Elvis Presley Gets the Polio Vaccine on The Ed Sullivan Show, Persuading Millions to Get Vaccinated (1956)

No one liv­ing has expe­ri­enced a viral event the size and scope of COVID-19. Maybe the unprece­dent­ed nature of the pan­dem­ic explains some of the vac­cine resis­tance. Dis­eases of such vir­u­lence became rare in places with ready access to vac­cines, and thus, iron­i­cal­ly, over time, have come to seem less dan­ger­ous. But there are still many peo­ple in wealthy nations who remem­ber polio, an epi­dem­ic that dragged on through the first half of the 20th cen­tu­ry before Jonas Salk per­fect­ed his vac­cine in the mid-fifties.

Polio’s dev­as­ta­tion has been summed up visu­al­ly in text­books and doc­u­men­taries by the ter­ri­fy­ing iron lung, an ear­ly ven­ti­la­tor. “At the height of the out­breaks in the late 1940s,” Meilan Sol­ly writes at Smith­son­ian, “polio par­a­lyzed an aver­age of more than 35,000 peo­ple each year,” par­tic­u­lar­ly affect­ing chil­dren, with 3,000 deaths in 1952 alone. “Spread viral­ly, it proved fatal for two out of ten vic­tims afflict­ed with paral­y­sis. Though mil­lions of par­ents rushed to inoc­u­late their chil­dren fol­low­ing the intro­duc­tion of Jonas Salk’s vac­cine in 1955, teenagers and young adults had proven more reluc­tant to get the shot.”

At the time, there were no vio­lent, orga­nized protests against the vac­cine, nor was resis­tance framed as a patri­ot­ic act of polit­i­cal loy­al­ty. But “cost, apa­thy and igno­rance became seri­ous set­backs to the erad­i­ca­tion effort,” says his­to­ri­an Stephen Mawd­s­ley. And, then as now, irre­spon­si­ble media per­son­al­i­ties with large plat­forms and lit­tle knowl­edge could do a lot of harm to the public’s con­fi­dence in life-sav­ing pub­lic health mea­sures, as when influ­en­tial gos­sip colum­nist Wal­ter Winchell wrote that the vac­cine “may be a killer,” dis­cour­ag­ing count­less read­ers from get­ting a shot.

When Elvis Pres­ley made his first appear­ance on Ed Sul­li­van’s show in 1956, “immu­niza­tion lev­els among Amer­i­can teens were at an abysmal 0.6 per­cent,” note Hal Her­sh­field and Ilana Brody at Sci­en­tif­ic Amer­i­can. To counter impres­sions that the polio vac­cine was dan­ger­ous, pub­lic health offi­cials did not sole­ly rely on get­ting more and bet­ter infor­ma­tion to the pub­lic; they also took seri­ous­ly what Her­sh­field and Brody call the “cru­cial ingre­di­ents inher­ent to many of the most effec­tive behav­ioral change cam­paigns: social influ­ence, social norms and vivid exam­ples.” Sat­is­fy­ing all three, Elvis stepped up and agreed to get vac­ci­nat­ed “in front of mil­lions” back­stage before his sec­ond appear­ance on the Sul­li­van show.

Elvis could not have been more famous, and the cam­paign was a suc­cess for its tar­get audi­ence, estab­lish­ing a new social norm through influ­ence and exam­ple: “Vac­ci­na­tion rates among Amer­i­can youth sky­rock­et­ed to 80 per­cent after just six months.” Despite the threat he sup­pos­ed­ly posed to the estab­lish­ment, Elvis him­self was ready to serve the pub­lic. “I cer­tain­ly nev­er wan­na do any­thing,” he said, “that would be a wrong influ­ence.” See in the short video at the top how Amer­i­can pub­lic health offi­cials stopped mil­lions of pre­ventable deaths and dis­abil­i­ties by admit­ting a fact pro­pa­gan­dists and adver­tis­ers nev­er shy from — humans, on the whole, are eas­i­ly per­suad­ed by celebri­ties. Some­times they can even be per­suad­ed for the good.

Relat­ed Con­tent: 

Yo-Yo Ma Plays an Impromp­tu Per­for­mance in Vac­cine Clin­ic After Receiv­ing 2nd Dose

Dying in the Name of Vac­cine Free­dom

How Do Vac­cines (Includ­ing the COVID-19 Vac­cines) Work?: Watch Ani­mat­ed Intro­duc­tions

How Vac­cines Improved Our World In One Graph­ic

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

How Victorian Homes Turned Deadly: Exploding Stoves, Poison Wallpaper, Ever-Tighter Corsets & More

The British have a num­ber of say­ings that strike lis­ten­ers of oth­er Eng­lish-speak­ing nation­al­i­ties as odd. “Safe as hous­es” has always had a curi­ous ring to my Amer­i­can ear, but it turns out to be quite iron­ic as well: the expres­sion grew pop­u­lar in the Vic­to­ri­an era, a time when Lon­don­ers were as like­ly to be killed by their own hous­es as any­thing else. That, at least, is the impres­sion giv­en by “The Bizarre Ways Vic­to­ri­ans Sab­o­taged Their Own Health & Lives,” the doc­u­men­tary inves­ti­ga­tion star­ring his­to­ri­an Suzan­nah Lip­scomb above.

Through­out the sec­ond half of the 19th cen­tu­ry, many an Eng­lish­man would have regard­ed him­self as liv­ing at the apex of civ­i­liza­tion. He would­n’t have been wrong, exact­ly, since that place and time wit­nessed an unprece­dent­ed num­ber of large-scale inno­va­tions indus­tri­al, sci­en­tif­ic, and domes­tic.

But a lit­tle knowl­edge can be a dan­ger­ous thing, and the Vic­to­ri­ans’ under­stand­ing of their favorite new tech­nolo­gies’ ben­e­fits ran con­sid­er­ably ahead of their under­stand­ing of the atten­dant threats. The haz­ards of the dark satan­ic mills were com­par­a­tive­ly obvi­ous, but even the heights of domes­tic bliss, as that era con­ceived of it, could turn dead­ly.

Speak­ing with a vari­ety of experts, Lip­scomb inves­ti­gates the dark side of a vari­ety of accou­trements of the Vic­to­ri­an high (or at least com­fort­ably mid­dle-class) life. These harmed not just men but women and chil­dren as well: take the breed­ing-ground of dis­ease that was the infant feed­ing bot­tle, or the organ-com­press­ing corset — one of which, adher­ing to the expe­ri­en­tial sen­si­bil­i­ty of British tele­vi­sion, Lip­scomb tries on and strug­gles with her­self. Mem­bers of the even­tu­al anti-corset revolt includ­ed Con­stance Lloyd, wife of Oscar Wilde, and it is Wilde’s apoc­ryphal final words that come to mind when the video gets into the arsenic con­tent of Vic­to­ri­an wall­pa­per. “Either that wall­pa­per goes, or I do,” Wilde is imag­ined to have said — and as mod­ern sci­ence now proves, it could have been more than a mat­ter of taste.

Relat­ed Con­tent:

A 108-Year-Old Woman Recalls What It Was Like to Be a Woman in Vic­to­ri­an Eng­land

The Col­or That May Have Killed Napoleon: Scheele’s Green

The 1855 Map That Rev­o­lu­tion­ized Dis­ease Pre­ven­tion & Data Visu­al­iza­tion: Dis­cov­er John Snow’s Broad Street Pump Map

Hand-Col­ored Maps of Wealth & Pover­ty in Vic­to­ri­an Lon­don: Explore a New Inter­ac­tive Edi­tion of Charles Booth’s His­toric Work of Social Car­tog­ra­phy (1889)

Poignant and Unset­tling Post-Mortem Fam­i­ly Por­traits from the 19th Cen­tu­ry

Behold the Steam­punk Home Exer­cise Machines from the Vic­to­ri­an Age

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 Roman Colosseum Has a Twin in Tunisia: Discover the Amphitheater of El Jem, One of the Best-Preserved Roman Ruins in the World

Image via Wiki­me­dia Com­mons

When Rome con­quered Carthage in the Third Punic War (149–146 BC), the Repub­lic renamed the region Africa, for Afri, a word the Berbers used for local peo­ple in present-day Tunisia. (The Ara­bic word for the region was Ifriqiya.) There­after would the Roman Empire have a strong­hold in North Africa: Carthage, the cap­i­tal of the African Province under Julius and Augus­tus Cae­sar and their suc­ces­sors. The province thrived. Sec­ond only to the city of Carthage in the region, the city of Thys­drus was an impor­tant cen­ter of olive oil pro­duc­tion and the home­town of Roman Emper­or Sep­ti­m­ius Severus, who bestowed impe­r­i­al favor upon it, grant­i­ng par­tial Roman cit­i­zen­ship to its inhab­i­tants.

In 238 AD, con­struc­tion began on an amphithe­ater in Thys­drus that would rival its largest cousins in Rome, the famed Amphithe­ater of El Jem. “Designed to seat a whop­ping crowd of 35,000 peo­ple,” writes Atlas Obscu­ra, El Jem was list­ed as a UNESCO World Her­itage site in 1979. Built entire­ly of stone blocks, the mas­sive the­ater was “mod­eled on the Col­i­se­um of Rome,” notes UNESCO, “with­out being an exact copy of the Fla­vian con­struc­tion…. Its facade com­pris­es three lev­els of arcades of Corinthi­an or com­pos­ite style. Inside, the mon­u­ment has con­served most of the sup­port­ing infra­struc­ture for the tiered seat­ing. The wall of the podi­um, the are­na and the under­ground pas­sages are prac­ti­cal­ly intact.”

Image via Wiki­me­dia Com­mons

 

Although the small city of El Jem hard­ly fea­tures on tours of the clas­si­cal past, it was, in the time of the Amphitheater’s con­struc­tion, a promi­nent site of strug­gle for con­trol over the Empire. The year 238 “was par­tic­u­lar­ly tumul­tuous,” Atlas Obscu­ra explains, due to a “revolt by the pop­u­la­tion of Thys­drus (El Jem), who opposed the enor­mous tax­a­tion amounts being levied by the Emper­or Maximinus’s local procu­ra­tor.” A riot of 50,000 peo­ple led to the ascen­sion of Gor­dian I, who ruled for 21 days dur­ing the “Year of the Six Emper­ors,” when “in just one year, six dif­fer­ent peo­ple were pro­claimed Emper­ors of Rome.”

Image via Wiki­me­dia Com­mons

From such fraught begin­nings, the mas­sive stone struc­ture of the El Jem Amphithe­ater went on to serve as a fortress dur­ing inva­sions of Van­dals and Arabs in the 5th-7th cen­turies. A thou­sand years after the Islam­ic con­quest, El Jem became a fortress dur­ing the Rev­o­lu­tions of Tunis. Lat­er cen­turies saw the amphithe­ater used for salt­pe­tre man­u­fac­ture, grain stor­age, and mar­ket stalls.

Despite hun­dreds of years of human activ­i­ty, in vio­lent upheavals and every­day busi­ness, El Jem remains one of the best pre­served Roman ruins in the world and one of the largest out­door the­aters ever con­struct­ed. More impor­tant­ly, it marks the site of one of North Africa’s first impe­r­i­al occu­pa­tions, one that would des­ig­nate a region — and even­tu­al­ly a con­ti­nent with a dizzy­ing­ly diverse mix of peo­ples — as “African.”

via @WassilDZ

Relat­ed Con­tent: 

Explore the Ruins of Tim­gad, the “African Pom­peii” Exca­vat­ed from the Sands of Alge­ria

Archae­ol­o­gists Dis­cov­er an Ancient Roman Snack Bar in the Ruins of Pom­peii

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

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

The Very First Webcam Was Invented to Keep an Eye on a Coffee Pot at Cambridge University

The inter­net as we know it today began with a cof­fee pot. Despite the ring of exag­ger­a­tion, that claim isn’t actu­al­ly so far-fetched. When most of us go online, we expect some­thing new: often not just some­thing new to read, but some­thing new to watch. This, as those of us past a cer­tain age will recall, was not the case with the ear­ly World Wide Web, con­sist­ing as it most­ly did of sta­t­ic pages of text, updat­ed irreg­u­lar­ly if at all. Younger read­ers will have to imag­ine even that being a cut­ting-edge thrill, but we did­n’t real­ly feel like we were liv­ing in the future until the fall of 1993, when XCof­fee first went live.

This ground­break­ing tech­no­log­i­cal project “start­ed back in the dark days of 1991,” writes co-cre­ator Quentin Stafford-Fras­er, “when the World Wide Web was lit­tle more than a glint in CERN’s eye.” At the time, Stafford-Fras­er was employed as one of fif­teen researchers in the “Tro­jan Room” of the Uni­ver­si­ty of Cam­bridge Com­put­er Lab. “Being poor, impov­er­ished aca­d­e­mics, we only had one cof­fee fil­ter machine between us, which lived in the cor­ri­dor just out­side the Tro­jan Room. How­ev­er, being high­ly ded­i­cat­ed and hard-work­ing aca­d­e­mics, we got through a lot of cof­fee, and when a fresh pot was brewed, it often did­n’t last long.”

It occurred to Stafford-Fras­er to train an unused video cam­era from the Tro­jan Room on the cof­fee pot (and thus the amount of cof­fee avail­able with­in), then con­nect it to a com­put­er, specif­i­cal­ly an Acorn Archimedes. His col­league Paul Jardet­zky “wrote a ‘serv­er’ pro­gram, which ran on that machine and cap­tured images of the pot every few sec­onds at var­i­ous res­o­lu­tions, and I wrote a ‘client’ pro­gram which every­body could run, which con­nect­ed to the serv­er and dis­played an icon-sized image of the pot in the cor­ner of the screen. The image was only updat­ed about three times a minute, but that was fine because the pot filled rather slow­ly, and it was only greyscale, which was also fine, because so was the cof­fee.”

XCof­fee, the result­ing pro­gram, was meant only to pro­vide this much-need­ed infor­ma­tion to Com­put­er Lab mem­bers else­where in the build­ing. But after the release of image-dis­play­ing web browsers in 1993, it found a much wider audi­ence as the world’s first stream­ing web­cam. Stafford-Fraser’s suc­ces­sors “res­ur­rect­ed the sys­tem, treat­ed it to a new frame grab­ber, and made the images avail­able on the World Wide Web. Since then, hun­dreds of thou­sands of peo­ple have looked at the cof­fee pot, mak­ing it undoubt­ed­ly the most famous in the world.” Stafford-Fras­er wrote these words in 1995; in the years there­after XCof­fee went on to receive mil­lions of views before its even­tu­al shut­down in 2001.

In the Cen­tre for Com­put­ing His­to­ry video above, Stafford-Fras­er shows the very Olivet­ti cam­era he orig­i­nal­ly used to mon­i­tor the cof­fee lev­el. (He’d pre­vi­ous­ly worked at the Olivet­ti Research Lab­o­ra­to­ry, whose par­ent com­pa­ny also owned Acorn Com­put­ers.) “We could see things at a dis­tance before,” he says. “We could view tele­vi­sion pro­grams, we could look through tele­scopes.” But only after the Tro­jan Room’s cof­fee pot hit the inter­net could we “see what’s hap­pen­ing now, some­where else in the world,” on demand. Thir­ty years after XCof­fee’s devel­op­ment, we’re mes­mer­ized by live-stream­ing stars and sur­round­ed by “smart” home appli­ances, hop­ing for noth­ing so much as way to con­cen­trate on our imme­di­ate sur­round­ings again — to wake up, if you like, and smell the cof­fee.

via Boing­Bo­ing

Relat­ed Con­tent:

See Web Cams of Sur­re­al­ly Emp­ty City Streets in Venice, New York, Lon­don & Beyond

Sci-Fi “Por­tal” Con­nects Cit­i­zens of Lublin & Vil­nius, Allow­ing Passers­by Sep­a­rat­ed by 376 Miles to Inter­act in Real Time

George Orwell Pre­dict­ed Cam­eras Would Watch Us in Our Homes; He Nev­er Imag­ined We’d Glad­ly Buy and Install Them Our­selves

The Cof­fee Pot That Fueled Hon­oré de Balzac’s Cof­fee Addic­tion

The Hertel­la Cof­fee Machine Mount­ed on a Volk­swa­gen Dash­board (1959): The Most Euro­pean Car Acces­so­ry Ever Made

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.

Art History School: Learn About the Art & Lives of Toulouse-Lautrec, Gustav Klimt, Frances Bacon, Edvard Munch & Many More

Artist and video­g­ra­ph­er Paul Priest­ly is an enthu­si­as­tic and gen­er­ous sort of fel­low.

His free online draw­ing tuto­ri­als abound with encour­ag­ing words for begin­ners, and he clear­ly rel­ish­es lift­ing the cur­tain to reveal his home stu­dio set up and self designed cam­era rig.

But we here at Open Cul­ture think his great­est gift to home view­ers are his Art His­to­ry School pro­files of well-known artists like Hen­ri de Toulouse-Lautrec and Vin­cent Van Gogh.

An avid sto­ry­teller, he’s drawn to those with trag­ic his­to­ries — the deci­sion to piv­ot from imper­son­at­ing the artist, as he did with Van Gogh, to serv­ing as a reporter inter­est­ed in how such details as syphilis and alco­holism informed lives and careers is a wise one.

Priest­ly makes a con­vinc­ing case that Lautrec’s aris­to­crat­ic upbring­ing con­tributed to his mis­ery. His short stature was the result, not of dwarfism, but Pykn­odysos­to­sis (PYCD) a rare bone weak­en­ing dis­ease that sure­ly owed some­thing to his par­ents’ sta­tus as first cousins.

His appear­ance made him a sub­ject of life­long mock­ery, and ensured that the free­wheel­ing artist scene in Mont­martre would prove more wel­com­ing than the blue­blood milieu into which he’d been born.

Priest­ly makes a meal of that Demi-monde, intro­duc­ing view­ers to many of the play­ers.

He height­ens our appre­ci­a­tion for Lautrec’s mas­ter­piece, At the Moulin Rouge, by briefly ori­ent­ing us to who’s seat­ed around the table: writer and crit­ic Édouard Dujardin, dancer La Mac­arona, pho­tog­ra­ph­er Paul Secau, and “cham­pagne sales­man and debauchee” Mau­rice Guib­ert, who ear­li­er posed as a lech­er­ous patron in Lautrec’s At the Café La Mie.

Queen of the Can­can La Goulue hangs out in the back­ground with anoth­er dancer, the won­der­ful­ly named La Môme Fro­mage.

Lautrec places him­self square­ly in the mix, look­ing very much at home.

Con­sid­er that these names, like those of fre­quent Lautrec sub­jects acro­bat­ic dancer Jane Avril and chanteuse Yvette Guil­bert were as cel­e­brat­ed in Belle Epoque Mont­martre as many of the painters Lautrec rubbed shoul­ders with — Degas, Pis­sar­ro, Cézanne, Van Gogh and Manet.

In an arti­cle in The Smith­son­ian, Paul Tra­cht­man recounts how Lautrec dis­cov­ered the mod­el for Manet’s famous nude Olympia, Vic­torine Meurent, “liv­ing in abject pover­ty in a top-floor apart­ment down a Mont­martre alley. She was now an old, wrin­kled, bald­ing woman. Lautrec called on her often, and took his friends along, pre­sent­ing her with gifts of choco­late and flow­ers — as if court­ing death itself.”

Mean­while Degas sniffed that Lautrec’s stud­ies of women in a broth­el “stank of syphilis.”

Per­haps Priest­ly will delve into Degas for an upcom­ing Art His­to­ry School episode … there’s no short­age of mate­r­i­al there.

Above are three more of Paul Priestly’s Art His­to­ry School pro­files that we’ve enjoyed on Frances Bacon, Edvard Munch and Gus­tav Klimt. You can sub­scribe to his chan­nel here.

Relat­ed Con­tent: 

The Art His­to­ry Web Book

Art His­to­ri­an Pro­vides Hilar­i­ous & Sur­pris­ing­ly Effi­cient Art His­to­ry Lessons on Tik­Tok

Free Art & Art His­to­ry Cours­es 

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

The Evolution of Kandinsky’s Painting: A Journey from Realism to Vibrant Abstraction Over 46 Years

Like most renowned abstract painters, Wass­i­ly Kandin­sky could also paint real­is­ti­cal­ly. Unlike most renowned abstract painters, he only took up art in earnest after study­ing eco­nom­ics and law at the Uni­ver­si­ty of Moscow. He then found ear­ly suc­cess teach­ing those sub­jects, which seem to have proven too world­ly for his sen­si­bil­i­ties: at age 30 he enrolled in the Munich Acad­e­my to con­tin­ue the study of art that he’d left off while grow­ing up in Odessa. The sur­viv­ing paint­ings he pro­duced at the end of the 19th cen­tu­ry and the begin­ning of the 20th, dis­played on Wikipedi­a’s list of his works, include a vari­ety of land­scapes, most pre­sent­ing Ger­man and Russ­ian (or today Ukrain­ian) land­scapes undis­turbed by a sin­gle human fig­ure.

Kandin­sky made dra­mat­ic change come with 1903’s The Blue Rid­er (above). The pres­ence of the tit­u­lar fig­ure made for an obvi­ous dif­fer­ence from so many of the images he’d cre­at­ed over the pre­vi­ous half-decade; a shift in its very per­cep­tion of real­i­ty made for a less obvi­ous one.

This is not the world as we nor­mal­ly see it, and Kandin­sky’s track record of high­ly rep­re­sen­ta­tive paint­ings tells us that he must delib­er­ate­ly have cho­sen to paint it it that way. With fel­low artists like August Macke, Franz Marc, Albert Bloch, and Gabriele Mün­ter, he went on to form the Blue Rid­er Group, whose pub­li­ca­tions argued for abstract art’s capa­bil­i­ty to attain great spir­i­tu­al heights, espe­cial­ly through col­or.

“Grad­u­al­ly Kandin­sky makes depar­tures from the exter­nal ‘world as a mod­el’ into the world of ‘paint as a thing in itself,’ ” writes painter Markus Ray. “Still depict­ing ‘world­ly scenes,’ these paint­ings start to take on pur­er col­ors and shapes. He reduces vol­umes into sim­ple shapes, and col­ors into bright and vibrant hues. One can still make out the scene, but the shapes and col­ors begin to take on a life of their own.” This is espe­cial­ly true of the scenes Kandin­sky paint­ed in Bavaria, such as 1909’s Rail­way near Mur­nau above. The out­break of World War I five years lat­er sent him back to Rus­sia, where he con­tin­ued his pio­neer­ing jour­ney toward a visu­al art equal in expres­sive pow­er to music, which he called his “ulti­mate teacher.” But by the ear­ly 1920s it had become clear that his increas­ing­ly indi­vid­u­al­is­tic and non-rep­re­sen­ta­tive ten­den­cies would­n’t sit well with the Sovi­et cul­tur­al pow­ers that be.

A return to Ger­many was in order. “In 1921, at the age of 55, Kandin­sky moved to Weimar to teach mur­al paint­ing and intro­duc­to­ry ana­lyt­i­cal draw­ing at the new­ly found­ed Bauhaus school,” says Christie’s. “There he worked along­side the likes of Paul Klee, Lás­zló Moholy-Nagy and Josef Albers,” and also expand­ed on Goethes the­o­ries of col­or. A true believ­er in the Bauhaus’ “phi­los­o­phy of social improve­ment through art,” Kandin­sky also wound up among the artists whose work was exhib­it­ed in the Nazi Par­ty’s “Degen­er­ate Art Exhi­bi­tion” of 1937. By that time the Bauhaus was dis­solved and Kandin­sky had reset­tled in Paris, where until his death in 1944 (as evi­denced by Wikipedi­a’s list of his paint­ings) he kept push­ing fur­ther into abstrac­tion, seek­ing ever-pur­er expres­sions of the human soul until the very end.

Relat­ed Con­tent:

Time Trav­el Back to 1926 and Watch Wass­i­ly Kandin­sky Make Art in Some Rare Vin­tage Video

Helen Mir­ren Tells Us Why Wass­i­ly Kandin­sky Is Her Favorite Artist (And What Act­ing & Mod­ern Art Have in Com­mon)

Wass­i­ly Kandin­sky Syncs His Abstract Art to Mussorgsky’s Music in a His­toric Bauhaus The­atre Pro­duc­tion (1928)

An Inter­ac­tive Social Net­work of Abstract Artists: Kandin­sky, Picas­so, Bran­cusi & Many More

How to Paint Like Kandin­sky, Picas­so, Warhol & More: A Video Series from the Tate

The Guggen­heim Puts Online 1700 Great Works of Mod­ern Art from 625 Artists

Take a Jour­ney Through 933 Paint­ings by Sal­vador Dalí & Watch His Sig­na­ture Sur­re­al­ism Emerge

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.

Paul McCartney vs. Brian Wilson: A Rivalry That Inspired Pet Sounds, Sgt. Pepper, and Other Classic Albums

One could argue that the album as we know it did­n’t exist before the mid-1960s. As a medi­um of record­ed music, the “long-play­ing” 33 1⁄3 rpm record was intro­duced in 1948, and the mar­ket proved quick to take it up. A great many musi­cians record­ed LPs over the fol­low­ing decade and a half, but these were pro­duced and con­sumed pri­mar­i­ly as bun­dles of indi­vid­ual songs. The hey­day of radio, which last­ed into the 1950s, imbued the sin­gle — espe­cial­ly the hit sin­gle — with enor­mous cul­tur­al pow­er. Through that zeit­geist rose the Liv­er­pudlian quar­tet known as the Bea­t­les, the very band who would go prompt­ly on to tran­scend it.

In this ver­sion of music his­to­ry, the first true album was the Bea­t­les’ Rub­ber Soul. When it came out in 1965, it intro­duced to a vast lis­ten­ing pub­lic the pos­si­bil­i­ties of the LP as a coher­ent art form in itself. At that point the Bea­t­les had already been mak­ing hit records for a few years, as, on the oth­er side of the pond, had a south­ern Cal­i­forn­ian singing group called the Beach Boys.

Giv­en each act’s ever-grow­ing promi­nence and the unprece­dent­ed inter­na­tion­al­iza­tion of pop cul­ture then under­way, it was only a mat­ter of time before their musi­cal worlds would col­lide. Decades lat­er, Beach Boys mas­ter­mind Bri­an Wil­son would remem­ber his first lis­ten to Rub­ber Soul as fol­lows: “It just total­ly took my mind away” — a sen­sa­tion back then sought along many avenues, chem­i­cal as well as cul­tur­al.

Though Paul McCart­ney has cred­it­ed the effer­ves­cence of the 1960s to “drugs, basi­cal­ly,” the music he and fel­low Bea­t­les made was also enhanced by friend­ly com­pe­ti­tion with the Beach Boys, as detailed in the Jef­frey Still­well video essay above. To Rub­ber Soul the Beach Boys respond­ed with Pet Sounds. “Oh dear me, this is the album of all time,” McCart­ney lat­er recalled think­ing upon hear­ing it. “What the hell are we going to do?” Their return vol­ley took the form of Sgt. Pep­per’s Lone­ly Heart’s Club Band, which in turn sent Wil­son into an Icarus-like flight toward the ill-fat­ed Smile project. More than half a cen­tu­ry lat­er, some say we live in a post-album era. Even if so, the heights of ambi­tion to which the Bea­t­les and the Beach Boys put each oth­er inspire artists still today — and their fruits will be lis­tened to as long as record­ed music exists in any form at all.

Relat­ed Con­tent:

The Bea­t­les’ 8 Pio­neer­ing Inno­va­tions: A Video Essay Explor­ing How the Fab Four Changed Pop Music

How the Beach Boys Cre­at­ed Their Pop Mas­ter­pieces: “Good Vibra­tions,” Pet Sounds, and More

The Beach Boys’ Bri­an Wil­son & Bea­t­les Pro­duc­er George Mar­tin Break Down “God Only Knows,” the “Great­est Song Ever Writ­ten”

How The Bea­t­les’ Sgt. Pepper’s Lone­ly Hearts Club Band Changed Album Cov­er Design For­ev­er

The Mak­ing (and Remak­ing) of the Beach Boys’ Pet Sounds, Arguably the Great­est Rock Album of All 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.

Is the Famous Photo of Lee Harvey Oswald Posing with the Gun Used to Kill JFK a Fake?: 3D Forensic Analysis Reveals the Answer

As long as the 20th cen­tu­ry remains in liv­ing mem­o­ry, the assas­si­na­tion of Pres­i­dent John F. Kennedy will con­tin­ue to draw pub­lic inter­est. A great many Amer­i­cans feel they still haven’t heard the “whole sto­ry” behind what hap­pened on Novem­ber 22, 1963; a few have ded­i­cat­ed their lives to find­ing out, grow­ing less inclined to accept the pos­si­bil­i­ty of a lone gun­man the deep­er they get into the doc­u­ments. But that gun­man, Lee Har­vey Oswald, does fig­ure direct­ly into some of the mate­r­i­al held up as evi­dence of a con­spir­a­cy. Take the “back­yard pho­tos” that depict him pos­ing with what was ulti­mate­ly found to be the very gun used to kill JFK.

Such images would seem strong­ly to impli­cate Oswald in the assas­si­na­tion, and the War­ren Com­mis­sion seems to have regard­ed them in just that way. But for near­ly six decades now, some the­o­rists have argued that the back­yard pho­tos are fake — an idea that began with Oswald him­self, who before his own assas­si­na­tion insist­ed that he’d nev­er seen them in his life, and that some­one had “super­im­posed” his face onto anoth­er body.

The Vox video above lays out the main ele­ments of one par­tic­u­lar pic­ture that have been called repeat­ed­ly into ques­tion: the angles of the shad­ows, the shape of Oswald’s chin, the length of the gun, and Oswald’s unusu­al pos­ture.

“In the 1960s and 1970s, foren­sic experts tried just about every­thing to test the authen­tic­i­ty of this pho­to,” says the video’s nar­ra­tor. They could­n’t find any evi­dence of fak­ery, but they did­n’t have the 21st-cen­tu­ry tech­nol­o­gy at the com­mand of the UC Berke­ley School of Infor­ma­tion’s Hany Farid, a well-known spe­cial­ist in the analy­sis of dig­i­tal images. Farid and a team of researchers recon­struct­ed Oswald’s body and weapon­ry (though not the copies of The Mil­i­tant and The Work­er, two ide­o­log­i­cal­ly opposed news­pa­pers, he bran­dished in his oth­er hand) and found that every­thing added up, from the seem­ing­ly mis­aligned shad­ows cast by the sun to the sta­bil­i­ty of his odd stance. If there was indeed a con­spir­a­cy to kill JFK, then, it was­n’t a con­spir­a­cy of pro­to-Pho­to­shop­pers.

Relat­ed Con­tent:

2,800 JFK Assas­si­na­tion Doc­u­ments Just Released by the Nation­al Archives

Novem­ber 22, 1963: Watch Errol Mor­ris’ Short Doc­u­men­tary About the Kennedy Assas­si­na­tion

The Exis­ten­tial­ism Files: How the FBI Tar­get­ed Camus, and Then Sartre After the JFK Assas­si­na­tion

Noam Chom­sky on Com­mem­o­rat­ing the JFK Assas­si­na­tion: It “Would Impress Kim Il-Sung”

Long Before Pho­to­shop, the Sovi­ets Mas­tered the Art of Eras­ing Peo­ple from Pho­tographs — and His­to­ry Too

Why the Sovi­ets Doc­tored Their Most Icon­ic World War II Vic­to­ry Pho­to, “Rais­ing a Flag Over the Reich­stag”

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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