Behold Charles Laughton Delivering the Gettysburg Address in its Entirety in Ruggles of Red Gap

The Get­tys­burg Address is the sort of elo­quent speech school­child­ren were once expect­ed to com­mit to mem­o­ry, much as they were required to bring apples for the teacher and dip each oth­ers’ pig­tails in ink. Nowa­days, with ever more his­tor­i­cal ground clam­or­ing to be cov­ered, it’s real­ly only those cel­e­brat­ed open­ing lines that tend to stick. No doubt they’ll show up in the Stephen Spiel­berg-direct­ed Lin­coln bio-pic slat­ed to open lat­er this fall.

Stray back in time for a real refresh­er course, cour­tesy of erst­while Hunch­back of Notre Dame and Shake­speare­an wun­derkind, Charles Laughton. His soup-to-nuts recita­tion of the cel­e­brat­ed speech is the unex­pect­ed high­light of Rug­gles of Red Gap, a 1935 screw­ball West­ern that time has rel­e­gat­ed to the semi-shad­ows. It’s a beau­ti­ful­ly under­stat­ed per­for­mance that man­ages to illu­mi­nate the mean­ing of each and every word. (It also makes me more for­giv­ing of the film’s ear­ly min­utes, when Laughton’s por­tray­al of a very prop­er Eng­lish but­ler suc­cumbs to a sil­ver-can­de­labra-up-the-hein­er lev­el of broad­ness.)

Just as impres­sive is direc­tor Leo McCarey’s deci­sion to set the scene atop a gid­dy vaude­ville rou­tine fea­tur­ing a saloon full of clue­less cow­boys and bar­keeps. It’s a ton of fun.

A Short History of Romanian Computing: From 1961 to 1989

The “Politehni­ca” Uni­ver­si­ty of Timisoara, Roma­nia, an engi­neer­ing school estab­lished in 1920, takes its mot­to from Fer­di­nand I: “It’s not the walls that make a school, but the spir­it liv­ing inside.” While the walls of “Politehni­ca” are as state­ly as any­one could ask for, what’s inside, accord­ing to the short doc­u­men­tary above, is also pret­ty spiffy—the spir­it of com­put­ing his­to­ry, Roman­ian style. With a score that sounds a lit­tle like an out­take from Logan’s Run, this video gives us a tour of the university’s Muse­um of Infor­ma­tion Tech­nol­o­gy and Com­mu­ni­ca­tions, opened Novem­ber 16, 2001.

We meet a num­ber of ancient machines, many of which were respon­si­ble for design­ing build­ings and hydro­elec­tric dams and some of which still func­tion. There’s the Mecipt 1, a mas­sive 1961 main­frame sys­tem cov­ered in dials, switch­es, and rout­ing sys­tems and look­ing some­what more indus­tri­al than the machines built by Fairchild and IBM at the same time. Next comes Mecipt 2 in 1963, which was in oper­a­tion for six­teen years and did much of the build­ing design. The micro­com­put­ers TIMS and MS-100 resem­ble the orig­i­nal busi­ness machines made in the six­ties by com­pa­nies like Hewlett-Packard and Data Gen­er­al Corp. Over­all, the short doc takes us through the exper­i­men­tal course of Roman­ian com­put­ing from 1961 to 1989. The read­er who brought this to our atten­tion points out that there’s lit­tle mate­r­i­al out there on Roman­ian com­put­er engi­neer­ing. This short doc offers a rare look at a very lit­tle-known and fas­ci­nat­ing his­to­ry.

h/t Alin

Relat­ed Con­tent:

“They Were There” — Errol Mor­ris Final­ly Directs a Film for IBM

How Film Was Made: A Kodak Nos­tal­gia Moment

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

The History of Byzantium Podcast Picks Up Where The History of Rome Left Off

In May we post­ed about Mike Dun­can’s The His­to­ry of Rome pod­cast, which, upon reach­ing episode 179, had con­clud­ed the tale of the Roman Empire’s hey­day. Over its five-year run, Dun­can’s show amassed a large, enthu­si­as­tic audi­ence, most of whom have no doubt con­tin­ued their explo­ration of Roman his­to­ry else­where. It has even inspired some to launch his­to­ry pod­casts of their own, one of which presents itself as The His­to­ry of Rome’s direct suc­ces­sor in sub­ject, style, and tone. The His­to­ry of Byzan­tium (RSS â€” iTunes), which debuted in May, aims to recount the sto­ry of Roman Empire of Late Antiq­ui­ty and the Mid­dle Ages, now bet­ter known as the Byzan­tine Empire, from the years 476 through 1453. Though per­haps less often dis­cussed by the aver­age his­to­ry buff, the Byzan­tine Empire nonethe­less offers a wealth of his­tor­i­cal inter­est, espe­cial­ly, it seems, to pod­cast­ers; you may already have heard Lars Brown­worth’s show 12 Byzan­tine Rulers, which even­tu­al­ly land­ed him a book deal. And many more Byzan­tine sto­ries remain to tell.

Pier­son, by day a tele­vi­son crit­ic, explic­it­ly describes his project as both an unof­fi­cial sequel and an homage to The His­to­ry of Rome. “I liked the sim­pli­fi­ca­tion and expla­na­tion of the Roman sto­ry,” he writes in his intro­duc­to­ry post. â€śI liked the half an hour length. I liked Mike’s sense of humour and tim­ing. I liked his neu­tral tone which nev­er felt like it was pro­vid­ing an over­bear­ing opin­ion on the nar­ra­tive. When Mike announced he would be stop­ping with the fall of the West in 476 I con­sid­ered whether I could pos­si­bly take on the task of con­tin­u­ing the sto­ry. [ … ] Ini­tial­ly at least I hope to emu­late Mike’s style. I want to keep the rough struc­ture and neu­tral tone estab­lished on The His­to­ry of Rome because I think so high­ly of it. I hope you won’t see it as sim­ply an imi­ta­tion and doubt­less over time my own style will emerge.” This seems as hon­est an account as any of the way cre­ators work off of their inspi­ra­tions, and His­to­ry of Rome fans will no doubt lis­ten with inter­est to The His­to­ry of Byzan­tium for both the devel­op­ments in the tale and in Pier­son­’s way of telling it.

You can sub­scribe to The His­to­ry of Byzan­tium via RSS or iTunes.

And, all of you his­to­ry buffs, remem­ber that you can find free cours­es in the His­to­ry sec­tion of our col­lec­tion of Free Online Cours­es from Great Uni­ver­si­ties.

Relat­ed con­tent:

The His­to­ry of Rome in 179 Pod­casts

The Dig­i­tal Tip­ping Point: The Wild Ride from Pod­cast to Book Deal

The Decline and Fall of the Roman (and Amer­i­can?) Empire: A Free Audio­book

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

The Long, Violent History of Israel and Palestine Musically Animated by Nina Paley

You may remem­ber Nina Paley, about whose movie Sita Sings the Blues we post­ed back in 2009. If you fol­low ani­ma­tion, you cer­tain­ly remem­ber her, since she put togeth­er that fea­ture-length, jazz vocal-scored, auto­bi­o­graph­i­cal adap­ta­tion of the Indi­an myth the Ramayana almost entire­ly with her own set of self-taught skills. For some time now, Paley’s fans have known that her next major project, Seder-Masochism, will retell the sto­ry of Exo­dus using nar­ra­tion assem­bled from gen­uine Passover Seder record­ings. This we learned when Paley chose to fund the first phase of the project on Kick­starter. We can now watch, embed­ded above, the very first scene she has com­plet­ed: “This Land is Mine,” a brief and bloody musi­cal his­to­ry of the ter­ri­to­ry called, depend­ing upon your per­spec­tive, Israel, Pales­tine, Canaan, or Lev­ant.

Help­ful­ly, Paley has writ­ten up a guide to this sequence’s many play­ers: you’ve got the Canaan­ites, who kill Ear­ly Man; the Egpy­tians, who kill the Canaan­ites; the Assyr­i­ans, who kill the Egyp­tians; and so on for­ward through the annals until we arrive at the mod­ern-day bat­tles between “PLO/Hamas/Hezbollah,” the State of Israel, and “guerrillas/freedom fighters/terrorists.” Any­one who even occa­sion­al­ly glances toward the news knows full well how large con­flict and death loom today over this par­tic­u­lar slice of the world, but through Paley’s high-body-count ani­mat­ed inter­pre­ta­tion of the place’s his­to­ry, we can see that it was ever thus. She flinch­es not from her sub­ject mat­ter’s over­whelm­ing vio­lence, nor from her own ten­den­cy to inject it with humor. This bodes well for what she’ll do with the rest of the sto­ry, col­lect it as she will from as many Seders as she can attend. The mak­ings, tru­ly, of an Exo­dus dif­fer­ent from all oth­er Exo­dus­es.

Relat­ed con­tent:

Mid­dle East­ern His­to­ry: Free Cours­es

Dra­ma­tiz­ing the Mid­dle East

Rev­o­lu­tions in the Mid­dle East: Head of Al Jazeera Speaks at TED

Sita Sings the Blues Now on YouTube

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture. Fol­low him on Twit­ter at @colinmarshall.

Dizzy Gillespie Runs for US President, 1964. Promises to Make Miles Davis Head of the CIA

There comes a point in every nation­al elec­tion year when I reach total sat­u­ra­tion and have to tune it all out to stay sane—the non­stop streams of vit­ri­ol, the spec­ta­cles of elec­toral dys­func­tion, the ads, the ads, the ads. I’m sure I’m not alone in this. But imag­ine how dif­fer­ent­ly we could feel about pres­i­den­tial elec­tions if peo­ple like, I don’t know, Dizzy Gille­spie could get on a major tick­et? That’s what might have hap­pened in 1964 if “a lit­tle-known pres­i­den­tial cam­paign… had been able to vault the mil­lion­aires-only hur­dle.” What began as one of Dizzy’s famous prac­ti­cal jokes, and a way to raise mon­ey for CORE (Con­gress for Racial Equal­i­ty) and oth­er civ­il rights orga­ni­za­tions became some­thing more, a way for Dizzy’s fans to imag­ine an alter­na­tive to the “millionaire’s‑only” club rep­re­sent­ed by Lyn­don John­son and Bar­ry Gold­wa­ter.

dizzy for president

Gillespie’s cam­paign had “Dizzy Gille­spie for Pres­i­dent” but­tons, now collector’s items, and “Dizzy for Pres­i­dent” became the title of an album record­ed live at the Mon­terey Jazz Fes­ti­val in 1963.

A take on his trade­mark tune “Salt Peanuts,” “Vote Dizzy” was Gillespie’s offi­cial cam­paign song and includes lyrics like:

Your pol­i­tics ought to be a groovi­er thing
Vote Dizzy! Vote Dizzy!
So get a good pres­i­dent who’s will­ing to swing
Vote Dizzy! Vote Dizzy!

It’s def­i­nite­ly groovi­er than either one of our cur­rent cam­paigns. Dizzy “believed in civ­il rights, with­draw­ing from Viet­nam and rec­og­niz­ing com­mu­nist Chi­na,” and he want­ed to make Miles Davis head of the CIA, a role I think would have suit­ed Miles per­fect­ly. Although Dizzy’s cam­paign was some­thing of a pub­lic­i­ty stunt for his pol­i­tics and his per­sona, it’s not unheard of for pop­u­lar musi­cians to run for pres­i­dent in earnest. In 1979, rev­o­lu­tion­ary Niger­ian Afrobeat star Fela Kuti put him­self for­ward as a can­di­date in his coun­try, but was reject­ed. More recent­ly, Hait­ian musi­cian and for­mer Fugee Wyclef Jean attempt­ed a sin­cere run at the Hait­ian pres­i­den­cy, but was dis­qual­i­fied for rea­sons of res­i­den­cy. It’s a lit­tle hard to imag­ine a pop­u­lar musi­cian mount­ing a seri­ous pres­i­den­tial cam­paign in the U.S., but then again, the 80s were dom­i­nat­ed by the strange real­i­ty of a for­mer actor in the White House, so why not? In any case, revis­it­ing Dizzy Gille­spie’s mid-cen­tu­ry polit­i­cal the­ater may pro­vide a need­ed respite from the onslaught of the cur­rent U.S. cam­paign sea­son.

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

Christopher Hitchens Remembers Ayatollah Khomeini’s Fatwa Against His Friend Salman Rushdie, 2010

When his tele­phone rang on Feb­ru­ary 14, 1989, Christo­pher Hitchens was thun­der­struck. A news­pa­per reporter was on the line, ask­ing for his reac­tion to a radio speech from Tehran ear­li­er that day in which the theo­crat­ic ruler of Iran, Aya­tol­lah Ruhol­lah Khome­i­ni, called on Mus­lims around the world to mur­der his friend the nov­el­ist Salman Rushdie because of some­thing Rushdie had writ­ten in his book The Satan­ic Vers­es. As Hitchens lat­er wrote in his mem­oir, Hitch-22:

I felt at once that here was some­thing that com­plete­ly com­mit­ted me. It was, if I can phrase it like this, a mat­ter of every­thing I hat­ed ver­sus every­thing I loved. In the hate col­umn: dic­ta­tor­ship, reli­gion, stu­pid­i­ty, dem­a­gogy, cen­sor­ship, bul­ly­ing, and intim­i­da­tion. In the love col­umn: lit­er­a­ture, irony, humor, the indi­vid­ual, and the defense of free expres­sion. Plus, of course, friendship–though I like to think that my reac­tion would have been the same if I had­n’t known Salman at all. To re-state the premise of the argu­ment again: the theo­crat­ic head of a for­eign despo­tism offers mon­ey in his own name in order to sub­orn the mur­der of a civil­ian cit­i­zen of anoth­er coun­try, for the offense of writ­ing a work of fic­tion. No more root-and-branch chal­lenge to the val­ues of the Enlight­en­ment (on the bicen­ten­ni­al of the fall of the Bastille) or to the First Amend­ment to the Con­sti­tu­tion, could be imag­ined.

Rushdie went into hid­ing, but his Japan­ese trans­la­tor, Hitoshi Igarashi, was mur­dered, and attempts were made against the lives of sev­er­al oth­er trans­la­tors and a pub­lish­er. Book­stores in Eng­land and Cal­i­for­nia were fire­bombed, and many more received threats of vio­lence. The pub­lic reac­tion to all of this was a bit­ter dis­ap­point­ment to Hitchens. In his book, God is Not Great: How Reli­gion Poi­sons Every­thing, he wrote:

One might have thought that such arro­gant state-spon­sored homi­cide, direct­ed at a lone­ly and peace­ful indi­vid­ual who pur­sued a life devot­ed to lan­guage, would have called forth a gen­er­al con­dem­na­tion. But such was not the case. In con­sid­ered state­ments, the Vat­i­can, the arch­bish­op of Can­ter­bury, the chief sephardic rab­bi of Israel all took a stand in sym­pa­thy with–the aya­tol­lah. So did the car­di­nal arch­bish­op of New York and many oth­er less­er reli­gious fig­ures. While they usu­al­ly man­aged a few words in which to deplore the resort to vio­lence, all these men stat­ed that the main prob­lem raised by the pub­li­ca­tion of The Satan­ic Vers­es was not mur­der by mer­ce­nar­ies, but blas­phe­my. Some pub­lic fig­ures not in holy orders, such as the Marx­ist writer John Berg­er, the Tory his­to­ri­an Hugh Trevor-Rop­er, and the doyen of espi­onage authors John Le Car­rĂ©, also pro­nounced that Rushdie was the author of his own trou­bles, and had brought them on him­self by “offend­ing” a great monothe­is­tic reli­gion. There seemed noth­ing fan­tas­tic, to these peo­ple, in the British police hav­ing to defend an Indi­an-born ex-Mus­lim cit­i­zen from a con­cert­ed cam­paign to take his life in the name of god.

This month Rushdie pub­lished Joseph Anton: A Mem­oir, describ­ing his nine-years of life in hid­ing under the Ayotol­lah’s death order. The new book’s rel­e­vance could not be more obvi­ous, giv­en the Anti-Amer­i­can riot­ing that broke out in much of the Mus­lim world this month in reac­tion to a YouTube video called Inno­cence of Mus­lims. Hitchens died last Decem­ber, and his voice in the mat­ter is sore­ly missed. But it isn’t hard to imag­ine what he might have said. In a 2009 Van­i­ty Fair essay, â€śAssas­sins of the Mind,” Hitchens wrote: “For our time and gen­er­a­tion, the great con­flict between the iron­ic mind and the lit­er­al mind, the exper­i­men­tal and the dog­mat­ic, the tol­er­ant and the fanat­i­cal, is the argu­ment that was kin­dled by The Satan­ic Vers­es.”

For a recent dis­cus­sion with Rushdie, lis­ten to his Sep­tem­ber 21 inter­view with Studio360:

The Oldest Color Movies Bring Sunflowers, Exotic Birds and Goldfish Back to Life (1902)

Long before Tech­ni­col­or came along, the British pho­tog­ra­ph­er and inven­tor Edward Turn­er devel­oped a three-col­or motion pic­ture sys­tem in 1899. It was based on the mid-19th cen­tu­ry dis­cov­ery that all col­ors could be pro­duced through com­bi­na­tions of the three pri­ma­ry col­ors — red, green and blue. And Turn­er’s genius was find­ing a way to bring this notion to mov­ing pic­tures. Work­ing with the financier Fred­er­ick Mar­shall Lee, Turn­er man­aged to shoot col­or films of chil­dren play­ing with sun­flow­ers (above), a macaw perched in a cage, and gold­fish swim­ming in a bowl. But then his films and pro­jec­tors were lost … for a good cen­tu­ry … and only recent­ly did the Nation­al Media Muse­um in the UK recov­er the footage and then build a spe­cial pro­jec­tor capa­ble of bring­ing the films back to the screen. To learn how they pulled it off, watch the video below. It’s pret­ty inter­est­ing:

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53 Years of Nuclear Testing in 14 Minutes: A Time Lapse Film by Japanese Artist Isao Hashimoto

It’s strange what can make an impact. Some­times a mes­sage needs to be loud and over-the-top to come across, like punk rock or the films of Oliv­er Stone. In oth­er cas­es, cool and qui­et works much bet­ter.

Take the new time lapse map cre­at­ed by Japan­ese artist Isao Hashimo­to. It is beau­ti­ful in a sim­ple way and eerie as it doc­u­ments the 2,053 nuclear explo­sions that took place between 1945 and 1998.

It looks like a war room map of the world, black land­mass­es sur­round­ed by deep blue ocean. It starts out slow, in July of 1945, with a blue blip and an explo­sion sound in the Amer­i­can southwest—the Man­hat­tan Project’s “Trin­i­ty” test near Los Alam­os. Just one month lat­er come the explo­sions at Hiroshi­ma and Nagasa­ki.

From there the months click by—condensed down to seconds—on a dig­i­tal clock. Each nation that has explod­ed a nuclear bomb gets a blip and a flash­ing dot when they det­o­nate a weapon, with a run­ning tal­ly kept on the screen.

Eeri­est of all is that each nation gets its own elec­tron­ic sound pitch: low tones for the Unit­ed States, high­er for the Sovi­et Union—beeping to the metronome of the months tick­ing by.

What starts out slow picks up by 1960 or so, when all the cold neu­tral beeps and flash­es become over­whelm­ing.

If you’re like me, you had no idea just how many det­o­na­tions the Unit­ed States is respon­si­ble for (1,032—more than the rest of the coun­tries put togeth­er). The sequence ends with the Pak­istani nuclear tests of May 1998.

Hashimo­to worked for many years as a for­eign exchange deal­er but is now an art cura­tor. He says the piece express­es “the fear and fol­ly of nuclear weapons.”

Kate Rix is an Oak­land-based free­lance writer. See more of her work at .

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:

63 Haunt­ing Videos of U.S. Nuclear Tests Now Declas­si­fied and Put Online

Kurt Von­negut Gives a Ser­mon on the Fool­ish­ness of Nuclear Arms: It’s Time­ly Again (Cathe­dral of St. John the Divine, 1982)

Haunt­ing Unedit­ed Footage of the Bomb­ing of Nagasa­ki (1945)

How a Clean, Tidy Home Can Help You Sur­vive the Atom­ic Bomb: A Cold War Film from 1954

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