Watch Bob Dylan Play “Mr. Tambourine Man” in Color at the 1964 Newport Folk Festival

It was at the 1965 New­port Folk Fes­ti­val that Bob Dylan famous­ly “went elec­tric,” alien­at­ing cer­tain adher­ents to the folk scene through which he’d come up, but also set­ting a prece­dent for the kind of quick-change musi­cal adap­ta­tion that he’s kept up into his eight­ies. At the 1964 New­port Folk Fes­ti­val, how­ev­er, all that lay in the future. Yet even then, the young Dylan was­n’t shy of mak­ing con­tro­ver­sial choic­es. Take, for exam­ple, the choice to play “Mr. Tam­bourine Man,” a song that — how­ev­er redo­lent of the mid-nine­teen-six­ties when heard today — would hard­ly have been top­i­cal enough to meet the expec­ta­tions of folk fans who regard­ed the music’s top­i­cal­i­ty as its main strength.

At the top of the post, you can watch col­orized footage of Dylan’s per­for­mance of “Mr. Tam­bourine Man” at the 1964 New­port Folk Fes­ti­val; the orig­i­nal black-and-white clip appears below. Con­sid­er the res­o­nances it could have set off in the minds of his youth­ful, clean-cut audi­ence: Rim­baud? Felli­ni? Lord Buck­ley? Mar­di Gras? Con­fes­sions of an Eng­lish Opi­um-Eater? Dyla­nol­o­gists have sug­gest­ed all these sources of inspi­ra­tion and oth­ers. It is pos­si­ble, of course, that — as Dylan him­self once said — the lyrics’ cen­tral image is that of gui­tarist Bruce Lang­horne, who played on the song as record­ed for Bring­ing It All Back Home, a musi­cian then known for his own­er­ship of a gigan­tic tam­bourine.

Despite its lack of ref­er­ences to the issues of the day, “Mr. Tam­bourine Man” reflects its his­tor­i­cal moment with a clar­i­ty that few songs ever have. (Some would say that’s even truer of The Byrds’ cov­er ver­sion, a radio hit that came out just a month after Dylan’s orig­i­nal.) Dylan him­self must have sensed that it marked not just the peak of an era, but also that of his own com­po­si­tion­al and per­for­ma­tive efforts in this par­tic­u­lar musi­cal style. Though he did attempt to write a fol­low-up to the song, its fail­ure to cohere showed him the way for­ward. Dylan still plays it in con­cert today, and to enthu­si­as­tic recep­tion from his audi­ences, but in such a way as to rein­vent it each time — know­ing that he both is and is not the same man who took the stage at New­port those six­ty years ago, and that “Mr. Tam­bourine Man” both is and is not the same song.

Relat­ed con­tent:

Bob Dylan’s His­toric New­port Folk Fes­ti­val Per­for­mances, 1963–1965

Watch Bob Dylan Make His Debut at the New­port Folk Fes­ti­val in Col­orized 1963 Footage

How Bob Dylan Kept Rein­vent­ing His Song­writ­ing Process, Breath­ing New Life Into His Music

How Bob Dylan Cre­at­ed a Musi­cal & Lit­er­ary World All His Own: Four Video Essays

Com­pare the “It Ain’t Me Babe” Scene from A Com­plete Unknown to the Real Bob Dylan & Joan Baez Per­for­mance at the New­port Folk Fes­ti­val

“Mr. Tam­bourine Man” & Oth­er Bob Dylan Clas­sics, Sung Beau­ti­ful­ly by Kids

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Tibetan Musical Notation Is Beautiful

Reli­gions take the cast and hue of the cul­tures in which they find root. This was cer­tain­ly true in Tibet when Bud­dhism arrived in the 7th cen­tu­ry. It trans­formed and was trans­formed by the native reli­gion of Bon. Of the many cre­ative prac­tices that arose from this syn­the­sis, Tibetan Bud­dhist music ranks very high­ly in impor­tance.

As in sacred music in the West, Tibetan music has com­plex sys­tems of musi­cal nota­tion and a long his­to­ry of writ­ten reli­gious song. “A vital com­po­nent of Tibetan Bud­dhist expe­ri­ence,” explains Google Arts & Cul­tures Bud­dhist Dig­i­tal Resource Cen­ter, “musi­cal nota­tion allows for the trans­fer­ence of sacred sound and cer­e­mo­ny across gen­er­a­tions. A means to mem­o­rize sacred text, express devo­tion, ward off fer­al spir­its, and invoke deities.”

Some of these fea­tures may be alien to sec­u­lar West­ern Bud­dhists focused on mind­ful­ness and silent med­i­ta­tion, but to vary­ing degrees, Tibetan schools place con­sid­er­able val­ue on the aes­thet­ic expe­ri­ence of extra-human realms. As Uni­ver­si­ty of Tul­sa musi­col­o­gist John Pow­ell writes, “the use of sacred sound” in Tibetan Bud­dhism, a “Mantrayana” tra­di­tion, acts “as a for­mu­la for the trans­for­ma­tion of human con­scious­ness.”

Tibetan musi­cal nota­tions, Google points out, “sym­bol­i­cal­ly rep­re­sent the melodies, rhythm pat­terns, and instru­men­tal arrange­ments. In har­mo­ny with chant­i­ng, visu­al­iza­tions, and hand ges­tures, [Tibetan] music cru­cial­ly guides rit­u­al per­for­mance.” It is char­ac­ter­ized not only by its inte­gra­tion of rit­u­al dance, but also by a large col­lec­tion of rit­u­al instruments—including the long, Swiss-like horns suit­ed to a moun­tain environment—and unique forms of poly­phon­ic over­tone singing.

The exam­ples of musi­cal nota­tion you see here came from the appro­pri­ate­ly-named Twit­ter account Musi­cal Nota­tion is Beau­ti­ful and type­face design­er and researcher Jo De Baerde­maek­er. At the top is a 19th cen­tu­ry man­u­script belong­ing to the “Yang” tra­di­tion, “the most high­ly involved and regard­ed chant tra­di­tion in Tibetan music,” notes the Schoyen Col­lec­tion, “and the only one to rely on a sys­tem of nota­tion (Yang-Yig).”

The curved lines rep­re­sent “smooth­ly effect­ed ris­es and falls in into­na­tion.” The nota­tion also “fre­quent­ly con­tains detailed instruc­tions con­cern­ing in what spir­it the music should be sung (e.g. flow­ing like a riv­er, light like bird song) and the small­est mod­i­fi­ca­tions to be made to the voice in the utter­ance of a vow­el.” The Yang-Yig goes all the way back to the 6th cen­tu­ry, pre­dat­ing Tibetan Bud­dhism, and “does not record nei­ther the rhyth­mic pat­tern nor dura­tion of notes.” Oth­er kinds of music have their own types of nota­tion, such as that in the piece above for voice, drums, trum­pets, horns, and cym­bals.

Though they artic­u­late and elab­o­rate on reli­gious ideas from India, Tibet’s musi­cal tra­di­tions are entire­ly its own. “It is essen­tial to rethink the entire con­cept of melody and rhythm” to under­stand Tibetan Bud­dhist chant, writes Pow­ell in a detailed overview of Tibetan music’s vocal and instru­men­tal qual­i­ties. “Many out­side Tibetan cul­ture are accus­tomed to think of melody as a sequence of ris­ing or falling pitch­es,” he says. “In Tibetan Tantric chant­i­ng, how­ev­er, the melod­ic con­tent occurs in terms of vow­el mod­i­fi­ca­tion and the care­ful con­tour­ing of tones.”  Hear an exam­ple of tra­di­tion­al Tibetan Bud­dhist chant just above, and learn more about Tibetan musi­cal nota­tion at Google Arts & Cul­ture.

Note: An ear­li­er ver­sion of this post appeared on our site in 2019.

Relat­ed Con­tent:

Breath­tak­ing­ly-Detailed Tibetan Book Print­ed 40 Years Before the Guten­berg Bible

The World’s Largest Col­lec­tion of Tibetan Bud­dhist Lit­er­a­ture Now Online

Free Online Course: Robert Thurman’s Intro­duc­tion to Tibetan Bud­dhism (Record­ed at Colum­bia U)

Leonard Cohen Nar­rates Film on The Tibetan Book of the Dead, Fea­tur­ing the Dalai Lama (1994)

The Old­est Book Print­ed with Mov­able Type is Not The Guten­berg Bible: Jikji, a Col­lec­tion of Kore­an Bud­dhist Teach­ings, Pre­dat­ed It By 78 Years and It’s Now Dig­i­tized Online

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

A Free Yale Course on Medieval History: 700 Years in 22 Lectures

In 22 lec­tures, Yale his­to­ri­an Paul Freed­man takes you on a 700-year tour of medieval his­to­ry. Mov­ing from 284‑1000 AD, this free online course cov­ers “the con­ver­sion of Europe to Chris­tian­i­ty, the fall of the Roman Empire, the rise of Islam and the Arabs, the ‘Dark Ages,’ Charle­magne and the Car­olin­gian renais­sance, and the Viking and Hun­gar­i­an inva­sions.” And let’s not for­get St. Augus­tine and the “Splen­dor of Byzan­tium.”

You can stream all of the lec­tures above. Or find them on YouTube and this Yale web­site.

The Ear­ly Mid­dle Ages: 284‑1000 will be added to our list of Free His­to­ry Cours­es, a sub­set of our meta col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties. Below, we’ve added a list of the key texts used in the course:

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:

Free Online His­to­ry Cours­es

160,000+ Medieval Man­u­scripts Online: Where to Find Them

The Medieval Mas­ter­piece, the Book of Kells, Is Now Dig­i­tized and Avail­able Online

How to Make a Medieval Man­u­script: An Intro­duc­tion in 7 Videos

The History of the World in One Beautiful, 5‑Foot-Long Chart (1931)

In the image above, we see an impres­sive pre-inter­net macro-info­graph­ic called a “His­tom­ap.” Its cre­ator John B. Sparks (who lat­er cre­at­ed “his­tom­aps” of reli­gion and evo­lu­tion) pub­lished the graph­ic in 1931 with Rand McNal­ly. The five-foot-long chart—purportedly cov­er­ing 4,000 years of “world” history—is, in fact, an exam­ple of an ear­ly illus­tra­tion trend called the “out­line,” of which Rebec­ca Onion at Slate writes: “large sub­jects (the his­to­ry of the world! every school of phi­los­o­phy! all of mod­ern physics!) were dis­tilled into a form com­pre­hen­si­ble to the most une­d­u­cat­ed lay­man.” Here we have the full descrip­tion of most every polit­i­cal chart, graph, or ani­ma­tion in U.S.A. Today, most Inter­net news sites, and, of course, The Onion.

The sim­i­lar­i­ty here isn’t sim­ply one of form. The “out­line” func­tioned in much the same way that sim­pli­fied ani­ma­tions do—condensing heavy, con­tentious the­o­ret­i­cal freight trains and ide­o­log­i­cal bag­gage. Rebec­ca Onion describes the chart as an arti­fact very much of its time, pre­sent­ing a ver­sion of his­to­ry promi­nent in the U.S. between the wars. Onion writes:

The chart empha­sizes dom­i­na­tion, using col­or to show how the pow­er of var­i­ous “peo­ples” (a qua­si-racial under­stand­ing of the nature of human groups, quite pop­u­lar at the time) evolved through­out his­to­ry.

Sparks’ map, how­ev­er, remains an inter­est­ing doc­u­ment because of its seem­ing dis­in­ter­est­ed­ness. While the focus on racial­ism and impe­r­i­al con­quest may seem to place Sparks in com­pa­ny with pop­ulist “sci­en­tif­ic” racists of the peri­od like Lothrop Stod­dard (whom Tom Buchanan quotes in Fitzgerald’s Gats­by), it would also seem that his design has much in com­mon with ear­ly Enlight­en­ment fig­ures whose con­cep­tion of time was not nec­es­sar­i­ly lin­ear. Fol­low­ing clas­si­cal mod­els, thinkers like Thomas Hobbes tend­ed to divide his­tor­i­cal epochs into ris­ing and falling actions of var­i­ous peo­ple groups, rather than the grad­ual ascent of one race over all oth­ers towards an end of his­to­ry. For exam­ple, poet Abra­ham Cow­ley writes a com­pressed “uni­ver­sal his­to­ry” in his 1656 poem “To Mr. Hobs,” mov­ing from Aris­to­tle (the “Sta­girite”) to the poem’s sub­ject Thomas Hobbes. The move­ment is pro­gres­sive, yet the his­tor­i­cal rep­re­sen­ta­tives of each civ­i­liza­tion receive some equal weight and sim­i­lar empha­sis.

Long did the mighty Sta­girite retain
The uni­ver­sal Intel­lec­tu­al reign,
Saw his own Coun­treys short-liv’ed Leop­ard slain;
The stronger Roman-Eagle did out-fly,
Oft­ner renewed his Age, and saw that Dy.
Mecha it self, in spight of Mahumet pos­s­est,
And chas’ed by a wild Del­uge from the East,
His Monar­chy new plant­ed in the West.
But as in time each great impe­r­i­al race
Degen­er­ates, and gives some new one place:

The peri­od of Cow­ley rec­og­nized the­o­ries of racial, cul­tur­al, and nat­ur­al suprema­cy, but such qual­i­ties, as in Sparks’ map, were the prod­uct of a long line of suc­ces­sion from equal­ly pow­er­ful and note­wor­thy empires and groups to oth­ers, not a social evo­lu­tion in which a supe­ri­or race nat­u­ral­ly arose. Rand McNal­ly adver­tised the chart as pre­sent­ing “the march of civ­i­liza­tion, from the mud huts of the ancients thru the monar­chis­tic glam­our of the mid­dle ages to the liv­ing panora­ma of life in present day Amer­i­ca.” While the blurb is filled with pseu­do­sci­en­tif­ic colo­nial­ist talk­ing points, the chart itself has the dat­ed, yet strik­ing­ly egal­i­tar­i­an arrange­ment of infor­ma­tion that—like much of the illus­tra­tion in Nation­al Geo­graph­ic—sought to accom­mo­date the best con­sen­sus mod­els of the times, dis­play­ing, but not pros­e­ly­tiz­ing, its bias­es.

Note: An ear­li­er ver­sion of this post appeared on our site in 2013.

Relat­ed Con­tent:

180,000 Years of Reli­gion Chart­ed on a “His­tom­ap” in 1943

The Big Map of Who Lived When Shows Which Cul­tur­al Fig­ures Walked the Earth at the Same Time: From 1200 to Present

Joseph Priest­ley Visu­al­izes His­to­ry & Great His­tor­i­cal Fig­ures with Two of the Most Influ­en­tial Info­graph­ics Ever (1769)

10 Mil­lion Years of Evo­lu­tion Visu­al­ized in an Ele­gant, 5‑Foot Long Info­graph­ic from 1931

The His­to­ry of the World in One Video: Every Year from 200,000 BCE to Today

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

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How the BIC Cristal Ballpoint Pen Became the Most Successful Product in History

If you want to see a tour de force of mod­ern tech­nol­o­gy and design, there’s no need to vis­it a Sil­i­con Val­ley show­room. Just feel around your desk for a few moments, and soon­er or lat­er you’ll lay a hand on it: the BIC Cristal ball­point pen, which is described in the Pri­mal Space video above as “pos­si­bly the most suc­cess­ful prod­uct ever made.” Not long after its intro­duc­tion in 1950, the Cristal became ubiq­ui­tous around the world, so ide­al­ly did it suit human needs at a price that would have seemed impos­si­bly cheap not so very long ago — to say noth­ing of the sev­en­teenth cen­tu­ry, when the art of writ­ing demand­ed mas­tery of the quill and inkpot.

Of course, writ­ing itself was of lit­tle use in those days to human­i­ty’s illit­er­ate major­i­ty. That began to change with the inven­tion of the foun­tain pen, which was cer­tain­ly more con­ve­nient than the quill, but still pro­hib­i­tive­ly expen­sive even to most of those who could read. It was only at the end of the nine­teenth cen­tu­ry, a heady age of Amer­i­can inge­nu­ity, that an inven­tor called John Loud came up with the first ball­point pen.

Though crude and imprac­ti­cal, Loud’s design plant­ed the tech­no­log­i­cal seed that would be cul­ti­vat­ed there­after by oth­ers, like Las­z­lo Biro, who under­stood the advan­tage of using oil-based rather than tra­di­tion­al water-based ink, and French man­u­fac­tur­er Mar­cel Bich, who had access to the tech­nol­o­gy that could bring the ball­point pen to its final form.

Bich (the for­eign pro­nun­ci­a­tion of whose sur­name inspired the brand name BIC) fig­ured out how to use Swiss watch­mak­ing machines to mass-pro­duce tiny stain­less steel balls to pre­cise spec­i­fi­ca­tions. He chose to man­u­fac­ture the rest of the pen out of mold­ed plas­tic, a then-new tech­nol­o­gy. The Cristal’s clear body allowed the ink lev­el to be seen at all times, and its hexag­o­nal shape stopped it from rolling off desks. Its polypropy­lene lid would­n’t break when dropped, and it dou­bled as a clip to boot. What did this “game chang­er” avant la let­tre cost when it came to mar­ket? The equiv­a­lent of two dol­lars. As an indus­tri­al prod­uct, the BIC Cristal has in many respects nev­er been sur­passed (over 100 bil­lion have been sold to date), even by the ultra-high-tech cell­phones or tablets on which you may be read­ing this post. Bear that in mind the next time you’re strug­gling with one, patchi­ly zigzag­ging back and forth on a page in an attempt to get the ink out that you’re sure must be in there some­where.

Relat­ed con­tent:

Wes Ander­son Directs & Stars in an Ad Cel­e­brat­ing the 100th Anniver­sary of Montblanc’s Sig­na­ture Pen

Mont­blanc Unveils a New Line of Miles Davis Pens … and (Kind of) Blue Ink

Ver­meer with a BiC

Neil Gaiman Talks Dream­i­ly About Foun­tain Pens, Note­books & His Writ­ing Process in His Long Inter­view with Tim Fer­riss

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Marie Curie Invented Mobile X‑Ray Units to Help Save Wounded Soldiers in World War I

A hun­dred years ago, Mobile X‑Ray Units were a brand new inno­va­tion, and a god­send for sol­diers wound­ed on the front in WW1. Pri­or to the advent of this tech­nol­o­gy, field sur­geons rac­ing to save lives oper­at­ed blind­ly, often caus­ing even more injury as they groped for bul­lets and shrap­nel whose pre­cise loca­tions remained a mys­tery.

Marie Curie was just set­ting up shop at Paris’ Radi­um Insti­tute, a world cen­ter for the study of radioac­tiv­i­ty, when war broke out. Many of her researchers left to fight, while Curie per­son­al­ly deliv­ered France’s sole sam­ple of radi­um by train to the tem­porar­i­ly relo­cat­ed seat of gov­ern­ment in Bor­deaux.

“I am resolved to put all my strength at the ser­vice of my adopt­ed coun­try, since I can­not do any­thing for my unfor­tu­nate native coun­try just now…,” Curie, a Pole by birth, wrote to her lover, physi­cist Paul Langevin on New Year’s Day, 1915.

To that end, she envi­sioned a fleet of vehi­cles that could bring X‑ray equip­ment much clos­er to the bat­tle­field, shift­ing their coor­di­nates as nec­es­sary.

Rather than leav­ing the exe­cu­tion of this bril­liant plan to oth­ers, Curie sprang into action.

She stud­ied anato­my and learned how to oper­ate the equip­ment so she would be able to read X‑ray films like a med­ical pro­fes­sion­al.

She learned how to dri­ve and fix cars.

She used her con­nec­tions to solic­it dona­tions of vehi­cles, portable elec­tric gen­er­a­tors, and the nec­es­sary equip­ment, kick­ing in gen­er­ous­ly her­self. (When she got the French Nation­al Bank to accept her gold Nobel Prize medals on behalf of the war effort, she spent the bulk of her prize purse on war bonds.)

She was ham­pered only by back­wards-think­ing bureau­crats whose feath­ers ruf­fled at the prospect of female tech­ni­cians and dri­vers, no doubt for­get­ting that most of France’s able-bod­ied men were oth­er­wise engaged.

Curie, no stranger to sex­ism, refused to bend to their will, deliv­er­ing equip­ment to the front line and X‑raying wound­ed sol­diers, assist­ed by her 17-year-old daugh­ter, Irène, who like her moth­er, took care to keep her emo­tions in check while work­ing with maimed and dis­tressed patients.

“In less than two years,” writes Aman­da Davis at The Insti­tute, “the num­ber of units had grown sub­stan­tial­ly, and the Curies had set up a train­ing pro­gram at the Radi­um Insti­tute to teach oth­er women to oper­ate the equip­ment.” Even­tu­al­ly, they recruit­ed about 150 women, train­ing them to man the Lit­tle Curies, as the mobile radi­og­ra­phy units came to be known.

Note: An ear­li­er ver­sion of this post appeared on our site in 2017.

via Brain Pick­ings

Relat­ed Con­tent:

Marie Curie’s Research Papers Are Still Radioac­tive a Cen­tu­ry Lat­er

Marie Curie Became the First Woman to Win a Nobel Prize, the First Per­son to Win Twice, and the Only Per­son in His­to­ry to Win in Two Dif­fer­ent Sci­ences

An Ani­mat­ed Intro­duc­tion to the Life & Work of Marie Curie, the First Female Nobel Lau­re­ate

Marie Curie Attend­ed a Secret, Under­ground “Fly­ing Uni­ver­si­ty” When Women Were Banned from Pol­ish Uni­ver­si­ties

Marie Curie’s Ph.D. The­sis on Radioactivity–Which Made Her the First Woman in France to Receive a Doc­tor­al Degree in Physics

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

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The Dylatov Pass Incident: Has One of the Biggest Soviet Mysteries Been Solved?

Most of us would go out of our way not to set foot any­where near a place the local natives refer to as “Dead Moun­tain.” That did­n’t stop the Dyat­lov Hik­ing Group, who set out on a six­teen-day ski­ing expe­di­tion across the north­ern Urals in late Jan­u­ary of 1959. Expe­ri­enced and intre­pid, those ten young Sovi­et ski hik­ers had what it took to make the jour­ney, at least if noth­ing went ter­ri­bly wrong. A bout of sci­at­i­ca forced one mem­ber of the group to turn back ear­ly, which turned out to be lucky for him. About a month lat­er, the irra­di­at­ed bod­ies of his nine com­rades were dis­cov­ered scat­tered in dif­fer­ent areas of Dead Moun­tain some dis­tance from their camp­site, with var­i­ous trau­mat­ic injuries and in var­i­ous states of undress.

Some­thing had indeed gone ter­ri­bly wrong, but nobody could fig­ure out what. For decades, the fate of the Dyat­lov Hik­ing Group inspired count­less expla­na­tions rang­ing wide­ly in plau­si­bil­i­ty. Some the­o­rized a freak weath­er phe­nom­e­non; oth­ers some kind of tox­ic air­borne event; oth­ers still, the actions of Amer­i­can spies or even a yeti.

“In a place where infor­ma­tion has been as tight­ly con­trolled as in the for­mer Sovi­et Union, mis­trust of offi­cial nar­ra­tives is nat­ur­al, and noth­ing in the record can explain why peo­ple would leave a tent undressed, in near-sui­ci­dal fash­ion,” writes the New York­er’s Dou­glas Pre­ston. Only in the late twen­ty-tens, when the Dyat­lov Group Memo­r­i­al Foun­da­tion got the case reopened, did inves­ti­ga­tors assess the con­tra­dic­to­ry evi­dence while mak­ing new mea­sure­ments and con­duct­ing new exper­i­ments.

The prob­a­ble caus­es were nar­rowed down to those explained by experts in the Vox video above: a severe bliz­zard and a slab of ice that must have shift­ed and crushed the tent. Dense­ly packed by the wind, that mas­sive, heavy slab would have “pre­vent­ed them from retriev­ing their boots or warm cloth­ing and forced them to cut their way out of the downs­lope side of the tent,” pro­ceed­ing to the clos­est nat­ur­al shel­ter from the avalanche they believed was com­ing. But no avalanche came, and they could­n’t find their way back to their camp in the dark­ness. “Had they been less expe­ri­enced, they might have remained near the tent, dug it out, and sur­vived,” writes Pre­ston. “The skiers’ exper­tise doomed them.” Not every­one accepts this the­o­ry, but then, the idea that knowl­edge can kill might be more fright­en­ing than even the most abom­inable snow­man.

Relat­ed con­tent:

What Caused the Mys­te­ri­ous Death of Edgar Allan Poe?: A Brief Inves­ti­ga­tion into the Poet’s Demise 171 Years Ago Today

The Denali Exper­i­ment: A Test of Human Lim­its

The Curi­ous Death of Vin­cent van Gogh

The Grue­some Doll­house Death Scenes That Rein­vent­ed Mur­der Inves­ti­ga­tions

Archae­ol­o­gists Dis­cov­er 1300-Year-Old Pair of Skis, the Best-Pre­served Ancient Skis in Exis­tence

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

An Introduction to George Orwell’s 1984 and How Power Manufactures Truth

Soon after the first elec­tion of Don­ald Trump to the pres­i­den­cy of the Unit­ed States, George Orwell’s Nine­teen Eighty-Four became a best­seller again. Shoot­ing to the top of the Amer­i­can charts, the nov­el that inspired the term “Orwellian” passed Danielle Steel’s lat­est opus, the poet­ry of Rupi Kaur, the eleventh Diary of a Wimpy Kid book, and the mem­oir of an ambi­tious young man named J. D. Vance. But how much of its renewed pop­u­lar­i­ty owed to the rel­e­vance of a near­ly 70-year-old vision of shab­by, total­i­tar­i­an future Eng­land to twen­ty-first cen­tu­ry Amer­i­ca, and how much to the fact that, as far as influ­ence on pop­u­lar cul­ture’s image of polit­i­cal dystopia, no oth­er work of lit­er­a­ture comes close?

For all the myr­i­ad ways one can crit­i­cize his two admin­is­tra­tions, Trump’s Amer­i­ca bears lit­tle super­fi­cial resem­blance to Ocea­ni­a’s Airstrip One as ruled by The Par­ty. But it can hard­ly be a coin­ci­dence that this peri­od of his­to­ry has also seen the con­cept “post-truth” become a fix­ture in the zeit­geist.

There are many rea­sons not to want to live in the world Orwell imag­ines in Nine­teen Eighty-Four: the thor­ough bureau­cra­ti­za­tion, the lack of plea­sure, the unceas­ing sur­veil­lance and pro­pa­gan­da. But none of this is quite so intol­er­a­ble as what makes it all pos­si­ble: the rulers’ claim to absolute con­trol over the truth, a form of psy­cho­log­i­cal manip­u­la­tion hard­ly lim­it­ed to regimes we regard as evil.

As James Payne says in his Great Books Explained video on Nine­teen Eighty-Four, Orwell worked for the BBC’s over­seas ser­vice dur­ing the war, and there received a trou­bling edu­ca­tion in the use of infor­ma­tion as a polit­i­cal weapon. The expe­ri­ence inspired the Min­istry of Truth, where the nov­el­’s pro­tag­o­nist Win­ston Smith spends his days re-writ­ing his­to­ry, and the dialect of Newspeak, a severe­ly reduced Eng­lish designed to nar­row its speak­ers’ range of thought. Orwell may have over­es­ti­mat­ed the degree to which lan­guage can be mod­i­fied from the top down, but as Payne reminds us, we now all hear cul­ture war­riors describe real­i­ty in high­ly slant­ed, polit­i­cal­ly-charged, and often thought-ter­mi­nat­ing ways all day long. Every­where we look, some­one is ready to tell us that two plus two make five; if only they were as obvi­ous about it as Big Broth­er.

Relat­ed con­tent:

George Orwell Explains How “Newspeak” Works, the Offi­cial Lan­guage of His Total­i­tar­i­an Dystopia in 1984

George Orwell Explains in a Reveal­ing 1944 Let­ter Why He’d Write 1984

George Orwell’s Har­row­ing Race to Fin­ish 1984 Before His Death

George Orwell’s Final Warn­ing: Don’t Let This Night­mare Sit­u­a­tion Hap­pen. It Depends on You!

What “Orwellian” Real­ly Means: An Ani­mat­ed Les­son About the Use & Abuse of the Term

Aldous Hux­ley to George Orwell: My Hell­ish Vision of the Future is Bet­ter Than Yours (1949)

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

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