John Trumbull’s Famous 1818 Painting Declaration of Independence Virtually Defaced to Show Which Founding Fathers Owned Slaves

Stat­ues of slave­hold­ers and their defend­ers are falling all over the U.S., and a lot of peo­ple are dis­traught. What’s next? Mount Rush­more? Well… maybe no one’s like­ly to blow it up, but some hon­esty about the “extreme­ly racist” his­to­ry of Mount Rush­more might make one think twice about using it as a lim­it case.

On the oth­er hand, a sand­blast­ing of the enor­mous Klan mon­u­ment in Stone Moun­tain, Geor­gia—cre­at­ed ear­li­er by Rush­more sculp­tor Gut­zon Borglum—seems long over­due.

We are learn­ing a lot about the his­to­ry of these mon­u­ments and the peo­ple they rep­re­sent, more than any of us Amer­i­cans learned in our ear­ly edu­ca­tion. But we still hear the usu­al defense that slave­hold­ers were only men of their time—many were good, pious, and gen­tle and knew no bet­ter (or they ago­nized over the ques­tion but, you know, every­one was doing it….) Peo­ple sub­ject­ed to the vio­lence and hor­ror of slav­ery most­ly tend­ed to dis­agree.

Before the Hait­ian Rev­o­lu­tion ter­ri­fied the slave­hold­ing South, many promi­nent slave­hold­ers, Jef­fer­son and Wash­ing­ton includ­ed, expressed intel­lec­tu­al and moral dis­gust with slav­ery. They could not con­sid­er abo­li­tion, how­ev­er (though Wash­ing­ton freed his slaves in his will). There was too much prof­it in the enter­prise. As Jef­fer­son him­self wrote, “It [would] nev­er do to destroy the goose.”

What we see when we look at the Rev­o­lu­tion­ary peri­od is the fatal irony of a repub­lic based on ideals of lib­er­ty, found­ed most­ly by men who kept mil­lions of peo­ple enslaved. The point is made vivid­ly above in a vir­tu­al deface­ment of Dec­la­ra­tion of Inde­pen­dence, John Trumbull’s famous 1818 paint­ing which hangs in the U.S. Capi­tol rotun­da. All of the founders’ faces blot­ted out by red dots were slave­own­ers. Only the few in yel­low in the cor­re­spond­ing image freed the the peo­ple they enslaved.

These images were not made in this cur­rent sum­mer of nation­al upris­ings but in August of 2019, “a bloody month that saw 53 peo­ple die in mass shoot­ings in the US,” notes Hyper­al­ler­gic. Their cre­ator, Arlen Parsa sought to make a dif­fer­ent point about the Sec­ond Amend­ment, but wrote force­ful­ly about the founders’ enslav­ing of oth­ers. “There were no gen­tle slave­hold­ers,” writes Parsa. “Count­less chil­dren were born into slav­ery and died after a rel­a­tive­ly short lifes­pan nev­er know­ing free­dom for even a minute.” Many of those chil­dren were fathered by their own­ers.

Some found­ing fathers paid lip ser­vice to the idea of slav­ery as a blight because it was obvi­ous that kid­nap­ping and enslav­ing peo­ple con­tra­dict­ed demo­c­ra­t­ic prin­ci­ples. Slav­ery hap­pened to be the pri­ma­ry metaphor used by Enlight­en­ment philoso­phers and their colo­nial read­ers to char­ac­ter­ize the tyran­ni­cal monar­chism they opposed. The philoso­pher John Locke wrote slav­ery into the con­sti­tu­tion of the Car­oli­na colony, and prof­it­ed from it through own­ing stock in the Roy­al African Com­pa­ny. Yet by his lat­er, huge­ly influ­en­tial Two Trea­tis­es, he had come to see hered­i­tary slav­ery as “so vile and mis­er­able an estate of man… that ‘tis hard­ly to be con­ceived” that any­one could uphold it.

There were, of course, slave­hold­ing founders who resist­ed such talk and felt no com­punc­tion about how they made their mon­ey. But lofty prin­ci­ples or no, the U.S. founders were often on the defen­sive against non-slave­hold­ing col­leagues, who scold­ed and attacked them, some­times with frank ref­er­ences to the rapes of enslaved women and girls. These crit­i­cisms were so com­mon that Thomas Paine could write the case for slav­ery had been “suf­fi­cient­ly dis­proved” when he pub­lished a 1775 tract denounc­ing it and call­ing for its imme­di­ate end:

The man­agers of [the slave trade] tes­ti­fy that many of these African nations inhab­it fer­tile coun­tries, are indus­tri­ous farm­ers, enjoy plen­ty and lived qui­et­ly, averse to war, before the Euro­peans debauched them with liquors… By such wicked and inhu­man ways, the Eng­lish are said to enslave towards 100,000 year­ly, of which 30,000 are sup­posed to die by bar­barous treat­ment in the first year…

So mon­strous is the mak­ing and keep­ing them slaves at all… and the many evils attend­ing the prac­tice, [such] as sell­ing hus­bands away from wives, chil­dren from par­ents and from each oth­er, in vio­la­tion of sacred and nat­ur­al ties; and open­ing the way for adul­ter­ies, inces­ts and many shock­ing con­se­quences, for all of which the guilty mas­ters must answer to the final judge…

The chief design of this paper is not to dis­prove [slav­ery], which many have suf­fi­cient­ly done, but to entreat Amer­i­cans to con­sid­er:

With that con­sis­ten­cy… they com­plain so loud­ly of attempts to enslave them, while they hold so many hun­dred thou­sands in slav­ery and annu­al­ly enslave many thou­sands more, with­out any pre­tence of author­i­ty or claim upon them.

Jef­fer­son squared his the­o­ry of lib­er­ty with his prac­tice of slav­ery by pick­ing up the fad of sci­en­tif­ic racism sweep­ing Europe at the time, in which philoso­phers who prof­it­ed, or whose patrons and nations prof­it­ed, from the slave trade began to coin­ci­den­tal­ly dis­cov­er evi­dence that enslav­ing Africans was only nat­ur­al. We should know by now what hap­pens when racism guides sci­ence.…

Maybe turn­ing those who will­ful­ly per­pet­u­at­ed the country’s most intractable, damn­ing crime against human­i­ty into civic saints no longer serves the U.S., if it ever did. Maybe ele­vat­ing the founders to the sta­tus of reli­gious fig­ures has pro­duced a wide­spread his­tor­i­cal igno­rance and a very spe­cif­ic kind of nation­al­ism that are no longer ten­able. Younger and future gen­er­a­tions will set­tle these ques­tions their own way, as they sort through the mess their elders have left them. As Locke also argued, in a para­phrase from Amer­i­can His­to­ry pro­fes­sor Hol­ly Brew­er, “peo­ple do not have to obey a gov­ern­ment that no longer pro­tects them, and the con­sent of an ances­tor does not bind the descen­dants: each gen­er­a­tion must con­sent for itself.”

via Hyper­al­ler­gic

Relat­ed Con­tent:

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

The Atlantic Slave Trade Visu­al­ized in Two Min­utes: 10 Mil­lion Lives, 20,000 Voy­ages, Over 315 Years

The “Slave Bible” Removed Key Bib­li­cal Pas­sages In Order to Legit­imize Slav­ery & Dis­cour­age a Slave Rebel­lion (1807)

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

Miles Davis is Attacked, Beaten & Arrested by the NYPD Outside Birdland, Eight Days After the Release of Kind of Blue (1959)

It is hard, on the oth­er hand, to blame the police­man, blank, good-natured, thought­less, and insu­per­a­bly inno­cent, for being such a per­fect rep­re­sen­ta­tive of the peo­ple he serves. He, too, believes in good inten­tions and is astound­ed and offend­ed when they are not tak­en for the deed. 

—James Bald­win

James Baldwin’s 1960 essay “Fifth Avenue, Uptown” is rich with heartrend­ing ironies and razor-sharp refu­ta­tions of the usu­al apolo­gies for racist vio­lence in Amer­i­ca. It does not mat­ter, Bald­win argues, whether indi­vid­u­als are “good” or “bad” apples in a sys­tem designed to enforce seg­re­ga­tion, whether by force of law or brute force of will. “None of the police commissioner’s men,” writes Bald­win, “even with the best will in the world, have any way of under­stand­ing the lives led by the peo­ple they swag­ger about in twos and threes con­trol­ling.”

This bru­tal igno­rance extends wide­ly to rad­i­cals, dis­si­dents, peace­ful pro­test­ers, and hap­less bystanders dur­ing times of mass polit­i­cal unrest. (As Ed Kil­go­re points out at New York mag­a­zine, the term “police riot” orig­i­nat­ed in the 1968 Chica­go Demo­c­ra­t­ic Con­ven­tion.) The bru­tal­i­ty we’ve seen vis­it­ed on elder­ly white activists, jour­nal­ists, and even local politi­cians dur­ing recent protests (against bru­tal­i­ty) has been a dai­ly real­i­ty for mil­lions of black Amer­i­cans, even Amer­i­cans as famous as Miles Davis.

In 1959—eight days after the release of Kind of Blue and just after record­ing a broad­cast for armed forces radio—Davis was harassed and then vicious­ly attacked by the police out­side Bird­land in Mid­town Man­hat­tan. Then he was arrest­ed for resist­ing arrest and dragged to the police sta­tion for book­ing and fur­ther harass­ment. You can hear the sto­ry in a clip above from The Miles Davis Sto­ry. Davis him­self recount­ed the event in his auto­bi­og­ra­phy:

I had just fin­ished doing an Armed Forces Day broad­cast, you know, Voice of Amer­i­ca and all that bull­shit. I had just walked this pret­ty white girl named Judy out to get a cab. She got in the cab, and I’m stand­ing there in front of Bird­land wring­ing wet because it’s a hot, steam­ing, mug­gy night in August. 

This white police­man comes up to me and tells me to move on. I said, “Move on, for what? I’m work­ing down­stairs. That’s my name up there, Miles Davis,” and I point­ed to my name on the mar­quee all up in lights.

He said, “I don’t care where you work, I said move on! If you don’t move on I’m going to arrest you.”

I just looked at his face real straight and hard, and I didn’t move. Then he said, “You’re under arrest!” He reached for his hand­cuffs, but he was step­ping back…I kind of leaned in clos­er because I wasn’t going to give him no dis­tance so he could hit me on the head… A crowd had gath­ered all of a sud­den from out of nowhere, and this white detec­tive runs in and BAM! hits me on the head. I nev­er saw him com­ing. Blood was run­ning down the kha­ki suit I had on.

Davis, who grew up wealthy in St. Louis, came from vast­ly dif­fer­ent cir­cum­stances than Bald­win. He under­stood the vio­lence of the South, but not of North­ern cities. Nonethe­less, his expe­ri­ence with the police was iden­ti­cal, whether in Mis­souri or New York. “Now I would have expect­ed this kind of bull about resist­ing arrest and all back in East St Louis,” he wrote, “but not here in New York City, which is sup­posed to be the slick­est, hippest city in the world. But then, again, I was sur­round­ed by white folks and I have learned that when that hap­pens, if you’re black, there is no jus­tice. None.”

He speaks from bit­ter expe­ri­ence. Davis lat­er sued the NYPD, but his case was dis­missed, “despite a moun­tain of evi­dence in his favour,” writes Queen’s Uni­ver­si­ty researcher Mitchell Crouse, “includ­ing mul­ti­ple wit­ness state­ments, pho­to­graph­ic evi­dence, and the fact that at least one of the offi­cers was drunk.”

Bald­win and Davis both wrote of what Jamelle Bouie describes in The New York Times as the raw knowl­edge afford­ed those who live under con­stant sur­veil­lance and threats of assault, arrest, or mur­der by agents of the state: “African-Amer­i­can observers have nev­er had any illu­sions about who the police are meant to serve.” See the many pho­tographs of a bloody Miles tak­en dur­ing and after his arrest at the 1959 Project.

Relat­ed Con­tent:

Miles Davis Icon­ic 1959 Album Kind of Blue Turns 60: Revis­it the Album That Changed Amer­i­can Music

Miles Davis’ Bitch­es Brew Turns 50: Cel­e­brate the Funk-Jazz-Psych-Rock Mas­ter­piece

Miles Davis Dish­es Dirt on His Fel­low Jazz Musi­cians: “The Trom­bone Play­er Should be Shot”; That Ornette is “F‑ing Up the Trum­pet”

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

Construct Your Own Bayeux Tapestry with This Free Online App

A wise woman once quoth that one man’s adult col­or­ing book is another’s Medieval Tapes­try Edit.

If tak­ing crayons to emp­ty out­lines of man­dalas, flo­ral pat­terns, and for­est and ocean scenes has failed to calm your mind, the His­toric Tale Con­struc­tion Kit may cure what ails you.

Pro­gram­mers Leonard Allain-Lau­nay and Math­ieu Thoret­ton and soft­ware engi­neer Maria Cos­mi­na Ete­gan cre­at­ed the online kit as a trib­ute to a late, great, ear­ly 21st-cen­tu­ry appli­ca­tion designed by Acad­e­my of Media Arts Cologne stu­dents Björn Karnebo­gen and Gerd Jung­bluth.

They sep­a­rat­ed out var­i­ous ele­ments of the Bayeux Tapes­try, allow­ing you to freely mess around with 1000-year-old images of war­riors, com­mon­ers, beasts, and build­ings:

Craft thy own Bayeux Tapes­try

Slay mis­chie­vous beasts

Rule the king­dom

Rotate, resize, clone

Choose a back­ground, add some text in your choice of Bayeux or Augus­ta font and you’ll have done your bit to revive the fad­ing art of the Medieval Macro (or meme.)

The orig­i­nal tapes­try used some 224 feet of wool-embroi­dered linen to recount the Bat­tle of Hast­ings and the events lead­ing up to it.

You need not have such lofty aims.

Per­haps test the waters with a Father’s Day greet­ing, resiz­ing and rotat­ing until you feel ready to export as a PNG.

The inter­face is extreme­ly user friend­ly, kind of like a tech-savvy 11th-cen­tu­ry cousin of the online drag-and-drop graph­ic design tool, Can­va.

The His­toric Tale Con­struc­tion Kit’s most impres­sive bells and whis­tles reside in the paint­brush tool in the low­er left cor­ner, which allows you to lay down great swaths of folks, birds, or corpses in a sin­gle sweep.

Your palette will be lim­it­ed to the shades deployed by the Bayeux embroi­der­ers, who obtained their col­ors from plants—dyer’s woadmad­der, and dyer’s rock­et (or weld).

The text, of course, is entire­ly up to you.

It pleased us to go with the emi­nent­ly quotable David Bowie, and only after we groped our way into the three fledg­ling efforts you see above did we dis­cov­er that we’re not the only ones.

Pre­sent­ing Ear­ly Pre-Bowie Ref­er­ences to “Space Odd­i­ty”


Throw on some Bard­core and begin rework­ing the Bayeux Tapes­try with the His­toric Tale Con­struc­tion Kit here.

If you are inter­est­ed in some­thing a bit more tech­ni­cal, the design­ers have put the open­source code on GitHub for your cus­tomiz­ing plea­sure.

The Bayeux Tapes­try has also been recent­ly dig­i­tized. Explore it here: The Bayeux Tapes­try Gets Dig­i­tized: View the Medieval Tapes­try in High Res­o­lu­tion, Down to the Indi­vid­ual Thread

Relat­ed Con­tent:

Lis­ten to Medieval Cov­ers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hilde­gard von Blin­gin’

160,000 Pages of Glo­ri­ous Medieval Man­u­scripts Dig­i­tized: Vis­it the Bib­lio­the­ca Philadel­phien­sis

Why Knights Fought Snails in Illu­mi­nat­ed Medieval Man­u­scripts

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

Why This Font Is Everywhere: How Cooper Black Became Pop Culture’s Favorite Font

You know Times New Roman, you know Hel­veti­ca, you know Com­ic Sans — and though you may not real­ize it, you know Coop­er Black as well. Just think of the “VOTE FOR PEDRO” shirt worn in Napoleon Dyna­mite (and in real life for years there­after), or a few decades ear­li­er, the cov­er of Pet Sounds. In fact, the his­to­ry of Coop­er Black extends well before the Beach Boys’ mid-1960s mas­ter­piece; to see and hear the full sto­ry, watch the Vox video above. It begins, as nar­ra­tor Estelle Caswell explains, in Chica­go, at the turn of the 1920s when type design­er Oswald Bruce Coop­er cre­at­ed the series of fonts that bear his name. Near­ly a cen­tu­ry after the 1922 intro­duc­tion of the vari­ant Coop­er Black, we see it every­where, not just on album cov­ers and T‑shirts but store­fronts, movie posters, and can­dy wrap­pers all over the world.

 

The evo­lu­tion of print­ing, specif­i­cal­ly the evo­lu­tion from carved wood type to cast met­al, made Coop­er Black pos­si­ble. Its dis­tinc­tive look — and the curved edges that made it for­giv­ing to imper­fect print­ing process­es — made it a hit. And when film strips replaced met­al type, allow­ing the kind of close­ly-spaced print­ing that Coop­er thought best pre­sent­ed his font, the already-pop­u­lar Coop­er Black under­went a renais­sance.

“It thrived, as always, in adver­tis­ing,” says Caswell. “Its friend­ly curves fit the tongue-in-cheek aes­thet­ic of the 1960s and 70s, but it also showed up in mag­a­zines, movies, and hun­dreds of album cov­ers.” To typog­ra­phy enthu­si­asts, Pet Sounds seem­ing­ly remains Coop­er Black­’s finest hour: “Just look at the way the D works with the E and the Y, and ‘Boys’ fits so nice­ly over the O,” as art direc­tor Stephen Heller says in the video.

In the 1920s Coop­er Black not only show­cased cut­ting-edge print­ing tech­nol­o­gy, its aes­thet­ic looked exhil­a­rat­ing­ly mod­ern as well. Now, of course, it looks com­fort­ing­ly retro, evoca­tive of the era of hand­made graph­ic design slip­ping out of liv­ing mem­o­ry in our dig­i­tal 21st cen­tu­ry. But the 21st cen­tu­ry so far has also been a time of “retro­ma­nia”: with all pre­vi­ous media increas­ing­ly at our fin­ger­tips, we draw inspi­ra­tion (and even mate­r­i­al) for our art and design more direct­ly and instinc­tive­ly than ever from the trends of the past. No won­der we con­tin­ue to feel a res­o­nance in Coop­er Black, whose let­ters, as Caswell puts it, bring with them the weight of “a cen­tu­ry’s worth of changes in tech­nol­o­gy and pop cul­ture.” Nor is Coop­er Black­’s next cen­tu­ry, what­ev­er uses it sees the font put to, like­ly to dimin­ish its appeal.

Relat­ed Con­tent:

The His­to­ry of Typog­ra­phy Told in Five Ani­mat­ed Min­utes

Com­ic Sans Turns 25: Graph­ic Design­er Vin­cent Connare Explains Why He Cre­at­ed the Most Hat­ed Font in the World

Down­load Hel­l­veti­ca, a Font that Makes the Ele­gant Spac­ing of Hel­veti­ca Look as Ugly as Pos­si­ble

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

Enter the Cov­er Art Archive: A Mas­sive Col­lec­tion of 800,000 Album Cov­ers from the 1950s through 2018

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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, on Face­book, or on Insta­gram.

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

As every Amer­i­can knows, Feb­ru­ary is Black His­to­ry Month. And as every Amer­i­can also knows — if the events of 2020 haven’t warped their sense of time too bad­ly — is isn’t Feb­ru­ary right now. But thanks to online learn­ing tech­nol­o­gy, we all have the free­dom to study any sub­ject we want, as much as we want, when­ev­er we want, irre­spec­tive of the time of year. Sources of inter­net-based edu­ca­tion have pro­lif­er­at­ed in the 21st cen­tu­ry, but long-respect­ed insti­tu­tions of high­er learn­ing have also got in on the action. Yale Uni­ver­si­ty, for exam­ple, has pro­duced the online course African Amer­i­can His­to­ry: Eman­ci­pa­tion to the Present, whose 25 lec­tures by his­to­ry pro­fes­sor Jonathan Hol­loway you can watch on YouTube, or at Yale’s web site. The first lec­ture appears above.

Orig­i­nal­ly record­ed in the spring of 2010, Hol­loway’s course exam­ines “the African Amer­i­can expe­ri­ence in the Unit­ed States from 1863 to the present,” involv­ing such chap­ters of his­to­ry as “the end of the Civ­il War and the begin­ning of Recon­struc­tion” and “African Amer­i­cans’ urban­iza­tion expe­ri­ences.”

It also includes lec­tures on the “thought and lead­er­ship of Book­er T. Wash­ing­ton, Ida B. Wells-Bar­nett, W.E.B. Du Bois, Mar­cus Gar­vey, Mar­tin Luther King Jr., and Mal­colm X” — all writ­ers and thinkers Open Cul­ture read­ers will have encoun­tered before, but a course like African Amer­i­can His­to­ry: Eman­ci­pa­tion to the Present offers the oppor­tu­ni­ty to con­sid­er their lives and work in clear­er con­text and greater detail.

Black his­to­ry has deep­er roots in some parts of the Unit­ed States than oth­ers. But that does­n’t mean the uni­ver­si­ties of the west have noth­ing to offer in this depart­ment: take, for exam­ple, Stan­ford Uni­ver­si­ty’s African-Amer­i­can His­to­ry: Mod­ern Free­dom Strug­gle, taught by the his­to­ri­an (and edi­tor of MLK’s papers) Clay­borne Car­son. Avail­able to watch on YouTube and iTunes (or right above), its 18 lec­tures deliv­er an intro­duc­tion to “African-Amer­i­can his­to­ry, with par­tic­u­lar empha­sis on the polit­i­cal thought and protest move­ments of the peri­od after 1930, focus­ing on select­ed indi­vid­u­als who have shaped and been shaped by mod­ern African-Amer­i­can strug­gles for free­dom and jus­tice.” Tak­en togeth­er, these online cours­es offer you more than enough mate­r­i­al to hold your own Black His­to­ry Month right now.

Note: Clay Car­son­’s course can also be tak­en as a MOOC on edX. Enroll now in Amer­i­can Prophet: The Inner Life and Glob­al Vision of Mar­tin Luther King, Jr. And find the cours­es list­ed above in our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent:

Online Degrees & Mini Degrees: Explore Mas­ters, Mini Mas­ters, Bach­e­lors & Mini Bach­e­lors from Top Uni­ver­si­ties

Free Online His­to­ry Cours­es

Watch Cor­nel West’s Free Online Course on W.E.B. Du Bois, the Great 20th Cen­tu­ry Pub­lic Intel­lec­tu­al

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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, on Face­book, or on Insta­gram.

John Cleese’s Comedically Explains the Psychological Advantages of Extremism: “It Makes You Feel Good Because It Provides You with Enemies”

Extrem­ist: in any polit­i­cal squab­ble, and espe­cial­ly any online polit­i­cal squab­ble, the label is sure to get slapped on some­one soon­er or lat­er. Of course, we nev­er con­sid­er our­selves extrem­ists: it’s the para­me­ters of accept­able polit­i­cal dis­cus­sion that wrong­ly frame our entire­ly rea­son­able, truth-informed views. But what if we were to embrace the extreme? “What we nev­er hear about extrem­ism is its advan­tages,” says Mon­ty Python’s John Cleese in the tele­vi­sion adver­tise­ment above. “The biggest advan­tage of extrem­ism is that it makes you feel good because it pro­vides you with ene­mies.” When you have ene­mies, “you can pre­tend that all the bad­ness in the whole world is in your ene­mies and all the good­ness in the whole world is in you.”

If you “have a lot of anger and resent­ment in you any­way,” you can jus­ti­fy your own unciv­i­lized behav­ior “because these ene­mies of yours are such very bad per­sons, and that if it was­n’t for them, you’d actu­al­ly be good-natured and cour­te­ous and ratio­nal all the time.” Sign on with the “hard left,” Cleese says, and you’ll receive “their list of autho­rized ene­mies: almost all kinds of author­i­ty, espe­cial­ly the police, the City, Amer­i­cans, judges, multi­na­tion­al cor­po­ra­tions, pub­lic schools, fur­ri­ers, news­pa­per own­ers, fox hunters, gen­er­als, class trai­tors — and of course, mod­er­ates.” If you pre­fer the “hard right,” they have a list of their own, one includ­ing “noisy minor­i­ty groups, unions, Rus­sia, weirdos, demon­stra­tors, wel­fare sponges, med­dle­some cler­gy, peaceniks, the BBC, strik­ers, social work­ers, com­mu­nists — and of course, mod­er­ates.”

As Cleese tweet­ed this past week­end, “Hard to tell if I record­ed this 30 years or 10 min­utes ago.” In fact he record­ed it more than 30 years ago, as an endorse­ment of the cen­trist SDP-Lib­er­al Alliance between the Unit­ed King­dom’s Social Demo­c­ra­t­ic Par­ty and Lib­er­al Par­ty. Hav­ing formed in 1981 and gone defunct by 1988 (when it became the par­ty now known as the Lib­er­al Democ­rats), the SDP-Lib­er­al Alliance leaves lit­tle in the way of a lega­cy, but this clip has only grown more rel­e­vant with time. As an extrem­ist, Cleese reminds us “you can strut around abus­ing peo­ple and telling them you could eat them for break­fast and still think of your­self as a cham­pi­on of the truth, a fight­er for the greater good, and not the rather sad, para­noid schizoid that you real­ly are” — a state­ment that, uttered in our inter­net era, would sure­ly make more than a few ene­mies.

via Boing­Bo­ing

Relat­ed Con­tent:

Mon­ty Python’s John Cleese Wor­ries That Polit­i­cal Cor­rect­ness Will Lead Us into a Humor­less World, Rem­i­nis­cent of Orwell’s 1984

John Cleese on How “Stu­pid Peo­ple Have No Idea How Stu­pid They Are” (a.k.a. the Dun­ning-Kruger Effect)

John Cleese Cre­ates Ads for the Amer­i­can Philo­soph­i­cal Asso­ci­a­tion

The Psy­chol­o­gy That Leads Peo­ple to Vote for Extrem­ists & Auto­crats: The The­o­ry of Cog­ni­tive Clo­sure

John Cleese Plays the Dev­il, Makes a Spe­cial Appeal for Hell, 1966

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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, on Face­book, or on Insta­gram.

Listen to Medieval Covers of “Creep,” “Pumped Up Kicks,” “Bad Romance” & More by Hildegard von Blingin’

All ye bul­ly-rooks with your buskin boots 

Best ye go, best ye go

Out­run my bow

All ye bul­ly-rooks with your buskin boots

Best ye go, best ye go, faster than mine arrow

If bard­core is a thing—and trust us, it is right now—Hilde­gard von Blin­gin’ is the bright­est star in its fir­ma­ment.

The unknown vocal­ist, pure of throat, pays heed to the fas­ci­nat­ing 12th-cen­tu­ry abbess and com­pos­er Saint Hilde­gard of Bin­gen by choice of pseu­do­nym, while demon­strat­ing a sim­i­lar flair for poet­ic lan­guage.

Von Blingin’s nim­ble lyri­cal rework­ing of Fos­ter the People’s 2010 mon­ster hit, “Pumped Up Kicks,” makes deft use of fel­low bard­core prac­tion­er Cor­nelius Link’s copy­right-free instru­men­tal score and the clos­est medieval syn­onyms avail­able.

For the record, Webster’s 1913 dic­tio­nary defines a “bul­ly-rook” as a bul­ly, but the term could also be used in a josh­ing, chops-bust­ing sort of way, such as when The Mer­ry Wives of Windsor’s innkeep­er trots it out to greet lov­able repro­bate, Sir John Fal­staff.

And as any fan of Game of Thrones or The Hunger Games can attest, an arrow can prove as lethal as a gun.

Song­writer Mark Fos­ter told Billboard’s Xan­der Zell­ner last Decem­ber that he had been think­ing of retir­ing “Pumped Up Kicks,” as lis­ten­ers are now con­vinced it’s a boun­cy-sound­ing take on school shoot­ings, rather than a more gen­er­al­ized attempt to get inside the head of a troubled—and fictional—youngster.

With school out of ses­sion since March, it’s an excel­lent time for von Blin­gin’ to pick up the torch and bear this song back to the past.

Dit­to the tim­ing of von Blingin’s ode to Lady Gaga’s “Bad Romance”:

I want thine ugly, I want thy dis­ease

Take aught from thee shall I if it can be free

No Celtic harp, wood­en recorders, or adjust­ment of pos­ses­sive pro­nouns can dis­guise the jolt those open­ing lyrics assume in the mid­dle of a glob­al pan­dem­ic.

(St. Hilde­gard escaped the medieval period’s best known plague, the Black Death, by virtue of hav­ing been born some 250 years before it struck.)

Von Blingin’s lat­est release is an extreme­ly faith­ful take on Radiohead’s “Creep”, with just a few minor tweaks to pull it into medieval lyri­cal align­ment:

Thou float’st like a feath­er

In a beau­ti­ful world

The com­ments sec­tion sug­gest that the peas­ants are eager to get in on the act.

Some are express­ing their enthu­si­asm in approx­i­mate olde Eng­lish…

Oth­ers ques­tion why smygel, eldrich, wyr­den or wastrel were not pressed into ser­vice as replace­ments for creep and weirdo..

To bor­row a phrase from one such jester, best get your requests in “before the tik­toks come for it.”

Lis­ten to Hilde­gard Von Blin­gin’ on Sound Cloud and check out the bard­core sub-red­dit for more exam­ples of the form.

Relat­ed Con­tent: 

Expe­ri­ence the Mys­ti­cal Music of Hilde­gard Von Bin­gen: The First Known Com­pos­er in His­to­ry (1098 – 1179)

Man­u­script Reveals How Medieval Nun, Joan of Leeds, Faked Her Own Death to Escape the Con­vent

1200 Years of Women Com­posers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Help con­tain the plague spread with her series of free down­load­able posters, encour­ag­ing cit­i­zens to wear masks in pub­lic set­tings. Fol­low her @AyunHalliday.

After MLK’s Assassination, a Schoolteacher Conducted a Famous Experiment–“Blue Eyes/Brown Eyes”–to Teach Kids About Discrimination

Get­ting his­to­ry across to young stu­dents is chal­leng­ing enough, but what should a teacher do when actu­al his­to­ry-mak­ing events hap­pen on their watch? They have to be acknowl­edged, but to what extent do they have to be explained, even “taught”? Of the teach­ers who have turned his­to­ry-in-the-mak­ing into a les­son, per­haps the most famous is Jane Elliott of Riceville, Iowa. On April 5, 1968, the day after Mar­tin Luther King Jr.‘s assas­si­na­tion, she divid­ed her class­room of third-graders along col­or lines: blue-eyed and brown-eyed. On the first day she grant­ed the brown-eyed stu­dents such spe­cial priv­i­leges as desks in the front rows, sec­ond help­ings at lunch, and five extra min­utes of recess. The next day she reversed the sit­u­a­tion, and the blue-eyed kids had the perks.

What brought seri­ous atten­tion to Elliot­t’s small-town class­room exper­i­ment was the result­ing arti­cle in the Riceville Recorder, which report­ed some of what her stu­dents wrote in their assign­ments respond­ing to the expe­ri­ence. The Asso­ci­at­ed Press picked up the arti­cle and soon Elliott received a call from The Tonight Show invit­ing her to come chat with John­ny Car­son about her “Blue Eyes/Brown Eyes” exer­cise on nation­al tele­vi­sion.

“I did­n’t know how this exer­cise would work,” Elliott tells Jim­my Fal­lon on the clip from the cur­rent Tonight Show at the top of the post. “If I had known how it would work, I prob­a­bly would­n’t have done it. If I had known that, after I did that exer­cise, I lost all my friends, no teacher would speak to me where they could be seen speak­ing to me, because it was­n’t good pol­i­tics to be seen talk­ing to the town’s only ‘N‑word lover.’ ”

Elliot­t’s fam­i­ly also expe­ri­enced severe blow­back from her sud­den fame, but it did­n’t stop her from fur­ther­ing the clear­ly res­o­nant idea she had devised. She con­tin­ued to per­form Blue Eyes/Brown Eyes in class: the third time, it was filmed and became the 1970 tele­vi­sion doc­u­men­tary The Eye of the Storm. (Some of the lan­guage used by her stu­dents sure­ly would­n’t make it to the air today.) Fif­teen years lat­er, PBS’ Front­line reunit­ed Elliot­t’s third-grade class of 1970 for its Emmy Award-win­ning episode A Class Divid­ed, and a decade there­after Ger­man film­mak­er Bertram Ver­haag would again film Elliott per­form­ing her sig­na­ture exer­cise for the doc­u­men­tary Blue Eyed. In a vari­ety of set­tings across Amer­i­ca and the world, Elliott con­tin­ues, in her late eight­ies, to make her point. It isn’t always well received, as she reveals in this Front­line fol­low-up inter­view, and at times has even drawn threats of vio­lence. “I can be scared, but I won’t be scared to death,” she says. “Or, at my age, of death.”

via Boing Boing

Relat­ed Con­tent:

Mar­tin Luther King, Jr.’s Hand­writ­ten Syl­labus & Final Exam for the Phi­los­o­phy Course He Taught at More­house Col­lege (1962)

How Mar­tin Luther King, Jr. Used Niet­zsche, Hegel & Kant to Over­turn Seg­re­ga­tion in Amer­i­ca

Read Mar­tin Luther King and The Mont­gomery Sto­ry: The Influ­en­tial 1957 Civ­il Rights Com­ic Book

How a Virus Spreads, and How to Avoid It: A For­mer NASA Engi­neer Demon­strates with a Black­light in a Class­room

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include 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, on Face­book, or on Insta­gram.

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