Free Online: Watch the Films of Andrei Tarkovsky, Arguably the Most Respect­ed Film­mak­er of All Time

The Poet­ic Har­mo­ny of Andrei Tarkovsky’s Film­mak­ing: A Video Essay

“Auteur in Space”: A Video Essay on How Andrei Tarkovsky’s Solaris Tran­scends Sci­ence Fic­tion

Andrei Tarkovsky Answers the Essen­tial Ques­tions: What is Art & the Mean­ing of Life?

When Our World Became a de Chiri­co Paint­ing: How the Avant-Garde Painter Fore­saw the Emp­ty City Streets of 2020

Why Time Seems to Speed Up as We Get Old­er: What the Research Says

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.

Michael Moore’s Bowling for Columbine Is Streaming Free on YouTube

Ear­li­er this year, Michael Moore released the 2002 doc­u­men­tary Bowl­ing for Columbine on his offi­cial YouTube chan­nel. The win­ner of the Acad­e­my Award for Best Doc­u­men­tary Fea­ture, the film “set out to inves­ti­gate the long, often volatile love affair between Amer­i­cans and their firearms, uncov­er­ing the per­va­sive cul­ture of fear that keeps the nation locked and loaded.” Cri­te­ri­on goes on to write:

Equipped with a cam­era and a micro­phone, Moore fol­lows the trail of bul­lets from Lit­tle­ton, Col­orado, and Flint, Michi­gan, all the way to Kmart’s mid­west­ern head­quar­ters and NRA pres­i­dent Charl­ton Heston’s Bev­er­ly Hills man­sion, meet­ing shoot­ing sur­vivors, mili­tia mem­bers, mild-man­nered Cana­di­ans, and rock provo­ca­teur Mar­i­lyn Man­son along the way. An unprece­dent­ed pop­u­lar suc­cess that helped ush­er in a new era in doc­u­men­tary film­mak­ing, the Oscar-win­ning Bowl­ing for Columbine is a rau­cous, impas­sioned, and still trag­i­cal­ly rel­e­vant jour­ney through the Amer­i­can psy­che.”

Near­ly two decades later–and right on the heels of two mas­sacres in Atlanta and Boulder–Moore’s film has unfor­tu­nate­ly not lost its rel­e­vance. You can watch it online, right above.

via NoFilm­School

Relat­ed Con­tent

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

Michael Moore’s 13 Rules for Mak­ing Doc­u­men­taries — Real­ly Pow­er­ful & Enter­tain­ing Doc­u­men­taries

23 Car­toon­ists Unite to Demand Action to Reduce Gun Vio­lence: Watch the Result

When Archie Bunker’s Advice on Gun Con­trol Becomes Main­stream GOP Pol­i­cy (1972)

What Are the Real Causes of Zoom Fatigue? And What Are the Possible Solutions?: New Research from Stanford Offers Answers

The tech­nol­o­gy we put between our­selves and oth­ers tends to always cre­ate addi­tion­al strains on com­mu­ni­ca­tion, even as it enables near-con­stant, instant con­tact. When it comes to our now-pri­ma­ry mode of inter­act­ing — star­ing at each oth­er as talk­ing heads or Brady Bunch-style gal­leries — those stress­es have been iden­ti­fied by com­mu­ni­ca­tion experts as “Zoom fatigue,” now a sub­ject of study among psy­chol­o­gists who want to under­stand our always-con­nect­ed-but-most­ly-iso­lat­ed lives in the pan­dem­ic, and a top­ic for Today show seg­ments like the one above.

As Stan­ford researcher Jere­my Bailen­son vivid­ly explains to Today, Zoom fatigue refers to the burnout we expe­ri­ence from inter­act­ing with dozens of peo­ple for hours a day, months on end, through pret­ty much any video con­fer­enc­ing plat­form. (But, let’s face it, most­ly Zoom.) We may be famil­iar with the symp­toms already if we spend some part of our day on video calls or lessons. Zoom fatigue com­bines the prob­lems of over­work and tech­no­log­i­cal over­stim­u­la­tion with unique forms of social exhaus­tion that do not plague us in the office or the class­room.

Bailen­son, direc­tor of Stan­ford University’s Vir­tu­al Human Inter­ac­tion Lab, refers to this kind of burnout as “Non­ver­bal Over­load,” a col­lec­tion of “psy­cho­log­i­cal con­se­quences” from pro­longed peri­ods of dis­em­bod­ied con­ver­sa­tion. He has been study­ing vir­tu­al com­mu­ni­ca­tion for two decades and began writ­ing about the cur­rent prob­lem in April of 2020 in a Wall Street Jour­nal op-ed that warned, “soft­ware like Zoom was designed to do online work, and the tools that increase pro­duc­tiv­i­ty weren’t meant to mim­ic nor­mal social inter­ac­tion.”

Now, in a new schol­ar­ly arti­cle pub­lished in the APA jour­nal Tech­nol­o­gy, Mind, and Behav­ior, Bailen­son elab­o­rates on the argu­ment with a focus on Zoom, not to “vil­i­fy the com­pa­ny,” he writes, but because “it has become the default plat­form for many in acad­e­mia” (and every­where else, per­haps its own form of exhaus­tion). The con­stituents of non­ver­bal over­load include gaz­ing into each oth­ers’ eyes at close prox­im­i­ty for long peri­ods of time, even when we aren’t speak­ing to each oth­er.

Any­one who speaks for a liv­ing under­stands the inten­si­ty of being stared at for hours at a time. Even when speak­ers see vir­tu­al faces instead of real ones, research has shown that being stared at while speak­ing caus­es phys­i­o­log­i­cal arousal (Takac et al., 2019). But Zoom’s inter­face design con­stant­ly beams faces to every­one, regard­less of who is speak­ing. From a per­cep­tu­al stand­point, Zoom effec­tive­ly trans­forms lis­ten­ers into speak­ers and smoth­ers every­one with eye gaze.

On Zoom, we also have to expend much more ener­gy to send and inter­pret non­ver­bal cues, and with­out the con­text of the room out­side the screen, we are more apt to mis­in­ter­pret them. Depend­ing on the size of our screen, we may be star­ing at each oth­er as larg­er-than-life talk­ing heads, a dis­ori­ent­ing expe­ri­ence for the brain and one that lends more impact to facial expres­sions than may be war­rant­ed, cre­at­ing a false sense of inti­ma­cy and urgency. “When someone’s face is that close to ours in real life,” writes Vig­nesh Ramachan­dran at Stan­ford News, “our brains inter­pret it as an intense sit­u­a­tion that is either going to lead to mat­ing or to con­flict.”

Unless we turn off the view of our­selves on the screen — which we gen­er­al­ly don’t do because we’re con­scious of being stared at — we are also essen­tial­ly sit­ting in front of a mir­ror while try­ing to focus on oth­ers. The con­stant self-eval­u­a­tion adds an addi­tion­al lay­er of stress and tax­es the brain’s resources. In face-to-face inter­ac­tions, we can let our eyes wan­der, even move around the room and do oth­er things while we talk to peo­ple. “There’s a grow­ing research now that says when peo­ple are mov­ing, they’re per­form­ing bet­ter cog­ni­tive­ly,” says Bailen­son. Zoom inter­ac­tions, con­verse­ly, can inhib­it move­ment for long peri­ods of time.

“Zoom fatigue” may not be as dire as it sounds, but rather the inevitable tri­als of a tran­si­tion­al peri­od, Bailen­son sug­gests. He offers solu­tions we can imple­ment now: using the “hide self-view” but­ton, mut­ing our video reg­u­lar­ly, set­ting up the tech­nol­o­gy so that we can fid­get, doo­dle, and get up and move around.… Not all of these are going to work for every­one — we are, after all, social­ized to sit and stare at each oth­er on Zoom; refus­ing to par­tic­i­pate might send unin­tend­ed mes­sages we would have to expend more ener­gy to cor­rect. Bailen­son fur­ther describes the phe­nom­e­non in the BBC Busi­ness Dai­ly pod­cast inter­view above.

“Video­con­fer­enc­ing is here to stay,” Bailen­son admits, and we’ll have to adapt. “As media psy­chol­o­gists it is our job,” he writes to his col­leagues in the new arti­cle, to help “users devel­op bet­ter use prac­tices” and help “tech­nol­o­gists build bet­ter inter­faces.” He most­ly leaves it to the tech­nol­o­gists to imag­ine what those are, though we our­selves have more con­trol over the plat­form than we col­lec­tive­ly acknowl­edge. Could we maybe admit, Bailen­son writes, that “per­haps a dri­ver of Zoom fatigue is sim­ply that we are tak­ing more meet­ings than we would be doing face-to-face”?

Read about the “Zoom Exhaus­tion & Fatigue Scale (ZEF Scale)” devel­oped by Bailen­son and his col­leagues at Stan­ford and the Uni­ver­si­ty of Gothen­burg here. Then take the sur­vey your­self, and see where you rank in the ZEF cat­e­gories of gen­er­al fatigue, visu­al fatigue, social fatigue, moti­va­tion­al fatigue, and emo­tion­al fatigue.

Relat­ed Con­tent: 

How Infor­ma­tion Over­load Robs Us of Our Cre­ativ­i­ty: What the Sci­en­tif­ic Research Shows

In 1896, a French Car­toon­ist Pre­dict­ed Our Social­ly-Dis­tanced Zoom Hol­i­day Gath­er­ings

Hayao Miyazaki’s Stu­dio Ghi­b­li Releas­es Free Back­grounds for Vir­tu­al Meet­ings: Princess Mononoke, Spir­it­ed Away & More

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

The “Academic Tarot”: 22 Major Arcana Cards Representing Life in the Academic Humanities Under COVID-19

“Spec­u­la­tions about the cre­ators of Tarot cards include the Sufis, the Cathars, the Egyp­tians, Kab­bal­ists, and more,” writes “expert car­tomancer” Joshua Hehe. All of these sup­po­si­tions are wrong, it seems. “The actu­al his­tor­i­cal evi­dence points to north­ern Italy some­time in the ear­ly part of the 1400s,” when the so-called “major arcana” came into being. “Con­trary to what many have claimed, there is absolute­ly no proof of the Tarot hav­ing orig­i­nat­ed in any oth­er time or place.”

A bold claim, yet there are prece­dents much old­er than tarot: “A few decades before the Tarot was born, ordi­nary play­ing cards came to Europe by way of Arabs, arriv­ing in many dif­fer­ent cities between 1375 and 1378. These cards were an adap­ta­tion of the Islam­ic Mam­luk cards,” with suits of cups, swords, coins, and polo sticks, “the lat­ter of which were seen by Euro­peans as staves.”

Whether the play­ing cards invent­ed by the Mam­luks were used for div­ina­tion may be a mat­ter of con­tro­ver­sy. The his­to­ry and art of the Mam­luk sul­tanate itself is a sub­ject wor­thy of study for the tarot his­to­ri­an. Orig­i­nal­ly a slave army (“mam­luk” means “slave” in Ara­bic) under the Ayyu­bid sul­tans in Egypt and Syr­ia, the Mam­luks over­threw their rulers and cre­at­ed “the great­est Islam­ic empire of the lat­er Mid­dle Ages.”

What does this have to do with tarot read­ing? These are aca­d­e­m­ic con­cerns, per­haps, of lit­tle inter­est to the aver­age tarot enthu­si­ast. But then, the aver­age tarot enthu­si­ast is not the audi­ence for the “Aca­d­e­m­ic Tarot,” a project of the Vision­ary Futures Col­lec­tive, or VFC, a group of 22 schol­ars “fight­ing for what high­er edu­ca­tion needs most,” Stephanie Malak writes at Hyper­al­ler­gic, “a bring­ing togeth­er of thinkers who ‘believe in the trans­for­ma­tion­al pow­er and vital impor­tance of the human­i­ties.’”

To that end, the Aca­d­e­m­ic Tarot fea­tures exact­ly the kinds of char­ac­ters who love to chase down abstruse his­tor­i­cal questions—characters like the low­ly, con­fused Grad Stu­dent, stand­ing in here for The Fool. It also fea­tures those who can make aca­d­e­m­ic life, with its end­less rounds of meet­ings and com­mit­tees, so dif­fi­cult: fig­ures like The Pres­i­dent (see here), doing duty here as the Magi­cian, and pic­tured shred­ding “cam­pus-wide COVID results.”

The VFC, found­ed in the time of COVID-19 pan­dem­ic and “in the midst of the long-over­due nation­al reck­on­ing led by the Black Lives Mat­ter move­ment,” aims to “trace the con­tours of things that define our shared human con­di­tion,” says Col­lec­tive mem­ber Dr. Bri­an DeGrazia. In the case of the Aca­d­e­m­ic Tarot, the con­di­tions rep­re­sent­ed are shared by a spe­cif­ic sub­set of humans, many of whom respond­ed to “feel­ings sur­veys” put out by the VFC in a biweek­ly newslet­ter.

The sur­veys have been used to make art that reflects the expe­ri­ences of the grad stu­dents, pro­fes­sors, and pro­fes­sion­al staff work­ing the aca­d­e­m­ic human­i­ties at this time:

VFC artist-in-res­i­dence Claire Chenette, a Gram­my-nom­i­nat­ed Knoxville Sym­pho­ny Orches­tra musi­cian fur­loughed due to COVID-19, brought the tarot cards to life. What began as a three-card project to com­ple­ment the VFC newslet­ter grew in spir­it and in num­ber. 

“In tarot, the cards read us,” the VFC writes, “telling a sto­ry about our­selves that can pro­vide clar­i­ty, guid­ance and hope.” What sto­ry do the 22 Major Arcana cards in the Aca­d­e­m­ic Tarot tell? That depends on who’s ask­ing, as always, but one gets the sense that unless the quer­ent is famil­iar with life in a high­er-ed human­i­ties depart­ment, these cards may not reveal much. For those who have seen them­selves in the cards, how­ev­er, “the images made them laugh out loud,” says Chenette, or “they hit hard. Or… they even made them cry, but… it need­ed to hap­pen.”

Strug­gling through yet anoth­er pan­dem­ic semes­ter of attempt­ing to teach, research, write, and gen­er­al­ly stay afloat? The Aca­d­e­m­ic Tarot cards are cur­rent­ly sold out, but you can pre-order now for the sec­ond run.

via Hyper­al­ler­gic

Relat­ed Con­tent: 

Divine Decks: A Visu­al His­to­ry of Tarot: The First Com­pre­hen­sive Sur­vey of Tarot Gets Pub­lished by Taschen

Behold the Sola-Bus­ca Tarot Deck, the Ear­li­est Com­plete Set of Tarot Cards (1490)

Sal­vador Dalí’s Tarot Cards Get Re-Issued: The Occult Meets Sur­re­al­ism in a Clas­sic Tarot Card Deck

Carl Jung: Tarot Cards Pro­vide Door­ways to the Uncon­scious, and Maybe a Way to Pre­dict the Future

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

The Breathtaking Courage of Harriet Tubman: An Animated History Lesson Speaks to Her Place on the $20 Bill

I was a con­duc­tor on the Under­ground Rail­road, and I can say what many oth­ers can­not. I nev­er ran my train off the track, and I nev­er lost a pas­sen­ger.  —Har­ri­et Tub­man

Remem­ber how one of the Oba­ma administration’s final ini­tia­tives was to redesign the $20 bill, ban­ish­ing Andrew Jack­son, a slave­hold­er, to a minor role on the back of the bill, in favor of abo­li­tion­ist Har­ri­et Tub­man, who was born into slav­ery?

The announce­ment arrived on the heels of a con­tro­ver­sy, after then-Trea­sury Sec­re­tary Jacob J. Lew enraged Amer­i­can women by going back on a promise to install a woman on the face of a new­ly designed $10 bill.

The deci­sion to keep Alexan­der Hamil­ton, archi­tect of our finan­cial sys­tem and the country’s first Trea­sury Sec­re­tary, in place is rumored to owe rather a lot to his sta­tus as the sub­ject of a cer­tain hit musi­cal that had opened ear­li­er in the year.

The offi­cial design of the Tub­man bill was to have been unveiled in 2020, to coin­cide with the hun­dredth anniver­sary of the 19th Amend­ment, which guar­an­teed a wom­an’s right to vote. Had all gone accord­ing to plan, it would have been in wide cir­cu­la­tion lat­er this decade.

At the time Lew was untrou­bled by the pos­si­bil­i­ty that the incom­ing admin­is­tra­tion might kill off the pro­posed makeover:

I don’t think somebody’s going to prob­a­bly want to do that — to take the image of Har­ri­et Tub­man off of our mon­ey? To take the image of the suf­frag­ists off?

It seems, how­ev­er, that some­one did want to do that.

In 2016, pres­i­den­tial can­di­date Don­ald Trump told NBC that replac­ing Jack­son with Tub­man was “pure polit­i­cal cor­rect­ness,” sug­gest­ing instead that a place might be found for Tub­man on the $2 bill… which is no longer print­ed.

He also report­ed­ly remarked to for­mer White House advis­er Omarosa Mani­gault New­man, “You want me to put that face on the twen­ty-dol­lar bill?”

The Trea­sury Depart­ment website’s revi­sion in the wake of the 2016 elec­tion scrubbed all ref­er­ences to planned changes to the cur­ren­cy.

Lew’s replace­ment, Trea­sury Sec­re­tary Steven Mnuchin, final­ly announced that the new $20 bill wouldn’t be ready until 2028, and that the fin­ished design might not include Tub­man at all. He attrib­uted this to tech­ni­cal rea­sons relat­ing to secu­ri­ty fea­tures, though a Trea­sury Depart­ment employ­ee told The New York Times that the engrav­ing plate for it was com­plet­ed “as recent­ly as May 2018” and that the design “appeared to be far along in the process.”

Cer­tain­ly, there were big­ger sto­ries in 2020 than the absence of the promised Har­ri­et Tub­man $20 bill, but the obfus­ca­tion and delay were mad­den­ing giv­en every­thing Tub­man, a woman of action, was able to accom­plish well over a hun­dred years ago.

Most of us are famil­iar with her promi­nence on the Under­ground Rail­road, which led to the sobri­quet “Moses of her peo­ple,” but there are sev­er­al things in the above ani­mat­ed TED-Ed les­son by Janell Hob­son, Depart­ment Chair of Wom­en’s, Gen­der and Sex­u­al­i­ty Stud­ies at SUNY Albany, that may come as news to you.

Of par­tic­u­lar note, Tub­man was the first woman in US his­to­ry to plan and lead a mil­i­tary raid, result­ing in the lib­er­a­tion of near­ly 700 enslaved per­sons in South Car­oli­na.

Her sec­ond hus­band, Nel­son Davis, also born into slav­ery, had been a Union sol­dier, which enti­tled her to a pen­sion of $8 as a mil­i­tary wid­ow.

She fought hard for an increase on the basis of her own ser­vice to the Union Army, enlist­ing var­i­ous friends and sup­port­ers to lob­by on her behalf, includ­ing Lincoln’s Sec­re­tary of State, William Seward, who said, “I have known her long as a noble high spir­it, as true as sel­dom dwells in the human form.”

Final­ly, in 1899, her pen­sion was increased to $20 a month.

Pro­fes­sor Hob­son, whose les­son pre­dates Mnuchin’s announce­ment of the stall, called the denom­i­na­tion “a fit­ting twist of fate.”

As is the rub­ber stamp that artist Dano Wal cre­at­ed to help dis­gust­ed Amer­i­cans con­vert Jack­sons into Tub­mans with­out the help of the Trea­sury Depart­ment:

Who we choose to hon­or as a soci­ety affects the moral atti­tudes that are baked into us as we grow up. The impact that see­ing the face of Har­ri­et Tub­man star­ing back at you from a $20 bill should not be under­es­ti­mat­ed. This sort of rep­re­sen­ta­tion can sub­tly but deeply affect some­one’s con­cep­tion of them­selves and their place in soci­ety. The slight­ly sub­ver­sive nature of it being cur­ren­cy that’s been hand-stamped by anoth­er human makes a dis­cov­ery of one of these bills all the more joy­ous.

Good news looms on the hori­zon. Less than a week into the Biden admin­is­tra­tion, the Trea­sury Depart­ment con­firmed that the agency is “explor­ing ways to resume” putting Har­ri­et Tub­man on the bill, as well as ways to has­ten their release. She will be the first female and first Black Amer­i­can to be fea­tured on our fold­ing mon­ey.

TED-Ed has a list of addi­tion­al resources for those who’d like to delve deep­er into Tubman’s life and lega­cy, as well as a dis­cus­sion as to whether putting Tubman’s face on the $20 bill is a fit­ting hon­or.

Relat­ed Con­tent: 

Design­er Cre­ates a 3D-Print­ed Stamp That Replaces Andrew Jack­son with Har­ri­et Tub­man on the $20 Bill

What the Text­books Don’t Tell Us About The Atlantic Slave Trade: An Ani­mat­ed Video Fills In His­tor­i­cal Gaps

The Names of 1.8 Mil­lion Eman­ci­pat­ed Slaves Are Now Search­able in the World’s Largest Genealog­i­cal Data­base, Help­ing African Amer­i­cans Find Lost Ances­tors

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

Watch Amanda Gorman Read “The Hill We Climb,” “Making Mountains As We Run,” “Fury and Faith,” and More

Led by celebri­ty host Tom Han­ks, the Biden inauguration’s enter­tain­ers, A‑listers all, were safe bets, reli­able sta­di­um-fillers with instant mass appeal. They “did exact­ly what we need­ed them to do,” remarked Stephanie Zacharek at TIME, offer­ing the reas­sur­ance that “we no longer need to live in dread.” They were “singers you actu­al­ly know,” Alex­is Petridis wrote at The Guardian. The com­ment was a dig at the pre­vi­ous administration’s C and D‑list line­up, and also, per­haps, an admis­sion that what Amer­i­cans most crave is the famil­iar, which, of course, means, first and fore­most, a nation­al focus on celebri­ties we all know and love.

For a moment, how­ev­er, this rep­e­ti­tion of com­fort­ing house­hold names was punc­tu­at­ed by an entire­ly new young face and voice—that of a poet, no less, a stan­dard bear­er of the form that has held the nation’s rapt atten­tion in the work of Whit­man, Frost, Hugh­es, and Angelou.

Aman­da Gor­man, cho­sen as the first Nation­al Youth Poet Lau­re­ate in 2017, chan­neled a tra­di­tion of Amer­i­can lyric writ­ing about Amer­i­ca in her inau­gu­ra­tion poem, and she brought to it her own expe­ri­ences as a Gen Z black fem­i­nist and activist who over­came a speech imped­i­ment to address the coun­try at one of the most sig­nif­i­cant tele­vised pub­lic events in recent his­to­ry.

Gorman’s resume is a tes­ta­ment to her generation’s com­mit­ment to art and activism in the face of com­pound­ing crises, and to her per­son­al com­mit­ment to change in a coun­try that promis­es lit­tle for young black artists in par­tic­u­lar. Named youth poet lau­re­ate of Los Ange­les in 2014 at age 16, she pub­lished her first book of poet­ry, The One for Whom Food is Not Enough, the fol­low­ing year. She then went on to found a non­prof­it writ­ing and lead­er­ship pro­gram, open the lit­er­ary sea­son for the Library of Con­gress in 2017, and grad­u­ate cum laude from Har­vard Col­lege with a degree in soci­ol­o­gy in 2020.

While chart­ing her own lit­er­ary path, Gor­man learned to use her voice as “a polit­i­cal choice,” as she says in her TED-Ed stu­dent talk above, in which she con­fi­dent­ly asks a small audi­ence of her peers, “whose shoul­ders do you stand on?” and “what do you stand for?” These are the ques­tions she asks stu­dents in work­shops, she says, to shake them out of the idea that poet­ry is for “dead white men who were just born to be old.” Then she shares her own answers. Gorman’s pub­lic appear­ances tend to focus on process as much as on pol­i­tics and prosody. In a talk on “Pre­sen­ta­tion and Read­ing” at the Acad­e­my of Arts & Sci­ences in Cam­bridge below, she reads a poem, then has a brief dis­cus­sion of “how it came to be.”

Gor­man is as skilled a sto­ry­teller as she is a poet and edu­ca­tor. In her 2017 Moth Grand­SLAM appear­ance in Boston, fur­ther up, she tells the sto­ry of try­ing to catch her big break audi­tion­ing for Broad­way, an aspi­ra­tion shaped by her child­hood love of The Lion King. Her inau­gur­al poem, she tells PBS, was writ­ten to “be acces­si­ble to any­one who might be watch­ing, that they can feel that they are rep­re­sent­ed and well-estab­lished in this poem,” an act of writ­ing she calls “a real­ly dif­fi­cult dance to do.” The effort did not blunt the poem’s most inci­sive lines, how­ev­er, includ­ing its ref­er­ence to “the bel­ly of the beast,” in which “we’ve learned that qui­et isn’t always peace.”

For Gor­man, speak­ing out is a per­son­al imper­a­tive she honed as “a form of a pathol­o­gy,” over­com­ing her speech issues “by embark­ing on spo­ken word over and over and over again and recit­ing my poems. No mat­ter how ter­ri­fied I was, because I had the sup­port of oth­ers, I was able to kind of slow­ly climb my way to the place I am at today.”

For mil­lions of young peo­ple who watched the inau­gu­ra­tion, it will be Gorman’s sto­ry of per­se­ver­ance, com­mu­ni­ty, per­son­al growth, and refusal to be pas­sive and silent in the face of social injus­tice that will most res­onate, per­haps for the rest of their lives, amidst cel­e­bra­tions of a longed-for return to the famil­iar. See Gor­man read more of her poet­ry above and below, includ­ing a poem for anoth­er inau­gu­ra­tion, that of Har­vard Pres­i­dent Lawrence S. Bacow, in 2018.

Relat­ed Con­tent: 

Joy Har­jo, New­ly-Appoint­ed U.S. Poet Lau­re­ate, Reads Her Poems, “Remem­ber,” “A Poem to Get Rid of Fear,” “An Amer­i­can Sun­rise” and More

Lis­ten to Robert Frost Read ‘The Gift Out­right,’ the Poem He Recit­ed from Mem­o­ry at JFK’s Inau­gu­ra­tion

Ani­mat­ed Poet­ry by US Poet Lau­re­ate

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

Pussy Riot’s Nadya Tolokonnikova Tells Protestors What to Do–and Not Do–If Arrested by Authoritarian Police


Note: If the sub­ti­tles don’t play auto­mat­i­cal­ly, please click the “cc” at the bot­tom of the video.

Oli­garchic regimes built on cor­rup­tion and naked self-inter­est don’t typ­i­cal­ly exhib­it much in the way of cre­ativ­i­ty when respond­ing to crises of legit­i­ma­cy. The most recent chal­lenge to the oli­garchic rule of Vladimir Putin, for exam­ple, after the attempt­ed assas­si­na­tion and jail­ing of his rival, anti-cor­rup­tion activist Alex­ey Naval­ny, revealed “the regime’s utter lack of imag­i­na­tion and inabil­i­ty to plan ahead,” writes Masha Gessen at The New York­er, and seems to promise an open­ing for a rev­o­lu­tion­ary move­ment.

Per­haps it’s safer to say, Joshua Yaf­fa writes, “that Russ­ian pol­i­tics are mere­ly enter­ing the begin­ning of a pro­tract­ed new phase,” that will involve more large, coor­di­nat­ed mass protests against the “per­ceived impuni­ty and law­less­ness of Putin’s sys­tem,” such as hap­pened all over the coun­try in recent days: “In St. Peters­burg, a siz­able crowd blocked Nevsky Prospekt, the city’s main thor­ough­fare. Sev­er­al thou­sand gath­ered in Novosi­birsk, the largest city in Siberia. Even in Yakut­sk, a far­away region­al cap­i­tal, where the day’s tem­per­a­tures reached minus fifty-eight degrees Fahren­heit, a num­ber of peo­ple came out to the cen­tral square.”

Footage from the protests “shows activists pelt­ing Russ­ian riot police and vehi­cles with snow­balls,” Dazed reports. Mas­sive, in-real-life protests have been orga­nized and sup­port­ed by online activists on Tik Tok, YouTube, and oth­er social media sites, where young peo­ple like viral teenag­er Neu­rol­era share tips—such as pre­tend­ing to be an indig­nant Amer­i­can—that might help pro­tes­tors avoid arrest. In one video call­ing on young stu­dents to attend Saturday’s protests, a young woman holds a book, and cap­tions “explain how she is read­ing about how cit­i­zens’ rights are guar­an­teed,” writes Bren­dan Cole at Newsweek. “But wait!” she says in one cap­tion, “In Rus­sia things hap­pen dif­fer­ent­ly.”

Russ­ian cit­i­zens, and espe­cial­ly young activists, do not walk into protest sit­u­a­tions unpre­pared for arrest and detention—particularly those who fol­low long­time trou­ble-mak­ers Pussy Riot, famous for stag­ing flam­boy­ant anti-Putin protests and get­ting arrest­ed. In the video at the top, the band/activist collective’s Nadya Tolokon­niko­va explains “how to behave when you’re arrest­ed.” Deten­tion “is an unpleas­ant expe­ri­ence,” she says, but it need not “end up being such a trau­mat­ic expe­ri­ence.” One must con­quer fear with knowl­edge. Dur­ing her first arrest, “I was scared because I felt that the police offi­cers held an enor­mous pow­er over me. That’s not true.”

The Eng­lish trans­la­tion seems inex­act and many of the intri­ca­cies of Russ­ian law will not trans­late to oth­er nation­al con­texts. Woven through­out the video, how­ev­er, are gen­er­al­ly pru­dent tips—like not adding crim­i­nal charges by attack­ing police dur­ing arrest. Last year, the group dis­trib­uted anti-sur­veil­lance make-up tips also use­ful to activists every­where. The viral spread of videos like Pussy Riot’s and Neurolera’s tuto­r­i­al show us a world­wide desire for youth­ful hope and deter­mi­na­tion in the face of bru­tal real­i­ties. Yaf­fa describes the “scenes of police employ­ing brute force” that filled his Russ­ian-lan­guage social media dur­ing the protests:

In one such video, from St. Peters­burg, a woman con­fronts a col­umn of riot police­men drag­ging a pro­test­er by his arms and asks, “Why are you arrest­ing him?” One of the police offi­cers kicks her in the chest, knock­ing her to the ground. Watch­ing these scenes, I couldn’t help but think of Belarus, where months of street protests against the rule of Alexan­der Lukashen­ka have been marked by bru­tal­i­ty and tor­ture by the secu­ri­ty forces, and a remark­able will­ing­ness from pro­test­ers to fight back against riot police, at times forc­ing them to retreat or aban­don mak­ing an arrest.

These images do not spread so read­i­ly in Eng­lish-lan­guage media, per­haps giv­ing a super­fi­cial impres­sion that the cur­rent anti-Putin, pro-Naval­ny move­ment is a new, young online phe­nom­e­non, rather than the con­tin­u­a­tion of a bat­tle-hard­ened resis­tance to twen­ty years of mis­rule. “Throw­ing the book at Naval­ny could spark protests of unde­ter­mined strength and longevi­ty,” Yaf­fa argues, from which mass move­ments around the world draw inspi­ra­tion for years to come.

via Dazed

Relat­ed Con­tent: 

A His­to­ry of Pussy Riot: Watch the Band’s Ear­ly Performances/Protests Against the Putin Regime

Slavoj Žižek & Pussy Riot’s Nadezh­da Tolokon­niko­va Exchange An Extra­or­di­nary Series of Let­ters

Pussy Riot Releas­es First Video in a Year, Tak­ing on Russ­ian Oil Prof­its and Oth­er High-Pro­file Tar­gets

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

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