Elie Wiesel (RIP) Talks About What Happens When We Die

Elie Wiesel not only sur­vived the Holo­caust but went on to live a full life with a pro­lif­ic career, the fruits of which includ­ed 57 books, most famous­ly 1960’s Night, a short and for­mal­ly dis­tinc­tive work drawn from his expe­ri­ence in the con­cen­tra­tion camps. “The only role I sought was that of wit­ness,” he wrote in 1978. “I believed that hav­ing sur­vived by chance, I was duty-bound to give mean­ing to my sur­vival, to jus­ti­fy each moment of my life.” And even before his death this past Sat­ur­day at age 87, the Nobel Peace Prize win­ner had learned much about what it means to come to life’s end.

“The body is not eter­nal, but the idea of the soul is,” Wiesel writes in Open Heart, the 2012 mem­oir he wrote after under­go­ing anoth­er brush with death, late in life, which neces­si­tat­ed emer­gency open-heart surgery. “The brain will be buried, but mem­o­ry will sur­vive it.” Oprah Win­frey reads those words back to him in an inter­view from that same year, a clip from which you can see above. “Now that you’ve had all this time to think about it,” she asks, “what do you think hap­pens when we die?”

“Some­how,” he replies, “I will become a child. Child­hood, for me, is a theme in all my work. Will I meet my par­ents again? I want to know that.” Win­frey express­es spe­cial inter­est in the visions of his own fam­i­ly he had in the hos­pi­tal, such as that of his father who had died at Buchen­wald, just weeks before the cam­p’s lib­er­a­tion, and the sight of whose face he had pre­vi­ous­ly glimpsed, just for a moment, dur­ing his Nobel award cer­e­mo­ny in 1986. His father’s sec­ond posthu­mous appear­ance made him think death might not be so bad after all, but “that is the dan­ger. You feel it’s so good to be with the dead, then why not join them?”

But Wiesel, who had done so much already, felt he “had more and more things to do. I haven’t even begun.” Indeed, con­tin­u­ing in his capac­i­ty as the “Con­science of the World,” he received four more awards and hon­ors between 2012 and 2014, made many appear­ances, and sure­ly wrote pages that will see pub­li­ca­tion in the years, or even decades, to come. But for all his accom­plish­ments, he him­self found noth­ing more unusu­al, as he said to Win­frey in a pre­vi­ous talk six­teen years ago, than his own nor­mal­i­ty, “that I sur­vived the Holo­caust and went on to love beau­ti­ful girls, to talk, to write, to have toast and tea and live my life — that is what is abnor­mal.”

Relat­ed Con­tent:

Mem­o­ry of the Camps (1985): The Holo­caust Doc­u­men­tary that Trau­ma­tized Alfred Hitch­cock, and Remained Unseen for 40 Years

Alice Herz-Som­mer, the Old­est Holo­caust Sur­vivor (Thanks to the Pow­er of Music), Dies at 110

Bertrand Rus­sell on the Exis­tence of God & the After­life (1959)

Is There an After­life? Christo­pher Hitchens Spec­u­lates in an Ani­mat­ed Video

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Watch “Don’t Be a Sucker!,” the 1947 US Government Anti-Hatred Film That’s Relevant All Over Again

If you aren’t seri­ous­ly dis­turbed, even alarmed, that we in the U.S. have a pres­i­den­tial can­di­date from a major polit­i­cal par­ty who suc­ceeds by whip­ping up xeno­pho­bic fer­vor and telling us the coun­try must not only rein­sti­tute tor­ture, but must do “the unthink­able”… well…. I don’t real­ly know what to say to you. Per­haps more symp­tom than cause of a glob­al turn toward trib­al hatred, the GOP can­di­date has lent his name to a phe­nom­e­non char­ac­ter­ized by cultish devo­tion to an author­i­tar­i­an strong­man, ser­i­al false­hood, and easy, uncrit­i­cal scape­goat­ing. We needn’t look far back in time to see the his­tor­i­cal ana­logues, whether in the ear­ly 20th cen­tu­ry, at the end of the 19th, or dur­ing any num­ber of his­tor­i­cal moments before and after.

We also needn’t look very far back to find a his­to­ry of resis­tance to author­i­tar­i­an big­otry, and not only from Civ­il Rights cam­paign­ers and left­ists, but also, as you can see above, from the U.S. War Depart­ment. In 1947, the Depart­ment released the short pro­pa­gan­da film, “Don’t Be a Suck­er!”, aimed at mid­dle-class Amer­i­can Joes. Shot at Warn­er Stu­dios, the film opens with some typ­i­cal noirish crime sce­nar­ios, com­plete with con­vinc­ing­ly noir light­ing and cam­era angles, to visu­al­ly set up the char­ac­ter of the “suck­er” who gets tak­en in by sin­is­ter but seduc­tive characters—“people who stay up nights try­ing to fig­ure out how to take away” what the every­man has. What do naïve poten­tial marks in this anal­o­gy have to lose? Amer­i­can plen­ty: “plen­ty of food, big fac­to­ries to make things a man can use, big cities to do the busi­ness of a big coun­try, and peo­ple, lots of peo­ple.”

“Peo­ple,” the nar­ra­tor says, work­ing the farms and fac­to­ries, dig­ging the mines and run­ning the busi­ness­es: “all kinds of peo­ple. Peo­ple from dif­fer­ent coun­tries with dif­fer­ent reli­gions, dif­fer­ent col­ored skins. Free peo­ple.” Is this disin­gen­u­ous? You bet. We’re told this aggre­gate of peo­ple is “free to vote”—and we know this to be large­ly untrue in prac­tice for many, neces­si­tat­ing the Vot­ing Rights Act almost twen­ty years lat­er. Free to “pick their own jobs”? Employ­ment dis­crim­i­na­tion, seg­re­ga­tion, and sex­ism effec­tive­ly pre­vent­ed that for mil­lions. But the sen­ti­ments are noble, even if the facts don’t ful­ly fit. As our aver­age Joe wan­ders along, con­tem­plat­ing his advan­tages, he hap­pens upon a reac­tionary street­corner demogague harangu­ing against for­eign­ers, African-Amer­i­cans, Catholics, and Freema­sons (?) on behalf of “real Amer­i­cans.” Sounds plen­ty famil­iar.

The voice of rea­son comes from a nat­u­ral­ized Hun­gar­i­an pro­fes­sor who wit­nessed the rise of Nazism in Berlin and who explains to our every­man the strat­e­gy of fanat­ics and fascists—divide and rule. “We human beings are not born with prej­u­dices,” says the wise pro­fes­sor, “always they are made for us. Made by some­one who wants some­thing. Remem­ber that when you hear this kind of talk. Somebody’s going to get some­thing out of it. And it isn’t going to be you.” The remain­der of the film most­ly con­sists of the Hun­gar­i­an pro­fes­sor’s rec­ol­lec­tions of how the Nazis won over ordi­nary Ger­mans.

all american superman

“Don’t Be a Suck­er!” uses a clever rhetor­i­cal strat­e­gy, appeal­ing to the self-inter­est and van­i­ty of the every­man while couch­ing that appeal in egal­i­tar­i­an val­ues. The very recent his­tor­i­cal exam­ple of fas­cist Europe car­ries sig­nif­i­cant weight, where too often today that his­to­ry gets treat­ed like a joke, turned into crude and mud­dled memes. This film would have had real impact on the view­ing audi­ence, who would have seen it before their fea­ture in the­aters across the coun­try.

It’s worth not­ing that this film came out dur­ing a peri­od of increas­ing Amer­i­can pros­per­i­ty and com­par­a­tive eco­nom­ic equi­ty. The jobs “Don’t Be a Suck­er!” lists with pride have dis­ap­peared. Today’s every­man, we might say, has even more rea­son for sus­cep­ti­bil­i­ty to the dem­a­gogue’s appeals. The Inter­net Archive notes an irony here “in the light of Cold War anti-Com­mu­nist pol­i­tics, which real­ly came into their own in the year this film was made.” The street­corner pop­ulist calls to mind peo­ple like Joseph McCarthy and J. Edgar Hoover (and he looks like George Wallace)—powerful gov­ern­ment author­i­ties who cast sus­pi­cion on every move­ment for Civ­il Rights and social equal­i­ty.

“Don’t Be a Suck­er!” may seem like an out­lier, but it’s rem­i­nis­cent of anoth­er piece of patri­ot­ic, anti-racist-and-reli­gious-big­otry propaganda—the Super­man car­toon above, which first appeared in 1949, dis­trib­uted to school chil­dren as a book cov­er by some­thing called The Insti­tute for Amer­i­can Democ­ra­cy. You may have seen ver­sions of a full-col­or poster, reprint­ed in sub­se­quent years. Here, Super­man express­es the same egal­i­tar­i­an val­ues as “Don’t Be a Suck­er!” only instead of call­ing racism a con-job, he calls it “Un-Amer­i­can,” using the favorite denun­ci­a­tion of HUAC and oth­er anti-Com­mu­nist groups.

His­to­ry and the present moment may often prove otherwise—showing us just how very Amer­i­can racism and big­otry can be, but so too are numer­ous counter-move­ments on the left and, as these exam­ples show, from more con­ser­v­a­tive, estab­lish­ment cor­ners as well.

“Don’t Be a Suck­er!” will be added to our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

h/t Daniel Buk

Relat­ed Con­tent:

Redis­cov­ered: The First Amer­i­can Anti-Nazi Film, Banned by U.S. Cen­sors and For­got­ten for 80 Years

Bertolt Brecht Tes­ti­fies Before the House Un-Amer­i­can Activ­i­ties Com­mit­tee (1947)

Did Hol­ly­wood Movies Stu­dios “Col­lab­o­rate” with Hitler Dur­ing WW II? His­to­ri­an Makes the Case

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

Colorful Animation Visualizes 200 Years of Immigration to the U.S. (1820-Present)

Many of us, whether born there, resid­ing there, or just inter­est­ed in the place, describe the Unit­ed States of Amer­i­ca as “a nation of immi­grants.” What exact­ly that phrase means has in recent times become the sub­ject of heat­ed pub­lic debate. As this year’s pres­i­den­tial can­di­dates strain to appeal to vot­ers with a wide vari­ety of views on the ques­tion of what role immi­gra­tion should play in Amer­i­ca’s future (to say noth­ing of what’s going on in Britain right now), it might help to look at what role immi­gra­tion has played in its past, and a new ani­mat­ed info­graph­ic of who has immi­grat­ed from where since 1820 gives the clear­est pos­si­ble look at the whole pic­ture.

“Through most of the 1800s, immi­gra­tion came pre­dom­i­nant­ly from West­ern Europe (Ire­land, Ger­many, the U.K.),” writes the data visu­al­iza­tion’s cre­ator Max Gal­ka at Metro­cosm. “Toward the end of the cen­tu­ry, coun­tries fur­ther east in Europe (Italy, Rus­sia, Hun­gary) took over as the largest source of migra­tion. Begin­ning in the ear­ly 1900’s, most immi­grants arrived from the Amer­i­c­as (Cana­da, Mex­i­co). And the last few decades have seen a rise in migra­tion from Asia.”

Each col­ored dot fly­ing toward the U.S. rep­re­sents a part of that coun­try’s pop­u­la­tion, and the bright­ness of a coun­try’s col­or on the map cor­re­sponds to its total migra­tion to the U.S. at that par­tic­u­lar time. Gal­ka pro­vides oth­er charts that show immi­gra­tion flows by coun­try of ori­gin over time, which makes immi­gra­tion look high­er than ever, and then the same data as a per­cent­age of the total pop­u­la­tion of the Unit­ed States, which makes it look almost low­er than ever. (And as an Amer­i­can who moved to Korea last year, I can’t help but ask whether we should now give as much thought to emi­gra­tion out of the U.S. as we have to immi­gra­tion into it.)

To real­ly feel the advan­tages and com­pli­ca­tions of the nation of immi­grants first-hand, you’ll want to spend time in a major Amer­i­can city, those always vibrant, often trou­bled places that peo­ple like The Wire cre­ator David Simon have ded­i­cat­ed them­selves to observ­ing. “You look at what New Orleans is capa­ble of, as a prod­uct of the Amer­i­can melt­ing pot, and it’s glo­ri­ous,” he once said. “It’s in the fric­tion and in the dynam­ic between the var­i­ous groups that inhab­it a city that cre­ativ­i­ty real­ly hap­pens. What makes cities work is a lev­el of tol­er­ance and human endeav­or and wit that is absolute­ly required on the part of all peo­ple. Whether or not we suc­ceed as an urban peo­ple is the only ques­tion worth ask­ing.” And in Amer­i­ca, an urban peo­ple has always been a diverse peo­ple.

via Men­tal Floss

Relat­ed Con­tent:

Rare Audio: Albert Ein­stein Explains “Why I Am an Amer­i­can” on Day He Pass­es Cit­i­zen­ship Test (1940)

Noam Chom­sky on Whether the Rise of Trump Resem­bles the Rise of Fas­cism in 1930s Ger­many

Brex­it 101: The UK’s Stun­ning Vote Explained in 4 Min­utes

The Syr­i­an Con­flict & The Euro­pean Refugee Cri­sis Explained in an Ani­mat­ed Primer

John Green’s Crash Course in U.S. His­to­ry: From Colo­nial­ism to Oba­ma in 47 Videos

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities and cul­ture. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

1930s Fashion Designers Predict How People Would Dress in the Year 2000

From 1930 to 1941, Pathetone Week­ly ran film clips that high­light­ed ‘the nov­el, the amus­ing and the strange.’ At some point dur­ing the 1930s (the exact date isn’t clear), Pathetone asked Amer­i­can design­ers to look rough­ly 70 years into the future and haz­ard a guess about how women might dress in Year 2000. Appar­ent­ly, fash­ion design­ers don’t make great futur­ists, and the designs fell rather wide of the mark — unless you want to count Lady Gaga’s wardrobe, in which case they didn’t do a half bad job. Or, for that mat­ter, the male con­nect­ed 24/7 to his phone and sundry gad­gets…

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:

How French Artists in 1899 Envi­sioned Life in the Year 2000: Draw­ing the Future

Isaac Asimov’s 1964 Pre­dic­tions About What the World Will Look 50 Years Lat­er — in 2014

Arthur C. Clarke Pre­dicts the Future in 1964 … And Kind of Nails It

In 1900, Ladies’ Home Jour­nal Pub­lish­es 28 Pre­dic­tions for the Year 2000

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Hear the Only Castrato Ever Recorded Sing “Ave Maria” and Other Classics (1904)

Every human cul­ture has prac­ticed some form of rit­u­al muti­la­tion, from the mild mar­ring of a Spring Break tat­too to the dis­fig­ure­ment of foot-bind­ing. On the more extreme end of the scale, we have the ear­ly mod­ern Euro­pean prac­tice of cas­trat­ing young boys to inhib­it growth of their vocal cords and thy­roid glands dur­ing puber­ty. Such singers, known as cas­trati, became “high-sopra­nos, mez­zos, and altos, stri­dent voic­es and sweet ones, loud and mel­low voic­es,” writes Martha Feld­man in her book The Cas­tra­to.

The pur­pose of muti­lat­ing these singers ini­tial­ly had to do with a ban on women in church choirs. Cas­trati took their place, and were in very high demand. “Oppor­tu­ni­ties for cas­trati were stag­ger­ing,” writes i09, “and many fam­i­lies were fac­ing star­va­tion” in 16th cen­tu­ry Italy, where the prac­tice began. Despite a church pro­hi­bi­tion on unnec­es­sary ampu­ta­tion, par­ents and sur­geons con­spired to ille­gal­ly cas­trate boys cho­sen to ful­fill the role, and the prac­tice con­tin­ued into the 19th cen­tu­ry.

Sev­er­al cas­trati achieved last­ing pop­u­lar fame. “The best cas­trati were super­stars,” remarks Sarah Bard­well of the Han­del House Muse­um, “adored by female fans.” Oth­ers, io9 points out, “were low-rent singers who spent their time doing small gigs in small towns, and oth­ers spun their singing careers into posi­tions as min­is­ters at roy­al courts.” One of the more glam­orous fates await­ed one of the last of the cas­trati, Alessan­dro Moreschi, who may have been cas­trat­ed to rem­e­dy an inguinal her­nia or may have been inten­tion­al­ly muti­lat­ed to become a cas­tra­to.

How­ev­er he came by it, Moreschi’s voice so impressed a Roman choir­mas­ter that he appoint­ed the singer first sopra­no of the Papal basil­i­ca of St. John Lat­er­an in 1873 at age 15. Soon after, Moreschi, his fame spread­ing wide­ly, joined the Sis­tine Chapel Choir and took on sev­er­al admin­is­tra­tive duties. By this time, it’s said that Moreschi was so pop­u­lar that audi­ences would call out “Evi­va il coltel­lo” (“Long live the knife!”) dur­ing his per­for­mances. While still with the Sis­tine Choir and near the end of his career, Moreschi began to make record­ings for the Gramo­phone & Type­writer Com­pa­ny of London—the only known record­ings of a cas­tra­to.

Between 1902 and 1904, Moreschi record­ed 17 tracks, and you can hear them all here. At the top of the post, hear a restored ver­sion of “Ave Maria,” fur­ther down, a ren­di­tion of Euge­nio Terziani’s “Hos­tias et Pre­ces,” and here, the com­plete record­ings of Alessan­dro Moreschi, in their noisy orig­i­nal state. Nicholas Clap­ton, cura­tor of a 2006 cas­trati exhib­it at the Han­del House Muse­um in Lon­don, describes Moreschi’s voice as “Pavarot­ti on heli­um” and his­tor­i­can David Starkey tells of the “full hor­ror” of the pro­ce­dure, but also adds, “it’s hor­ri­bly like the child star of today, forced into this arti­fi­cial­i­ty, forced… to deliv­er that ineluctable, strange, desir­able thing of star qual­i­ty.”

Sad­ly, like many of today’s har­ried child singers and actors, few cas­trati actu­al­ly achieved star­dom. But those few who did, like Moreschi, “had a tremen­dous emo­tion­al impact on the audi­ences of the day,” Bard­well tells us. Moreschi’s record­ings, made while he was in his mid-for­ties, sound alien to us not only because of the strange­ness of cas­trati singing but because of the high­ly melo­dra­mat­ic style pop­u­lar at the time. His singing may not be rep­re­sen­ta­tive of some of the most renowned cas­trati in his­to­ry, like the 18th cen­tu­ry sen­sa­tion Farinel­li, but it is—barring a resur­gence of the pret­ty bar­bar­ic practice—probably the clos­est we’ll come to hear­ing the infa­mous cas­trati voice.

via His­to­ry Buff

Relat­ed Con­tent:

Rare Video Cap­tures 29-Year-Old Luciano Pavarot­ti in One of His Ear­li­est Record­ed Per­for­mances (1964)

Watch Clas­sic Per­for­mances from Maria Callas’ Won­drous and Trag­i­cal­ly-Short Opera Career

What Beat­box­ing and Opera Singing Look Like Inside an MRI Machine

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

1,000 Vintage Postcards Show Famous Actors Performing Shakespeare’s Plays from 1880 to 1914

TEMP_Kerin_Gill_01_front

We’ll nev­er ful­ly know how any­thing looked in Shake­speare’s time, much less how the Bard’s own plays did when first per­formed on the stage of the Globe The­atre. Thor­ough schol­ar­ship of his­to­ry in gen­er­al and Shake­speare in par­tic­u­lar has enabled us to imag­ine and recon­struct such a sight with rea­son­able cred­i­bil­i­ty, but only so much direct accu­ra­cy, since the devel­op­ment of pho­tog­ra­phy would­n’t hap­pen for a cou­ple hun­dred years. But not long after human­i­ty got its pho­tog­ra­phers did those pho­tog­ra­phers begin tak­ing pic­tures of human­i­ty’s best-known dra­mas, and a set of par­tic­u­lar­ly vivid exam­ples sur­vives on Emory Uni­ver­si­ty’s relaunched web site Shake­speare and the Play­ers.

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The site describes itself as “an online exhi­bi­tion of near­ly 1,000 post­cards fea­tur­ing many famous Eng­lish and Amer­i­can actors who per­formed Shakespeare’s plays for late Vic­to­ri­an and Edwar­dian audi­ences,” speci­fi­cial­ly from around 1880 to 1914. It “show­cas­es post­cards fea­tur­ing the dom­i­nat­ing actors of the time in roles from some of the more pop­u­lar and oft-per­formed plays, like Ham­let and Romeo & Juli­et, as well as those from plays not often per­formed, like Cym­be­line and The Mer­ry Wives of Wind­sor.”

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Slate’s Rebec­ca Onion refers to schol­ar Lawrence W. Levine, who writes of how, in the 19th cen­tu­ry, “many Amer­i­cans, even if illit­er­ate, knew and loved Shake­speare’s plays; they were the source mate­r­i­al for end­less par­o­dies, skits, and songs on the Amer­i­can stage. Nor was Shake­speare fan­dom con­fined to the elite; in the first half of the 19th cen­tu­ry, the­ater ‘played the role that movies played in the first half of the twen­ti­eth … a kalei­do­scop­ic, demo­c­ra­t­ic insti­tu­tion pre­sent­ing a wide­ly vary­ing bill of fare to all class­es and socioe­co­nom­ic groups.’ ”

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Shake­speare and the Play­ers first went live back in the 1990s, a project of Eng­lish pro­fes­sor Har­ry Rusche, who has writ­ten an infor­ma­tive pref­ace for the site in its recent­ly redesigned form (with its images com­plete­ly re-dig­i­tized). “Post­cards on Shake­speare appeared in a dizzy­ing array of con­texts,” he explains, “some humor­ous and some seri­ous; these cards of actors were only a small part of Shake­speare and of the card-indus­try as a whole.” A “mania for col­lect­ing” swept up their con­tem­po­rary buy­ers, not to men­tion an appre­ci­a­tion for the stars of the day: “hand­some men and beau­ti­ful women are always pop­u­lar in any medi­um.”

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But plen­ty of them actu­al­ly used these post­cards for their intend­ed pur­pose, about which you can learn more on the site’s post­card backs sec­tion. It notes that “the philoso­pher Jacques Der­ri­da, in The Post­card, encour­ages us to read the two con­flict­ing, yet res­onat­ing scenes — in our case, the Shake­speare image and the hand­writ­ing on the back — two sides of the post­cards togeth­er,” an expe­ri­ence that may “be espe­cial­ly inter­est­ing to those of us born in the age of email, video con­fer­ences, Twit­ter, and text mes­sag­ing,” those who will now won­der when a set of Shake­speare emo­ji will come along, pro­vid­ing us a means of con­tin­u­ing to incor­po­rate these eter­nal char­ac­ters into our cor­re­spon­dence today.

via Slate

Relat­ed Con­tent:

Free Online Shake­speare Cours­es: Primers on the Bard from Oxford, Har­vard, Berke­ley & More

Read All of Shakespeare’s Plays Free Online, Cour­tesy of the Fol­ger Shake­speare Library

Shakespeare’s Rest­less World: A Por­trait of the Bard’s Era in 20 Pod­casts

Take a Vir­tu­al Tour of Shakespeare’s Globe The­atre

What Shake­speare Sound­ed Like to Shake­speare: Recon­struct­ing the Bard’s Orig­i­nal Pro­nun­ci­a­tion

Hear What Ham­let, Richard III & King Lear Sound­ed Like in Shakespeare’s Orig­i­nal Pro­nun­ci­a­tion

Drunk Shake­speare: The Trendy Way to Stage the Bard’s Plays in the US & the UK

Tol­stoy Calls Shake­speare an “Insignif­i­cant, Inartis­tic Writer”; 40 Years Lat­er, George Orwell Weighs in on the Debate

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hear Ernest Shackleton Speak About His Antarctic Expedition in a Rare 1909 Recording

What more har­row­ing sto­ry has the his­to­ry of twen­ti­eth-cen­tu­ry explo­ration pro­duced than that of Ernest Shack­le­ton’s dis­as­trous Impe­r­i­al Trans-Antarc­tic Expe­di­tion of 1914–17? With one of their ships, the appro­pri­ate­ly named Endurance, crushed by pack ice, Shack­le­ton and com­pa­ny had to spend years far out­side civ­i­liza­tion, liv­ing in makeshift camps and ulti­mate­ly using a lifeboat to make the gru­el­ing 800-mile jour­ney to the hope of res­cue. Though the hero­ic efforts of Shack­le­ton and oth­ers ensured no loss of life among the men they led, mak­ing the expe­di­tion at least a suc­cess in sur­vival terms, the famed explor­er had had much bet­ter luck last time.

Shack­le­ton’s British Antarc­tic Expe­di­tion of 1907-09, also known as the Nim­rod Expe­di­tion, took him and his crew near­ly to the South Pole, set­ting a record for the longest south­ern polar expe­di­tion to that date. Or, to describe the achieve­ment in Shack­le­ton’s own words, “We reached a point with­in 97 geo­graph­i­cal miles of the South Pole; the only thing that stopped us from reach­ing the actu­al point was the lack of fifty pounds of food. Anoth­er par­ty reached, for the first time, the South Mag­net­ic Pole; anoth­er par­ty reached the sum­mit of a great active vol­cano, Mount Ere­bus. We made many inter­est­ing geo­log­i­cal and sci­en­tif­ic dis­cov­er­ies and had many nar­row escapes through­out the whole time.”

You can even hear that account giv­en in Shack­le­ton’s own voice in the video above, which cap­tures the play­back of My South Polar Expe­di­tion, an Edi­son Amberol wax cylin­der record he record­ed in New Zealand just a week after re-enter­ing civ­i­liza­tion. He returned to great acclaim, but also in seri­ous debt, and so putting out a piece of mer­chan­dise like this, and set­ting out on the exten­sive lec­ture tour that fol­lowed, only made good finan­cial sense. But before long, the cel­e­brat­ed Shack­le­ton found him­self at loose ends, becom­ing, in the words of jour­nal­ist and politi­cian Sir Har­ry Brit­tain, “a bit of a float­ing gent,” one who must have felt more than ready to take on a chal­lenge as an ambi­tious Impe­r­i­al Trans-Antarc­tic Expe­di­tion.

As vivid­ly as his­to­ry has remem­bered Shack­le­ton’s Endurance expe­ri­ence, he him­self came home from that sec­ond gru­el­ing voy­age to lit­tle fan­fare. He arrived in Eng­land not just dur­ing the news-dom­i­nat­ing Great War but lat­er than the rest of his crew, hav­ing giv­en anoth­er lec­ture tour in Amer­i­ca first. But this explor­er, it seems, did not live for fan­fare. Despite what hap­pened in his sec­ond Antarc­tic expe­di­tion, he orga­nized a third, the Shack­le­ton-Rowett Expe­di­tion, in 1921, though he died of a heart attack the fol­low­ing year, with the jour­ney still under­way. Shack­le­ton enthu­si­asts, and there are many, can only imag­ine what tales that expe­di­tion would have giv­en their hero to tell — and how they might have sound­ed on the slight­ly high­er-fideli­ty record­ing media devel­oped by the time he’d planned to return.

To hear an audio ver­sion of Shack­le­ton’s har­row­ing 1914–17 voy­age, lis­ten to Endurance: Shack­le­ton’s Incred­i­ble Voy­age, which you can down­load for free if you sign up for Audible.com’s 30-day Free Tri­al pro­gram.

Relat­ed Con­tent:

Google Street View Opens Up a Look at Shackleton’s Antarc­tic

A Beau­ti­ful Drone’s Eye View of Antarc­ti­ca

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­ma, the crowd­fund­ed jour­nal­ism project Where Is the City of the Future?, and the Los Ange­les Review of Books’ Korea Blog. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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

Not since the six­ties and sev­en­ties, with the black pow­er move­ment, flow­er­ing of Afro­cen­tric schol­ar­ship, and debut of Alex Haley’s Roots, nov­el and mini-series, has there been so much pop­u­lar inter­est in the his­to­ry of slav­ery. We have seen Roots remade; award-win­ning books like Edward Baptist’s The Half Has Nev­er Been Told climb best­seller lists; and The Freedman’s Bureau Project’s dig­i­ti­za­tion of 1.5 mil­lion slav­ery-era doc­u­ments gives cit­i­zen-schol­ars the tools to research the his­to­ry on their own.

In addi­tion to these devel­op­ments, Slate mag­a­zine has designed a mul­ti­part, mul­ti­me­dia course, “The His­to­ry of Amer­i­can Slav­ery,” as part of its online edu­ca­tion­al ini­tia­tive, “Slate Acad­e­my.” Host­ed by Slate’s Jamelle Bouie and Rebec­ca Onion and fea­tur­ing guest his­to­ri­ans like Bap­tist, Hen­ry Louis Gates, Jr., Annette Gor­don-Reed, Eric Fon­er and more, this thor­ough sur­vey con­sists of a nine-part pod­cast, with copi­ous sup­ple­men­tary essays, book excerpts, and oth­er resources draw­ing on pri­ma­ry doc­u­ments and arti­facts. One sup­ple­ment, the ani­ma­tion above, shows us the “The Atlantic Slave Trade in Two Min­utes.”

Visu­al­iz­ing 315 years—“from the trade’s begin­ning in the 16th cen­tu­ry to its con­clu­sion in the 19th”—the ani­ma­tion dis­plays slave ships as increas­ing num­bers of black dots zip­ping across the Atlantic to the Amer­i­c­as from the African coasts. The dots “also cor­re­spond to the size of each voy­age. The larg­er the dot, the more enslaved peo­ple on board.” The Youtube video above pro­vides only a par­tial rep­re­sen­ta­tion of this impres­sive graph­ic. The full ani­ma­tion at Slate allows users to pause, click on indi­vid­ual dots, and get detailed infor­ma­tion, when avail­able, about the name of the ship, num­ber of enslaved peo­ple trans­port­ed, and points of ori­gin and entry in the New World.

In all, we see ani­mat­ed “more than 20,000 voy­ages cat­a­logued in the Trans-Atlantic Slave Trade Data­base.” And though we typ­i­cal­ly, with typ­i­cal U.S. solip­sism, think of Amer­i­can slav­ery as a most­ly North Amer­i­can phe­nom­e­non, the truth is quite the con­trary:

Of the more than 10 mil­lion enslaved Africans to even­tu­al­ly reach the West­ern Hemi­sphere, just 388,747—less than 4 per­cent of the total—came to North Amer­i­ca. This was dwarfed by the 1.3 mil­lion brought to Span­ish Cen­tral Amer­i­ca, the 4 mil­lion brought to British, French, Dutch, and Dan­ish hold­ings in the Caribbean, and the 4.8 mil­lion brought to Brazil.

Ear­ly slave expe­di­tions were con­duct­ed by the Span­ish and Por­tuguese. “In the 1700s,” writes Bouie, “Span­ish trans­port dimin­ish­es and is replaced (and exceed­ed) by British, French, Dutch, and—by the end of the century—American activ­i­ty. This hun­dred years—from approx­i­mate­ly 1725 to 1825—is also the high-water mark of the slave trade, as Euro­peans send more than 7.2 mil­lion peo­ple to forced labor, dis­ease and death in the New World.” Sur­pris­ing­ly, Por­tu­gal remained one of the lead­ing nations among enslavers for most of the slave-trade’s his­to­ry.

The ani­ma­tion and short explana­to­ry essay by Bouie show us the stag­ger­ing his­tor­i­cal scope of the immense­ly prof­itable and pro­found­ly inhu­mane enter­prise that shaped not only the Unit­ed States, but also—in many ways more so—Central and South Amer­i­ca and the Caribbean. There is no his­to­ry of the Amer­i­c­as, and no growth of many of the colonies into wealthy, world-his­tor­i­cal nations, with­out slav­ery, nor can the wealth of Europe be in any way divorced from the prof­its of the slave trade and slave indus­try. Bouie and Onion explain in the short video above why they decid­ed to pro­duce the course.

For a sense of how his­to­ri­ans’ and the public’s under­stand­ing of slav­ery have changed over many decades—for all kinds of ide­o­log­i­cal reasons—read this excerpt from Baptist’s ground­break­ing book. As he says in an inter­view with Salon, most his­to­ries and recre­ations of the peri­od of enslave­ment attempt to hide the facts: “The resis­tance to reck­on­ing with the role of slav­ery in the tra­jec­to­ry that makes the U.S. the most pow­er­ful nation on earth, that’s real; that’s very, very deep…. What­ev­er we say about the role of the U.S. in glob­al his­to­ry, it’s absolute­ly clear to me that slav­ery is essen­tial to the rise of U.S. pow­er.” Slate’s series goes a long way toward telling us the true his­to­ry of slav­ery, from the mouths of writ­ers and schol­ars who engage with it dai­ly.

Relat­ed Con­tent:

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

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

Mas­sive New Data­base Will Final­ly Allow Us to Iden­ti­fy Enslaved Peo­ples and Their Descen­dants in the Amer­i­c­as

Crowd­sourced Data­base Will Locate the Bur­ial Sites of For­got­ten US Slaves

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

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