In 1926, Nikola Tesla Predicts the World of 2026

Not long after Niko­la Tes­la died in 1943, the world seemed to for­get him. The first pub­lic trib­ute paid to his con­sid­er­able research and devel­op­ment in the realm of elec­tric­i­ty there­after came in 1960 with the intro­duc­tion of the tes­la, the SI unit of mag­net­ic flux den­si­ty. But in the decades since Tes­la has enjoyed an after­life as an icon of under-appre­ci­at­ed pre­science. Some of this rep­u­ta­tion is based on inter­views giv­en in the 1920s and 1930s, when he was still a celebri­ty. Take the short Col­liers mag­a­zine pro­file from 1926 in which he fore­sees the emer­gence of devices that will allow us “to com­mu­ni­cate with one anoth­er instant­ly, irre­spec­tive of dis­tance”; a man, Tes­la pre­dicts, “will be able to car­ry one in his vest pock­et.”

This arti­cle is one source of the words spo­ken in the Voic­es of the Past video above. In it, Tes­la also speaks of a future huge­ly enriched by the “wire­less ener­gy” he spent much of his career pur­su­ing. It will pow­er “fly­ing machines” in which “we shall ride from New York to Europe in a few hours.” A house­hold’s dai­ly news­pa­per “will be print­ed ‘wire­less­ly’ in the home dur­ing the night.”

Thanks to instant world­wide com­mu­ni­ca­tion, “inter­na­tion­al bound­aries will be large­ly oblit­er­at­ed and a great step will be made toward the uni­fi­ca­tion and har­mo­nious exis­tence of the var­i­ous races inhab­it­ing the globe.” All the while, new gen­er­a­tions of ever bet­ter-edu­cat­ed women “will ignore prece­dent and star­tle civ­i­liza­tion with their progress.”

Many will applaud Tes­la’s views on the advance­ment of women, though here his think­ing takes a turn that may give pause even to the most for­ward-think­ing among us today: “The acqui­si­tion of new fields of endeav­or by women, their grad­ual usurpa­tion of lead­er­ship, will dull and final­ly dis­si­pate fem­i­nine sen­si­bil­i­ties, will choke the mater­nal instinct, so that mar­riage and moth­er­hood may become abhor­rent and human civ­i­liza­tion draw clos­er and clos­er to the per­fect civ­i­liza­tion of the bee.” The inven­tor of alter­nat­ing cur­rent has much to say in favor of api­an soci­ety, “the most high­ly orga­nized and intel­li­gent­ly coor­di­nat­ed sys­tem of any form of non­ra­tional ani­mal life.” And so why not restruc­ture human civ­i­liza­tion around a sin­gle queen?

This video also draws on a 1937 inter­view with Tes­la in Lib­er­ty mag­a­zine, which fea­tures even more dis­com­fit­ing propo­si­tions. “The only method com­pat­i­ble with our notions of civ­i­liza­tion and the race is to pre­vent the breed­ing of the unfit by ster­il­iza­tion and the delib­er­ate guid­ance of the mat­ing instinct,” Tes­la insists. “The Sec­re­tary of Hygiene or Phys­i­cal Cul­ture will be far more impor­tant in the cab­i­net of the Pres­i­dent of the Unit­ed States who holds office in the year 2035 than the Sec­re­tary of War.” Despite per­haps hav­ing crossed the line into mad-sci­en­tism, Tes­la remained inci­sive about the per­sis­tent con­di­tion of humans under high tech­nol­o­gy. “We suf­fer from the derange­ment of our civ­i­liza­tion because we have not yet com­plete­ly adjust­ed our­selves to the machine age,” he claims. “The solu­tion of our prob­lems does not lie in destroy­ing but in mas­ter­ing the machine.” Here in the 21st cen­tu­ry, of course, many of us would be con­tent sim­ply to gain mas­tery over the one in our vest pock­et.

Relat­ed Con­tent:

Niko­la Tes­la Accu­rate­ly Pre­dict­ed the Rise of the Inter­net & Smart Phone in 1926

Niko­la Tesla’s Pre­dic­tions for the 21st Cen­tu­ry: The Rise of Smart Phones & Wire­less, The Demise of Cof­fee, The Rule of Eugen­ics (1926/35)

The Elec­tric Rise and Fall of Niko­la Tes­la: As Told by Tech­noil­lu­sion­ist Mar­co Tem­pest

Futur­ist from 1901 Describes the World of 2001: Opera by Tele­phone, Free Col­lege & Pneu­mat­ic Tubes Aplen­ty

A 1947 French Film Accu­rate­ly Pre­dict­ed Our 21st-Cen­tu­ry Addic­tion to Smart­phones

Hear an Ancient Chi­nese His­to­ri­an Describe The Roman Empire (and Oth­er Voic­es of the Past)

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 History of the Guitar: See the Evolution of the Guitar in 7 Instruments

A thor­ough­ly mod­ern instru­ment with an ancient her­itage, the gui­tar dates back some 500-plus years. If we take into account sim­i­lar stringed instru­ments with sim­i­lar designs, we can push that date back a few thou­sand years, but there is some schol­ar­ly dis­agree­ment over when the gui­tar emerged as an instru­ment dis­tinct from the lute. In any case, stringed instru­ment his­to­ri­an Bran­don Ack­er is here to walk us through some of the sig­nif­i­cant dif­fer­ences, with “sev­en check­points along the way of the his­to­ry of the gui­tar,” he says above in a guest vis­it to Rob Scallon’s YouTube chan­nel.

The gui­tar is part of the lute fam­i­ly, which dates back some “5,000 years ago, in Mesopotamia.” Sim­i­lar instru­ments exist­ed all over the ancient world. Which of these even­tu­al­ly becomes the gui­tar? That is a ques­tion, says Ack­er, for anoth­er day, but the first instru­ment actu­al­ly iden­ti­fied as a gui­tar dates from around 1500. Ack­er doesn’t toe a strict musi­co­log­i­cal line and begins with an oud from around 700 CE, the bowl-like stringed instru­ment still played today in Turkey, the Mid­dle East, and North Africa. Like near­ly all gui­tar pre­cur­sors, the oud has strings that run in cours­es, mean­ing they are dou­bled up in pitch as in a man­dolin.

Strings would have been made of gut — sheep intestines, to be exact — not met­al or nylon. The larg­er oud is not much dif­fer­ent in shape and con­struc­tion from the Renais­sance lute, which Ack­er demon­strates next, show­ing how polypho­ny led to the advent of fin­ger­pick­ing. (He plays a bit of Eng­lish com­pos­er John Dowland’s “Flow My Tears” as an exam­ple.) We’re a long way from coun­try and blues, but maybe not as far you might think. The lute was ide­al both for solo accom­pa­ni­ment as an ensem­ble instru­ment in bands and helped ush­er in the era of sec­u­lar song.

The lute set the course for oth­er instru­ments to fol­low, such as the Renais­sance gui­tar, the first instru­ment in the tour that resem­bles a mod­ern guitar’s hour­glass shape and straight head­stock. Tuned like a ukulele (it is, in fact, the ori­gin of ukulele tun­ing), the Renais­sance gui­tars of Spain and Por­tu­gal also came in dif­fer­ent sizes like the Poly­ne­sian ver­sion. A ver­sa­tile instru­ment, it worked equal­ly well for strum­ming easy chords or play­ing com­plex, fin­ger­picked melodies, sort of like… well, the mod­ern gui­tar. Through a few changes in tun­ing, size, and num­ber of strings, it doesn’t take us long to get there.

The gui­tar is so sim­ple in con­struc­tion it can be built with house­hold items, and so old its ances­tors pre­date most of the instru­ments in the orches­tra. But it also rev­o­lu­tion­ized mod­ern music and remains one of the pri­ma­ry com­po­si­tion­al tools of singers and song­writ­ers every­where. Ever since Les Paul elec­tri­fied the gui­tar, high-tech exper­i­men­tal designs pop up every few years, incor­po­rat­ing all kinds of keys, dials, but­tons, and extra cir­cuit­ry. But the instru­ments that stick around are still the most tra­di­tion­al­ly styled and eas­i­est to learn and play. Acker’s sur­vey of its his­to­ry above gives us a bet­ter under­stand­ing of the instru­men­t’s stay­ing pow­er.

Relat­ed Con­tent: 

Kei­th Richards Demon­strates His Famous 5‑String Tech­nique (Used on Clas­sic Stones Songs Like “Start Me Up,” “Honky Tonk Women” & More)

What Gui­tars Were Like 400 Years Ago: An Intro­duc­tion to the 9 String Baroque Gui­tar

The His­to­ry of the Gui­tar & Gui­tar Leg­ends: From 1929 to 1979

The His­to­ry of Rock Mapped Out on the Cir­cuit Board of a Gui­tar Ampli­fi­er: 1400 Musi­cians, Song­writ­ers & Pro­duc­ers

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

Watch the Most Expensive Scene in Silent Film History: The Train Wreck From Buster Keaton “The General” (1926)

Were it filmed today, the set piece of Buster Keaton’s The Gen­er­al (watch it online here) would sure­ly be com­put­er gen­er­at­ed.

The stu­dio would insist upon that.

We like to think Keaton, who both direct­ed and starred, would fight them tooth and nail.

Elab­o­rate stunts thrilled him, and what could be more thrilling — or cost­ly — than send­ing a 26-ton loco­mo­tive over a burn­ing train tres­tle in hopes the struc­ture would crum­ble, plung­ing the loco­mo­tive into the riv­er below?

The fact that he had but one chance to get it right must’ve upped the ante in a good way.

The Cot­tage Grove, Ore­gon Sen­tinel report­ed that the silent leg­end, hav­ing spent the sum­mer film­ing on loca­tion in and around town, was “hap­py as a kid” to have nailed this most chal­leng­ing shot.

The mak­ing of silent film’s most expen­sive stunt seems like it would make an excel­lent sub­ject for a movie, but for the fact there was very lit­tle dra­ma sur­round­ing it.

Keaton ingra­ti­at­ed him­self with the res­i­dents of Cot­tage Grove, host­ing week­ly base­ball games and pre­sid­ing over the wed­ding recep­tion of a local and a crew mem­ber. 1500 locals — half the town’s pop­u­la­tion — found work behind the scenes or as extras.

His rela­tion­ship with his his 24-year-old costar, Sen­nett Bathing Beau­ty Mar­i­on Mack, was strict­ly pro­fes­sion­al.

When his wife raised objec­tions to his plans to ride the loco­mo­tive across the tres­tle as cam­eras rolled, he capit­u­lat­ed, installing a papi­er-mâche dum­my as engi­neer. (At least one of the 3000 spec­ta­tors who lined the banks to wit­ness the stunt was fooled, when the dummy’s sev­ered head float­ed past.)

And although the sequence cost a shock­ing­ly expen­sive $42,000 — rough­ly $600,000 in today’s mon­ey — it left lit­tle to chance. Car­pen­ters spent two weeks build­ing a 215-foot-long tres­tle 34 feet above the Row Riv­er, then sawed part­way through the sup­port­ing struc­tures to make them extra vul­ner­a­ble to the explo­sive charge that would be trig­gered soon after action was called. Engi­neers con­struct­ed a down­stream dam so the water lev­el would be high enough to receive the train.

The com­mu­ni­ty was so invest­ed by the time cam­eras rolled, the local gov­ern­ment declared July 23 a hol­i­day, so the entire town would be free to attend. (The Sen­tinel not­ed how ear­li­er in the sum­mer Keaton him­self approached overzeal­ous onlook­ers to “cour­te­ous­ly request, ‘Will you please stand back so as not to cast a shad­ow on the pic­ture?’”)

The stunt went off with­out a hitch, its one and only take cap­tured by six strate­gi­cal­ly posi­tioned cam­era­men, but The Gen­er­al, one of the Amer­i­can Film Insti­tute’s top 20 films of all time and Keaton’s per­son­al favorite, flopped with both crit­ics and the pub­lic. Its domes­tic box office returns were a mere $50,000 above the $750,000 it cost to make. It caused stu­dios to rethink how much con­trol to grant Keaton.

The train remained where it had land­ed until WWII, when it was fished up and sal­vaged for its iron. Accord­ing to a rep­re­sen­ta­tive of the Cot­tage Grove His­tor­i­cal Soci­ety, a few left­over pieces of track and steel were still vis­i­ble as recent­ly as 2006. A mur­al in town com­mem­o­rates The Gen­er­al, its star, and the 10 weeks of 1926 when Cot­tage Grove was the “HOLLYWOOD OF OREGON” (or so the Cot­tage Grove Sen­tinel claimed at the time.)

The Gen­er­al enjoys a ster­ling rep­u­ta­tion with silent film buffs, though its Civ­il War sto­ry­line is out of step with 2021 — Keaton’s char­ac­ter aspires to join the Con­fed­er­a­cy, and the Union sol­diers are the bad guys whose train plum­mets into the Row.

Per­haps nos­tal­gia will shift to Cot­tage Grove’s role in Stand By Me — anoth­er pic­ture in which trains loom large.

Fail­ing that, the Cham­ber of Com­merce has a repli­ca of Ani­mal House’s Death­mo­bile they could put on dis­play …

Learn more about the film­ing of The General’s most cel­e­brat­ed scene and Keaton’s vis­it to Cot­tage Grove in Julien Smith’s fas­ci­nat­ing arti­cle for the Alta Jour­nal.

Relat­ed Con­tent:

31 Buster Keaton Films: “The Great­est of All Com­ic Actors,” “One of the Great­est Film­mak­ers of All Time”

A Super­cut of Buster Keaton’s Most Amaz­ing Stunts

Some of Buster Keaton’s Great, Death-Defy­ing Stunts Cap­tured in Ani­mat­ed Gifs

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

An Immersive Pink Floyd Museum Exhibition Is Coming to the U.S.: Get Tickets Online

While it’s not tech­ni­cal­ly incor­rect to call Pink Floyd a rock band, the term feels some­how unequal to the descrip­tive task at hand. One does­n’t so much lis­ten to albums like The Dark Side of the Moon and The Wall as expe­ri­ence them, and this went even more so for their elab­o­rate, increas­ing­ly colos­sal live per­for­mances. A ret­ro­spec­tive of Pink Floy­d’s his­to­ry, which stretched back to 1965, must do jus­tice to Pink Floy­d’s tran­scen­dent ambi­tion: this was the goal of Pink Floyd: Their Mor­tal Remains, an exhi­bi­tion that first opened at Lon­don’s Vic­to­ria and Albert Muse­um in 2017 and is now prepar­ing to make its Unit­ed States debut at Los Ange­les’ Vogue Mul­ti­cul­tur­al Muse­um this sum­mer.

“You arrive into Their Mor­tal Remains via a life-size repli­ca of the band’s Bed­ford van, their black-and-white tour­ing vehi­cle in the mid-Six­ties,” Rolling Stone’s Emi­ly Zem­ler writes of the V&A show. “The sto­ry is told by let­ters, draw­ings, posters, video footage, news­pa­per clip­pings, music instru­ments, tick­et stubs and odd objects, some of them repli­cas.”

The items on dis­play come not just from the pro­fes­sion­al life of the band but the per­son­al lives of it mem­bers as well: “Syd Barrett’s red-orange bicy­cle,” for instance, or “the actu­al cane used on Waters dur­ing his ear­ly years” to deliv­er pun­ish­ment for mis­be­hav­ior at school.

Also on dis­play are no few notable musi­cal instru­ments, includ­ing a kit paint­ed for drum­mer Nick Mason with ukiyo‑e artist Kat­sushi­ka Hoku­sai’s The Great Wave off Kana­gawa. “Once it’s behind glass, it just looks a mil­lion dol­lars,” Mason says in one of Their Mor­tal Remains’ trail­ers, appear­ing in his capac­i­ty as a con­sul­tant to the project. It main cura­tor, graph­ic design­er Aubrey “Po” Pow­ell, co-cre­at­ed the cov­er art for The Dark Side of the Moon, and brings to bear a thor­ough knowl­edge of Pink Floy­d’s music, their his­to­ry, and their sen­si­bil­i­ty. “It’s way out of scale to any­thing that you’ve ever seen before,” he says of the exhi­bi­tion’s design, “and that sort of jour­ney is very rem­i­nis­cent of psy­che­delia, of being on psy­che­del­ic drugs.”

In its way, the alter­ation of con­scious­ness is as essen­tial to the Pink Floyd phe­nom­e­non as the incor­po­ra­tion of tech­nol­o­gy (sub­ject of a recent Mason-host­ed BBC pod­cast series) and the expan­sion of rock music’s son­ic ter­ri­to­ry. On a deep­er lev­el, there’s also what V&A direc­tor Tris­tram Hunt calls “an Eng­lish pas­toral idiom,” which will cer­tain­ly make for an intrigu­ing jux­ta­po­si­tion when Their Mor­tal Remains com­pletes its instal­la­tion in the thick of Hol­ly­wood Boule­vard. There it will run from August 3rd to Novem­ber 28th, though tick­ets are already on sale at the Vogue Mul­ti­cul­tur­al Muse­um’s web site. Though in Los Ange­les the con­scious­ness-alter­ing sub­stances that have tra­di­tion­al­ly accom­pa­nied their music are now more legal than ever, be warned that what Sal­vador Dalí said of him­self also holds true for Pink Floyd: they are drugs.

Relat­ed Con­tent:

An Hour-Long Col­lec­tion of Live Footage Doc­u­ments the Ear­ly Days of Pink Floyd (1967–1972)

The Dark Side of the Moon Project: Watch an 8‑Part Video Essay on Pink Floyd’s Clas­sic Album

“The Dark Side of the Moon” and Oth­er Pink Floyd Songs Glo­ri­ous­ly Per­formed by Irish & Ger­man Orches­tras

Pink Floyd Drum­mer Nick Mason Presents the His­to­ry of Music & Tech­nol­o­gy in a Nine-Part BBC Pod­cast

Bruce Spring­steen and Pink Floyd Get Their First Schol­ar­ly Jour­nals and Aca­d­e­m­ic Con­fer­ences

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 Online Eric Hobsbawm: The Consolations of History, a Documentary Exploring the Life & Work of the Influential Historian

Cour­tesy of The Lon­don Review of Books, you can now watch Eric Hob­s­bawm: The Con­so­la­tions of His­to­ry:

In this doc­u­men­tary, Antho­ny Wilks traces the con­nec­tions between the events of Eric Hob­s­bawm’s life and the his­to­ry he told, from his teenage years in Ger­many and his com­mu­nist mem­ber­ship, to the jazz clubs of 1950s Soho and the mak­ings of New Labour, tak­ing in Ital­ian ban­dits, Peru­vian peas­ant move­ments and the devel­op­ment of nation­al­ism in the mod­ern world, with help from the assid­u­ous obser­va­tions of MI5. The film fea­tures con­tri­bu­tions from Frances Stonor Saun­ders, Richard J. Evans, John Foot, Ste­fan Colli­ni, Mar­lene Hob­s­bawm and Don­ald Sas­soon, as well as Hob­s­bawm him­self in exten­sive archive footage.

To learn more about Hob­s­bawm, read the 2019 New York­er pro­file “Eric Hob­s­bawm, the Com­mu­nist Who Explained His­to­ry.”

The film will be added to our list of online doc­u­men­taries and our larg­er col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. It’s a great way to see our new posts, all bun­dled in one email, each day.

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:

5 Free Online Cours­es on Marx’s Cap­i­tal from Prof. David Har­vey

Marx­ism by Ray­mond Geuss: A Free Course

Hear Theodor Adorno’s Avant-Garde Musi­cal Com­po­si­tions

Muhammad Ali Explains Why He Refused to Fight in Vietnam: “My Conscience Won’t Let Me Go Shoot My Brother… for Big Powerful America” (1970)

In April of 1967, Muham­mad Ali arrived at the U.S. Armed Forces Exam­in­ing and Entrance Sta­tion in Hous­ton, Texas. “Stand­ing beside twen­ty-five oth­er nerve-racked young men called to the draft,” writes David Rem­nick at The New York­er, Ali “refused to respond to the call of ‘Cas­sius Clay!’” Offered the choice of going to Viet­nam or to jail, he chose the lat­ter “and was sen­tenced to five years in prison and released on bail.” Ali lost his title, his box­ing license, his pass­port, and — as far as he knew at the time — his career. He was new­ly mar­ried with his first child on the way.

When Ali refused to go to Viet­nam, he was “already one of America’s great­est heavy­weights ever,” notes USA Today. “He’d won an Olympic gold medal for the Unit­ed States in Rome when he was just 18 and four years lat­er, against all odds, defeat­ed Son­ny Lis­ton to win his first title as world cham­pi­on.” Ali, it seemed, could do no wrong, as long as he agreed to play a role that made Amer­i­cans com­fort­able. He refused to do that too, becom­ing a Mus­lim in 1961, chang­ing his name in 1964, and speak­ing out in his inim­itable style against racism and Amer­i­can impe­ri­al­ism.

Ali stood on prin­ci­ple as a con­sci­en­tious objec­tor at a time when resist­ing the Viet­nam War made him extreme­ly unpop­u­lar. Sports Illus­trat­ed called him “anoth­er dem­a­gogue and an apol­o­gist for his so-called reli­gion” and pro­nounced that “his views of Viet­nam don’t deserve rebut­tal.” Tele­vi­sion host David Susskind called him “a dis­grace to his coun­try” and even Jack­ie Robin­son felt Ali was “hurt­ing… the morale of a lot of young Negro sol­diers over in Viet­nam.”

Robin­son gave voice to a sen­ti­ment one hears often from crit­ics of polit­i­cal­ly out­spo­ken ath­letes: “Cas­sius has made mil­lions of dol­lars off of the Amer­i­can pub­lic, and now he’s not will­ing to show his appre­ci­a­tion to a coun­try that’s giv­ing him, in my view, a fan­tas­tic oppor­tu­ni­ty.” But the coun­try also gave Ali the oppor­tu­ni­ty to take his case to the Supreme Court, as his lawyer told Howard Cosell in the ABC news seg­ment at the top. “Ali had no inten­tion of flee­ing to Cana­da,” DeNeen L. Brown writes at The Wash­ing­ton Post, “but he also had no inten­tion of serv­ing in the Army.”

Ali strung togeth­er a liv­ing giv­ing speak­ing engage­ments at anti-war events around the coun­try for the next few years as he fought the ver­dict. It was hard­ly the liv­ing he’d made as cham­pi­on. But “my con­science won’t let me go shoot my broth­er, or some dark­er peo­ple, or some poor hun­gry peo­ple in the mud for big pow­er­ful Amer­i­ca,” he said. “And shoot them for what? They nev­er called me [the N word], they nev­er lynched me, they didn’t put no dogs on me, they didn’t rob me of my nation­al­i­ty, rape and kill my moth­er and father…. Shoot them for what? How can I shoot them poor peo­ple? Just take me to jail.”

Ali remained promi­nent­ly in the pub­lic eye through­out his appeal. He had become a “fix­ture on the TV talk show cir­cuit in the pre­ca­ble days of the 1960s and ‘70s,” writes Stephen Battaglio in a LA Times review of the recent doc­u­men­tary Ali & Cavett. He remained so dur­ing his hia­tus from box­ing thanks in no small part to Dick Cavett, who had Ali on fre­quent­ly for every­thing from “seri­ous dis­cus­sions of race rela­tions in the U.S. to play­ful con­fronta­tions aimed at pro­mot­ing fights.” Cavett’s show “pro­vid­ed a com­fort zone for Ali, espe­cial­ly before he became a beloved fig­ure.” And it gave Ali a forum to counter pub­lic slan­der. In the clip above from 1970, he talks about how his sac­ri­fices made him a cred­i­ble role mod­el for trou­bled young peo­ple.

He seems at first to com­pare him­self to ear­ly Amer­i­can pio­neers, Japan­ese kamikaze pilots, and the first astro­nauts when Cavett asks him about the pos­si­bil­i­ty of going to jail, but his point is that he thinks he’s pay­ing a small price com­pared to what oth­ers have giv­en up for progress — “We’ve been in jail 400 years,” he says. “The sys­tem is built on war.” The fol­low­ing year, the Supreme Court would dis­miss the case against him, swayed by the argu­ment that Ali opposed all war, not just the war in Viet­nam. He saw Cavett as a wor­thy spar­ring part­ner, help­ing the late-night host earn a place on Nixon’s list of ene­mies. It would become a place of hon­or in the com­ing years as Ali won back his career, his rep­u­ta­tion, and his title in the “Rum­ble in the Jun­gle” four years lat­er, and the Viet­nam War became a cause for nation­al shame.

Relat­ed Con­tent: 

Muham­mad Ali Gives a Dra­mat­ic Read­ing of His Poem on the Atti­ca Prison Upris­ing

“Muham­mad Ali, This Is Your Life!”: Cel­e­brate Ali’s Life & Times with This Touch­ing 1978 TV Trib­ute

When Jack John­son, the First Black Heavy­weight Cham­pi­on, Defeat­ed Jim Jef­fries & the Footage Was Banned Around the World (1910)

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

How the Internet Archive Has Digitized More than 250,000 78 R.P.M. Records: See the Painstaking Process Up-Close

In the his­to­ry of record­ed music, no medi­um has demon­strat­ed quite the stay­ing pow­er of the phono­graph record. Hear­ing those words, most of us envi­sion a twelve-inch disc designed to play at 33 13 rev­o­lu­tions per minute, the kind still man­u­fac­tured today. But like every oth­er form of tech­nol­o­gy, that famil­iar vinyl LP did­n’t appear ex nihi­lo: on its intro­duc­tion in 1948, it was the lat­est in a series of phono­graph records of dif­fer­ent sizes and speeds. The first dom­i­nant record for­mat spun at 78 r.p.m., a speed stan­dard­ized in the mid-1920s, though the discs them­selves (made of rub­ber, shel­lac, or oth­er pre-vinyl mate­ri­als) had been in pro­duc­tion since the end of the 19th cen­tu­ry and remained in pro­duc­tion until the 1950s.

The half-cen­tu­ry of the “78” adds up to quite a lot of music, most of which has long been inac­ces­si­ble to non-anti­quar­i­ans. Enter the his­tor­i­cal­ly mind­ed tech­nol­o­gists of the Inter­net Archive, who since 2016 have been work­ing with media preser­va­tion com­pa­ny George Blood LP to dig­i­tize, pre­serve, and make avail­able, as of this writ­ing, more than 250,000 such records.

The process involves much more than play­ing them all into a com­put­er, due not least to the toll the past cen­tu­ry or so has tak­en on the discs’ sur­faces. “Each record is cleaned on a machine that sprays dis­tilled water onto its sur­face,” writes The Verge’s Kait Sanchez. “A lit­tle vac­u­um arm then sucks up the water, along with what­ev­er dirt and nas­ti­ness has built up in the record’s grooves.”

“The discs are then pho­tographed, and the pho­tos are ref­er­enced to pull info from the discs’ labels and add it to the archive’s data­base by hand.” There fol­lows the actu­al dig­i­ti­za­tion, which records each disc with four styli at once: since 78s nev­er had stan­dard­ized groove sizes, “record­ings tak­en with var­i­ous sty­lus tips will each sound slight­ly dif­fer­ent,” but for any record in the George Blood Col­lec­tion the lis­ten­er can choose which of the four they’d pre­fer to lis­ten through. You can see each step of the process in the video at the top of the post, part of a Twit­ter thread recent­ly post­ed by the Inter­net Archive. There the Archive notes that, “after scan­ning 250,000 sides, we’ve found 80% of these 78s were pro­duced by the ‘Big Five’ labels” — Colum­bia, RCA Vic­tor, Dec­ca, Capi­tol and Mer­cury — “but along the way, we’ve uncov­ered 1700 oth­er music labels and some pret­ty beau­ti­ful pic­ture discs.”

You can look at — and more to the point, lis­ten to — every­thing in the the George Blood Col­lec­tion here, which is a sub­set of the Inter­net Archive’s larg­er col­lec­tion of dig­i­tized 78 records as well as the cylin­ders that 78s whol­ly dis­placed as a con­sumer for­mat. As the Inter­net Archive’s Twit­ter thread reminds us, “from 1898–1950, this was THE way music was record­ed & shared.” In oth­er words, if your par­ents were lis­ten­ing to music in that peri­od — or maybe your grand­par­ents, great-grand­par­ents, or great-great grand­par­ents — 78s were their MP3s, their Spo­ti­fy, their Youtube. We descend as lis­ten­ers from enthu­si­as­tic buy­ers of 78s, and now, thanks to the Inter­net Archive and its col­lab­o­ra­tors, we can enjoy a large and ever-increas­ing pro­por­tion of their entire world of record­ed music for free.

via The Verge

Relat­ed Con­tent:

Mas­sive Archive of 78RPM Records Now Dig­i­tized & Put Online: Stream 78,000 Ear­ly 20th Cen­tu­ry Records from Around the World

25,000+ 78RPM Records Now Pro­fes­sion­al­ly Dig­i­tized & Stream­ing Online: A Trea­sure Trove of Ear­ly 20th Cen­tu­ry Music

The Inter­net Archive Is Dig­i­tiz­ing & Pre­serv­ing Over 100,000 Vinyl Records: Hear 750 Full Albums Now

The Boston Pub­lic Library Will Dig­i­tize & Put Online 200,000+ Vin­tage Records

The Ground­break­ing Art of Alex Stein­weiss, Father of Record Cov­er Design

How the Inter­net Archive Dig­i­tizes 3,500 Books a Day–the Hard Way, One Page at a 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.

Hear the First Japanese Visitor to the United States & Europe Describe Life in the West (1860–1862)

“Oh, would some Pow­er give us the gift / To see our­selves as oth­ers see us!” wrote poet Robert Burns. “It would from many a blun­der free us, And fool­ish notion.” I can­not vouch for a being blun­der-free, but read­ing his­tor­i­cal accounts of our nation from for­eign vis­i­tors does help to increase our world­ly per­spec­tive, and hope­ful­ly ques­tion what often we take for grant­ed. The 19th cen­tu­ry was a par­tic­u­lar­ly ripe time for the nar­ra­tives, as ocean­ic com­merce (and on its tail tourism) was mak­ing the world small­er than ever before.

The YouTube chan­nel Voic­es of the Past has been bring­ing a lot of these sto­ries to life over the last few years, with new trans­la­tions of for­eign texts, dra­mat­ic read­ings, and thought­ful image pre­sen­ta­tions to reveal the world to us as new and won­drous as it was to the orig­i­nal writ­ers. The video above and the one below take us on trips to the Unit­ed States and Great Britain by some of the first ever Japan­ese trav­el­ers to step onto West­ern soil.

For over 200 years, 1600 — 1868, Japan had remained iso­lat­ed from much of the world, a time known as the Edo Peri­od (named after the capi­tol) or the Toku­gawa Peri­od (named after the shogu­nate). With­in this hot­house, it devel­oped much of the tra­di­tion­al cul­ture that we know today—the tea cer­e­mo­ny, haiku, wood­block prints—and the cap­i­tal Edo (now Tokyo) grew from a fish­ing vil­lage to a major city. When Com­modore Matthew C. Per­ry land­ed in 1853 to get Japan to open up to trad­ing, the coun­try knew its time in iso­la­tion was at an end. The tech­nol­o­gy they saw on the Amer­i­can ships was advanced enough they knew they’d have to catch up or be dom­i­nat­ed.

Both videos con­cern Fukuza­wa Yukichi, one of the founders of mod­ern Japan. An author, jour­nal­ist, founder of Keio Uni­ver­si­ty, and cre­ator of the first Eng­lish-Japan­ese dic­tio­nary, he was also a main pro­po­nent of mod­ern reform. (He’s also the face on Japan’s 10,000 yen note).

In Fukuzawa’s retelling, you can hear how his encoun­ters with Dutch and Eng­lish trades­men made him insa­tiably curi­ous to learn the lan­guage he could not under­stand. After the Japan­ese gov­ern­ment bought a ship from the Dutch, nam­ing it the Kan­rin Maru, Fukuza­wa and a crew of 96 men (a minor­i­ty being Amer­i­can), land­ed in San Fran­cis­co in 1860, the first Japan­ese diplo­mat­ic mis­sion to Amer­i­ca. Tech­ni­cal­ly they did not stay in San Fran­cis­co, but in a naval hotel on Mare Island, 23 miles north east of the city. Fukuza­wa takes note of the abun­dance of car­pet and rugs in many of the offi­cial buildings—such fab­ric was so expen­sive in Japan that he had only seen it used as hand­bags and such—and the Amer­i­can desire to walk on it with their street shoes. Even more amaz­ing: ice cubes. He also notes some­thing that hasn’t changed since his time: the amount of waste in the streets, and the high cost of goods in Cal­i­for­nia.

Fukuza­wa likens his experience—warm hos­pi­tal­i­ty mixed with his own embar­rass­ment of an unfa­mil­iar­i­ty with for­eign mores—with the “shy, self-con­scious blush­ing bride.”

The most impor­tant pur­chase Fukuza­wa made on his trip was a Webster’s Dic­tio­nary, which would help him write his own Eng­lish-Japan­ese ver­sion when he returned. Two years after his Amer­i­can trip, he once again set out on a diplo­mat­ic mis­sion, this time to Europe. He and his co-patri­ots would be away from Japan for a whole year, tak­ing in France, the Unit­ed King­dom, the Nether­lands, Prus­sia, Rus­sia, and Por­tu­gal. This trip is dif­fer­ent in its aware­ness of pol­i­tics. Men­tion is made of Napoleon III (well admired) and the rise of Prus­sia. He is suit­ably baf­fled by Britain’s Par­lia­ment (as are most Amer­i­cans these days watch­ing it on CSPAN), but comes away with a strong con­vic­tion in inde­pen­dent thought and democ­ra­cy that would begin to change Japan through his influ­ence.

We have men­tioned Voic­es of the Past pre­vi­ous­ly, and you can find all sort of accounts of ear­ly inter­na­tion­al trav­el­ers. Fukuzawa’s accounts are some of the best, as his down-to-earth voice feels less for­eign than the Eng­lish speak­ers he meets.

Relat­ed Posts:

A Beau­ti­ful New Book of Japan­ese Wood­block Prints: A Visu­al His­to­ry of 200 Japan­ese Mas­ter­pieces Cre­at­ed Between 1680 and 1938

A Japan­ese Illus­trat­ed His­to­ry of Amer­i­ca (1861): Fea­tures George Wash­ing­ton Punch­ing Tigers, John

Adams Slay­ing Snakes & Oth­er Fan­tas­tic Scenes

The Entire His­to­ry of Japan in 9 Quirky Min­utes

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the Notes from the Shed pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, and/or watch his films here.

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