The Lifespan of Ancient Civilizations Detailed in a Handy Infographic: Are We Headed Towards Our Own Collapse?

Any­one liv­ing in the West today sure­ly feels they’ve heard quite enough about its decline. (Unless, of course, they’re fans of 1980s punk rock.) Giv­en how long civ­i­liza­tions usu­al­ly out­live indi­vid­u­als, how can an indi­vid­ual grasp the prospects for longevi­ty of the civ­i­liza­tion in which they find them­selves? His­to­ry, a dis­ci­pline which has long had every­thing to do with chart­ing the rise and fall of set­tle­ments, cul­tures, and empires, can pro­vide the con­text nec­es­sary for under­stand­ing, but more of it has been writ­ten than even a human with the lifes­pan of a civ­i­liza­tion can digest. Come to pro­vide some clar­i­ty is Luke Kemp of Cam­bridge’s Cen­tre for the Study of Exis­ten­tial Risk, cre­ator of the info­graph­ic above. View it here in a larg­er for­mat, cour­tesy of the BBC.

“There is no strict def­i­n­i­tion of civil­i­sa­tion,” Kemp admits, “nor an over­ar­ch­ing data­base of their births and deaths.” This forced him to come up with his own def­i­n­i­tion for this info­graph­ic: “as a soci­ety with agri­cul­ture, mul­ti­ple cities, mil­i­tary dom­i­nance in its geo­graph­i­cal region and a con­tin­u­ous polit­i­cal struc­ture. Giv­en this def­i­n­i­tion, all empires are civil­i­sa­tions, but not all civil­i­sa­tions are empires.”

What comes at the end of vir­tu­al­ly all of them, he calls a col­lapse: “a rapid and endur­ing loss of pop­u­la­tion, iden­ti­ty and socio-eco­nom­ic com­plex­i­ty. Pub­lic ser­vices crum­ble and dis­or­der ensues as gov­ern­ment los­es con­trol of its monop­oly on vio­lence.”

When civ­i­liza­tions have col­lapsed, as they’ve done with fair fre­quen­cy over the past five mil­len­nia, “some recov­ered or trans­formed, such as the Chi­nese and Egypt­ian. Oth­er col­laps­es were per­ma­nent, as was the case of East­er Island. Some­times the cities at the epi­cen­tre of col­lapse are revived, as was the case with Rome. In oth­er cas­es, such as the Mayan ruins, they are left aban­doned as a mau­soleum for future tourists.” The Roman Empire, “the vic­tim of many ills includ­ing over­ex­pan­sion, cli­mat­ic change, envi­ron­men­tal degra­da­tion and poor lead­er­ship” before its sack­ing by the Visig­oths in the year 410 and the Van­dals in 455, has come up espe­cial­ly often in cur­rent dis­cus­sions about the fate of the Amer­i­ca-led West­ern — or even glob­al — order.

The Roman Empire, as we can see on Kem­p’s info­graph­ic, last­ed 525 years: much longer than the Akka­di­an Empire, which last­ed 187 years, but less than half as long as the African Aksum­ite Empire, which last­ed 1100. “We may be more tech­no­log­i­cal­ly advanced now,” Kemp writes,” but this gives lit­tle ground to believe that we are immune to the threats that undid our ances­tors. Our new­found tech­no­log­i­cal abil­i­ties even bring new, unprece­dent­ed chal­lenges to the mix. ” Kemp names among the pos­si­ble fac­tors in the next big col­lapse cli­mate change, envi­ron­men­tal degra­da­tion, inequal­i­ty and oli­garchy, as well as plain ran­dom­ness and bad luck. Giv­en the inevitabil­i­ty of col­lapse, per­haps we can only hope that our civ­i­liza­tion is ulti­mate­ly suc­ceed­ed by a supe­ri­or one. But then, Kemp adds, ” “We will only march into col­lapse if we advance blind­ly. We are only doomed if we are unwill­ing to lis­ten to the past.”

via the BBC

Relat­ed Con­tent:

M.I.T. Com­put­er Pro­gram Alarm­ing­ly Pre­dicts in 1973 That Civ­i­liza­tion Will End by 2040

In 1704, Isaac New­ton Pre­dicts the World Will End in 2060

The Rise & Fall of the Romans: Every Year Shown in a Time­lapse Map Ani­ma­tion (753 BC ‑1479 AD)

The West­ern Tra­di­tion by Eugen Weber: 52 Video Lec­tures

Stew­art Brand’s List of 76 Books for Rebuild­ing Civ­i­liza­tion

The His­to­ry of Civ­i­liza­tion Mapped in 13 Min­utes: 5000 BC to 2014 AD

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 or on Face­book.

To Save Civilization, the Rich Need to Pay Their Taxes: Historian Rutger Bregman Speaks Truth to Power at Davos and to Fox’s Tucker Carlson

Cer­tain econ­o­mists may have down­grad­ed the labor the­o­ry of val­ue, but most of us can agree on the basic moral intu­ition that no one per­son is worth mil­lions, even bil­lions, more than almost every­one else on the plan­et. Yet we live in a soci­ety that allows indi­vid­u­als to hoard mil­lions and bil­lions of dol­lars in cash, assets, and cap­i­tal gains, with­out even the pre­sump­tion that they demon­strate why they should have it–especially to the degree that the top 1% now holds more wealth than 90% in the U.S.

What social con­tract allows for this sit­u­a­tion? I’m not per­son­al­ly inter­est­ed in the answer from econ­o­mists, though I imag­ine there are many excel­lent­ly accred­it­ed pro­po­nents. The dom­i­nant assump­tions in eco­nom­ics come from fan­tasies like ceteris paribus, “all else being equal,” and the con­cept of “exter­nal­i­ties.” World his­tor­i­cal inequal­i­ty, polit­i­cal insta­bil­i­ty, and eco­log­i­cal dev­as­ta­tion do not seem to pose seri­ous prob­lems for most main­stream eco­nom­ic think­ing. But what do his­to­ri­ans say? This is, after all, a his­tor­i­cal ques­tion.

Many sim­i­lar sit­u­a­tions have obtained in the past. Some­times they have result­ed in bloody rev­o­lu­tions, some­times sack­ing and pil­lag­ing, some­times redis­tri­b­u­tion schemes. Noblesse oblige: land grants, endow­ments, hos­pi­tals, muse­ums, uni­ver­si­ties… these have not only eased the con­sciences of the rich but have stood out as appeas­ing acts of pub­lic gen­eros­i­ty. But the only thing that has real­ly mit­i­gat­ed the con­di­tions for soci­etal col­lapse under cap­i­tal­ism?

Accord­ing to Dutch his­to­ri­an and writer Rut­ger Breg­man, it’s high tax­es on high incomes and estates. It just so hap­pened, how­ev­er, at this year’s Davos World Eco­nom­ic Forum, as Breg­man lament­ed in a Davos pan­el dis­cus­sion, tax­es were the one thing bil­lion­aires would not dis­cuss. This was so, he observes, at a con­fer­ence that fea­tures Sir David Atten­bor­ough “talk­ing about how we’re wreck­ing the plan­et.”

I mean, I hear peo­ple talk­ing the lan­guage of par­tic­i­pa­tion and jus­tice and equal­i­ty and trans­paren­cy, but then, I mean, almost no one rais­es the real issue of tax avoid­ance, right? And of the rich are just not pay­ing their fair share. I mean, it feels like I’m at a firefighter’s con­fer­ence and no one’s allowed to speak about water.

Pic­tur­ing fire­fight­ers hoard­ing water and refus­ing to share it while the plan­et is going up in flames is a sin­is­ter image, but maybe the inten­tions are beside the point. Even where tax rates are high(ish), gov­ern­ments go out of their way to allow com­pa­nies and indi­vid­u­als to avoid pay­ing them. Sure­ly, many peo­ple believe this is nec­es­sary to cre­ate jobs? So what if those jobs lack secu­ri­ty, ben­e­fits, or a liv­ing wage?

Breg­man pulls back from the inflam­ma­to­ry metaphor to con­cede that one pan­el did address the issue. He was one of fif­teen par­tic­i­pants. We have to “stop talk­ing about phil­an­thropy,” he says, “and start talk­ing about tax­es,” just like Amer­i­cans did in the sup­pos­ed­ly hal­cy­on days of the 1950s, when under Repub­li­can pres­i­dent Dwight D. Eisen­how­er the top mar­gin­al tax rate was 91%. He says this to peo­ple like Michael Dell, who once asked Breg­man for an exam­ple of a 70% tax rate ever work­ing.

Oxfam’s exec­u­tive direc­tor Win­nie Byany­i­ma sub­stan­ti­ates his polemic, not­ing glob­al­ly “we have a tax sys­tem that leaks so much, that $170 bil­lion” annu­al­ly ends up in tax havens. This is wealth that is extract­ed from the planet’s resources, from gov­ern­ment sub­si­dies and the labor hours and health of gross­ly under­paid work­ers. Then it is dis­ap­peared. If you’ve seen this video, you’ve seen the charges of “one-sid­ed­ness” lobbed by for­mer Yahoo CFO Ken Gold­man from the audi­ence. Byany­i­ma’s response rebuts all of his talk­ing points. She deserves her own cheer­lead­ing video edit.

Breg­man took the same con­fronta­tion­al stance in an unaired inter­view with Fox’s Tuck­er Carl­son. After Carl­son seemed to agree with him, the his­to­ri­an bris­tled and point­ed out that as “a mil­lion­aire fund­ed by bil­lion­aires,” Carl­son has faith­ful­ly rep­re­sent­ed and com­mu­ni­cat­ed the inter­ests of his employ­ers for decades, whether that’s the bru­tal scape­goat­ing of immi­grants or the defense of unlim­it­ed prof­i­teer­ing and huge tax cuts for the wealthy (and tax rais­es for every­one else). The host ends the inter­view sput­ter­ing insults and obscen­i­ties and sneers “I was will­ing to give you a hear­ing.” The prob­lem requires more than a con­de­scend­ing pat on the head, Breg­man argues.

His solu­tion to mas­sive inequal­i­ty and unrest, uni­ver­sal basic income, is one that, like high mar­gin­al tax rates, once appealed to Repub­li­cans. The pro­pos­al has a long his­to­ry, many seri­ous detrac­tors, and it’s also polit­i­cal­ly ignored. You can hear Bregman’s argu­ment for it above, and against Mar­garet Thatcher’s ruth­less­ly ahis­tor­i­cal char­ac­ter­i­za­tion of pover­ty as a “per­son­al­i­ty defect.” If you think UBI goes too far, or not near­ly far enough, maybe you’d be inter­est­ed in oth­er ideas, like a 15-hour work­week and open bor­ders, part of the “ide­al world” Breg­man says is pos­si­ble in his book Utopia for Real­ists. You can down­load it as a free audio­book if you sign up for Audi­ble’s free tri­al pro­gram.

Relat­ed Con­tent:

Hear Alan Watts’s 1960s Pre­dic­tion That Automa­tion Will Neces­si­tate a Uni­ver­sal Basic Income

Experts Pre­dict When Arti­fi­cial Intel­li­gence Will Take Our Jobs: From Writ­ing Essays, Books & Songs, to Per­form­ing Surgery and Dri­ving Trucks

Bertrand Rus­sell & Buck­min­ster Fuller on Why We Should Work Less, and Live & Learn More

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

Discover the KattenKabinet: Amsterdam’s Museum Devoted to Works of Art Featuring Cats

Image by T_Marjorie, via Flickr Com­mons

There’s been quite a bit of bark­ing in the media late­ly to her­ald the reopen­ing of the Amer­i­can Ken­nel Club Muse­um of the Dog, relo­cat­ing from St. Louis to New York City’s Park Avenue.

What’s a cat per­son to do?

Per­haps decom­press with­in Amsterdam’s Kat­tenK­abi­net

In con­trast to the Muse­um of the Dog’s glitzy, glass-front­ed HQ, the Cat Cab­i­net main­tains a fair­ly low pro­file inside a 17th-cen­tu­ry canal house. (Sev­er­al vis­i­tors have not­ed in their Trip Advi­sor reviews that the 3‑room museum’s grand envi­rons help jus­ti­fy the €7  admis­sion.)

The Muse­um of the Dog’s high­ly tot­ed “dig­i­tal expe­ri­ences”  and redesigned atri­um sug­gest a cer­tain eager­ness to estab­lish itself as a major 21st-cen­tu­ry insti­tu­tion.

The Kat­tenK­abi­net is more of a stealth oper­a­tion, cre­at­ed as an homage to one J.P. Mor­gan, a dear­ly depart­ed gin­ger tom, who lived upstairs with his own­er.

The inau­gur­al col­lec­tion took shape around presents the for­mi­da­ble Mor­gan received dur­ing his 17 years on earth—paintings, a bronze cat stat­ue, and a fac­sim­i­le of a dol­lar bill fea­tur­ing his like­ness and the mot­to, “We Trust No Dog.”

In spir­it, the Kabi­net hews close­ly to America’s eclec­tic (and fast dis­ap­pear­ing) road­side muse­ums.

No apps, no inter­ac­tive kiosks, a stolid­ly old fash­ioned approach when it comes to dis­play…

It does have a gift shop, where one can pur­chase logo t‑shirts fea­tur­ing an extreme­ly cat-like spec­i­men, viewed from the rear, tail aloft.

While the KattenKabinet’s hold­ings include some mar­quee names—Picasso, Toulouse-Lautrec, and Rembrandt—there’s some­thing com­pelling about the collection’s less well known artists, many of whom embraced the museum’s pet sub­ject again and again.

Muse­um founder Bob Mei­jer rewards vir­tu­al vis­i­tors with some juicy bio­graph­i­cal tid­bits about his artists, cat-relat­ed and oth­er­wise. Take, for exam­ple, Leonor Fini, whose Ubu glow­ers below:

Fini had a three-way rela­tion­ship with the Ital­ian diplo­mat-cum-artist Stanis­lao LeP­ri, who, like Fini, was dif­fi­cult to pin into a cer­tain style, and the Pol­ish lit­er­ary writer Con­stan­tin Jelen­s­ki. The two men were not, how­ev­er, her only house­mates: Fini had dozens of Per­sian cats around her. Indoors you rarely see a pho­to of her with­out a cat in her arms. In the Cat Cab­i­net you can find many of her works, from cheer­ful­ly col­ored cats to high­ly detailed por­traits of cats. The women depict­ed in the paint­ings have that icon­ic mys­tique char­ac­ter­is­tic of Fini’s work.

Tsug­uharu Fou­ji­ta, whose work is a sta­ple of the muse­um, is anoth­er cat-lov­ing-artist-turned-art-him­self, by virtue of Dora Kalmus’ 1927 por­trait, above.

Hil­do Krop is well rep­re­sent­ed through­out Ams­ter­dam, his sculp­tures adorn­ing bridges and build­ings. Two Cats Mak­ing Love, on view at the Kabi­net, is, Mei­jer com­ments,” clear­ly one of his small­er projects and prob­a­bly falls into the cat­e­go­ry of “free work.” One of his most famous works, and of a dif­fer­ent order of mag­ni­tude, is the Berlage mon­u­ment on Vic­to­rieplein in Ams­ter­dam.”

In addi­tion to fine art, the Kabi­net show­cas­es oth­er feline appearances—in vin­tage adver­tis­ing, Tadaa­ki Nar­i­ta’s Lucky cat pin­ball machine, and in the per­son, er, form of 5 live spec­i­mens who have the run of the place.

Those vis­it­ing in the flesh can cat around to some of Amsterdam’s oth­er feline-themed attrac­tions, includ­ing two cat cafes, a cat-cen­tric bou­tique, and the float­ing shel­ter, De Poezen­boot.

And let’s not for­get the oth­er cat muse­ums ‘round the globe, from Min­sk and Malaysia to Syl­va, North Carolina’s Amer­i­can Muse­um of the House Cat.

Begin your explo­ration of the col­lec­tion here.

via the BBC

Relat­ed Con­tent:

Two Cats Keep Try­ing to Get Into a Japan­ese Art Muse­um … and Keep Get­ting Turned Away: Meet the Thwart­ed Felines, Ken-chan and Go-chan

An Ani­mat­ed His­to­ry of Cats: How Over 10,000 Years the Cat Went from Wild Preda­tor to Sofa Side­kick

Edward Gorey Talks About His Love Cats & More in the Ani­mat­ed Series, “Goreytelling”

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain, this March. Fol­low her @AyunHalliday.E

Hear a Six-Hour Mix Tape of Hunter S. Thompson’s Favorite Music & the Songs Name-Checked in His Gonzo Journalism

Of all the musi­cal moments in Hunter S. Thomp­son’s for­mi­da­ble cor­pus of “gonzo jour­nal­ism,” which one comes most read­i­ly to mind? I would elect the scene in Fear and Loathing in Las Vegas when Thomp­son’s alter-ego Raoul Duke finds his attor­ney “Dr. Gonzo” in the bath­tub, “sub­merged in green water — the oily prod­uct of some Japan­ese bath salts he’d picked up in the hotel gift shop, along with a new AM/FM radio plugged into the elec­tric razor sock­et. Top vol­ume. Some gib­ber­ish by a thing called ‘Three Dog Night,’ about a frog named Jere­mi­ah who want­ed ‘Joy to the World.’ First Lennon, now this, I thought. Next we’ll have Glenn Camp­bell scream­ing ‘Where Have All the Flow­ers Gone?’ ”

But Dr. Gonzo, his state even more altered than usu­al, real­ly wants to hear only one song: Jef­fer­son Air­plane’s “White Rab­bit.” He wants “a ris­ing sound,” and what’s more, he demands that “when it comes to that fan­tas­tic note where the rab­bit bites its own head off,” Duke throw the radio in the tub with him.

Duke refus­es, explain­ing that “it would blast you right through the wall — stone-dead in ten sec­onds.” Yet Dr. Gonzo, who insists he just wants to get “high­er,” will have none of it, forc­ing Duke to engage in trick­ery that takes to a new depth the book’s already-deep lev­el of crazi­ness. Such, at the time, was the pow­er of not just drugs but of the even more mind-alter­ing prod­uct known as music.

Noth­ing evokes a peri­od of recent his­to­ry more vivid­ly than its songs, espe­cial­ly in the case of the 1960s and ear­ly 1970s that Thomp­son’s prose cap­tured with such improb­a­ble elo­quence. Now, thanks to Lon­don’s NTS Radio (they of the spir­i­tu­al jazz and Haru­ki Muraka­mi mix­es), you can spend a good six hours in that Thomp­son­ian peri­od when­ev­er you like by stream­ing their Hunter S. Thomp­son Day, con­sist­ing of two three-hour mix­es com­posed by Edu Vil­lar­roel, cre­ator of the Spo­ti­fy playlist “Gonzo Tapes: Too Weird To Live, Too Rare To Die!” Both that playlist and these mix­es fea­ture many of the 60s names you might expect: not just Jef­fer­son Air­plane but Buf­fa­lo Spring­field, Jimi Hen­drix, the Rolling Stones, Bob Dylan, Cream, Cap­tain Beef­heart, and many more besides.

Those artists appear on one par­tic­u­lar­ly impor­tant source for these mix­es, Thomp­son’s list of the ten best albums of the 60s. But Hunter S. Thomp­son Day also offers deep­er cuts of Thomp­so­ni­ana as well, includ­ing pieces of Ter­ry Gilliam’s 1998 film adap­ta­tion of Fear and Loathing in Las Vegas as well as clips from oth­er media in which the real Thomp­son appeared, in ful­ly gonzo char­ac­ter as always. Vil­lar­roel describes these mix­es as “best served with a cou­ple tabs of sun­shine acid, tall glass of Wild Turkey with ice and Mez­cal on the side,” but you may well derive a sim­i­lar expe­ri­ence from lis­ten­ing while par­tak­ing of anoth­er pow­er­ful sub­stance: Thomp­son’s writ­ing, still so often imi­tat­ed with­out ever repli­cat­ing its effect, which you can get start­ed read­ing here on Open Cul­ture.

Relat­ed Con­tent:

Hear the 10 Best Albums of the 1960s as Select­ed by Hunter S. Thomp­son

Bill Mur­ray Explains How He Pulled Him­self Out of a Deep, Last­ing Funk: He Took Hunter S. Thompson’s Advice & Lis­tened to the Music of John Prine

Hunter S. Thomp­son Remem­bers Jim­my Carter’s Cap­ti­vat­ing Bob Dylan Speech (1974)

Hunter S. Thomp­son Inter­views Kei­th Richards, and Very Lit­tle Makes Sense

Read 11 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Haru­ki Muraka­mi Day: Stream Sev­en Hours of Mix­es Col­lect­ing All the Jazz, Clas­si­cal & Clas­sic Amer­i­can Pop Music from His Nov­els

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 or on Face­book.

18 Classic Myths Explained with Animation: Pandora’s Box, Sisyphus & More

Greek myths have an incred­i­ble shelf life.

We may not retain all the play­ers’ names or the intri­ca­cies of the var­i­ous plot lines, but the cre­ative pun­ish­ments the gods—Zeus, in particular—visited upon those who dis­pleased them have pro­vid­ed mod­ern mor­tals with an endur­ing short­hand for describ­ing our own woes.

Tempt­ed to sneak a peek inside a lover’s diary? Take a tee­ny swig from the liquor cab­i­net whilst hous­esit­ting? Go snoop­ing in your teenager’s Inter­net his­to­ry?

DON’T DO IT, PANDORA!!!

But if curios­i­ty com­pels you to explore beyond the famous punch­lines of mythology’s great­est hits, TED-Ed’s ani­mat­ed Myths from Around the World series is a rec­om­mend­ed rum­mage.

Aver­ag­ing around five min­utes per tale, each episode is packed tight as a snake in a can of mixed nuts. Pre­pare to be sur­prised by some of the tid­bits that come spring­ing out.

Take Pandora’s box, above.

(Actu­al­ly it was a jar, but why quib­ble?)

Not to unleash too many major spoil­ers, but how many of us remem­bered that the thing con­tained a bit of good along with all that evil?

Or that the ves­sel she wasn’t allowed to open was but one of many gifts the gods bestowed upon her at birth? In fact, Zeus gave her two presents, that pret­ty box, jar, what­ev­er, and—wait for it—an irre­press­ibly inquis­i­tive nature.

Or the close con­nec­tion between Pan­do­ra and Prometheus? Zeus con­ceived of Pan­do­ra as a ret­ri­bu­tion for Prometheus steal­ing fire and return­ing it to earth.

Remem­ber Prometheus?

No, not the guy who’s doomed to spend his life rolling a mas­sive rock uphill, only to have it roll back down before he reach­es the top. That’s Sisy­phus, as in Sisyphean task, like laun­dry or clean­ing the cat lit­ter.

Prometheus is the Titan who winds up chained to a rock so Zeus can send a hun­gry vulture—some say eagle—to devour his liv­er once a day.

(Which kind of puts the cat lit­ter in per­spec­tive.)

In addi­tion to ancient Greek crowd pleasers, the 18-episode Myths from Around the World playlist delves into the famil­iar stuff of Norse, Chi­nese, and ancient Egypt­ian leg­ends, as well as less wide­ly known Cam­bo­di­an and Irish tales.

Each video’s descrip­tion has a link to a full Ted-Ed les­son, with the usu­al com­ple­ment of quizzes, resources and oppor­tu­ni­ties for teacher cus­tomiza­tion.

Watch the full playlist here.

Relat­ed Con­tent:

The Myth of Sisy­phus Won­der­ful­ly Ani­mat­ed in an Oscar-Nom­i­nat­ed Short Film (1974)

Greek Myth Comix Presents Homer’s Ili­ad & Odyssey Using Stick-Man Draw­ings

Con­cepts of the Hero in Greek Civ­i­liza­tion (A Free Har­vard Course) 

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in New York City for the next install­ment of her book-based vari­ety show, Necro­mancers of the Pub­lic Domain, this March. Fol­low her @AyunHalliday.

Watch the Last Time Peter Tork (RIP) & The Monkees Played Together During Their 1960s Heyday: It’s a Psychedelic Freakout

Peter Tork died yes­ter­day at age 77. You might not have heard the news over the deaf­en­ing alarms in your social media feeds late­ly. But a mut­ed response is also note­wor­thy because of the way Tork’s fame implod­ed at the end of the six­ties, at a time when he might have become the kind of rock star he and his fel­low Mon­kees had proved they could become, all on their own, with­out the help of any stu­dio trick­ery, thanks very much. The irony of mak­ing this bold state­ment with a fea­ture film was not lost on the band at all.

The film was Head, co-writ­ten and co-pro­duced by Jack Nichol­son, who appears along­side the Mon­kees, Teri Garr, Annette Funi­cel­lo, Frank Zap­pa, Son­ny Lis­ton, Jer­ry Lee Lewis, Fats Domi­no, and Lit­tle Richard, among many oth­er famous guest stars and musi­cians. Den­nis Hop­per and Toni Basil pop up, and the sound­track, large­ly writ­ten and played by the band, is a tru­ly groovy psych rock mas­ter­piece and their last album to fea­ture Tork until a reunion in the mid-80s.

Head was a weird, cyn­i­cal, embit­tered, yet bril­liant, attempt to tor­pe­do every­thing the Mon­kees had been to their fans—teen pop idols and goofy Bea­t­les rip-offs at a time when The Bea­t­les had maybe got­ten too edgy for some folks. And while it may have tak­en too much of a toll on the band, espe­cial­ly Tork, for them to recov­er, it’s clear that they had an absolute blast mak­ing both the movie and the record, even as their pro­fes­sion­al rela­tion­ships col­lapsed.

Tork’s best song­writ­ing con­tri­bu­tion to Head, and maybe to the Mon­kees cat­a­log on the whole, is “Can You Dig It,” a med­i­ta­tion on “it” that takes what might have been cheap hip­ster appro­pri­a­tion in a funky, pseu­do-deep, vague­ly East­ern direc­tion free of guile—it’s light and breezy, like the Mon­kees, but also sin­is­ter and slinky, like Dono­van or the folk rock of Bri­an Jones, and also spi­dery and jan­g­ly like Roger McGuinn. In the esti­ma­tion of many a psy­che­del­ic rock fan, this is music that deserves a place beside its obvi­ous influ­ences. That Mon­kees fans could not dig it at the time only reflects poor­ly on them, but since some of them were fans of what they thought was a slap­stick com­e­dy troupe or a back­up act for dreamy Davy Jones, they can hard­ly be blamed.

Cast as the Ringo of the gang (The Mon­kees and Head direc­tor Bob Rafel­son com­pared him to Har­po Marx), Tork brought to it a sim­i­lar­ly seri­ous whim­sy, and when he was final­ly allowed to show what he could do—both as a musi­cian and a songwriter—he more than acquit­ted him­self. Where Ringo mas­tered idiot savant one-lin­ers, Tork excelled in the kind of oblique riffs that char­ac­ter­ized his playing—he was the least tal­ent­ed vocal­ist in the band, but the most tal­ent­ed musi­cian and the only one allowed to play on the band’s first two records. Tork played bass, gui­tar, key­boards, ban­jo, harp­si­chord, and oth­er instru­ments flu­ent­ly. He honed his craft, and his “lov­able dum­my” per­sona on Green­wich Vil­lage cof­fee­house stages.

It’s not hard to argue that the Mon­kees rose above their TV ori­gins to become bona fide pop stars with the song­writ­ing and pro­mo­tion­al instincts to match, but Head, both film and album, make them a band worth revis­it­ing for all sorts of oth­er rea­sons. Now a wide­ly-admired cult clas­sic, in 1968, the movie “sur­faced briefly and then sank like a cos­tumed dum­my falling into a Cal­i­for­nia canal,” writes Petra May­er at NPR, in ref­er­ence to Head’s first scene, in which Micky Dolenz appears to com­mit sui­cide. If the Mon­kees had been try­ing in earnest to do the same to their careers, they couldn’t have had more suc­cess. Head cost $750,000 and made back $16,000. “It was clear they were in free fall,” Andy Greene writes at Rolling Stone.

“After that deba­cle,” writes Greene, they could have tried a return to the orig­i­nal for­mu­la to recoup their loss­es, but instead “they decid­ed to dou­ble down on psy­che­del­ic insan­i­ty” in an NBC tele­vi­sion spe­cial, 33⅓ Rev­o­lu­tions per Mon­kee, green­light­ed that year after the huge chart suc­cess of “Day­dream Believ­er.” Tork had already announced that he was leav­ing the band as the cam­eras rolled on the very loose­ly plot­ted vari­ety show. He stuck around till the end of film­ing, how­ev­er, and played the last live per­for­mance with The Mon­kees for almost 20 years in the bang-up finale of “Lis­ten to the Band” (top) which “quick­ly devolves into a wild psy­che­del­ic freak­out crammed with guest stars.” Tork, behind the keys, first turns the down­beat Neil Young-like, Nesmith-penned tune into the rave-up it becomes. It’s a glo­ri­ous send-off for a ver­sion of the Mon­kees peo­ple weren’t ready to hear in ’68.

via Rolling Stone

Relat­ed Con­tent:

Watch Frank Zap­pa Play Michael Nesmith on The Mon­kees (1967)

Jimi Hen­drix Opens for The Mon­kees on a 1967 Tour; Then After 8 Shows, Flips Off the Crowd and Quits

Watch The Bea­t­les Per­form Their Famous Rooftop Con­cert: It Hap­pened 50 Years Ago Today (Jan­u­ary 30, 1969)

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

Has the Voynich Manuscript Finally Been Decoded?: Researchers Claim That the Mysterious Text Was Written in Phonetic Old Turkish

There are still sev­er­al ancient lan­guages mod­ern schol­ars can­not deci­pher, like Minoan hiero­glyph­ics (called Lin­ear A) or Khipu, the intri­cate Incan sys­tem of writ­ing in knots. These sym­bols con­tain with­in them the wis­dom of civ­i­liza­tions, and there’s no telling what might be revealed should we learn to trans­late them. Maybe schol­ars will only find account­ing logs and inven­to­ries, or maybe entire­ly new ways of per­ceiv­ing real­i­ty. When it comes, how­ev­er, to a sin­gu­lar­ly inde­ci­pher­able text, the Voyn­ich Man­u­script, the lan­guage it con­tains encodes the wis­dom of a soli­tary intel­li­gence, or an obscure, her­mitic com­mu­ni­ty that seems to have left no oth­er trace behind.

Com­posed around the year 1420, the 240-page man­u­script appears to be in dia­logue with medieval med­ical and alchem­i­cal texts of the time, with its zodi­acs and illus­tra­tions botan­i­cal, phar­ma­ceu­ti­cal, and anatom­i­cal. But its script only vague­ly resem­bles known Euro­pean lan­guages.

So it has seemed for the 300 years dur­ing which schol­ars have tried to solve its rid­dles, assum­ing it to be the work of mys­tics, magi­cians, witch­es, or hoax­ers. Its lan­guage has been var­i­ous­ly said to come from Latin, Sino-Tibetan, Ara­bic, and ancient Hebrew, or to have been invent­ed out of whole cloth. None of these the­o­ries (the Hebrew one pro­posed by Arti­fi­cial Intel­li­gence) has proven con­clu­sive.

Maybe that’s because everyone’s got the basic approach all wrong, see­ing the Voynich’s script as a writ­ten lan­guage rather than a pho­net­ic translit­er­a­tion of speech. So says the Ardiç fam­i­ly, a father and sons team of Turk­ish researchers who call them­selves Ata Team Alber­ta (ATA) and claim in the video above to have “deci­phered and trans­lat­ed over 30% of the man­u­script.” Father Ahmet Ardiç, an elec­tri­cal engi­neer by trade and schol­ar of Turk­ish lan­guage by pas­sion­ate call­ing, claims the Voyn­ich script is a kind of Old Tur­kic, “writ­ten in a ‘poet­ic’ style,” notes Nick Pelling at the site Cipher Mys­ter­ies, “that often dis­plays ‘phone­mic orthog­ra­phy,’” mean­ing the author spelled out words the way he, or she, heard them.

Ahmet noticed that the words often began with the same char­ac­ters, then had dif­fer­ent end­ings, a pat­tern that cor­re­sponds with the lin­guis­tic struc­ture of Turk­ish. Fur­ther­more, Ozan Ardiç informs us, the lan­guage of the Voyn­ich has a “rhyth­mic struc­ture,” a for­mal, poet­ic reg­u­lar­i­ty. As for why schol­ars, and com­put­ers, have seen so many oth­er ancient lan­guages in the Voyn­ich, Ahmet explains, “some of the Voyn­ich char­ac­ters are also used in sev­er­al pro­to-Euro­pean and ear­ly Semit­ic lan­guages.” The Ardiç fam­i­ly will have their research vet­ted by pro­fes­sion­als. They’ve sub­mit­ted a for­mal paper to an aca­d­e­m­ic jour­nal at Johns Hop­kins Uni­ver­si­ty.

Their the­o­ry, as Pelling puts it, may be one more “to throw onto the (already blaz­ing) hearth” of Voyn­ich spec­u­la­tion. Or it may turn out to be the final word on the trans­la­tion. Promi­nent Medieval schol­ar Lisa Fagin Davis, head of the Medieval Acad­e­my of America—who has her­self cast doubt on anoth­er recent trans­la­tion attempt—calls the Ardiçs’ work “one of the few solu­tions I’ve seen that is con­sis­tent, is repeat­able, and results in sen­si­cal text.”

We don’t learn many specifics of that text in the video above, but if this effort suc­ceeds, and it seems promis­ing, we could see an author­i­ta­tive trans­la­tion of the Voyn­ich, though there will still remain many unan­swered ques­tions, such as who wrote this strange, some­times fan­tas­ti­cal man­u­script, and to what end?

Relat­ed Con­tent:

An Ani­mat­ed Intro­duc­tion to “the World’s Most Mys­te­ri­ous Book,” the 15th-Cen­tu­ry Voyn­ich Man­u­script

Behold the Mys­te­ri­ous Voyn­ich Man­u­script: The 15th-Cen­tu­ry Text That Lin­guists & Code-Break­ers Can’t Under­stand

Arti­fi­cial Intel­li­gence May Have Cracked the Code of the Voyn­ich Man­u­script: Has Mod­ern Tech­nol­o­gy Final­ly Solved a Medieval Mys­tery?

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

Hear the First Musical Composition Created by a Computer: The Illiac Suite (1956)

Think “Gen­er­a­tive Music” and what may come to mind is Bri­an Eno, push­ing a but­ton and let­ting music flow from his stu­dio com­put­er. But the idea is much old­er than that.

The “Illi­ac Suite” from 1952 is named after the cash-reg­is­ter-look­ing ILLIAC com­put­er on which it was com­posed, and is one of the first exam­ples of bring­ing com­put­er pro­gram­ming into the task of cre­at­ing music with­in some well defined para­me­ters. The result­ing score was then played by humans. You can hear the first exper­i­ment above.

The pro­gram­mers were Lejaren Hiller and Leonard Isaac­son, who met at the Uni­ver­si­ty of Illi­nois at Urbana-Cham­pagne, where the ILLIAC com­put­er was built. Inter­est­ing­ly, Hiller con­sid­ered him­self a chemist first, a com­pos­er sec­ond. He had stud­ied clas­si­cal com­po­si­tion under Mil­ton Bab­bitt and, even while work­ing at DuPont labs in Vir­ginia, was com­pos­ing string quar­tets and vocal works. Bab­bitt and oth­er teach­ers had encour­aged him to keep com­pos­ing even while he turned to chem­istry. Per­haps they knew that the art and the sci­ence would dove­tail?

Because indeed they did. While work­ing on the ILLIAC, Hiller real­ized that the method­ol­o­gy he was using in chem­istry prob­lems were the same as those used by com­posers, and decid­ed to exper­i­ment. Isaac­son would help pro­gram the new com­put­er.

The first exper­i­ment sounds the most tra­di­tion­al, the most like Bach. The two cre­at­ed sim­ple rules: a melody that only used notes with­in an octave, har­monies that tend­ed towards the major and the minor with no dis­so­nance, and a few oth­er para­me­ters.

The sec­ond exper­i­ment fea­tured four-voice polypho­ny with slight­ly more com­plex rules. The third exper­i­ment is where it gets inter­est­ing, and starts to sound very “mod­ern,” very Pen­derec­ki. Here Hiller and Isaac­son tried to intro­duce rhythm and dynam­ics, although admit­ted­ly they had to shape a lot of the deci­sions out­side the pro­gram and intro­duce some cor­rec­tive algo­rithms.

The fourth and final exper­i­ment was to then replace the “musi­cal” rules of the first three with rules from non-musi­cal dis­ci­plines, and to show that a score could be cre­at­ed from pret­ty much any­thing. Hiller and Isaac­son used Markov Chains to com­pose the final more repet­i­tive and puls­ing piece. (Markov Chains are beyond the scope of this arti­cle, but we encounter them when Google ranks search results or when our iPhones pre­dict what we are going to type next.)

The first three scores were then per­formed by mem­bers of the University’s stu­dent orches­tra in August of 1956 while the fourth was being com­plet­ed. The fin­ished works caught the inter­est of Vladimir Ussachevsky, who would set up the influ­en­tial Colum­bia-Prince­ton Elec­tron­ic Music Cen­ter in New York City and begin releas­ing his own com­po­si­tions the fol­low­ing year.

Relat­ed Con­tent:

Hear the Christ­mas Car­ols Made by Alan Turing’s Com­put­er: Cut­ting-Edge Ver­sions of “Jin­gle Bells” and “Good King Wences­las” (1951)

Hear the First Record­ing of Com­put­er Gen­er­at­ed Music: Researchers Restore Music Pro­grammed on Alan Turing’s Com­put­er (1951)

An Impres­sive Audio Archive of John Cage Lec­tures & Inter­views: Hear Record­ings from 1963–1991

A Huge Anthol­o­gy of Noise & Elec­tron­ic Music (1920–2007) Fea­tur­ing John Cage, Sun Ra, Cap­tain Beef­heart & More

Peefeey­atko: A Look Inside the Cre­ative World of Frank Zap­pa

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the artist inter­view-based FunkZone Pod­cast and is the pro­duc­er of KCR­W’s Curi­ous Coast. You can also fol­low him on Twit­ter at @tedmills, read his oth­er arts writ­ing at tedmills.com and/or watch his films here.

23 Million Patrons of California’s Public Libraries Can Now Read The New York Times for Free Online

More and more, you can get access to valu­able elec­tron­ic resources through your friend­ly local library. In the past, we’ve men­tioned how any­one with a New York Pub­lic Library card can get free access to thou­sands of ebooks, more than 30,000 movies (includ­ing many clas­sics from the Cri­te­ri­on Col­lec­tion), and even suits and brief­cas­es for job inter­views.

Many pub­lic libraries also now give patrons access to Kanopy, the provider of high-qual­i­ty doc­u­men­taries, indie and clas­sic films. Take for exam­ple this col­lec­tion of clas­sic and con­tem­po­rary Ger­man films.

Now con­sid­er this: The New York Times announced this week that near­ly 1,200 pub­lic libraries across Cal­i­for­nia will offer their 23 mil­lion patrons free access to the New York Times online. They write:

California’s 23 mil­lion library card hold­ers in the state may access NYTimes.com by vis­it­ing nytimes.com/register on a library com­put­er, or on their own device while con­nect­ed to the library’s Wi-Fi. Library card hold­ers can access nytimes.com from any­where through their library’s web­site.” Res­i­dents with­out a library card may vis­it their local branch to apply for one. The pro­gram will also include month­ly events at select library branch­es.

For more infor­ma­tion, vis­it this page. And if you know of oth­er great deals offered by pub­lic libraries, please men­tion them in the com­ments sec­tion below.

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

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

via David Beard

Relat­ed Con­tent:

The New York Pub­lic Library Lets Patrons Down­load 300,000 eBooks

New York­ers Can Now Stream 30,000 Free Movies, Includ­ing the Entire Cri­te­ri­on Col­lec­tion, with Their Library Cards

The New York Pub­lic Library Lets Patrons Down­load 300,000 eBooks

Stream 48 Clas­sic & Con­tem­po­rary Ger­man Films Free Online: From Fritz Lang’s Metrop­o­lis to Mar­garethe von Trotta’s Han­nah Arendt

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The History of Ancient Greece in 18 Minutes: A Brisk Primer Narrated by Brian Cox

Ancient Greece nev­er exist­ed. Before you click away, fear­ing a tru­ly brazen attempt at his­tor­i­cal revi­sion­ism, let’s put that state­ment in con­text. Ancient Greece “was no state with an estab­lished bor­der or cap­i­tal, but rather a mul­ti­tude of dis­tinct and com­plete­ly inde­pen­dent cities.” So says the video above, “Ancient Greece in 18 Min­utes,” which makes his­tor­i­cal cor­rec­tions — and often humor­ous ones — to that and a vari­ety of oth­er com­mon mis­per­cep­tions about per­haps the main civ­i­liza­tions to give rise to West­ern cul­ture as we know it.

“We might think we already know every­thing about Ancient Greece,” says the video’s nar­ra­tor, actor Bri­an Cox. “The Parthenon, the 300 Spar­tans, and blind Home­r’s Ili­ad and Odyssey are famil­iar to all, yet there were far more than 300 Spar­tans, the Parthenon was actu­al­ly built as a kind of cen­tral bank, and no such uni­fied state as ancient Greece, with Athens as its cap­i­tal, ever exist­ed.”

Some of our unwar­rant­ed intel­lec­tu­al con­fi­dence about Ancient Greece sure­ly comes from the movies that draw on its his­to­ry and its sto­ries, such as the com­ic-book Bat­tle of Ther­mopy­lae drama­ti­za­tion 300 or, a cou­ple years ear­li­er, Troy, which deliv­ered Home­r’s Ili­ad in true Hol­ly­wood fash­ion — with Cox him­self as Agamem­non, com­man­der of the unit­ed Greek forces in the Tro­jan War.

That nine-year long siege, of course, fig­ures into “Ancient Greece in 18 Min­utes” as one of its most impor­tant episodes. The oth­er chap­ters cov­er the Cre­to-Myce­naean era that pre­ced­ed Ancient Greece, the bar­bar­ian attacks that plunged the region into a 400-year dark age, the Archa­ic Peri­od that saw the begin­ning of Greece’s far-flung agri­cul­ture-dri­ven col­o­niza­tion, the rise of the famous Athens and Spar­ta, the Grae­co-Per­sian Wars (as seen, in a sense, in 300), the Gold­en Age of Athens (the age of the con­struc­tion of the Parthenon, with­out which “the Greek clas­sics would­n’t have exist­ed at all: no sculp­ture, dra­ma, phi­los­o­phy”), the Pelo­pon­nesian War, and the time of Alexan­der the Great.

Alexan­der the Great died young in 323 BC, and Ancient Greece as we con­ceive of it today is thought not to have sur­vived him. But in anoth­er sense, it not only sur­vived but thrived: the Romans con­quered Greece in 146 BC, but “Greek cul­ture was vic­to­ri­ous even here: spread by the Romans, it final­ly con­quered the world. Romans began to read The Ili­ad and Odyssey in Greek, fol­lowed by the Greek New Tes­ta­ment.” (You can find out much more about the Romans in the same cre­ators’ video “Ancient Rome in 20 Min­utes.”) When in 330 the Roman emper­or Con­stan­tine built his new cap­i­tal on the site of the Greek colony of Byzan­tium, he start­ed the Byzan­tine Empire, “which extend­ed the life of Greek cul­ture anoth­er thou­sand years.” This left a for­mi­da­ble cul­tur­al lega­cy of its own — includ­ing, as this Russ­ian-made video makes a spe­cial point of telling us, “the weird Russ­ian alpha­bet.”

Relat­ed Con­tent:

Intro­duc­tion to Ancient Greek His­to­ry: A Free Online Course from Yale

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals their Bold, Bright Col­ors and Pat­terns

Watch Art on Ancient Greek Vas­es Come to Life with 21st Cen­tu­ry Ani­ma­tion

Ancient Greek Pun­ish­ments: The Retro Video Game

Con­cepts of the Hero in Greek Civ­i­liza­tion (A Free Har­vard Course)

The Gold­en Age of Ancient Greece Gets Faith­ful­ly Recre­at­ed in the New Video Game Assassin’s Creed: Odyssey

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 or on Face­book.

The History of Ancient Rome in 20 Quick Minutes: A Primer Narrated by Brian Cox

Two thou­sand years ago, Rome was half the world. A thou­sand years before that, it was “a tiny trib­al set­tle­ment of the Latins by the riv­er Tiber.” So, what hap­pened? An awful lot. But nar­ra­tor Bri­an Cox makes the his­to­ry and longevi­ty of Ancient Rome seem sim­ple in 20 min­utes in the Arza­mas video above, which brings the same tal­ent for nar­ra­tive com­pres­sion as we saw in an ear­li­er video we fea­tured with Cox describ­ing the his­to­ry of Russ­ian Art.

This is a far more sprawl­ing sub­ject, but it’s one you can absorb in 20 min­utes, if you’re sat­is­fied with very broad out­lines. Or, like one YouTube com­menter, you can spend six hours, or more, paus­ing for read­ing and research after each morsel of infor­ma­tion Cox toss­es out. The sto­ry begins with trade—cultural and economic—between the Latins and the Etr­uscans to the north and Greeks to the south. Rome grows by adding pop­u­la­tions from all over the world, allow­ing migrants and refugees to become cit­i­zens.

Indeed, the great Roman epic, the Aeneid, relates its found­ing by refugees from Troy. From these begin­nings come mon­u­men­tal inno­va­tions in build­ing and engi­neer­ing, as well as an alpha­bet that spread around the world and a lan­guage that spawned dozens of oth­ers. The Roman numer­al sys­tem, an unwieldy way to do math­e­mat­ics, nonethe­less gave to the world the stateliest means of writ­ing num­bers. Rome gets the cred­it for these gifts to world civ­i­liza­tion, but they orig­i­nat­ed with the Etr­uscans, along with famed Roman mil­i­tary dis­ci­pline and style of gov­ern­ment.

After Tar­quin, the last Roman king, com­mit­ted one abuse too many, the Repub­lic began to form, as did new class divides. Plebs fought Patri­cians for expand­ed rights, Sen­a­tus Pop­u­lusque Romanus (SPQR)—the sen­ate and the peo­ple of Rome—expressed an ide­al of uni­ty and polit­i­cal equal­i­ty, of a sort. An age of impe­r­i­al war ensues, con­quered peo­ples are osten­si­bly made allies, not colo­nials, though they are also made slaves and sup­ply the legions with “a nev­er end­ing sup­ply of recruits.”

These sketch­es of major cam­paigns you may remem­ber from your World Civ class: The Punic Wars with Carthage, and their com­man­der Han­ni­bal, con­duct­ed under the mot­to of Cato, the sen­a­tor who beat the drums of war by repeat­ing Cartha­go delen­da est—Carthage must be destroyed. The con­quer­ing of Corinth and the absorp­tion of Alexander’s Hel­lenist empire into Rome.

The sto­ry of the Empire resem­bles that of so many oth­ers: tales of hubris, fero­cious bru­tal­i­ty, geno­cide, and end­less build­ing. But it is also a sto­ry of polit­i­cal genius, in which, grad­u­al­ly, those peo­ples brought under the ban­ners of Rome by force were giv­en cit­i­zen­ship and rights, ensur­ing their loy­al­ty. Rel­a­tive peace—within the bor­ders of Rome, at least—could not hold, and the Repub­lic implod­ed in civ­il wars and the ruina­tion of a slave econ­o­my and extreme inequal­i­ty.

The wealthy gob­bled up arable land. The tri­bunes of the peo­ple, the Grac­chi broth­ers, sug­gest­ed a redis­tri­b­u­tion scheme. The sen­a­tors respond­ed with force, killing thou­sands. Two mass-mur­der­ing con­quer­ing gen­er­als, Pom­pey and Julius Cae­sar, fought over Rome. Cae­sar crossed the Rubi­con with his legions to take the city, assum­ing the title Imper­a­tor, a move that cost him his life.

But his mur­der didn’t stop the march of Empire. Under his nephew Augus­tus, a dic­ta­tor who called him­self a sen­a­tor, Rome spread, flour­ished, and estab­lished a 200-year Pax Romana, a time of thriv­ing arts and cul­ture, pop­u­lar enter­tain­ments, and a well-fed pop­u­lace.

Augus­tus had learned from the Grac­chi what nei­ther the venal sen­a­to­r­i­al class nor so many sub­se­quent emper­ors could. In order to rule effec­tive­ly, you’ve got to have the peo­ple on your side, or have them so dis­tract­ed, at least, by bread and cir­cus­es, that they won’t both­er to revolt. Watch the full video to learn about the next few hun­dred years, and learn more about Ancient Rome at the links below.

Relat­ed Con­tent:

Play Cae­sar: Trav­el Ancient Rome with Stanford’s Inter­ac­tive Map

Rome Reborn: Take a Vir­tu­al Tour of Ancient Rome, Cir­ca 320 C.E.

An Inter­ac­tive Map Shows Just How Many Roads Actu­al­ly Lead to Rome

The Ups & Downs of Ancient Rome’s Economy–All 1,900 Years of It–Get Doc­u­ment­ed by Pol­lu­tion Traces Found in Greenland’s Ice

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


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