On Christmas, Browse A Historical Archive of More Than 50,000 Toys

paratroops in action

The Strong Nation­al Muse­um of Play, locat­ed in Rochester, NY, is a fun children’s muse­um. But the insti­tu­tion also has seri­ous research archives, stuffed with toys, games, and records of the toy indus­try. Its online col­lec­tions, which cur­rent­ly boast 55,068 objects, take a hol­i­day brows­er on a trip into a fig­u­ra­tive grandma’s attic, chock-full of the play­things peo­ple loved in the nine­teenth and twen­ti­eth cen­turies.

The online archives are divid­ed into four cat­e­gories: “Toys”, “Dolls”, “Games”, and “More.” Each of these four sec­tions is fur­ther sub­di­vid­ed into top­i­cal­ly-spe­cif­ic groups, cho­sen by the archivists.

The collection’s strength is also its weak­ness: there are so many toys that it can be easy to get over­whelmed. The sub­ject divi­sions are help­ful here. As some­body with an inter­est in gen­der and child­hood, I found myself fas­ci­nat­ed by the house­keep­ing toyskids used to use ovens that were heat­ed with real coals!—and that was an easy way to nar­row down my browse.  Sub­ject group­ings for toy sol­diers, celebri­ty dolls, and board games also piqued my inter­est.

It’s fun to look around for toys from your own child­hood (I found a few), but if you’re inter­est­ed in his­to­ry, you might find the echoes of his­tor­i­cal events to be even more intrigu­ing. Late-nine­teenth-cen­tu­ry kids played with a paper doll inspired by the cir­cus celebri­ty Tom Thumb; chil­dren of the 1930s had licensed dolls of the media-sen­sa­tion Dionne Quin­tu­plets; a play­set from 1940 fea­tured grim, suit­ed-up “Para­troops in Action.”

Mou­s­ing over the thumb­nails will allow you to see the item’s name. If you see a blue “Learn More” tag, be sure to click through; that means that the item’s image will be accom­pa­nied by an inter­pre­tive his­tor­i­cal note writ­ten by the Strong’s archivists. These vary in length, and con­tain intrigu­ing tid­bits. Did you know, for exam­ple, that Hol­ly Hob­bie was a real per­son: the artist Hol­ly Ulinkas Hob­bie? Or that the famous artist Charles Dana Gib­son had a now-for­got­ten fol­low­er, Nell Brink­ley, who illus­trat­ed the flap­per era?

Rebec­ca Onion is a writer and aca­d­e­m­ic liv­ing in Philadel­phia. She runs Slate.com’s his­to­ry blog, The Vault. Fol­low her on Twit­ter: @rebeccaonion

On the Air: Watch the 1950s Sitcom by David Lynch and His Twin Peaks Co-Creator Mark Frost

In “David Lynch Keeps His Head” (uncut ver­sion here), David Fos­ter Wal­lace’s Pre­miere mag­a­zine report from the set of Lost High­way, Wal­lace rat­tles off the “enter­tain­ments David Lynch has cre­at­ed and/or direct­ed” includ­ing “Eraser­head (1978), The Ele­phant Man (1980), Dune (1984), Blue Vel­vet (1986), Wild at Heart (1990), two tele­vised sea­sons of Twin Peaks (1990–92), Twin Peaks: Fire Walk With Me (1992), and the mer­ci­ful­ly ablat­ed TV show On the Air (1992).” (To ablate, a verb Wal­lace uses again in the arti­cle in ref­er­ence to a sev­ered head, means “to remove or dis­si­pate by melt­ing, vapor­iza­tion, ero­sion, etc.”) Even Lynch die-hards may nev­er have caught a glimpse of On the Air, which Wal­lace lat­er describes as “bot­tom­less­ly hor­rid” and “eutha­na­tized by ABC after six very long-seem­ing weeks.” Clear­ly the author of Infi­nite Jest, despite great­ly respect­ing Lynch’s unprece­dent­ed­ly sur­re­al prime­time dra­ma Twin Peaks (its first sea­son, at least) and cred­it­ing Blue Vel­vet with reveal­ing to him the very pos­si­bil­i­ties of art, could­n’t stom­ach this show. Now you can watch all sev­en episodes of On the Air on Youtube, three of which aired in the Unit­ed States, and judge for your­self.

The series, which debuted and end­ed in the sum­mer of 1992, takes place in 1957, peer­ing behind the scenes at the fic­tion­al Zoblot­nick Broad­cast­ing Com­pa­ny, pro­duc­ers of the hap­less vari­ety pro­gram The Lester Guy Show. Lester Guy him­self, an alco­holic sil­ver-screen lead­ing man who rose to fame by stay­ing out of the Sec­ond World War, spends most episodes vying for pop­u­lar suprema­cy against his cast’s blonde ingenue Bet­ty Hud­son, who may remind you of an even sim­pler ver­sion of Sandy Williams, the Lau­ra Dern char­ac­ter in Blue Vel­vet. The series appeared as the sec­ond col­lab­o­ra­tion between Lynch and Mark Frost, co-cre­ator of Twin Peaks, which brought their sig­na­ture sen­si­bil­i­ty of intense vivid­ness and vague­ly haunt­ing unre­al­i­ty to the detec­tive genre. On the Air brings it to the clas­sic goof­ball sit­com. Watch the first episode (ranked as #57 on TV Guide’s “100 Great­est TV Episodes of All Time” list) and, to expe­ri­ence either the utter genius or the utter train­wreck, you’ll want to watch the fol­low­ing six. “There was a lot of laugh­ter on the set,” remem­bers Ian Buchanan, who played Lester Guy. “Maybe we were too hap­py. Every­body I knew on suc­cess­ful shows was mis­er­able.”

(日本人 Lynch-heads, take note: each episode includes Japan­ese sub­ti­tles.)

Relat­ed Con­tent:

David Lynch’s Sur­re­al Com­mer­cials

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

David Lynch Presents the His­to­ry of Sur­re­al­ist Film (1987)

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

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Charles Mingus’ “Top Secret” Eggnog Recipe Contains “Enough Alcohol to Put Down an Elephant”

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Image by Tom Mar­cel­lo Web­ster, via Wiki­me­dia Com­mons

Just in time for a hard-drink­ing Christ­mas, the Vil­lage Voice brings us the “top secret” eggnog recipe from “Angry Man of Jazz” Charles Min­gus. Despite his gen­er­al­ly iras­ci­ble tem­pera­ment, Min­gus had a leg­endary “zeal for par­ties and drink” and “felt the yule­tide spirit—or spir­its, if you will—according to biog­ra­ph­er Janet Cole­man.” Min­gus passed his recipe to Cole­man over the phone, and she pub­lished it in Mingus/Mingus: Two Mem­oirs. The ‘nog, the Voice tells us, “calls for enough alco­hol to put down an ele­phant,” so if you hap­pen to be host­ing one, this might just come in handy. Humans seem to dig it too. Cole­man called it “a con­coc­tion so deli­cious and mind-blow­ing, you would do any­thing to make sure you saw him at Christ­mas.”

Charles Min­gus’ “Top Secret” Eggnog

* Sep­a­rate one egg for one per­son. Each per­son gets an egg.
* Two sug­ars for each egg, each per­son.
* One shot of rum, one shot of brandy per per­son.
* Put all the yolks into one big pan, with some milk.
* That’s where the 151 proof rum goes. Put it in grad­u­al­ly or it’ll burn the eggs,
* OK. The whites are sep­a­rate and the cream is sep­a­rate.
* In anoth­er pot- depend­ing on how many peo­ple- put in one shot of each, rum and brandy. (This is after you whip your whites and your cream.)
* Pour it over the top of the milk and yolks.
* One tea­spoon of sug­ar. Brandy and rum.
* Actu­al­ly you mix it all togeth­er.
* Yes, a lot of nut­meg. Fresh nut­meg. And stir it up.
* You don’t need ice cream unless you’ve got peo­ple com­ing and you need to keep it cold. Vanil­la ice cream. You can use eggnog. I use vanil­la ice cream.
* Right, taste for fla­vor. Bour­bon? I use Jamaica Rum in there. Jamaican Rums. Or I’ll put rye in it. Scotch. It depends.
See, it depends on how drunk I get while I’m tast­ing it.

If you’re drink­ing tonight, make sure you drink respon­si­bly!

Relat­ed Con­tent:

Try George Orwell’s Recipe for Christ­mas Pud­ding, from His Essay “British Cook­ery” (1945)

Pre­pare Mar­i­lyn Monroe’s Per­son­al, Hand­writ­ten Turkey-and-Stuff­ing Recipe on Thanks­giv­ing

Charles Min­gus Explains in His Gram­my-Win­ning Essay “What is a Jazz Com­pos­er?”

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

Hear Kevin Smith’s Three Tips For Aspiring Filmmakers (NSFW)

If you’re seek­ing advice about mak­ing your first film, Kevin Smith is a good place to start. The comedic direc­tor of Jay and Silent Bob Strike Back and Chas­ing Amy fame was a Hol­ly­wood out­sider when he made his debut with the crit­i­cal­ly acclaimed Clerks in 1994. The black and white fea­ture went on to gross $3.1 mil­lion — not bad for a Van­cou­ver Film School dropout who shot the movie in the con­ve­nience store where he once worked, on a total bud­get of $27,575.

In the clip above, Smith dis­pens­es a dose of ram­bling advice to Cana­di­an film­mak­er and video pro­duc­er Gavin Michael Booth. We’ve summed it up in three main points. Our sum­ma­ry lacks the exple­tives that makes Smith’s talk rather col­or­ful.

1 – “You have to have a rea­son­able amount of unrea­son­abil­i­ty” – Smith sug­gests that film­mak­ers must pos­sess an appro­pri­ate degree of self-belief and dri­ve, regard­less of the obsta­cles before them. If young film­mak­ers were rea­son­able about their chances of suc­cess, the only peo­ple mak­ing movies would be Los Ange­les natives already entrenched in the film indus­try.

2 – “You have to know… what hills you’re will­ing to die on.” The rea­son­able amount of unrea­son­abil­i­ty also refers to know­ing which bat­tles are worth fight­ing for. A direc­to­r­i­al vision is impor­tant, but at the end of the day it is sub­or­di­nate to bud­get con­straints.

3 – “You have to learn how to kill your babies.” Smith is an ardent believ­er in movies need­ing to be only as long as they must, and no longer. Includ­ing scenes because you like them unless they’re unequiv­o­cal­ly essen­tial is self-indul­gent and does a dis­ser­vice to the audi­ence.

If you’re after fur­ther tips, we’ve also writ­ten about Quentin Taran­ti­no joint­ly giv­ing film­mak­ing advice with Sam Rai­mi, and leg­endary Sovi­et direc­tor Andrei Tarkovsky’s coun­sel to begin­ner film­mak­ers. Plus we have 10 Tips From the Great Bil­ly Wilder on How to Write a Good Screen­play.

Ilia Blin­d­er­man is a Mon­tre­al-based cul­ture and sci­ence writer. Fol­low him at @iliablinderman

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Andy Warhol’s Christmas Art

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You may have read our post on the cre­ative ways in which John Waters express­es his love for Christ­mas. We’d all like to receive one of the Christ­mas cards the Hair­spray film­mak­er has designed him­self every year since 1964, but did you know that anoth­er famous cre­ator, one also per­ceived as eccen­tric and pos­sessed of his very own con­cepts of taste, embraced the sea­son with equal artis­tic vig­or?  “Andy Warhol’s fond­ness for Campbell’s Soup cans is well doc­u­ment­ed,” writes Jen­nifer M. Wood at Men­tal Floss. “Less well known but equal­ly ardent was his love of the hol­i­day sea­son. Yes, from poin­set­tias to San­ta hats, the enig­mat­ic artist who promised we’d all have our 15 min­utes of fame spent much of the 1950s work­ing as a com­mer­cial illus­tra­tor spe­cial­iz­ing in blot­ted line draw­ings, cre­at­ing every­thing from shoe adver­tise­ments to greet­ing cards.”

WarholChristmas2

The arti­cle goes on to dis­play the fruits of Warhol’s pro­fes­sion­al and per­son­al inter­est in Christ­mas, which ran his per­son­al gamut of both tech­nique and visu­al sen­si­bil­i­ty. At the top, we have his sim­ple 1954 ink-and-paper draw­ing of a “Christ­mas Fairy,” bear­ing the greet­ing “Mer­ry Christ­mas to you.” Just above, you can see his col­or ren­der­ing, from three years lat­er, of a Christ­mas orna­ment. Wood reports that such works went up for sale at two events this year from fine-art auc­tion house Christie’s: “ ‘Warhol­i­day,’ a pop-up event at the San Fran­cis­co Mul­ber­ry Store [which] fea­tured 36 works by the late, great artist, some of them nev­er-before-seen and all of them for sale,” and “ ‘A Christ­mas Thing,’ an online-only auc­tion that fea­tured 100 orig­i­nal pho­tos, prints, and draw­ings from the mas­ter of Pop Art” ben­e­fit­ing The Andy Warhol Foun­da­tion for the Visu­al Arts.” And as we can call no pre­sen­ta­tion of Warhol’s work com­plete, even on Christ­mas Eve, with­out the inclu­sion of some­thing that will get a view­er or two ask­ing whether it counts as art at all, behold his 1981 Polaroid of San­ta Claus:

WarholChristmas3

Find more Andy Warhol Christ­mas-themed art at Men­tal Floss.

Relat­ed Con­tent:

Andy Warhol Cre­ates Album Cov­ers for Jazz Leg­ends Thelo­nious Monk, Count Basie & Ken­ny Bur­rell

Roy Licht­en­stein and Andy Warhol Demys­ti­fy Their Pop Art in Vin­tage 1966 Film

John Waters Makes Hand­made Christ­mas Cards, Says the “Whole Pur­pose of Life is Christ­mas”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture and writes essays on cities, Asia, film, lit­er­a­ture, and aes­thet­ics. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on his brand new Face­book page.

Try George Orwell’s Recipe for Christmas Pudding, from His Essay “British Cookery” (1945)

OrwellsPudding1

British cook­ing has been the butt of many jokes, and seri­ous thought-pieces have been devot­ed to “why British food was so bad for so long.” While that arti­cle blames WWI for the decline of Eng­lish Cui­sine, the stig­ma long pre­cedes the 20th cen­tu­ry. In his unpub­lished essay “British Cook­ery,” for exam­ple, George Orwell opens with a quote from Voltaire, who wrote that Britain has “a hun­dred reli­gions and only one sauce.” This, Orwell writes, “was untrue” and “is equal­ly untrue today.” His “today” was 1945, before the best British cui­sine was Indi­an. And though he does defend his country’s cook­ing, and did so in anoth­er essay pub­lished that year in the Evening Stan­dard, Orwell also makes some crit­i­cal com­ments that con­firm some of the stereo­types, call­ing the British diet “a sim­ple, rather heavy, per­haps slight­ly bar­barous diet” and writ­ing: “Cheap restau­rants in Britain are almost invari­ably bad, while in expen­sive restau­rants the cook­ery is almost always French, or imi­ta­tion French.”

OrwellsPudding2

The essay is an exhaus­tive sur­vey of the British palate of the time, and it con­cludes with some of Orwell’s own recipes for sweets, includ­ing trea­cle tart, orange mar­malade, plum cake, and, last­ly, Christ­mas pud­ding. You can see the stained type­script of the last two recipes above, and read the full tran­script of Orwell’s “British Cook­ery” here (the recipes are at the end). Hav­ing no expe­ri­ence with the strange world of British sweets and pies, I’ll have to take The Guardian’s Alex Renton’s word when he tells us that “the Orwell Christ­mas pud­ding is noth­ing rad­i­cal.” Nonethe­less, I’m tempt­ed to try this recipe more than any of the oth­ers Ren­ton men­tions, even if I may not get my hands on real suet or sul­tanas. Read a tran­script of Orwell’s Christ­mas pud­ding recipe below.

CHRISTMAS PUDDING.

Ingre­di­ents:

1 lb each of cur­rants, sul­tanas & raisins


2 ounces sweet almonds


1 ounces sweet almonds


1 ounces bit­ter almonds


4 ounces mixed peel


½ lb brown sug­ar


½ lb flour


¼ lb bread­crumbs


½ tea­spoon­ful salt


½ tea­spoon­ful grat­ed nut­meg


¼ tea­spoon­ful pow­dered cin­na­mon


6 ounces suet


The rind and juice of 1 lemon


5 eggs


A lit­tle milk


1/8 of a pint of brandy, or a lit­tle beer

 Method. Wash the fruit. Chop the suet, shred and chop the peel, stone and chop the raisins, blanch and chop the almonds. Pre­pare the bread­crumbs. Sift the spices and salt into the flour. Mix all the dry ingre­di­ents into a basin. Heat the eggs, mix them with the lemon juice and the oth­er liq­uids. Add to the dry ingre­di­ents and stir well. If the mix­ture is too stiff, add a lit­tle more milk. Allow the mix­ture to stand for a few hours in a cov­ered basin. Then mix well again and place in well-greased basins of about 8 inch­es diam­e­ter. Cov­er with rounds of greased paper. Then tie the tops of the basins over the floured cloths if the pud­dings are to be boiled, or with thick greased paper if they are to be steamed. Boil or steam for 5 or 6 hours. On the day when the pud­ding is to be eat­en, re-heat it by steam­ing it for 3 hours. When serv­ing, pour a large spoon­ful of warm brandy over it and set fire to it.

In Britain it is unusu­al to mix into each pud­ding one or two small coins, tiny chi­na dolls or sil­ver charms which are sup­posed to bring luck.

via Bib­liok­lept

Relat­ed Con­tent:

George Orwell and Dou­glas Adams Explain How to Make a Prop­er Cup of Tea

The Recipes of Icon­ic Authors: Jane Austen, Sylvia Plath, Roald Dahl, the Mar­quis de Sade & More

Pre­pare Mar­i­lyn Monroe’s Per­son­al, Hand­writ­ten Turkey-and-Stuff­ing Recipe on Thanks­giv­ing

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

Charles Dickens’ Hand-Edited Copy of His Classic Holiday Tale, A Christmas Carol

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Click for larg­er image

No hol­i­day sea­son can seem to pro­voke as much anx­i­ety, or even out­right dis­cord, as Christ­mas. But there are at least a few things most every­one can agree on. I would like to think one of them is A Char­lie Brown Christ­mas (and its sound­track). Anoth­er, I’m sure, is Charles Dick­ens’ A Christ­mas Car­ol (1843). Some read­ers might object to the tale’s maudlin sen­ti­men­tal­i­ty. But few would say it isn’t a great sto­ry, and well told. And in Dick­ens’ day, you might be lucky enough to catch the author him­self read­ing it aloud. Accord­ing to cura­tor Issac Gewirtz, Dick­ens gave some­where around 150 read­ings of A Christ­mas Car­ol. This, at a time, Gewirtz tells us, when “pub­lic read­ings of fic­tion or poet­ry [were] not done; it was con­sid­ered a des­e­cra­tion of one’s art and a low­er­ing of one’s dig­ni­ty.” Nev­er­the­less, while Dick­ens may have let his own chil­dren down, he would not dis­ap­point his loy­al read­ers.

CCarolEdited2

As is gen­er­al­ly the case when a work of prose goes to the stage, the text need­ed prun­ing. NPR’s All Things Con­sid­ered brings us these images of Dick­ens’ “prompt­book” for his per­for­mances, a copy of the text great­ly abridged by Dick­ens’ own hand and now resid­ing at the New York Pub­lic Library. While Dick­ens’ first per­for­mance ran three hours, lat­er ver­sions took about half that time. In-between, he slashed out whole para­graphs, sim­pli­fied words and phras­es, and removed entire pages. “What’s inter­est­ing to see,” says Gewirtz, “is how much of the atmos­pher­ics have been delet­ed.” Instead, Dick­ens con­veys the mood with mar­gin­al stage cues like “soft­en very much” and “tone to mys­tery.” It is intrigu­ing to imag­ine Dick­ens tak­ing on the roles of Scrooge, Mar­ley, and Cratch­et père and fils, but alas we’ll nev­er get to hear him. We can, how­ev­er, hear the voice of Dick­ens’ great-grandaugh­ter, nov­el­ist Mon­i­ca Dick­ens (below), who in 1950 record­ed her ver­sion of the fam­i­ly Christ­mas fable.

Monica’s daugh­ter Mary Dan­by, also a nov­el­ist, tells the BBC that her mother’s ren­di­tion is faith­ful to the Dick­ens’ fam­i­ly tra­di­tion of read­ings, begun by Charles him­self. There­fore, Monica’s phras­ing is as much like Charles Dick­ens’ as we’re like­ly to hear. Dick­en­sian­ism is still some­thing of a fam­i­ly busi­ness, as is writ­ing. “In my fam­i­ly,” says Dick­ens’ great-great-grandaugh­ter Mary, “they think you are a bit odd if you haven’t writ­ten a book.” Still, I doubt their Christ­mases are any bet­ter, or any worse, than the rest of ours.

Relat­ed Con­tent:

A Christ­mas Car­ol Pre­sent­ed in a Thomas Edi­son Film (1910)

A Christ­mas Car­ol, A Vin­tage Radio Broad­cast by Orson Welles and Lionel Bar­ry­more (1939)

Cel­e­brate the 200th Birth­day of Charles Dick­ens with Free Movies, eBooks and Audio Books

The His­toric Meet­ing Between Dick­ens and Dos­to­evsky Revealed as a Great Lit­er­ary Hoax

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

Horror Legend Christopher Lee Presents a Heavy Metal Version of The Little Drummer Boy

Every year, around this time, I give thanks that I no longer work retail. Sore feet and rude cus­tomers go with the ter­ri­to­ry, but Decem­ber (nay, Novem­ber) brings with it a ter­ri­fy­ing onslaught of Lit­tle Drum­mer Boys. I know folks who can’t abide Grand­ma Got Run Over By a Rein­deer, or the Singing Dogs’ Jin­gle Bells, but as far as I’m con­cerned, noth­ing has­tens a psy­chot­ic break faster than a few dozen pa rum pa pum pum pum rum pa pum pum pum rum pa pum pum pums.

It seems hor­ror leg­end Christo­pher Lee, famil­iar to younger fans as Star Wars’ Count Dooku, feels my pain..and rel­ish­es it. It’s a cliche for an aging actor to release an album of sea­son­al chest­nuts, but the 91-year-old Lee’s A Heavy Met­al Christ­mas is a thing apart. His take on The Lit­tle Drum­mer Boy is the son­ic equiv­a­lent of Rose­mary’s Baby.

I can’t say that I pre­fer Lee’s to any oth­er ver­sion — they’re all tor­tu­ous in my book- but I’m at peace with admir­ing it in the abstract. A stunt? Maybe, but he seems whol­ly sin­cere in his video greet­ing below, wish­ing us all a very hap­py Christ­mas and “for the sake of the world and those peo­ple in it” a safe New Year.

Ayun Hal­l­i­day reveals the true mean­ing of of Xmas here. Fol­low her @AyunHalliday

Relat­ed Con­tent:

Christo­pher Lee Nar­rates a Beau­ti­ful Ani­ma­tion of Tim Burton’s Poem, Night­mare Before Christ­mas

Edgar Allan Poe’s “The Raven,” Read by Christo­pher Walken, Vin­cent Price, and Christo­pher Lee

Orson Welles Records Two Songs with the 1980s Heavy-Met­al Band Manowar

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