An Anti-Racist Reading List: 20 Books Recommended by Open Culture Readers

You may have received an email from your favorite online retail­er, your boss, uni­ver­si­ty pres­i­dent, or the CEO of your bank: “It has come to our atten­tion that racism is real, and it is real­ly, real­ly bad.” Oppor­tunism is real too, but a sig­nif­i­cant num­ber of indi­vid­u­als seem to have final­ly drawn the same con­clu­sion and feel moral­ly com­pelled to do some­thing about an epi­dem­ic that has—very discriminately—killed tens of thou­sands of black, indige­nous, and peo­ple of col­or in the U.S. through the unequal dis­tri­b­u­tion of med­ical resources, and dozens more at the hands of the police and racist vig­i­lantes. That’s only in the past three months.

But racism isn’t new; the cur­rent con­flict has been on its way for a very long time. How long? Anti-racist schol­ar and activist Ibram X. Ken­di, author of the Nation­al Book Award-Win­ning Stamped from the Begin­ning, would say from the country’s ear­li­est set­tle­ment and enslave­ment of African peo­ple. “For near­ly six cen­turies,” he writes, “antiracist ideas have been pit­ted against two kinds of racist ideas: seg­re­ga­tion­ist and assim­i­la­tion­ist,” Ken­di wrote dur­ing the protests in Fer­gu­son and oth­er U.S. cities. At the time, antiracists were large­ly char­ac­ter­ized in main­stream media as fringe agi­ta­tors, naïve Gen‑Z neo­phytes, and pos­si­ble for­eign agents, not “real Amer­i­cans.”

How things have changed in six years. Antiracism has become a default posi­tion, all of a sud­den, for per­haps the first time in U.S. his­to­ry, so much so that every com­pa­ny and insti­tu­tion has issued some sort of state­ment in sup­port of Black Lives Mat­ter, and every­one is col­lect­ing and shar­ing Anti-Racist Read­ing Lists, near­ly all of which con­tain Kendi’s fol­low-up book, last year’s How to Be an Anti-Racist (which he dis­cuss­es above with Brené Brown). How long this will last is any­one’s guess, but it is with­out a doubt a cul­tur­al sea change a long time in the mak­ing.

Ken­di and White Fragili­ty author Robin DiAn­ge­lo are the “mac dad­dies of the bunch” of recent antiracist authors, Lau­ren Michele Jack­son writes at Vul­ture, and it’s become a crowd­ed field as more and more Amer­i­cans attempt to come to grips with a nation­al his­to­ry many of them are learn­ing for the first time. As Ken­di and Pulitzer Prize-win­ning jour­nal­ist Nikole Han­nah-Jones, cre­ator of the 1619 project, dis­cuss on Chris Hayes’ pod­cast at the top, the country’s past as it is taught to us and as it hap­pened are two entire­ly dif­fer­ent things. Antiracism has always rec­og­nized the vicious, cease­less mur­der, dis­en­fran­chise­ment, and ran­sack­ing of black and brown peo­ple, and has pushed against the nar­ra­tives that deny or excuse these acts.

Car­ol Ander­son, author of White Rage, has giv­en us one of the most raw, com­pelling, and exhaus­tive­ly researched accounts of the vio­lence of Recon­struc­tion and the lynch­ings of the ear­ly 20th cen­tu­ry. Above, she links the mur­der of 25-year-old Ahmaud Arbery and recent police killings to the shock­ing­ly bru­tal racism that fol­lowed the Civ­il War. Anderson’s book also rou­tine­ly appears on sug­gest­ed read­ing lists, and well it should. All of these schol­ars and authors have pro­duced acces­si­ble work full of his­to­ries one might pre­vi­ous­ly have only encoun­tered in grad­u­ate-lev­el col­lege and uni­ver­si­ty cours­es. It is essen­tial infor­ma­tion for peo­ple com­mit­ted to over­turn­ing racist sys­tems, which is exact­ly why it has been left out of the text­books.

For all the urgency of edu­ca­tion, the anti-racist book­list is an ambigu­ous kind of cur­ren­cy. Jack­son won­ders what func­tion it serves, exact­ly. Read­ing lists can be an eru­dite brush-off, a polite way of say­ing, “go away and read a book.” They can be a way to sig­nal mas­tery and work for online mer­it badges rather than real ben­e­fi­cial action. They can “feel good to solic­it, good to mete out, but some­one at some point has to get down to the busi­ness of read­ing. And there, between giv­ing and receiv­ing, lies a great gulf. No one can quite account for what hap­pens. Read­ing, hope­ful­ly, but you nev­er can be sure.”

Jackson’s cri­tique of the anti-racist read­ing list is worth read­ing before engag­ing with lists of books, recent and his­tor­i­cal, that oppose racist ideas, poli­cies, and sys­tems. What are we look­ing for in such lists? And can we real­ly make good use of them? She makes a case for why fic­tion, poet­ry, and dra­ma should not appear, since they deserve the sta­tus of art, not as instru­men­tal works of social change. “It is unfair,” Jack­son writes, “to beg oth­er lit­er­a­ture and oth­er authors, many of them dead, to do this sort of work for some­one,” when the work they set out to do is pri­mar­i­ly cre­ative. Ignor­ing genre “rein­forces an already per­ni­cious lit­er­ary divide that books writ­ten by or about minori­ties are for edu­ca­tion­al pur­pos­es” only.

Despite many poten­tial blind spots, despite the fact that “our cus­tom­ar­i­ly wan atten­tion spans have been dec­i­mat­ed” by pan­dem­ic and protest, the read­ing “has to get done,” Jack­son weari­ly admits. Anti-racist book­lists must cir­cu­late. And read­ers must make crit­i­cal judg­ments about which books to read and what to take away from them, since we’re giv­en the equiv­a­lent of a syl­labus with­out a class or an instruc­tor. We trust that our read­ers can find their way and will make a good faith effort to do the read­ing. There won’t be a grad­ed exam; the test is far more con­se­quen­tial than that.

We solicit­ed an anti-racist read­ing list on Twit­ter and chose the books below sub­mit­ted by our read­ers. Since there’s no such thing as a defin­i­tive list, and dif­fer­ent kinds of read­ers have dif­fer­ent needs, we include oth­er col­lec­tions of read­ings lists here, includ­ing “41 Children’s Books to Sup­port Con­ver­sa­tions on Race, Racism, and Resis­tance.” You’ll find an anti-racist read­ing list on Twit­ter, here, com­piled by doc­tor­al researcher Vic­to­ria Alexan­der, and a list on LinkedIn enti­tled “Why White Peo­ple Stay Silent on Racism, and What to Read First,” from orga­ni­za­tion­al psy­chol­o­gist Adam Grant.

If this is over­whelm­ing but you feel you must start to engage with the his­to­ry and the­o­ry of anti-racism, don’t despair or buy a pile of books you know you can’t read right now. All of the most promi­nent anti-racist authors have been in high demand for inter­views. “There are snap­pi­er places to glean the long-sto­ry-short of Amer­i­ca, like pod­casts, if it took some­one this long to care,” writes Jack­son, or if, like so many mil­lions of oth­er stressed out, angry, griev­ing, out-of-work Amer­i­cans, you’re sim­ply too burned out to crack anoth­er book. But if you’re will­ing and able to dig in, see our read­er-sub­mit­ted list below and sug­gest oth­er titles you’d rec­om­mend in the com­ments. If you pre­fer audio­books, many of these texts also exist as audio­books on Audi­ble. Get details on Audi­ble’s free tri­al here.

Between the World and Me—Ta-Nehisi Coates: Hailed by Toni Mor­ri­son as “required read­ing,” a bold and per­son­al lit­er­ary explo­ration of America’s racial his­to­ry by “the most impor­tant essay­ist in a gen­er­a­tion and a writer who changed the nation­al polit­i­cal con­ver­sa­tion about race” (Rolling Stone)

Biased: Uncov­er­ing the Hid­den Prej­u­dice That Shapes What We See, Think, and Do—Jen­nifer L. Eber­hardt PhD: How do we talk about bias? How do we address racial dis­par­i­ties and inequities? What role do our insti­tu­tions play in cre­at­ing, main­tain­ing, and mag­ni­fy­ing those inequities? What role do we play? With a per­spec­tive that is at once sci­en­tif­ic, inves­tiga­tive, and informed by per­son­al expe­ri­ence, Dr. Jen­nifer Eber­hardt offers us the lan­guage and courage we need to face one of the biggest and most trou­bling issues of our time. She expos­es racial bias at all lev­els of society—in our neigh­bor­hoods, schools, work­places, and crim­i­nal jus­tice sys­tem. Yet she also offers us tools to address it.

Black Like Me—John Howard Grif­fin: The his­to­ry-mak­ing clas­sic about cross­ing the line in Amer­i­ca’s seg­re­gat­ed south. The Atlanta Jour­nal & Con­sti­tu­tion calls it “One of the deep­est, most pen­e­trat­ing doc­u­ments yet set down on the racial ques­tion.”

How To Be An Antiracist — Ibram X. Ken­di: “What do you do after you have writ­ten Stamped From the Begin­ning, an award-win­ning his­to­ry of racist ideas? … If you’re Ibram X. Ken­di, you craft anoth­er stun­ner of a book.… What emerges from these insights is the most coura­geous book to date on the prob­lem of race in the West­ern mind, a con­fes­sion­al of self-exam­i­na­tion that may, in fact, be our best chance to free our­selves from our nation­al nightmare.”—The New York Times

I Can’t Breathe: A Killing on Bay Street—Matt Tiab­bi: A work of riv­et­ing lit­er­ary jour­nal­ism that explores the roots and reper­cus­sions of the infa­mous killing of Eric Gar­ner by the New York City police.

Just Mer­cy: A Sto­ry of Jus­tice and Redemp­tion—Bryan Steven­son: “Every bit as mov­ing as To Kill a Mock­ing­bird, and in some ways more so … a sear­ing indict­ment of Amer­i­can crim­i­nal jus­tice and a stir­ring tes­ta­ment to the sal­va­tion that fight­ing for the vul­ner­a­ble some­times yields.”—David Cole, The New York Review of Books

On the Cour­t­house Lawn: Con­fronting the Lega­cy of Lynch­ing in the Twen­ty-First Cen­tu­ry—Sher­ri­lyn A. Ifill: “This path­break­ing book by Sher­ri­lyn Ifill shows how the ugli­est mes­sages from our racial his­to­ry and pol­i­tics can hide open­ly in the pub­lic square. Her unflinch­ing mem­o­ry restores hope for the com­mon good.”—Taylor Branch, Pulitzer Prize–winning author of Part­ing the Waters

So You Want to Talk About Race—Ijeo­ma Oluo: “Ijeo­ma Olu­o’s [book] is a wel­come gift to us all — a crit­i­cal offer­ing dur­ing a moment when the hard work of social trans­for­ma­tion is ham­pered by the inabil­i­ty of any­one who ben­e­fits from sys­temic racism to reck­on with its costs. Olu­o’s man­date is clear and pow­er­ful: change will not come unless we are brave enough to name and remove the many forces at work stran­gling free­dom. Racial suprema­cy is but one of those forces.” ―Dar­nell L. Moore, author of No Ash­es in the Fire

Stamped from the Begin­ning: The Defin­i­tive His­to­ry of Racist Ideas in Amer­i­ca—Ibram X. Ken­di: The Nation­al Book Award win­ning his­to­ry of how racist ideas were cre­at­ed, spread, and deeply root­ed in Amer­i­can soci­ety. In this deeply researched and fast-mov­ing nar­ra­tive, Ken­di chron­i­cles the entire sto­ry of anti-black racist ideas and their stag­ger­ing pow­er over the course of Amer­i­can his­to­ry. He uses the life sto­ries of five major Amer­i­can intel­lec­tu­als to dri­ve this his­to­ry: Puri­tan min­is­ter Cot­ton Math­er, Thomas Jef­fer­son, abo­li­tion­ist William Lloyd Gar­ri­son, W.E.B. Du Bois, and leg­endary activist Angela Davis.

Stamped: Racism, Antiracism, and You—Jason Reynolds and Ibram X. Ken­di: “Read­ers who want to tru­ly under­stand how deeply embed­ded racism is in the very fab­ric of the U.S., its his­to­ry, and its sys­tems will come away edu­cat­ed and enlight­ened. Wor­thy of inclu­sion in every home and in cur­ric­u­la and libraries every­where. Impres­sive and much need­ed.” ―Kirkus

Sun­down Towns—James Loewen: In this ground­break­ing work, soci­ol­o­gist James W. Loewen brings to light decades of hid­den racial exclu­sion in Amer­i­ca. In a sweep­ing analy­sis of Amer­i­can res­i­den­tial pat­terns, Loewen uncov­ers the thou­sands of “sun­down towns”—almost exclu­sive­ly white towns where it was an unspo­ken rule that blacks weren’t welcome—that cropped up through­out the twen­ti­eth cen­tu­ry, most of them locat­ed out­side of the South.

The Auto­bi­og­ra­phy of Mal­colm X: As Told to Alex Haley: In the sear­ing pages of this clas­sic 1964 auto­bi­og­ra­phy, Mal­colm X out­lines the lies and lim­i­ta­tions of the Amer­i­can Dream, along with the inher­ent racism in a soci­ety that denies its non­white cit­i­zens the oppor­tu­ni­ty to dream.

The Col­or of Law—Richard Roth­stein: Roth­stein argues with exact­ing pre­ci­sion and fas­ci­nat­ing insight how seg­re­ga­tion in America—the inces­sant kind that con­tin­ues to dog our major cities and has con­tributed to so much recent social strife—is the byprod­uct of explic­it gov­ern­ment poli­cies at the local, state, and fed­er­al lev­els.

The Fire Next Time—James Bald­win: “Bald­win’s best­seller from 1963, which com­mem­o­rat­ed the cen­ten­ni­al of the sign­ing of the Eman­ci­pa­tion Procla­ma­tion, still res­onates pow­er­ful­ly today. The late author’s book con­sists of two essays that exam­ine racial injus­tice in Amer­i­ca, includ­ing his own expe­ri­ence grow­ing up as a black teenag­er in Harlem.”

The New Jim Crow: Mass Incar­cer­a­tion in the Age of Col­or­blind­ness —Michelle Alexan­der: The New Jim Crow “took the acad­e­my and the streets by storm, and forced the nation to recon­sid­er the sys­tems that allowed for bla­tant discrimination.”—The Chron­i­cle of High­er Edu­ca­tion

The Oth­er by Wes Moore: “This is a fas­ci­nat­ing book about two young men from Bal­ti­more with the same name. One, the author, became a Rhodes Schol­ar while the oth­er land­ed in jail. It’s as much a med­i­ta­tion on cir­cum­stance and luck as it is a com­men­tary on how suc­cess­ful our soci­ety is in man­ag­ing those who are on the precipice, both social­ly and eco­nom­i­cal­ly.”

The Per­son You Mean to Be: How Good Peo­ple Fight Bias—Dol­ly Chugh: An inspir­ing guide from Dol­ly Chugh, an award-win­ning social psy­chol­o­gist at the New York Uni­ver­si­ty Stern School of Busi­ness, on how to con­front dif­fi­cult issues includ­ing sex­ism, racism, inequal­i­ty, and injus­tice so that you can make the world (and your­self) bet­ter.

The Warmth of Oth­er Suns—Isabel Wilk­er­son: In this epic, beau­ti­ful­ly writ­ten mas­ter­work, Pulitzer Prize–winning author Isabel Wilk­er­son chron­i­cles one of the great untold sto­ries of Amer­i­can his­to­ry: the decades-long migra­tion of black cit­i­zens who fled the South for north­ern and west­ern cities, in search of a bet­ter life.

White Fragili­ty: Why It’s So Hard for White Peo­ple to Talk About Racism—Robin DiAn­ge­lo: The New York Times best-sell­ing book explor­ing the coun­ter­pro­duc­tive reac­tions white peo­ple have when their assump­tions about race are chal­lenged, and how these reac­tions main­tain racial inequal­i­ty.

White Rage—Car­ol Ander­son: “White Rage is a riv­et­ing and dis­turb­ing his­to­ry that begins with Recon­struc­tion and lays bare the efforts of whites in the South and North alike to pre­vent eman­ci­pat­ed black peo­ple from achiev­ing eco­nom­ic inde­pen­dence, civ­il and polit­i­cal rights, per­son­al safe­ty, and eco­nom­ic oppor­tu­ni­ty.” — The Nation

Why Are All the Black Kids Sit­ting Togeth­er in the Cafe­te­ria?—Bev­er­ly Daniel Tatum: Walk into any racial­ly mixed high school and you will see Black, White, and Lati­no youth clus­tered in their own groups. Is this self-seg­re­ga­tion a prob­lem to address or a cop­ing strat­e­gy? Bev­er­ly Daniel Tatum, a renowned author­i­ty on the psy­chol­o­gy of racism, argues that straight talk about our racial iden­ti­ties is essen­tial if we are seri­ous about enabling com­mu­ni­ca­tion across racial and eth­nic divides. This ful­ly revised edi­tion is essen­tial read­ing for any­one seek­ing to under­stand the dynam­ics of race in Amer­i­ca.

Relat­ed Con­tent: 

Noam Chom­sky Explains the Best Way for Ordi­nary Peo­ple to Make Change in the World, Even When It Seems Daunt­ing

Watch Ava DuVernay’s 13th Free Online: An Award-Win­ning Doc­u­men­tary Reveal­ing the Inequal­i­ties in the US Crim­i­nal Jus­tice Sys­tem

Albert Ein­stein Explains How Slav­ery Has Crip­pled Everyone’s Abil­i­ty to Think Clear­ly About Racism

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

Watch a Mesmerizing Stream of Unwatched YouTube Videos: Astronaut.io Lets You Discover the Hidden Dimensions of the World’s Largest Video Platform

When times are hard, it often helps to zoom out for a moment—in search of a wider per­spec­tive, his­tor­i­cal con­text, the for­est full of trees…

Astronaut.io, an algo­rith­mic YouTube-based project by Andrew Wong and James Thomp­son, offers a big pic­ture that’s as restora­tive as it is odd:

Today, you are an Astro­naut. You are float­ing in inner space 100 miles above the sur­face of Earth. You peer through your win­dow and this is what you see.

If the stars look very dif­fer­ent today, it’s because they’re human, though not the kind who are prone to attract­ing the paparazzi. Rather, Astro­naut is pop­u­lat­ed by ordi­nary cit­i­zens, with occa­sion­al appear­ances by pets, wildlife, video game char­ac­ters, and hous­es, both inte­ri­or and exte­ri­or.

Launch Astro­naut, and you will be bear­ing pas­sive wit­ness to a parade of unevent­ful, unti­tled home video excerpts.

The expe­ri­ence is the oppo­site of earth­shak­ing.

And that is by design.

As Wong told Wired’s Liz Stin­son:

There’s this metaphor of being on a train …you see things out the win­dow and think, ‘Oh what is that?’ but it’s too late, it’s already gone by. Not let­ting some­one go too deep is pret­ty impor­tant.

After some tri­al and error on Twit­ter, where video con­tent rarely favors the rest­ful, Wong and Thomp­son real­ized that the sort of mate­r­i­al they sought resided on YouTube. Per­haps it’s been reflex­ive­ly dumped by users with no par­tic­u­lar pas­sion for what they’ve record­ed. Or the account is a new one, its own­er just begin­ning to fig­ure out how to post con­tent.

The videos on any giv­en Astro­naut jour­ney earn their place by virtue of gener­ic, cam­era-assigned file names (IMG 0034, MOV 0005, DSC 0165…), zero views, and an upload with­in the last week.

The over­all effect is one of mes­mer­iz­ing, unre­mark­able life going on whether it’s observed or not.

Chil­dren per­form in their liv­ing room

A woman assem­bles a bride’s bou­quet

A kit­ten bats a toy

A pre-fab home is moved into place

The vision is heart­warm­ing­ly glob­al.

Astro­naut is anti-star, but there are some fre­quent sight­ings, owing to the num­ber of name­less incon­se­quen­tial videos any one user uploads.

This week a Viet­namese fash­ion­ista, a karaoke space in Argenti­na, and a box­ing ring in Mon­tre­al make mul­ti­ple appear­ances, as do some very tired look­ing teach­ers.

The effect is most sooth­ing when you allow it to wash over you unim­ped­ed, but there is a red but­ton below the frame, if you feel com­pelled to linger with­in a cer­tain scene.

(You can also click on what­ev­er pass­es for the video’s title in the upper left cor­ner to open it on YouTube, from whence you might be able to suss out a bit more infor­ma­tion.)

A very young Super Mario fan has appar­ent­ly col­o­nized a parent’s account for his nar­rat­ed gam­ing videos.

Halfway around the world, a for­mal­ly dressed man sits behind a desk pri­or to his first-ever upload.

Some gift­ed dancers fail to rotate pri­or to upload­ing.

A recent­ly acquired night vision wildlife cam has already cap­tured a num­ber of coy­otes.

And every­one who comes through the door of a Chi­nese house­hold adores the hap­py baby with­in.

It’s unclear if the algo­rithm will alight on any cell phone footage doc­u­ment­ing the shock­ing scenes at recent protests sparked by the death of George Floyd. Per­haps not, giv­en the urgency to share such videos, titling them to clue view­ers in to the what, who, where, when, and why.

For now Astro­naut appears to be the same floaty trip Jake Swearin­gen described in a 2017 arti­cle for New York Mag­a­zine:

The inter­net is a place that often rewards the shock­ing, the sad, the rage-induc­ing — or the naked­ly ambi­tious and atten­tion-seek­ing. A morn­ing of watch­ing Astronaut.io is an anti­dote to all that.

Begin your explo­rations with Astro­naut here.

h/t to read­er Tom Hedrick

Relat­ed Con­tent:

A Playlist of Songs to Get You Through Hard Times: Stream 20 Tracks from the Alan Lomax Col­lec­tion

Sooth­ing, Uplift­ing Resources for Par­ents & Care­givers Stressed by the COVID-19 Cri­sis

An Art Gallery for Ger­bils: Two Quar­an­tined Lon­don­ers Cre­ate a Mini Muse­um Com­plete with Ger­bil-Themed Art

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Every day since March 15, she has uploaded a set of 10 micrhvi­sions of social­ly dis­tanced New York City. Fol­low her @AyunHalliday.

David Lynch Recounts His Surreal Dream of Being a German Solider Dying on D‑Day

Some of last week’s major head­lines:

Police forcibly remove a large num­ber of peace­able pro­tes­tors from the area in front of a Wash­ing­ton DC church, so a 73-year-old white man can be pho­tographed stand­ing there alone, hold­ing a prop bible.

An unarmed 75-year-old white man approach­es a Buf­fa­lo police offi­cer at a protest and is shoved so force­ful­ly that he cracks his skull open, lying uncon­scious and bleed­ing as mem­bers of the force step past him with­out offer­ing assis­tance. But first the weath­er, as per­ceived by a 74-year-old white man peer­ing out the win­dow of his stu­dio of his Hol­ly­wood Hills home (one of three), pri­or to shar­ing a dream in which he is a Ger­man sol­dier dying on D‑Day….

What makes this news­wor­thy?

The date and the iden­ti­ty of the self-appoint­ed weath­er­man, film­mak­er David Lynch.

For the record, June 6, 2020 start­ed out cloudy and a bit chilly. The hope just off Mul­hol­land Dri­ve was for increased “gold­en sun­shine” in the after­noon.

(One does won­der how much time this ama­teur spends out­doors.)

76 years ear­li­er, an absolute­ly accu­rate weath­er fore­cast was essen­tial for the Allied Inva­sion of France. Mul­ti­ple mete­o­ro­log­i­cal teams con­tributed obser­va­tions and exper­tise to ensure that con­di­tions would be right, or right enough, for the inva­sion Gen­er­al Dwight D. Eisen­how­er envi­sioned.

As author William Bryant Logan details in Air: The Rest­less Shaper of the World:

In the end the Allies won the day because in order to pre­dict the weath­er, they act­ed like the weath­er. Com­pet­ing groups jos­tled and maneu­vered, each try­ing to pres­sure the oth­ers into accept­ing their point of view. In just the same way, the high- and low-pres­sure cells fought and spun into one anoth­er over the Atlantic. The fore­cast­ers rein­forced their own ideas, and none of their ideas was the win­ner,  just as each gyre and each cen­ter of low and high pres­sure pressed against the oth­ers, squeez­ing out the future among them. The Ger­mans, on the oth­er hand, believ­ing that they could con­quer uncer­tain­ty by fiat, declared that weath­er and peo­ple would con­form to their assump­tions. They were proved wrong. The Allies appeared on the beach­es of Nor­mandy, just like a sur­prise storm.

Lynch’s D‑Day anniver­sary report for Los Ange­les was his 27th, part of a dai­ly project launched with­out expla­na­tion on May 11.

His emo­tion­al weath­er seems to run cool. He relays his his­toric life or death uncon­scious encounter (it involves a machine gun) in much the same tone that he uses for report­ing on South­ern California’s pleas­ant late spring tem­per­a­tures. For the record, Lynch was born 593 days after D‑Day, and has no plans for a WWII feature—or any oth­er big screen project—in the fore­see­able future.

In a vis­it with The Guardian’s Rory Car­roll, he expressed how tele­vi­sion has become the medi­um best suit­ed to the sort of long and twist‑y nar­ra­tives he finds compelling—like art, life, and rein­car­na­tion:

Life is a short trip but always con­tin­u­ing. We’ll all meet again. In enlight­en­ment you real­ize what you tru­ly are and go into immor­tal­i­ty. You don’t ever have to die after that.

So maybe he real­ly was a luck­less 16-year-old Ger­man sol­dier…

One whose cur­rent incarnation’s foun­da­tion cre­at­ed a fund to pro­vide no-cost Tran­scen­den­tal Med­i­ta­tion instruc­tion to vet­er­ans as a way of cop­ing with Post-Trau­mat­ic Stress. Lynch named the fund in hon­or of Jer­ry Yellin, a fel­low TM prac­ti­tion­er and peace activist who, as an Amer­i­can fight­er pilot, flew the final com­bat mis­sion of World War II on August 14, 1945.

Sub­scribe to Lynch’s YouTube chan­nel to stay abreast of his dai­ly weath­er reports, like the install­ment from June 3, below, which finds him voic­ing his sup­port for Black Lives Mat­ter.

Relat­ed Con­tent:

David Lynch Cre­ates Dai­ly Weath­er Reports for Los Ange­les: How the Film­mak­er Pass­es Time in Quar­an­tine

David Lynch Releas­es an Ani­mat­ed Film Online: Watch Fire (Pozar)

David Lynch Teach­es an Online Course on Film & Cre­ativ­i­ty

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her dai­ly art-in-iso­la­tion project is close­ly tied to the weath­er in New York City.  Fol­low her @AyunHalliday.

Sir Isaac Newton’s Cure for the Plague: Powdered Toad Vomit Lozenges (1669)

Near­ly 300 years after his death, Isaac New­ton lives on as a byword for genius. As a poly­math whose domain encom­passed astron­o­my, physics, and math­e­mat­ics, he mas­tered and expand­ed the domain of sci­en­tif­ic knowl­edge avail­able to 17th-cen­tu­ry Europe. But if we remem­ber him as a one-man engine of the sci­en­tif­ic rev­o­lu­tion, we should also bear in mind his con­trast­ing intel­lec­tu­al frail­ties: New­ton was no finan­cial genius, as evi­denced by his loss of $3 mil­lion in the South Sea Bub­ble of 1720, and though his inquiries into alche­my may be fun to re-enact today, we won­der now why he did­n’t see them as a dead end even then. And then we have his for­ays into med­i­cine, one of which involves toad vom­it.

“Two unpub­lished pages of Newton’s notes on Jan Bap­tist van Helmont’s 1667 book on plague, De Peste, are to be auc­tioned online by Bonham’s this week,” report­ed The Guardian’s Ali­son Flood ear­li­er this month. “New­ton had been a stu­dent at Trin­i­ty Col­lege, Cam­bridge, when the uni­ver­si­ty closed as a pre­cau­tion against the bubon­ic plague, which killed 100,000 peo­ple in Lon­don in 1665 and 1666. When the poly­math returned to Cam­bridge in 1667, he began to study the work of Van Hel­mont,” a famous Bel­gian physi­cian. While some of the con­clu­sions New­ton drew from his study of Van Hel­mont’s work remain prac­ti­cal today — “places infect­ed with the plague are to be avoid­ed,” for instance — his sug­gest­ed cures may not hold up to scruti­ny.

In the “best” plague treat­ment observed by New­ton, “a toad sus­pend­ed by the legs in a chim­ney for three days, which at last vom­it­ed up earth with var­i­ous insects in it, on to a dish of yel­low wax, and short­ly after died. Com­bin­ing pow­dered toad with the excre­tions and serum made into lozenges and worn about the affect­ed area drove away the con­ta­gion and drew out the poi­son.” Learn­ing how, exact­ly, New­ton found his way to such a pro­ce­dure will inspire enthu­si­as­tic col­lec­tors to bid on these papers, which remain on the Bon­ham’s online auc­tion block until June 10th. New­ton may, as we recent­ly not­ed here on Open Cul­ture, have had some of his most ground­break­ing ideas dur­ing the era of the plague, but even a mind as for­mi­da­ble as his by its very nature missed a few times, some­times wild­ly, for every hit. Yet as the world’s sci­en­tif­ic-indus­tri­al com­plex races to devel­op a vac­cine for COVID-19, we might con­sid­er what unortho­dox solu­tions have gone over­looked in our New­ton-less era.

Relat­ed Con­tent:

Isaac New­ton Con­ceived of His Most Ground­break­ing Ideas Dur­ing the Great Plague of 1665

Videos Recre­ate Isaac Newton’s Neat Alche­my Exper­i­ments: Watch Sil­ver Get Turned Into Gold

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

Sir Isaac Newton’s Papers & Anno­tat­ed Prin­cip­ia Go Dig­i­tal

Isaac Newton’s Recipe for the Myth­i­cal ‘Philosopher’s Stone’ Is Being Dig­i­tized & Put Online (Along with His Oth­er Alche­my Man­u­scripts)

How Isaac New­ton Lost $3 Mil­lion Dol­lars in the “South Sea Bub­ble” of 1720: Even Genius­es Can’t Pre­vail Against the Machi­na­tions of the Mar­kets

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Noam Chomsky Explains the Best Way for Ordinary People to Make Change in the World, Even When It Seems Daunting

The threat of wide­spread vio­lence and unrest descends upon the coun­try, thanks again to a col­lec­tion of actors vicious­ly opposed to civ­il rights, and in many cas­es, to the very exis­tence of peo­ple who are dif­fer­ent from them. They have been giv­en aid and com­fort by very pow­er­ful enablers. Vet­er­an activists swing into action. Young peo­ple turn out by the hun­dreds week after week. But for many ordi­nary peo­ple with jobs, kids, mort­gages, etc. the cost of par­tic­i­pat­ing in con­stant protests and civ­il actions may seem too great to bear. Yet, giv­en many awful exam­ples in recent his­to­ry, the cost of inac­tion may be also.

What can be done? Not all of us are Rosa Parks or Howard Zinn or Mar­tin Luther King, Jr. or Thich Nat Hanh or Cesar Chavez or Dolores Huer­ta, after all. Few of us are rev­o­lu­tion­ar­ies and few may wish to be. Not every­one is brave enough or tal­ent­ed enough or knowl­edge­able enough or com­mit­ted enough or, what­ev­er.

The prob­lem with this kind of think­ing is a prob­lem with so much think­ing about pol­i­tics. We look to leaders—men and women we think of as supe­ri­or beings—to do every­thing for us. This can mean del­e­gat­ing all the work of democ­ra­cy to some­times very flawed indi­vid­u­als. It can also mean we fun­da­men­tal­ly mis­un­der­stand how demo­c­ra­t­ic move­ments work.

In the video above, Noam Chom­sky address­es the ques­tion of what ordi­nary peo­ple can do in the face of seem­ing­ly insur­mount­able injus­tice. (The clip comes from the 1992 doc­u­men­tary Man­u­fac­tur­ing Con­sent.) “The way things change,” he says, “is because lots of peo­ple are work­ing all the time, and they’re work­ing in their com­mu­ni­ties or their work­place or wher­ev­er they hap­pen to be, and they’re build­ing up the basis for pop­u­lar move­ments.”

In the his­to­ry books, there’s a cou­ple of lead­ers, you know, George Wash­ing­ton or Mar­tin Luther King, or what­ev­er, and I don’t want to say that those peo­ple are unim­por­tant. Mar­tin Luther King was cer­tain­ly impor­tant, but he was not the Civ­il Rights Move­ment. Mar­tin Luther King can appear in the his­to­ry books ‘cause lots of peo­ple whose names you will nev­er know, and whose names are all for­got­ten and who may have been killed and so on were work­ing down in the South.

King him­self often said as much. For exam­ple, in the Pref­ace of his Stride Toward Free­dom he wrote—referring to the 50,000 most­ly ordi­nary, anony­mous peo­ple who made the Mont­gomery Bus Boy­cott happen—“While the nature of this account caus­es me to make fre­quent use of the pro­noun ‘I,’ in every impor­tant part of the sto­ry it should be ‘we.’ This is not a dra­ma with only one actor.”

As for pub­lic intel­lec­tu­als like him­self engaged in polit­i­cal strug­gle, Chom­sky says, “peo­ple like me can appear, and we can appear to be promi­nent… only because some­body else is doing the work.” He defines his own work as “help­ing peo­ple devel­op cours­es of intel­lec­tu­al self-defense” against pro­pa­gan­da and mis­in­for­ma­tion. For King, the issue came down to love in action. Respond­ing in a 1963 inter­view above to a crit­i­cal ques­tion about his meth­ods, he coun­ters the sug­ges­tion that non­vi­o­lence means sit­ting on the side­lines.

I think of love as some­thing strong and that orga­nizes itself into pow­er­ful, direct action…. We are not engaged in a strug­gle that means we sit down and do noth­ing. There’s a great deal of dif­fer­ence between non­re­sis­tance to evil and non­vi­o­lent resis­tance. Non­re­sis­tance leaves you in a state of stag­nant pas­siv­i­ty and dead­en­ing com­pla­cen­cy, where­as non­vi­o­lent resis­tance means that you do resist in a very strong and deter­mined man­ner.

Both Chom­sky, King, and every oth­er voice for jus­tice and human rights would agree that the peo­ple need to act instead of rely­ing on move­ment lead­ers. What­ev­er actions one can take—whether it’s engag­ing in informed debate with fam­i­ly, friends, or cowork­ers, writ­ing let­ters, mak­ing dona­tions to activists and orga­ni­za­tions, doc­u­ment­ing injus­tice, or tak­ing to the streets in protest or acts of civ­il disobedience—makes a dif­fer­ence. These are the small indi­vid­ual actions that, when prac­ticed dili­gent­ly and coor­di­nat­ed togeth­er in the thou­sands, make every pow­er­ful social move­ment pos­si­ble.

Note: This post orig­i­nal­ly appeared on our site in August 2017 when white suprema­cists (aka the pres­i­den­t’s “many fine peo­ple”) marched in Char­lottesville, VA. It speaks no less direct­ly to the trau­ma of the cur­rent moment, so we’re bring­ing it back.

Relat­ed Con­tent:

Noam Chom­sky & Har­ry Bela­fonte Speak on Stage for the First Time Togeth­er: Talk Trump, Klan & Hav­ing a Rebel­lious Heart

Noam Chom­sky Defines What It Means to Be a Tru­ly Edu­cat­ed Per­son

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

Howard Zinn’s “What the Class­room Didn’t Teach Me About the Amer­i­can Empire”: An Illus­trat­ed Video Nar­rat­ed by Vig­go Mortensen

Hen­ry David Thore­au on When Civ­il Dis­obe­di­ence and Resis­tance Are Jus­ti­fied (1849)

Saul Alinsky’s 13 Tried-and-True Rules for Cre­at­ing Mean­ing­ful Social Change

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

Ava DuVernay’s Selma Is Now Free to Stream Online: Watch the Award-Winning Director’s Film About Martin Luther King’s 1965 Voting-Rights March

Ava DuVer­nay made her award-win­ning doc­u­men­tary 13th free to stream online. Now comes her film Sel­ma. The 2014 film chron­i­cles Dr. Mar­tin Luther King, Jr.‘s cam­paign to secure equal vot­ing rights with an epic march from Sel­ma to Mont­gomery, Alaba­ma, in 1965. Ava DuVer­nay writes on Twit­ter: “Para­mount Pic­tures is offer­ing SELMA for free rental on all US dig­i­tal plat­forms for June, start­ing today. We’ve got­ta under­stand where we’ve been to strate­gize where we’re going. His­to­ry helps us cre­ate the blue­print. Onward.” You can watch Sel­ma on YouTube/Google Play, Apple, Ama­zon Prime and oth­er stream­ing plat­forms list­ed here. The trail­er appears above.

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:

Watch Ava DuVernay’s 13th Free Online: An Award-Win­ning Doc­u­men­tary Reveal­ing the Inequal­i­ties in the US Crim­i­nal Jus­tice Sys­tem

Watch Free Films by African Amer­i­can Film­mak­ers in the Cri­te­ri­on Col­lec­tion … and the New Civ­il Rights Film, Just Mer­cy

1,150 Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, etc.

Watch Ava DuVernay’s 13th Free Online: An Award-Winning Documentary Revealing the Inequalities in the US Criminal Justice System

Ear­li­er today, we high­light­ed some free cin­e­mat­ic offer­ings online, includ­ing the new civ­il rights film Just Mer­cy, and a slew of films in the Cri­te­ri­on Col­lec­tion made by African Amer­i­can direc­tors. Then we stum­bled upon this. Above, you can watch Ava DuVer­nay’s Oscar-nom­i­nat­ed film 13th. Com­bin­ing archival footage with tes­ti­mo­ny from activists and schol­ars, DuVer­nay’s doc­u­men­tary focus­es on the U.S. prison sys­tem and “how the coun­try’s his­to­ry of racial inequal­i­ty dri­ves the high rate of incar­cer­a­tion in Amer­i­ca.” It won Best Doc­u­men­tary at the Emmys, the BAF­TAs and the NAACP Image Awards.

Update: Dur­ing the month of June, DuVer­nay’s film, Sel­ma, is also stream­ing free online.

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:

4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More

Ava DuVernay’s Sel­ma Is Now Free to Stream Online: Watch the Award-Win­ning Director’s Film About Mar­tin Luther King’s 1965 Vot­ing-Rights March

Watch Free Films by African Amer­i­can Film­mak­ers in the Cri­te­ri­on Col­lec­tion … and the New Civ­il Rights Film, Just Mer­cy

Watch the First-Ever Kiss on Film Between Two Black Actors, Just Hon­ored by the Library of Con­gress (1898)

Watch the Pio­neer­ing Films of Oscar Micheaux, America’s First Great African-Amer­i­can Film­mak­er

The Art of The Black Pan­thers: A Short Doc­u­men­tary on the Rev­o­lu­tion­ary Artist Emory Dou­glas

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Documentary Portraits of Allen Ginsberg, John Ashbery, William Carlos Williams, Anne Sexton & Other American Poets (1965)

The annals of Amer­i­can his­to­ry offer lit­tle in the way of doc­u­men­tar­i­an-poets. But luck­i­ly for us today — and espe­cial­ly for those of us who enjoy Amer­i­can poet­ry of the mid-2oth cen­tu­ry — one of the coun­try’s few such hyphen­ates lived an uncom­mon­ly pro­duc­tive life. Though known pri­mar­i­ly as a poet of the San Fran­cis­co Renais­sance, Richard O. Moore also had a career in inde­pen­dent and pub­lic media, begin­ning in 1949 with the very first broad­cast of Berke­ley’s KPFA. In the ear­ly 1950s he moved to San Fran­cis­co’s new­ly found­ed KQED, one of the coun­try’s first pub­lic tele­vi­sion sta­tions. After a stint at Colum­bia study­ing Wittgen­stein, Moore returned to KQED in 1961, where­upon he began pro­duc­ing a wide vari­ety of doc­u­men­taries.

As sub­ject mat­ter, poet­ry may not nat­u­ral­ly lend itself to tele­vi­sion. But giv­en Moore’s con­nec­tions to major Amer­i­can poets on both coasts and else­where besides, if any­one could make it work, he could. It cer­tain­ly helped that so many of those poets had com­pelling per­son­al­i­ties, not least Allen Gins­berg and Lawrence Fer­linghet­ti, the stars of one episode of Moore’s 1965 doc­u­men­tary series USA: Poet­ry. “The footage he cap­tured is noth­ing short of mirac­u­lous, a nation­al trea­sure type time cap­sule of anoth­er, more lit­er­ary age,” says the web side of San­ta Cruz’s Bad Ani­mal Books, which has gath­ered a selec­tion of episodes togeth­er on one page. “Moore pro­vid­ed a rare glimpse of some of the finest Amer­i­can poets of the twen­ti­eth cen­tu­ry at the sum­mit of their pow­ers,” a line­up also includ­ing Ken­neth Koch, John Ash­bery, Anne Sex­ton, Frank O’Hara, Ed Sanders, Philip Whalen, and Gary Sny­der.

Moore’s doc­u­men­tary por­traits unfail­ing­ly include read­ings of the sub­jects’ work, but they don’t stop there. They also offer glimpses into these poets’ lives, pro­fes­sion­al, domes­tic, and oth­er­wise, show­ing us the cities, towns, homes, book­stores, and libraries they inhab­it. A few of these sub­jects, like Sanders, Sny­der, and the espe­cial­ly ven­er­a­ble Fer­linghet­ti con­tin­ue to inhab­it them, though most have by now shuf­fled off this mor­tal coil. William Car­los Williams had already done so by the time of USA: Poet­ry’s episode about him, and so in addi­tion to footage illus­trat­ing the bard of Pater­son­’s verse and let­ters (sights that may remind mod­ern-day view­ers of Pater­son, Jim Jar­musch’s trib­ute to the worka­day Amer­i­can poet), Moore fea­tures Williams’ son William E. Williams. Though Williams fils did­n’t fol­low Williams père into poet­ry, he did fol­low him into med­i­cine, which con­sti­tut­ed not just the poet­’s day job but —as we hear read aloud — “my food and drink, the very thing that made it pos­si­ble for me to write.”

Relat­ed Con­tent:

Ladies and Gen­tle­men… Mr. Leonard Cohen: The Poet-Musi­cian Fea­tured in a 1965 Doc­u­men­tary

John Ash­bery Reads “Self-Por­trait in a Con­vex Mir­ror”

13 Lec­tures from Allen Ginsberg’s “His­to­ry of Poet­ry” Course (1975)

Pablo Neruda’s Poem, “The Me Bird,” Becomes a Short, Beau­ti­ful­ly Ani­mat­ed Film

Poems as Short Films: Langston Hugh­es, Pablo Neru­da and More

Allen Ginsberg’s Top 10 Favorite Films

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Watch Free Films by African American Filmmakers in the Criterion Collection … and the New Civil Rights Film, Just Mercy

The Michael B. Jor­dan- and Jaime Foxx-star­ring Just Mer­cy had “the mis­for­tune of hit­ting the­aters at the same time as Clemen­cy, a more dar­ing and bet­ter film set on a prison’s Death Row,” wrote Odie Hen­der­son in a Decem­ber 2019 review at RogerEbert.com. Read­ing the state­ment now feels like look­ing through the wrong end of a tele­scope (“hit­ting the­aters?”). None of the movie’s mid­dling reviews could have pre­dict­ed the kinds of mis­for­tunes that lay just around the cor­ner.

If Just Mer­cy is your kind of dis­trac­tion, you can watch it free of charge through June. Hen­der­son­’s review gives me the impres­sion it may not be equal to the moment.

Since the days of ’50s-era mes­sage pic­tures, the major­i­ty of films about African-Amer­i­can suf­fer­ing have always been cal­i­brat­ed the way “Just Mer­cy” is, with an eye to not offend­ing White view­ers with any­thing remote­ly resem­bling Black anger. We can be beat­en, raped, enslaved, shot for no rea­son by police, vic­tim­ized by a jus­tice sys­tem rigged to dis­fa­vor us or any oth­er num­ber of real-world things that can befall us, yet God help us if a char­ac­ter is pissed off about this. Instead, we get to be noble, to hold on to His unchang­ing hand while that tire­less Black lady goes “hmmm-HMM­M­MM!” on the sound­track to sym­bol­ize our suf­fer­ing. There’s a lot of “hmmm-HMMMMM”-ing in this movie, so much so that I had to resist laugh­ing. 

Only one critic’s opin­ion, but if such pious, boil­er­plate films haven’t changed any­thing since the 50s they prob­a­bly aren’t about to now.

The Cri­te­ri­on Col­lec­tion offers a refresh­ing alter­na­tive for rep­re­sen­ta­tions of the black expe­ri­ence on film, as envi­sioned by black film­mak­ers, writ­ers, actors, pro­duc­ers, etc. “This has been a pow­er­ful­ly emo­tion­al time,” the Col­lec­tion writes, cit­ing a string of high-pro­file, well-doc­u­ment­ed racist threats and mur­ders that lead up to the break­ing point:

Black Lives Mat­ter. The anguish and fury unleashed all across the coun­try are root­ed in cen­turies of dehu­man­iza­tion and death. This pat­tern must stop. We sup­port the pro­test­ers who have tak­en to the streets to demand jus­tice, and we share their hopes. We are com­mit­ted to fight­ing sys­temic racism.

The Col­lec­tion has estab­lished an “employ­ee-guid­ed fund with a $25,000 ini­tial con­tri­bu­tion and an ongo­ing $5000 month­ly com­mit­ment to sup­port orga­ni­za­tions fight­ing racism in Amer­i­ca.”

More to the point of their cen­tral mis­sion, they’re allow­ing vis­i­tors to the Cri­te­ri­on Chan­nel to stream “works by ear­ly pio­neers of African Amer­i­can Cin­e­ma” as well as those by cur­rent film­mak­ers. These are films that can be dif­fi­cult to find out­side of art­house cin­e­mas and col­lege screen­ing rooms. “Titles stream­ing for free,” notes IndieWire, “include Julie Dash’s Daugh­ters of the Dust, Maya Angelou’s Down in the Delta, Shirley Clarke’s Por­trait of Jason, Agnès Varda’s Black Pan­thers, Kath­leen Collins’ Los­ing Ground, and many more.”

Also stream­ing free on the site is “con­tem­po­rary work by Kha­lik Allah and Leilah Wein­raub; and doc­u­men­tary por­traits of the black expe­ri­ence by white film­mak­ers Les Blank and Shier­ley Clarke,” Cri­te­ri­on writes, not­ing that they’ve “tak­en down the pay­wall on as many of these titles as we can.”

This announce­ment will have lit­tle effect on peo­ple com­mit­ted to a par­tic­u­lar­ly vicious way of see­ing things, but it offers a rare oppor­tu­ni­ty to watch a diverse col­lec­tion of enlight­en­ing, often brac­ing, often deeply mov­ing films, stretch­ing over a cen­tu­ry, for free. This body of work offers new per­spec­tives on the past and wider under­stand­ing of film his­to­ry. They may just be what you need to get through June. Check out the Cri­te­ri­on Chan­nel col­lec­tions here.

Relat­ed Con­tent:   

Watch the First-Ever Kiss on Film Between Two Black Actors, Just Hon­ored by the Library of Con­gress (1898)

Watch the Pio­neer­ing Films of Oscar Micheaux, America’s First Great African-Amer­i­can Film­mak­er

The Art of The Black Pan­thers: A Short Doc­u­men­tary on the Rev­o­lu­tion­ary Artist Emory Dou­glas

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

When Lucy Lawless Impersonated Stevie Nicks & Imagined Her as the Owner of a Bad Tex-Mex Restaurant: A Cult Classic SNL Skit

What we wouldn’t give to trav­el back in time to Sedona, Ari­zona for a non-social­ly-dis­tanced $2.99 Tues­day night bur­ri­to spe­cial at Ste­vie Nicks’ Faji­ta Roundup, the hun­dredth best restau­rant in this 161-restau­rant town accord­ing to one rat­ings site.

Alas, the clos­est this Fleet­wood Mac‑flavored Tex-Mex estab­lish­ment has ever come to phys­i­cal exis­tence was in Octo­ber 1998 when actor Lucy Law­less, famous then as now for play­ing Xena the War­rior Princess, was host­ing Sat­ur­day Night Live.

The day before the Wednes­day table read to deter­mine which sketch­es will make it on air, writer Hugh Fink got wind of Law­less’ Ste­vie Nicks imper­son­ation (she also does a mean Chrissie Hyn­de…)

Fink thought this was some­thing to build on, inspired by his dad’s Fleet­wood Mac fan­dom, and the fact that Nicks’ star had dimmed a bit since the band’s 70’s hey­day, when its mem­bers’ inter­per­son­al rela­tions were a hot top­ic and Rumours, still the 8th best sell­ing album of all time, dom­i­nat­ed.

He joined forces with fel­low staff writer, Nicks fan Scott Wainio, tar­ry­ing ’til the wee hours of Wednes­day morn­ing to begin cast­ing about for com­ic ideas of how the sexy, shawl-draped fairy god­moth­er of rock ‘n’ roll might spend her off duty hours, now that “Lind­say Buck­ing­ham and cocaine” were in the rear view.

They decid­ed that hav­ing her own a bar­gain-priced local eatery sim­i­lar to the ones Fink remem­bered din­ing in as a tour­ing stand up was their best bet…and what more fit­ting locale than New Age mec­ca Sedona?

Plot-dri­ven SNL skits often peter out en route from a strong open­ing premise to the end­ing.

As a com­mer­cial par­o­dy, Ste­vie Nicks’ Faji­ta Roundup has no such trou­ble.

As Fink recent­ly recalled in an inter­view with The Ringer’s Dan Devine:

I want­ed this com­mer­cial to come off as not a classy, nation­al­ly pro­duced ad, but clear­ly a cheap, local­ly pro­duced com­mer­cial for a shit­ty restau­rant and that’s why, even in the script, at the time, I put in those cut­aways of, like, real­ly unap­peal­ing, bad-look­ing food with the price, and adver­tis­ing spe­cials. Comed­ical­ly, I thought it’d be even fun­nier if the restau­rant was cheap. The research depart­ment had to get me pho­tos of the Mex­i­can food, which I would approve. I would tell them, ‘No, I want it to look shit­ti­er than that. That looks too good.

The research depart­ment def­i­nite­ly deliv­ered. As did New Zealan­der Law­less, though she lacked the cul­tur­al ref­er­ence points to get the joke, and game as she was, dis­creet­ly tried to get pro­duc­er Lorne Michaels to pull the skit, wor­ried that it was a lead bal­loon.

It came by its laughs hon­est­ly in per­for­mance, the audi­ence eat­ing up retooled Fleet­wood Mac hits pro­mot­ing bur­ri­tos and nachos, but with Youtube some 8 years away, Ste­vie Nicks’ Faji­ta Round Up fad­ed into obscu­ri­ty….

It took a man with vision and a long mem­o­ry to bring it back.

In 2012, Matthew Amador truf­fled up the fond­ly remem­bered clip and start­ed a Face­book page for the hypo­thet­i­cal restau­rant, large­ly so he could claim it had catered the end-of-year intern-appre­ci­a­tion buf­fet at the cast­ing agency where he was work­ing.

The first likes came from the duti­ful interns, but even­tu­al­ly the page attract­ed oth­er like­mind­ed fans, who’d caught the orig­i­nal per­for­mance over a decade before.

It has since migrat­ed to Twit­ter, where “Stevie”—the first female dou­ble inductee to the Rock & Roll Hall of Fame —is eager­ly await­ing reopen­ing while remind­ing her fol­low­ers that the Roundup’s tables “have always been a MINIMUM of 6’ apart, giv­ing you a safer din­ing expe­ri­ence you’ll nev­er for­get and giv­ing me plen­ty of room to twirl depend­ing on the length of my fringe.”

View the full tran­script here. And yes, you are cor­rect, that’s Jim­my Fal­lon at the piano, in his 3rd SNL appear­ance.

via The Ringer and Metafil­ter

Relat­ed Con­tent:

Ste­vie Nicks “Shows Us How to Kick Ass in High-Heeled Boots” in a 1983 Women’s Self Defense Man­u­al

How Fleet­wood Mac Makes A Song: A Video Essay Explor­ing the “Son­ic Paint­ings” on the Clas­sic Album, Rumours

Actress Lucy Law­less Per­forms the Pro­to-Fem­i­nist Com­e­dy “Lysis­tra­ta” for The Par­tial­ly Exam­ined Life Pod­cast

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

How Jazz Helped Fuel the 1960s Civil Rights Movement

Oh, Lord, don’t let ‘em shoot us!
Oh, Lord, don’t let ‘em stab us!
Oh, Lord, don’t let ‘em tar and feath­er us!
Oh, Lord, no more swastikas!
Oh, Lord, no more Ku Klux Klan!

—Charles Min­gus, “Fables of Faubus”

In 1957, Arkansas Gov­er­nor Orval Faubus decid­ed that integration—mandated three years ear­li­er by Brown v. Board of Ed.—constituted such a state of emer­gency that he mobi­lized the Nation­al Guard to pre­vent nine black stu­dents from going to school. An out­raged Charles Min­gus respond­ed with the lyrics to “Fables of Faubus,” a com­po­si­tion that first appeared on his cel­e­brat­ed Min­gus Ah Um in 1959.

Those who know the album may be puzzled—there are no lyrics on that record­ing. Colum­bia Records, notes Michael Ver­i­ty, found them “so incen­di­ary that they refused to allow them to be record­ed.” Min­gus re-record­ed the song the fol­low­ing year for Can­did Records, “lyrics and all, on Charles Min­gus Presents Charles Min­gus.” The iras­ci­ble bassist and bandleader’s words “offer some of the most bla­tant and harsh­est cri­tiques of Jim Crow atti­tudes in all of jazz activism.”

Min­gus’ expe­ri­ence with Colum­bia shows the line most jazz artists had to walk in the ear­ly years of the Civ­il Rights move­ment. Sev­er­al of Min­gus’ elders, like Louis Arm­strong and Duke Elling­ton, refrained from mak­ing pub­lic state­ments about racial injus­tice, for which they were lat­er harsh­ly crit­i­cized.

But between Min­gus’ two ver­sions of “Fables of Faubus,” jazz rad­i­cal­ly broke with old­er tra­di­tions that catered to and depend­ed on white audi­ences. “’If you don’t like it, don’t lis­ten,’ was the atti­tude,” as Amiri Bara­ka wrote in 1962.

Musi­cians turned inward: they played for each oth­er and for their com­mu­ni­ties, invent­ed new lan­guages to con­found jazz appro­pri­a­tors and car­ry the music for­ward on its own terms. Can­did Records own­er Nat Hentoff, long­time Vil­lage Voice jazz crit­ic and colum­nist, not only issued Min­gus’ vocal Faubus protest, but also that same year Max Roach’s We Insist! Free­dom Now Suite, which fea­tured a cov­er pho­to of a lunch counter protest and per­for­mances from his then-wife, singer and activist Abbey Lin­coln.

Roach record­ed two oth­er albums with promi­nent Civ­il Rights themes, Speak Broth­er Speak in 1962 and Lift Every Voice and Sing in 1971. Jazz’s turn toward the move­ment was in full swing as the 60s dawned. “Nina Simone sang the incen­di­ary ‘Mis­sis­sip­pi God­dam,’” writes KCRW’s Tom Schn­abel, “Coltrane per­formed a sad dirge, ‘Alaba­ma’ to mourn the Birm­ing­ham, Alaba­ma church bomb­ing in 1963. Son­ny Rollins record­ed The Free­dom Suite for River­side Records as a dec­la­ra­tion of musi­cal and racial free­dom.”

Every Civ­il Rights gen­er­a­tion up to the present has had its songs of sor­row, anger, and cel­e­bra­tion. Where gospel guid­ed the ear­ly marchers, jazz musi­cians of the 1960s took it upon them­selves to score the move­ment. Though he didn’t much like to talk about it in inter­views, “Coltrane was deeply involved in the civ­il rights move­ment,” writes Blank on Blank, “and shared many of Mal­colm X’s views on black con­scious­ness and Pan-African­ism, which he incor­po­rat­ed into his music.”

Jazz clubs even became spaces for orga­niz­ing:

In 1963, CORE—Congress of Racial Equality—organized two ben­e­fit shows at the Five Spot Café, [fea­tur­ing] a host of promi­nent musi­cians and music jour­nal­ists.

In the wake of Dr. King’s “I have a dream” speech at the March on Wash­ing­ton and with the church bomb­ing in Birm­ing­ham that killed 4 lit­tle girls only the month before, the ben­e­fit attract­ed a host of musi­cians like Ben Web­ster, Al Cohn, and Zoot Sims in sup­port of the orga­ni­za­tion, which, along with the NAACP and SNCC, was one of the lead­ing civ­il rights groups at the time.

The new jazz, hot or cool, became more deeply expres­sive of musi­cians’ indi­vid­ual per­son­al­i­ties, and thus of their whole polit­i­cal, social, and spir­i­tu­al selves. This was no small thing; jazz may have been an Amer­i­can inven­tion, but it was an inter­na­tion­al phe­nom­e­non. Artists in the 60s car­ried the strug­gle abroad with music and activism. After a wave of bru­tal bomb­ings, mur­ders, and beat­ings, “there were no more side­lines,” writes Ashawn­ta Jack­son at JSTOR Dai­ly. “Jazz musi­cians, like any oth­er Amer­i­can, had the duty to speak to the world around them.” And the world lis­tened.

The first Berlin Jazz Fes­ti­val, held in 1964, was intro­duced with an address by Mar­tin Luther King, Jr. (who did not attend in per­son). “Jazz is export­ed to the world,” King wrote, and “much of the pow­er of our Free­dom Move­ment in the Unit­ed States has come from this music. It has strength­ened us with its sweet rhythms when courage began to fail. It has calmed us with its rich har­monies when spir­its were down.” Music still plays the same role in today’s strug­gles. It’s a dif­fer­ent sound now, but you’ll still hear Min­gus’ vers­es in the streets, against more waves of hatred and brute force:

Boo! Nazi Fas­cist suprema­cists
Boo! Ku Klux Klan (with your Jim Crow plan)

Relat­ed Con­tent:

John Coltrane Talks About the Sacred Mean­ing of Music in the Human Expe­ri­ence: Lis­ten to One of His Final Inter­views (1966)

Mar­tin Luther King Jr. Explains the Impor­tance of Jazz: Hear the Speech He Gave at the First Berlin Jazz Fes­ti­val (1964)

Nina Simone’s Live Per­for­mances of Her Poignant Civ­il Rights Protest Songs

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


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