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

When we see sto­ries pop up involv­ing sci­en­tif­ic find­ings in glac­i­er ice, we might brace for unpleas­ant envi­ron­men­tal news about the future. But a paper pub­lished just recent­ly in Pro­ceed­ings of the Nation­al Acad­e­my of Sci­ences instead reveals fas­ci­nat­ing find­ings about the dis­tant past—the his­to­ry of ancient Rome between 1100 B.C.E. to 800 C.E. His­to­ri­ans know this 1,900-year peri­od through archae­o­log­i­cal and lit­er­ary evi­dence. Now cli­mate sci­en­tists have pro­vid­ed a trea­sury of new data to help sub­stan­ti­ate or revise schol­ar­ly under­stand­ings of Rome’s eco­nom­ic ris­es and falls, by mea­sur­ing the strat­i­fi­ca­tions of lead pol­lu­tion in a rough­ly 400-meter ice core from Green­land.

Why lead? “It’s a proxy for coin pro­duc­tion,” says Seth Bernard, pro­fes­sor of ancient his­to­ry at the Uni­ver­si­ty of Toron­to. Roman cur­ren­cy, the denar­ius, was made from sil­ver, mined pri­mar­i­ly on the Iber­ian Penin­su­la. “But these mines didn’t exca­vate pure sil­ver,” notes Robin­son Mey­er at The Atlantic. “Instead, they unearthed an ore of sil­ver, lead, and cop­per that had to be smelt­ed into sil­ver. This process filled the air with lead pol­lu­tion,” which even­tu­al­ly made its way on air cur­rents to Green­land, where “storms deposit­ed lead-taint­ed snow or sleet over the Arc­tic island.” New lay­ers formed upon the old, each one pre­served for pos­ter­i­ty.

In the mid-1990s, sci­en­tists began drilling Greenland’s ice sheet in the North Green­land Ice core Project (NGRIP). At the time, a team attempt­ed a sim­i­lar analy­sis on the lead lev­els and their cor­re­spon­dence to ancient coinage, “which used a sim­i­lar but rudi­men­ta­ry tech­nique,” Mey­er writes. But this study only drew from 18 data points. By con­trast, the new research “made 25,000 dif­fer­ent mea­sure­ments of the ice core.” Improved tech­nol­o­gy has refined the mea­sure­ment process, allow­ing researchers to detect “the pres­ence of 35 dif­fer­ent ele­ments and chem­i­cals at once,” and to tie their obser­va­tions to spe­cif­ic years, or fair­ly close to it, any­way. The chart above shows the fluc­tu­a­tions in lead emis­sions over the almost 2000-year span.

One of the study’s authors, Joseph McConnell, esti­mates the mar­gin of error as with­in one or two years. “That’s pret­ty good,” he says, “a lot bet­ter than what archae­ol­o­gists are used to, I can tell you that.” This allows the team of cli­mate sci­en­tists, archae­ol­o­gists, and his­to­ri­ans to match their obser­va­tions about lead lev­els to known his­tor­i­cal events. As The New York Times reports, “lead emis­sions rose in peri­ods of peace and pros­per­i­ty, such as the Pax Romana, which ran from 27 BC to 180 A.D. and dropped dur­ing the civ­il wars that pre­ced­ed the Pax and the rise of the emper­or Augus­tus. There were also dra­mat­ic drops that coin­cid­ed with the Anto­nine plague of 165–180 A.D., thought to have been small pox, and the Cypri­an plague, cause uncer­tain, of 250–270 A.D.”

The data, notes The Econ­o­mist, “pro­vide a new win­dow onto the work­ings of the ancient econ­o­my…. Not all of the lead trapped in the glac­i­er comes from sil­ver mind­ing, but much of it does,” and sci­en­tists can make informed guess­es about just how much. Many unan­swered ques­tions remain. “What we’d love to have is a doc­u­ment that says Rome had a state mon­e­tary pol­i­cy,” says Bernard. The empire’s spe­cif­ic eco­nom­ic poli­cies are large­ly a mys­tery, but the ice core sam­ples pro­vide a wealth of new evi­dence for the increase and decrease in cur­ren­cy pro­duc­tion, and ever-more refined tech­nolo­gies will allow for even more data to emerge from the pol­lu­tants trapped in glacial ice in the near future.

via The Atlantic

Relat­ed Con­tent:  

How Did the Romans Make Con­crete That Lasts Longer Than Mod­ern Con­crete? The Mys­tery Final­ly Solved

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

A Huge Scale Mod­el of Ancient Rome at Its Archi­tec­tur­al Peak, Orig­i­nal­ly Com­mis­sioned by Mus­soli­ni

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

It’s the End of the World as We Know It: The Apocalypse Gets Visualized in an Inventive Map from 1486

When will the world end?

We can find seri­ous sci­en­tif­ic answers to this ques­tion, depend­ing on what we mean by “world” and “end.” If civ­i­liza­tion as we cur­rent­ly know it, cli­mate sci­en­tists’ worst-case sce­nario points toward some­where around 2100 as the begin­ning of the end. (New York mag­a­zine points out that it “prob­a­bly won’t kill all of us”). It’s pos­si­ble, but not inevitable.

If we mean the end of all life on earth, the fore­cast looks quite a bit rosier: we’ve prob­a­bly got about a bil­lion years, writes astro­physi­cist Jil­lian Scud­der, before the sun becomes “hot enough to boil our oceans.” Still not a cheer­ful thought, but per­haps many more crea­tures will take after the tardi­grade by then. That’s not even to men­tion nuclear war or the epi­demics, zom­bie and oth­er­wise, that could take us out.

But of course, for a not incon­sid­er­able num­ber of people—including a few cur­rent­ly occu­py­ing key posi­tions of pow­er in the U.S.—the ques­tion of the world’s end has noth­ing to do with sci­ence at all but with escha­tol­ogy, that branch of the­o­log­i­cal thought con­cerned with the Apoc­a­lypse.

The­o­log­i­cal thinkers have writ­ten about the Apoc­a­lypse for hun­dreds of years, and the world’s end was fre­quent­ly per­ceived as just around the cor­ner for many of the same rea­sons mod­ern sec­u­lar peo­ple feel apoc­a­lyp­tic dread: dis­ease, nat­ur­al dis­as­ters, wars, rumors of wars, impe­r­i­al pow­er strug­gles, uncom­fort­ably shift­ing demo­graph­ics….

Take 15th-cen­tu­ry Europe, when “the Apoc­a­lypse weighed heav­i­ly on the minds of the peo­ple,” as Bet­sy Mason and Greg Miller write at the Nation­al Geo­graph­ic blog All Over the Map: “Plagues were ram­pant. The once-great cap­i­tal of the Roman empire, Con­stan­tino­ple, had fall­en to the Turks. Sure­ly, the end was nigh.”

While a niche pub­lish­ing mar­ket in the nascent print era pro­duced “dozens of print­ed works” describ­ing the “com­ing reck­on­ing in gory detail… one long-for­got­ten man­u­script depicts the Apoc­a­lypse in a very dif­fer­ent way—through maps.” As you can see here, these maps con­vey the unfold­ing of worse-to-wors­er sce­nar­ios in a num­ber of visu­al reg­is­ters: tem­po­ral, sym­bol­ic, geo­graph­ic, the­mat­ic, etc.

At the top, the nest­ed tri­an­gles depict the rise of the Antichrist between the years 1570 and 1600. The cen­tral con­cern for this author was the sup­posed glob­al threat of Islam. Thus, the next map, its “T” shape a com­mon Medieval world map device, shows the world before the Apoc­a­lypse, the text around it explain­ing that “Islam is on the rise from 639 to 1514.”

Then, we have a cir­cu­lar map with five swords point­ing at the edges of the known world, illus­trat­ing the author’s con­tention that Islam­ic armies would reach the edges of the earth. The oth­er maps depict the “four horns of the Antichrist,” above, Judge­ment Day, below, (the black eye at the bot­tom is the “black abyss that leads to hell”), and, fur­ther down, a dia­gram describ­ing “the rel­a­tive diam­e­ters of Earth and Hell.”

Made in Lübeck, Ger­many some­time between 1486 and 1488, the man­u­script is writ­ten in Latin, “but it’s not as schol­ar­ly as oth­er con­tem­po­rary man­u­scripts,” write Mason and Miller, “and the pen­man­ship is fair­ly poor.” His­to­ri­an of car­tog­ra­phy Chet Van Duzer explains that “it’s aimed at the cul­tur­al elite, but not the pin­na­cle of the cul­tur­al elite.”

Point­ing out the obvi­ous, Van Duzer says, “there’s no way to escape it, this work is very anti-Islam­ic,” a wide­spread sen­ti­ment in medieval Europe, when the “clash of civ­i­liza­tions” nar­ra­tive spread its roots deep in cer­tain strains of West­ern think­ing. This par­tic­u­lar text also “includes a sec­tion on astro­log­i­cal med­i­cine and a trea­tise on geog­ra­phy that’s remark­ably ahead of its time.”

Van Duzer and Ilya Dines have stud­ied the rare man­u­script for its insight­ful pas­sages on geog­ra­phy and car­tog­ra­phy and pub­lished their research in a book titled Apoc­a­lyp­tic Car­tog­ra­phy. For all its the­o­log­i­cal alarmism, the man­u­script is sur­pris­ing­ly thought­ful when it comes to ana­lyz­ing its own for­mal prop­er­ties and per­spec­tives.

Mason and Miller note that “the author out­lines an essen­tial­ly mod­ern under­stand­ing of the­mat­ic maps as a means to illus­trate char­ac­ter­is­tics of the peo­ple or polit­i­cal orga­ni­za­tion of dif­fer­ent regions.” As Van Duzer puts it, “this is one of the most amaz­ing pas­sages, to have some­one from the 15th cen­tu­ry telling you their ideas about what maps can do.” This marks the work, he claims in the intro­duc­tion to Apoc­a­lyp­tic Car­tog­ra­phy, as that “of one of the most orig­i­nal car­tog­ra­phers of the peri­od.”

The Apoc­a­lypse Map now resides at the Hunt­ing­ton Library in Los Ange­les.

via Nat Geo

Relat­ed Con­tent:

Ancient Maps that Changed the World: See World Maps from Ancient Greece, Baby­lon, Rome, and the Islam­ic World

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

Down­load 67,000 His­toric Maps (in High Res­o­lu­tion) from the Won­der­ful David Rum­sey Map Col­lec­tion

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

 

How to Write in Cuneiform, the Oldest Writing System in the World: A Short, Charming Introduction

Teach­ing child vis­i­tors how to write their names using an unfa­mil­iar or antique alpha­bet is a favorite activ­i­ty of muse­um edu­ca­tors, but Dr. Irv­ing Finkel, a cuneiform expert who spe­cial­izes in ancient Mesopotami­an med­i­cine and mag­ic, has grander designs.

His employ­er, the British Muse­um, has over 130,000 tablets span­ning Mesopotamia’s Ear­ly Dynas­tic peri­od to the Neo-Baby­lon­ian Empire “just wait­ing for young schol­ars to come devote them­selves to (the) monk­ish work” of deci­pher­ing them.

Writ­ing one’s name might well prove to be a gate­way, and Dr. Finkel has a vest­ed inter­est in lin­ing up some new recruits.

The museum’s Depart­ment of the Mid­dle East has an open access pol­i­cy, with a study room where researchers can get up close and per­son­al with a vast col­lec­tion of cuneiform tablets from Mesopotamia and sur­round­ing regions.

But let’s not put the ox before the cart.

As the extreme­ly per­son­able Dr. Finkel shows Matt Gray and Tom Scott of Matt and Tom’s Park Bench, above, cuneiform con­sists of three components—upright, hor­i­zon­tal and diagonal—made by press­ing the edge of a reed sty­lus, or pop­si­cle stick if you pre­fer, into a clay tablet.

The mechan­i­cal process seems fair­ly easy to get the hang of, but mas­ter­ing the old­est writ­ing sys­tem in the world will take you around six years of ded­i­cat­ed study. Like Japan’s kan­ji alpha­bet, the old­est writ­ing sys­tem in the world is syl­lab­ic. Prop­er­ly writ­ten out, these syl­la­bles join up into a flow­ing cal­lig­ra­phy that your aver­age, edu­cat­ed Baby­lon­ian would be able to read at a glance.

Even if you have no plans to rus­tle up a pop­si­cle stick and some Play-Doh, it’s worth stick­ing with the video to the end to hear Dr. Finkel tell how a chance encounter with some nat­u­ral­ly occur­ring cuneiform inspired him to write a hor­ror nov­el, which is now avail­able for pur­chase, fol­low­ing a suc­cess­ful Kick­starter cam­paign.

Begin your cuneiform stud­ies with Irv­ing Finkel’s Cuneiform: Ancient Scripts.

via Men­tal Floss

Relat­ed Con­tent:

You Could Soon Be Able to Text with 2,000 Ancient Egypt­ian Hiero­glyphs

Hear The Epic of Gil­gamesh Read in its Orig­i­nal Ancient Lan­guage, Akka­di­an

Hear the “Seik­i­los Epi­taph,” the Old­est Com­plete Song in the World: An Inspir­ing Tune from 100 BC

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Her solo show Nurse!, in which one of Shakespeare’s best loved female char­ac­ters hits the lec­ture cir­cuit to set the record straight pre­mieres in June at The Tank in New York City. Fol­low her @AyunHalliday.

The Art of Sci-Fi Book Covers: From the Fantastical 1920s to the Psychedelic 1960s & Beyond

If you’ve nev­er seen Gen­tle­men Bron­cos, the lit­tle-seen third fea­ture by the Napoleon Dyna­mite-mak­ing hus­band-and-wife team Jared and Jerusha Hess, I high­ly rec­om­mend it. You must, though, enjoy the pecu­liar Hess sense of humor, a blend of the almost objec­tive­ly detached and the hearti­ly sopho­moric fixed upon the pre­oc­cu­pa­tions of deeply unfash­ion­able sec­tions of work­ing-class Amer­i­ca. In Gen­tle­men Bron­cos it makes itself felt imme­di­ate­ly, even before the film’s sto­ry of a young aspir­ing sci­ence fic­tion writer in small-town Utah begins, with a tour de force open­ing cred­its sequence made up of homages to the pulpi­est sci-fi book cov­ers of, if not recent decades, then at least semi-recent decades.

The style of these cov­er images, though ris­i­ble, no doubt look rich with asso­ci­a­tions to any­one who’s spent even small part of their lives read­ing mass-mar­ket sci-fi nov­els. To see more than a few high­er exam­ples, watch “The Art of Sci-Fi Book Cov­ers,” the Nerd­writer video essay above that digs into the his­to­ry of that enor­mous­ly inven­tive yet sel­dom seri­ous­ly con­sid­ered artis­tic sub­field.

Its begins with the world’s first sci­ence-fic­tion mag­a­zine Amaz­ing Sto­ries (an online archive of which we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture) and its pieces of fan­tas­ti­cal, eye-catch­ing cov­er art by Aus­tria-Hun­gary-born illus­tra­tor Frank R. Paul. In the mid-1920s, says the Nerd­writer, “these cov­ers were prob­a­bly among the strangest art that the aver­age Amer­i­can ever got to see.”

It would get stranger. The Nerd­writer fol­lows the devel­op­ment of sci-fi cov­er art from the hey­day of the Paul-illus­trat­ed Amaz­ing Sto­ries to the intro­duc­tion of mass-mar­ket paper­back books in the late 1930s to Pen­guin’s exper­i­men­ta­tion with exist­ing works of mod­ern art in the 1960s to the com­mis­sion­ing of new, even more bizarre and evoca­tive works by all man­ner of pub­lish­ers (some of them sci-fi spe­cial­ists) there­after. “You can walk into any used book store any­where and get five of these old pulp books for a dol­lar each,” the Nerd­writer reminds us. “And then the art is with you; it’s in your home. As you read the sto­ries, it’s on your bed­side table. It’s art you hold with your hands. It’s not pre­cious: it’s bent, fold­ed, and creased. And above all, it’s weird.”

Relat­ed Con­tent:

Enter a Huge Archive of Amaz­ing Sto­ries, the World’s First Sci­ence Fic­tion Mag­a­zine, Launched in 1926

Enter the Pulp Mag­a­zine Archive, Fea­tur­ing Over 11,000 Dig­i­tized Issues of Clas­sic Sci-Fi, Fan­ta­sy & Detec­tive Fic­tion

Pulp Cov­ers for Clas­sic Detec­tive Nov­els by Dashiell Ham­mett, Arthur Conan Doyle, Agatha Christie & Ray­mond Chan­dler

36 Abstract Cov­ers of Vin­tage Psy­chol­o­gy, Phi­los­o­phy & Sci­ence Books Come to Life in a Mes­mer­iz­ing Ani­ma­tion

Down­load 650 Sovi­et Book Cov­ers, Many Sport­ing Won­der­ful Avant-Garde Designs (1917–1942)

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

Tom Wolfe’s Groundbreaking Work, The Electric Kool-Aid Acid Test, Gets Released as a Limited Collector’s Edition, with Each Copy Signed by the Author 

Taschen recent­ly released a col­lec­tor’s edi­tion of The Elec­tric Kool-Aid Acid Test to com­mem­o­rate the 50th anniver­sary of Tom Wolfe’s rol­lick­ing account of Ken Kesey and the Mer­ry Pranksters’ acid-fueled road trip across the Unit­ed States, aboard the psy­che­del­ic school bus known as “Fur­ther.” With the pass­ing of Tom Wolfe last week, the release of the col­lec­tor’s edi­tion takes on some added impor­tance.

When The Elec­tric Kool-Aid Acid Test first came out in 1968, Eliot Fre­mont-Smith wrote in The New York Times that “it is not sim­ply the best book on the hip­pies, it is the essen­tial book.” The book “is print­ed in black and white, but the words come through in crazy Day-Glo–fluorescent, psy­che­del­ic, at once ener­getic and epicene.”

The new Taschen edi­tion is some­thing dif­fer­ent. The abridged text is pub­lished in “tra­di­tion­al let­ter­press, with fac­sim­i­le repro­duc­tions of Wolfe’s man­u­script pages, as well as Ken Kesey’s jail­house jour­nals, hand­bills, and under­ground mag­a­zines of the peri­od.” “Inter­weav­ing the prose and ephemera are pho­to­graph­ic essays from Lawrence Schiller, whose cov­er­age of the acid scene for Life mag­a­zine helped inspire Wolfe to write his sto­ry, and Ted Streshin­sky, who accom­pa­nied Wolfe while report­ing for the New York Her­ald Tri­bune.” There are also pho­tographs by poet Allen Gins­berg.

In total, Taschen has pro­duced 1,968 signed copies of the col­lec­tor’s edi­tion, each signed by Tom Wolfe him­self. The cost is set at $350.

If you nev­er spent time with The Elec­tric Kool-Aid Acid Test and want to read a sim­ple paper­back edi­tion that costs less than $10, you can find a copy here.

Note: We belong to the Taschen affil­i­ate pro­gram. So if you get a copy of the col­lec­tor’s edi­tion, it ben­e­fits not just you and Taschen. It ben­e­fits Open Cul­ture too. So con­sid­er it win-win-win.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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:

Hear Tom Wolfe (RIP) Tell Studs Terkel All About Cus­tom-Car Cul­ture, the Sub­ject of His Sem­i­nal Piece of New Jour­nal­ism (1965)

The Acid Test Reels: Ken Kesey & The Grate­ful Dead’s Sound­track for the 1960s Famous LSD Par­ties

Ken Kesey’s First LSD Trip Ani­mat­ed

Aldous Hux­ley, Dying of Can­cer, Left This World Trip­ping on LSD (1963)

Ken Kesey Talks About the Mean­ing of the Acid Tests

How Women Got Dressed in the 14th & 18th Centuries: Watch the Very Painstaking Process Get Cinematically Recreated

We live in an age of con­ve­nience, and one get­ting more con­ve­nient all the time. Few com­par­isons between past and present under­score that quite so much as the morn­ing rou­tine. Hot and cold run­ning water on demand, prop­er­ly appre­ci­at­ed, can seem mirac­u­lous enough, let alone more recent devel­op­ments like the avail­abil­i­ty of high-qual­i­ty cof­fee on every city block. But con­sid­er cloth­ing, the change in whose out­ward appear­ance over the past 700 years or so goes along with an equal­ly dra­mat­ic change in use. We still wear clothes for all the same basic rea­sons we did back then, of course, but what it takes to wear them has dimin­ished to com­par­a­tive effort­less­ness.

These videos, one on get­ting dressed in the 14th cen­tu­ry and one on get­ting dressed in the 18th cen­tu­ry, offer detailed, nar­rat­ed, and cin­e­mat­ic looks at what the process once entailed — or at least what the process entailed for Eng­lish women of a cer­tain class.

The aver­age man in those peri­ods, too, had to deal with much more has­sle putting on his clothes in the morn­ing that he does today, but the female case, with its shift, stays, pet­ti­coats, pock­ets, roll, stock­ings and garters, gown and stom­ach­er, apron, and more besides, required not just a great deal of dis­ci­pline and con­cen­tra­tion on the part of the dress­er but assis­tance from anoth­er pair of hands as well.

You can find more such videos on the fin­er points of wom­en’s dress­ing rou­tines of yore, includ­ing fur­ther expla­na­tions of such ele­ments as pock­ets and busks, on this playlist. The social, tech­no­log­i­cal, and indus­tri­al sto­ries behind why it has all become so much less com­pli­cat­ed over the cen­turies has pro­vid­ed, and will con­tin­ue to pro­vide, the dri­ving ques­tions for many an aca­d­e­m­ic the­sis. But despite the enor­mous reduc­tion in the labor-inten­sive­ness of putting them on, clothes have not, of course, become a per­fect­ly sim­ple mat­ter for we dressers of the com­par­a­tive­ly ultra-casu­al 21st cen­tu­ry. Still, after watch­ing all it took to get dressed those hun­dreds and hun­dreds of years ago, many of us — male or female — might arrive at the thought that we could stand to put just a lit­tle more effort into the job.

via Boing Boing

Relat­ed Con­tent:

What’s It Like to Fight in 15th Cen­tu­ry Armor?: A Sur­pris­ing Demon­stra­tion

An Online Trove of His­toric Sewing Pat­terns & Cos­tumes

The Dress­er: The Con­trap­tion That Makes Get­ting Dressed an Adven­ture

1930s Fash­ion Design­ers Pre­dict How Peo­ple Would Dress in the Year 2000

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities 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.

Why Sitting Is The New Smoking: An Animated Explanation

In recent years, sit­ting has become the new smok­ing. “Past stud­ies have found,” declares a 2014 arti­cle in The New York Times, “the more hours that peo­ple spend sit­ting, the more like­ly they are to devel­op dia­betes, heart dis­ease and oth­er con­di­tions, and poten­tial­ly to die pre­ma­ture­ly — even if they exer­cise reg­u­lar­ly.” What’s the sci­ence behind this alarm­ing claim? The ani­mat­ed TED-ED video (watch above) begins to paint the pic­ture. But it does­n’t get into the lat­est and per­haps most impor­tant research. Accord­ing to sci­ence writer Gretchen Reynolds, a recent Swedish study pub­lished in the British Jour­nal of Sports Med­i­cine sug­gests that when you sit all day, your telom­eres (the tiny caps on the ends of DNA strands) get short­er. Which is not a good thing. As telom­eres get short­er, the rate at which the body ages and decays speeds up. Con­verse­ly, the study found “that the telom­eres in [those] who were sit­ting the least had length­ened. Their cells seemed to be grow­ing phys­i­o­log­i­cal­ly younger.”

Sev­er­al years ago, KQED radio in San Fran­cis­co aired a pro­gram ded­i­cat­ed to this ques­tion, fea­tur­ing med­ical and ergonom­ics experts. To delve deep­er into it, lis­ten below.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

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:

This Is Your Brain on Exer­cise: Why Phys­i­cal Exer­cise (Not Men­tal Games) Might Be the Best Way to Keep Your Mind Sharp

Play­ing an Instru­ment Is a Great Work­out For Your Brain: New Ani­ma­tion Explains Why

What’s a Sci­en­tif­i­cal­ly-Proven Way to Improve Your Abil­i­ty to Learn? Get Out and Exer­cise

Muhammad Ali & Sly Stone Get Into a Heated Debate on Racism & Reparations on The Mike Douglas Show (1974)

Ah, the 70s… an Amer­i­can pres­i­dent was impeached for crim­i­nal activ­i­ty; a con­gress­man, Wayne Hays, resigned for sleep­ing with his sec­re­tary, after divorc­ing his wife to mar­ry a dif­fer­ent sec­re­tary; anoth­er con­gress­man, Bud Shuster—who described Hays as “the mean­est man in the house”—called for an inves­ti­ga­tion of Water­gate spe­cial pros­e­cu­tor Archibald Cox, after Cox was fired by the soon-to-be impeached pres­i­dent… ‘twas a dif­fer­ent time, chil­dren, a sim­pler time….

Well, at any rate, they sure wore fun­ny suits back then, eh? Those lapels…. But just like today, pol­i­tics mixed freely with sports and enter­tain­ment in con­tro­ver­sial and tele­vi­su­al ways. Box­ers got rat­ings, singers got rat­ings, politi­cians like “mean­est man in the house” Wayne Hays got rat­ings, even before his sex scan­dal, when he appeared on TV with box­ers and singers—appeared, that is, on The Mike Dou­glas Show in 1974 with Muham­mad Ali and Sly Stone. Actor and activist Theodore Bikel was there too, though you might blink and miss him in the fra­cas just above.

First, Hays offers some banal opin­ions on the sub­ject of cam­paign financ­ing, anoth­er one of those bygone 70s issues. But when Dou­glas pos­es the ques­tion to Ali of whether or not he’d ever run for office, things pick up, to say the least. Ali refus­es to play the enter­tain­er. He launch­es flur­ry after flur­ry of jabs at white Amer­i­ca, and at Hays, who does his best to stay upright under the onslaught. “Ali is unyield­ing,” writes Dan­ger­ous Minds, “intense and bril­liant.”

Ali takes on a seri­ous ques­tion fac­ing Black nation­al­ists of the 60s and 70s, from the Pan­thers to the Nation of Islam, whose views Ali embraced at the time, along with, per­haps, some of their ugly anti-Semi­tism. (The fol­low­ing year he con­vert­ed to Sun­ni Islam, and lat­er became a Sufi.) Should Black activists par­tic­i­pate in the oppres­sive sys­tems of the U.S. gov­ern­ment? Can any­one do good from inside the halls of impe­ri­al­ist pow­er?

Hays makes an inte­gra­tionist case, and cham­pi­ons Black lead­ers like con­gress­woman Bar­bara Jor­dan. Ali is relent­less­ly com­bat­ive, call­ing for repa­ra­tions. Sly slides in to clar­i­fy and paci­fy, play­ing medi­a­tor and ref­er­ee. Dou­glas gets off the applause line, “isn’t it time we all tried to live togeth­er.” Ali refus­es to gloss over racism and eco­nom­ic inequal­i­ty. No peace, he says in effect, with­out jus­tice. Aren’t we glad, forty-four years lat­er, that we’ve ironed all this out? See the full show above for much more heavy­weight com­men­tary from Ali and some­times fuzzy coun­ter­point from Sly. They go back and forth with Dou­glas for ten min­utes before Hays and Bikel join.

Relat­ed Con­tent:

“Muham­mad Ali, This Is Your Life!”: Cel­e­brate Ali’s Life & Times with This Touch­ing 1978 TV Trib­ute

Muham­mad Ali Gives a Dra­mat­ic Read­ing of His Poem on the Atti­ca Prison Upris­ing

James Bald­win Bests William F. Buck­ley in 1965 Debate at Cam­bridge Uni­ver­si­ty

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

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