Why Time Seems to Fly By As You Get Older, and How to Slow It Down: A Scientific Explanation by Neuroscientist David Eagleman

The Bud­dha, it’s said, strug­gled might­i­ly with three specters of adulthood—aging, sick­ness, and death—when reflec­tions on mor­tal­i­ty harshed his hedo­nis­tic life as a prince. His “intox­i­ca­tion with life entire­ly dropped away,” the sto­ries say, when he reflect­ed on its pass­ing. Noth­ing cured his fatal unease until a mem­o­ry from child­hood arose unbid­den: of stop­ping time by qui­et­ly sit­ting under a rose-apple tree.

In anoth­er ver­sion of this sto­ry, Mar­cel Proust dis­cov­ered time­less­ness baked in a cook­ie. His potent mem­o­ries of madeleines also came from child­hood. As he recalled “the taste of tea and cake,” he writes, “at once the vicis­si­tudes of life had become indif­fer­ent to me, its dis­as­ters innocu­ous, its brevi­ty illu­so­ry …. I had ceased now to feel mediocre, acci­den­tal, mor­tal.”

Neu­ro­sci­en­tist David Eagle­man also invokes a child­hood mem­o­ry in his dis­cus­sion of time and aging, in the BBC video above. It is also a mem­o­ry res­o­nant with a remark­able phys­i­cal detail: red brick pave­ment hurtling toward him as he falls from the roof of a house, expe­ri­enc­ing what must have been a ter­ri­fy­ing descent in slow motion. Quite a dif­fer­ent expe­ri­ence from com­muning with trees and eat­ing tea cakes, but maybe the con­tent of a child­hood mem­o­ry is irrel­e­vant to its tem­po­ral dimen­sions.

What we can all remem­ber is that along with impa­tience and dis­tractibil­i­ty, child­hood seems rich with care­free, absorp­tive lan­guor (or moments of slow-motion pan­ic). Psy­chol­o­gists have indeed shown in sev­er­al stud­ies that adults, espe­cial­ly those over the age of 40, per­ceive time as mov­ing faster than it did when they were chil­dren. Why?

Because time is a “psy­cho­log­i­cal con­struct,” says Eagle­man, and can vary not just between ages and cul­tures, but also between indi­vid­ual con­scious­ness­es. “It can be dif­fer­ent in your head and my head,” he says. “Your brain is locked in silence and dark­ness inside the vault of your skull.” In order to “fig­ure out what’s going on out­side,” it’s got to do “a lot of edit­ing tricks.” One trick is to con­vince us that we’re liv­ing in the moment, when the moment hap­pened half a sec­ond in the past.

But we can notice that gap when we’re faced with nov­el­ty, because the brain has to work hard­er to process new infor­ma­tion, and it cre­ates thick­er descrip­tions in the mem­o­ry. All of this addi­tion­al pro­cess­ing, Eagle­man says, seems to take more time, so we per­ceive new expe­ri­ences as hap­pen­ing in a kind of slow motion (or remem­ber them that way). That includes so many expe­ri­ences in our child­hood as well as emer­gency sit­u­a­tions in which we have to nav­i­gate a chal­leng­ing new real­i­ty very quick­ly.

As writer Charles Bukows­ki once said, “as you live many years, things take on a repeat…. You keep see­ing the same thing over and over again.” The brain can coast on famil­iar­i­ty and expend lit­tle ener­gy gen­er­at­ing per­cep­tion. We retain few­er detailed mem­o­ries of recent events, and they seem to have flown by us. The rem­e­dy, says Eagle­man, is to seek nov­el­ty. (You thought he was going to say “mind­ful­ness”?) Wear your watch on a dif­fer­ent wrist, change the way you brush your teeth….

Mun­dane exam­ples, but the point remains: we need new and var­ied expe­ri­ences to slow our sense of time. Rou­tine lack of nov­el­ty in adult­hood may be the pri­ma­ry rea­son that “our ear­ly years,” write psy­chol­o­gists James Broad­way and Brit­taney San­doval write at Sci­en­tif­ic Amer­i­can,“tend to be rel­a­tive­ly over­rep­re­sent­ed in our auto­bi­o­graph­i­cal mem­o­ry and, on reflec­tion, seem to have last­ed longer.”

They can also, for that rea­son, seem all the sweet­er. But nos­tal­gia, how­ev­er tempt­ing, can’t take the place of going new places, meet­ing new peo­ple, read­ing new books, hear­ing new music, see­ing new films, and so on and so forth—and there­by effec­tive­ly slow­ing down time.

via Aeon

Relat­ed Con­tent:

The Secret Pow­ers of Time

Why Time Seems to Speed Up as We Get Old­er: What the Research Says

How to Read Many More Books in a Year: Watch a Short Doc­u­men­tary Fea­tur­ing Some of the World’s Most Beau­ti­ful Book­stores

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

Watch 16 Hours of Historic Live Aid Performances: Queen, Led Zeppelin, Neil Young & Much More

12 pm — 2 pm | Wem­b­ley Sta­di­um, Lon­don

As Live Aid geared up for its momen­tous series of con­certs of both sides of the Atlantic, famous con­cert pro­mot­er Bill Gra­ham com­pared it to Wood­stock: “What we’re doing now is entire­ly dif­fer­ent. The rea­son for the event is more impor­tant than the event itself.”

Three decades lat­er, the mem­o­ry of the event has eclipsed its rea­son (and one Queen per­for­mance has eclipsed most of the con­cert). It was a gath­er­ing of the best of main­stream ‘80s rock–still try­ing to jus­ti­fy itself along­side acts from the 60s and the ‘70s–and the zenith of the fundrais­ing telethon: broad­cast live in 140 coun­tries to raise $50 mil­lion for vic­tims of a relent­less African famine. (Fun fact: the con­certs raised about $560 mil­lion in 2019 mon­ey, about two days’ worth of Jeff Bezos’ cur­rent earn­ings!)

If you have a day to spare, you can recre­ate that amaz­ing July 13th in 1985 with this series of YouTube playlists.

The day start­ed at Lon­don’s Wem­b­ley Sta­di­um (up top), with the Reg­i­men­tal Band of the Cold­stream Guards per­form­ing the Roy­al Salute for Queen and Coun­try and all that, and then things real­ly start­ed with Sta­tus Quo, those griz­zled ol’ blokes play­ing “Rockin’ All Over the World.” Yanks might have said “who?” but it was the Brits who either bopped along or said, “Not this bloody Dad rock!” (Okay, not true, the phrase hadn’t been invent­ed, but some­thing sim­i­lar was uttered.)

2 pm — 4 pm | Wem­b­ley Sta­di­um, Lon­don

The British side was indeed a mixed bag, reflect­ing the idio­syn­crasies of its own sin­gles chart com­pared to the more stead­fast Amer­i­can charts. Elvis Costel­lo sang “All You Need Is Love”; the Style Coun­cil sang their hits; Nik Ker­shaw played his chart-top­per. Phil Collins per­formed “Against All Odds,” then jumped on a Con­corde for New York, arriv­ing to sing it again for a dif­fer­ent audi­ence.

4 pm — 6 pm | Wem­b­ley Sta­di­um, Lon­don

There’s so much more to explore in these playlists: the Led Zep­pelin reunion, The Cars at the height of their pow­ers (RIP Ric Ocasek), Neil Young (and his reunion with Cros­by, Stills, and Nash), Bob Dylan, The Four Tops, Run D.M.C., the list real­ly goes on and on.

6 pm — 8 pm | Wem­b­ley Sta­di­um, Lon­don

8 pm — 10 pm | Wem­b­ley Sta­di­um, Lon­don

2 pm — 5 pm | John F. Kennedy Sta­di­um, Philadel­phia

5 pm — 8 pm | John F. Kennedy Sta­di­um, Philadel­phia

8 pm — 11 pm | John F. Kennedy Sta­di­um, Philadel­phia

Live Aid | 11 pm- 2 am | John F. Kennedy Sta­di­um, Philadel­phia

Live Aid | 2 am — 4 am | John F. Kennedy Sta­di­um, Philadel­phia

Find a com­plete list of Live Aid per­for­mances here.

Relat­ed Con­tent:

Watch Queen’s Stun­ning Live Aid Per­for­mance: 20 Min­utes Guar­an­teed to Give You Goose Bumps (July 13, 1985)

Bob Geld­of Talks About the Great­est Day of His Life, Step­ping on the Stage of Live Aid, in a Short Doc by Errol Mor­ris

A Stun­ning Live Con­cert Film of Queen Per­form­ing in Mon­tre­al, Dig­i­tal­ly Restored to Per­fec­tion (1981)

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

Musicians Around the World Play The Band’s Classic Song, “The Weight,” with Help from Robbie Robertson and Ringo Starr

Play­ing For Change, a “move­ment cre­at­ed to inspire and con­nect the world through music,” has released its lat­est video–this one fea­tur­ing musi­cians from five con­ti­nents play­ing “The Weight,” a clas­sic song from The Band’s 1968 album, Music from Big Pink. Amongst the musi­cians you’ll find The Band’s own Rob­bie Robert­son and The Beat­le’s Ringo Starr. In our archive, find oth­er Play­ing for Change takes on The Grate­ful Dead­’s “Rip­ple,” The Rolling Stones’ “Gimme Shel­ter,” Bob Mar­ley’s “Redemp­tion Song,” and Ben King’s “Stand by Me.” For more, vis­it Play­ing for Change’s YouTube chan­nel.

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:

Watch The Band Play “The Weight,” “Up On Crip­ple Creek” and More in Rare 1970 Con­cert Footage

Mar­tin Scors­ese Cap­tures Lev­on Helm and The Band Per­form­ing “The Weight” in The Last Waltz

Jeff Bridges Nar­rates a Brief His­to­ry of Bob Dylan’s and The Band’s Base­ment Tapes

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Vogue Editor-in-Chief Anna Wintour Teaches a Course on Creativity & Leadership

Imag­ine a famous mag­a­zine edi­tor, and smart mon­ey says the image that comes to mind has a bob hair­cut and sun­glass­es. No one has defined the role of mag­a­zine-edi­tor-as-cul­tur­al-force, and so con­sis­tent­ly lived it, more than Anna Win­tour, and the online edu­ca­tion com­pa­ny Mas­ter­class has some­how con­vinced her to take her hand off the wheel of Vogue — and put aside those over­sized shades — just long enough to star in a course about how she steers that behe­moth of a pub­li­ca­tion through the waters of fash­ion. “I know many peo­ple are curi­ous about who I am and how I approach my work,” Win­tour says in the trail­er above. “This is a class for those who want to under­stand my lead­er­ship style, and then under­stand the expe­ri­ences that have helped me become an effec­tive leader.”

You may well have already heard a thing or two about Win­tour’s lead­er­ship style, the famous­ly exact­ing nature of which has pro­voked dif­fer­ent reac­tions from dif­fer­ent peo­ple (and pos­si­bly even inspired a best­selling nov­el and its fea­ture-film adap­ta­tion).

But as Win­tour her­self explains it, “you need some­one who can push you, that isn’t pulling you back” — sen­si­ble advice even for lead­ers of com­pa­nies, teams, and class­rooms who don’t mind pro­ject­ing a some­what more laid-back image. But even for those who want to project as much indi­vid­ual strength and resolve as pos­si­ble, “it’s real­ly, real­ly impor­tant to sur­round your­self with a team whose opin­ions that you trust, who are not in any way fright­ened of dis­agree­ing with you, and you have to lis­ten.”

In her Mas­ter­class, Win­tour teach­es, in oth­er words, “how to be a boss.” That phrase appears at the top of its syl­labus, whose twelve lessons include “Anna’s Man­age­ment Tips” and “Edi­to­r­i­al Deci­sion-Mak­ing” as well as “Pho­tog­ra­phers and Mod­els,” “A Look Back at Icon­ic Cov­ers,” and “Trans­form­ing the Met Gala.” Though geared toward view­ers with an inter­est in the busi­ness of fash­ion (case stud­ies include the careers of Miuc­cia Pra­da and Michael Kors), “Anna Win­tour Teach­es Cre­ativ­i­ty and Lead­er­ship” also offers prin­ci­ples for any human endeav­or that requires inven­tion, group work, and meet­ing hard dead­lines over and over again. You can sign up for Win­tour’s course here.

FYI: If you sign up for a Mas­ter­Class course by click­ing on the affil­i­ate links in this post, Open Cul­ture will receive a small fee that helps sup­port our oper­a­tion.

Relat­ed Con­tent:

Annie Lei­bovitz Teach­es Pho­tog­ra­phy in Her First Online Course

Mar­garet Atwood Offers a New Online Class on Cre­ative Writ­ing

David Lynch Teach­es an Online Course on Film & Cre­ativ­i­ty

Enter “The Mag­a­zine Rack,” the Inter­net Archive’s Col­lec­tion of 34,000 Dig­i­tized Mag­a­zines

Pho­tog­ra­ph­er Bill Cun­ning­ham (RIP) on Liv­ing La Vie Boheme Above Carnegie Hall

George Orwell Blasts Amer­i­can Fash­ion Mag­a­zines (1946)

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

Martin Scorsese Makes a List of 85 Films Every Aspiring Filmmaker Needs to See

Martin_Scorsese_Berlinale_2010

Image by “Sieb­bi,” Wiki­me­dia Com­mons

Before the rise of insti­tu­tion­al film schools—ensconced in uni­ver­si­ty walls with all the for­mal­i­ty that entails—those seek­ing to learn the craft did so by appren­tic­ing them­selves to stu­dios and mas­ter direc­tors, and by watch­ing lots and lots of movies. If we take the exam­ple of some of the most inter­est­ing film­mak­ers work­ing today, this still may be the best way to become a film­mak­er. Wern­er Herzog’s Rogue Film School, for exam­ple, for­goes the trap­pings of class­rooms for a much more rough-and-tum­ble approach—and a direct con­fronta­tion with the medi­um. Kevin Smith dropped out of film school, as did Paul Thomas Ander­son, spurred on part­ly by a love of Ter­mi­na­tor 2. “My film­mak­ing edu­ca­tion,” revealed Ander­son, “con­sist­ed of find­ing out what film­mak­ers I liked were watch­ing, then see­ing those films.” It’s more or less how Quentin Taran­ti­no learned to make movies too.

You could hard­ly do better—if you’ve decid­ed to take this inde­pen­dent route toward a cin­e­mat­ic education—than appren­tice your­self under Mar­tin Scors­ese. Or at least find out what films he loves, and watch them all your­self.

Last year, we fea­tured a list of 39 for­eign films the estimable direc­tor of Taxi Dri­ver, Rag­ing Bull, Hugo, Good­fel­las (etc., etc., etc.) rec­om­mend­ed to a young film­mak­er. Today, we bring you a list of 85 films Scors­ese ref­er­enced in the course of a four-hour inter­view he gave to Fast Com­pa­ny. “Some of the movies he dis­cussed,” writes Fast­Co, “Oth­ers he just men­tioned. But the cumu­la­tive total reflects a life lived entire­ly with­in the con­fines of movie mak­ing.” Shoot on over to Fast Com­pa­ny to read Scorsese’s com­men­tary on each of the films below, and see an aes­thet­i­cal­ly pleas­ing ver­sion of his list over at MUBI as well.

Like I said, you could hard­ly do bet­ter.

  • Ace in the Hole
  • All that Heav­en Allows
  • Amer­i­ca, Amer­i­ca
  • An Amer­i­can in Paris
  • Apoc­a­lypse Now
  • Arsenic and Old Lace
  • The Bad and the Beau­ti­ful
  • The Band Wag­on
  • Born on the Fourth of July
  • Cape Fear
  • Cat Peo­ple
  • Caught
  • Cit­i­zen Kane
  • The Con­ver­sa­tion
  • Dial M for Mur­der
  • Do the Right Thing
  • Duel in the Sun
  • The Four Horse­men of the Apoc­a­lypse
  • Europa ’51
  • Faces
  • The Fall of the Roman Empire
  • The Flow­ers of St. Fran­cis
  • Force of Evil
  • Forty Guns
  • Ger­many Year Zero
  • Gil­da
  • The God­fa­ther
  • Gun Crazy
  • Health
  • Heaven’s Gate
  • House of Wax
  • How Green Was My Val­ley
  • The Hus­tler
  • I Walk Alone
  • The Infer­nal Cake­walk
  • It Hap­pened One Nght
  • Jason and the Arg­onauts
  • Jour­ney to Italy
  • Julius Cae­sar
  • Kansas City
  • Kiss Me Dead­ly
  • Klute
  • La Ter­ra Trema
  • The Lady From Shang­hai
  • The Leop­ard
  • Mac­beth
  • The Mag­ic Box
  • M*A*S*H
  • A Mat­ter of Life and Death
  • McCabe & Mrs. Miller
  • The Mes­si­ah
  • Mid­night Cow­boy
  • Mishi­ma
  • Deeds Goes to Town
  • Smith Goes to Wash­ing­ton
  • Nashville
  • Night and the City
  • One, Two, Three
  • Oth­el­lo
  • Paisa
  • Peep­ing Tom
  • Pick­up on South Street
  • The Play­er
  • The Pow­er and the Glo­ry
  • Stage­coach
  • Raw Deal
  • The Red Shoes
  • The Rise of Louis XIV
  • The Roar­ing Twen­ties
  • Roc­co and his Broth­ers
  • Rome, Open City
  • Secrets of the Soul
  • Sen­so
  • Shad­ows
  • Shock Cor­ri­dor
  • Some Came Run­ning
  • Strom­boli
  • Sullivan’s Trav­els
  • Sweet Smell of Suc­cess
  • Tales of Hoff­man
  • The Third Man
  • T‑Men
  • Touch of Evil
  • The Tri­al
  • Two Weeks in Anoth­er Town

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:

Mar­tin Scors­ese Cre­ates a List of 39 Essen­tial For­eign Films for a Young Film­mak­er

Mar­tin Scors­ese Reveals His 12 Favorite Movies (and Writes a New Essay on Film Preser­va­tion)

Wes Anderson’s Favorite Films: Moon­struck, Rosemary’s Baby, and Luis Buñuel’s The Exter­mi­nat­ing Angel

Quentin Taran­ti­no Lists His Favorite Films Since 1992

Aki­ra Kurosawa’s List of His 100 Favorite Movies

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

The Creepy 13th-Century Melody That Shows Up in Movies Again & Again: An Introduction to “Dies Irae”

The num­ber of icon­ic scenes in cin­e­ma his­to­ry can and do fill text­books hun­dreds of pages long. Doubt­less most of us have seen enough of these scenes to know the basic gram­mar of fea­ture film, and to rec­og­nize the hun­dreds of ref­er­ences in movies and TV to clas­sic cuts and com­po­si­tions from Hitch­cock, Kubrick, or Kuro­sawa.

Visu­al and nar­ra­tive allu­sions might leap out at us, but music tends to work in sub­tler ways, prompt­ing emo­tion­al respons­es with­out engag­ing the parts of our brain that make com­par­isons. Case in point, the videos here from Vox and Berklee Col­lege of Music pro­fes­sor Alex Lud­wig demon­strate the wide­spread use of a musi­cal motif of four notes from the “Dies Irae,” or “day of wrath,” a 13th cen­tu­ry Gre­go­ri­an requiem, or Catholic mass tra­di­tion­al­ly sung at funer­als.

Of course, we know these notes from the icon­ic, oft-par­o­died Amadeus scene of Mozart com­pos­ing the “Dies Irae” move­ment of his Requiem in his sickbed, as ulti­mate fren­e­my Salieri furi­ous­ly tran­scribes. Once you hear the mag­is­te­ri­al­ly omi­nous sequence of notes, you might imme­di­ate­ly think of Wendy Car­los’ themes for The Shin­ing and A Clock­work Orange. But did you notice these four notes in Disney’s The Lion King, Star Wars: Episode IV—A New Hope, or It’s a Won­der­ful Life?


What about Har­ry Pot­ter and the Cham­ber of Secrets, Close Encoun­ters of the Third Kind, or Home Alone? Both Vox and Lud­wig show how the “dies irae” theme appears over and over, cue­ing us to per­il or tragedy ahead, ori­ent­ing us to the ter­ror and unease we see onscreen. For almost 800 years, these four notes have sig­ni­fied all of the above for Catholic Europe, as well as, Vox notes, sound­track­ing the sup­posed future day when “God will judge the liv­ing and the dead and send them to heav­en or hell.”

The “dies irae” has per­me­at­ed nar­ra­tive cin­e­ma for almost as long as film has exist­ed. The old­est exam­ple in Ludwig’s com­pi­la­tion comes from a 1927 score writ­ten by Got­tfried Hup­pertz for Fritz Lang’s silent Metrop­o­lis. Lud­wig also brings his musi­co­log­i­cal exper­tise to bear in Vox’s explo­ration of “dies irae” ref­er­ences. He sums up the net effect as cre­at­ing a “sense of dread,” bestowed upon moder­ni­ty by hun­dreds of years of Chris­t­ian the­ol­o­gy as expressed in music.

Film com­posers were only the lat­est to pick up the cul­tur­al thread of fear and threat in “Dies Irae.” Their work stands on the shoul­ders of Mozart and lat­er com­posers like Hec­tor Berlioz, who lift­ed the melody in his 1830 Sym­phonie fan­tas­tique to tell a sto­ry of obses­sive love and mur­der, and a night­mare of a witch’s sab­bath. Lat­er came Franz Liszt’s 1849 Toten­tanz (Dance of the Dead) and Giuseppe Verdi’s 1874 Mes­sa da Requiem, a very rec­og­niz­able piece of music that has made its appear­ance in no small num­ber of movies, TV shows, com­mer­cials, and temp scores.

Vox and Lud­wig show the “dies irae” phe­nom­e­non in film to be a slow cul­tur­al evo­lu­tion from the ornate, sacred pomp of medieval Catholic rites to the ornate, sec­u­lar pomp of Hol­ly­wood film pro­duc­tion, by way of clas­si­cal com­posers who seized on the theme’s “sense of dread” but remained at least ambiva­lent about hap­py end­ings on the day of wrath.

Relat­ed Con­tent:

Why Mar­vel and Oth­er Hol­ly­wood Films Have Such Bland Music: Every Frame a Paint­ing Explains the Per­ils of the “Temp Score”

Hear 9 Hours of Hans Zim­mer Sound­tracks: Dunkirk, Inter­stel­lar, Incep­tion, The Dark Knight & Much More

All of the Music from Mar­tin Scorsese’s Movies: Lis­ten to a 326-Track, 20-Hour Playlist

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

What Did People Eat in Medieval Times? A Video Series and New Cookbook Explain

A cou­ple days ago, Open Culture’s Ayun Hal­l­i­day brought us the delight­ful­ly amus­ing medieval comics of artist Tyler Gun­ther. With ref­er­ences to Game of Thrones and a piece of women’s head­gear called “Plan­e­tary Real­ness,” the sin­gle-pan­el gags use seem­ing­ly-peri­od-cor­rect imagery to play with our pre­sen­tist bias­es. The “Medieval Peas­ant Food Pyra­mid,” for exam­ple, shows a diet based on copi­ous amounts of ale, bread, and cheese, with goose pie once a year and nary a fruit or veg­etable in sight.

Stereo­types of medieval Euro­pean nutri­tion seem com­par­a­tive­ly benign, derived as much from fan­ta­sy enter­tain­ment as from mis­un­der­stand­ings of his­to­ry. But while it’s true peo­ple in Europe hun­dreds of years ago died young and in huge num­bers from plague, famine, war, and, yes, bad food, they also sur­vived long enough to pass on genes and build cities and towns that still exist today. They didn’t do so strict­ly on a diet of beer and bread.

If we want to know what peo­ple real­ly ate in, say, 12th cen­tu­ry Eng­land, we’ll find that their diets var­ied wide­ly from region to region, depend­ing on what cooks could grow, for­age, or pur­chase from oth­er locals. Every­one, in oth­er words, was a localvore. Each region had its recipes for breads and cheeses, and each its own dish­es made with its own ani­mals, herbs, spices, and roughage. And we’ll find that major his­tor­i­cal events could rad­i­cal­ly alter diets, as foods—and arable land—became scarcer or more plen­ti­ful.

Such were the find­ings of non-prof­it vol­un­teer his­to­ry group Iron Shep­herds, who used pri­ma­ry texts, images, and cook­ing meth­ods to recon­struct ten 12th-cen­tu­ry recipes from their native “home coun­ty of Cum­bria, in the North of Eng­land,” reports Atlas Obscu­ra. “[W]hile the coun­try became embroiled in a bloody civ­il war” over suc­ces­sion dur­ing a time known as The Anar­chy, Cum­bria became a part of Scot­land, and lived in rel­a­tive sta­bil­i­ty, “home to cul­tures rang­ing from the invad­ing Flem­ish and French­man to Celts and even Norse Vikings.”

Need­less to say, this diver­si­ty of cul­tures con­tributed to a diver­si­ty of tastes, and a col­or­ful range of dish­es with names like fru­men­ty, plumen­tum, and tard­po­lene. “Cumbria’s peas­ants, it turns out, ate much as we strive to today—though for vast­ly dif­fer­ent rea­sons…..” The peas­ants’ “diets con­sist­ed of plant-based, low-sug­ar meals of local­ly-sourced, if not home-grown ingre­di­ents.” Invol­un­tary fast­ing might have been a fea­ture for many peas­ants, but so too was “vol­un­tary, inter­mit­tent fast­ing…. In the name of reli­gious self-dis­ci­pline.”

What about the upper class­es? How might, say, a land­ed knight eat, once he fin­ished roam­ing his demesne and rest­ed safe at home with his staff and entourage? In the video at the top, Mod­ern His­to­ry TV’s Jason Kings­ley and food his­to­ri­an Chris Carr dis­cuss the dietary prac­tices of the priv­i­leged in medieval times. Again, here we find more sur­pris­ing­ly for­ward-think­ing pre­ven­ta­tive nutri­tion, though lim­it­ed by the med­i­cine of the time. Cooks would con­sult with the knight’s per­son­al physi­cian, who him­self would mon­i­tor his patient’s vitals—going so far as to taste the knight’s urine, a way of detect­ing what we now know as dia­betes. Too sweet? Cut out the sug­ar.

Iron Shepherd’s Medieval Meals cook­book has proven so pop­u­lar that it’s cur­rent­ly sold out, but you can see many more episodes of Mod­ern His­to­ry TV’s medieval series devot­ed to food at their chan­nel on YouTube, includ­ing the videos above on the diets of peas­ants, nobles, and knight’s vas­sals. There are also vlogs on “Hearty Food vs. Posh Food,” “Good Eat­ing,” and—in answer to that age-old ques­tion—“What did medieval peas­ants use instead of plas­tic wrap” to store their left­overs? Come for the food, stay for the live­ly videos on weapon­ry, hoods, and hay mak­ing.

via Atlas Obscu­ra

Relat­ed Con­tent:

Watch a 4000-Year Old Baby­lon­ian Recipe for Stew, Found on a Cuneiform Tablet, Get Cooked by Researchers from Yale & Har­vard

How to Bake Ancient Roman Bread Dat­ing Back to 79 AD: A Video Primer

An Archive of 3,000 Vin­tage Cook­books Lets You Trav­el Back Through Culi­nary Time

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

Jimi Hendrix Wreaks Havoc on the Lulu Show, Gets Banned From the BBC (1969)

Can you imag­ine Jimi Hen­drix singing a duet with Lulu? Well, nei­ther could Hen­drix. So when the icon­o­clas­tic gui­tar play­er showed up with his band at the BBC stu­dios in Lon­don on Jan­u­ary 4, 1969 to appear on Hap­pen­ing for Lulu, he was hor­ri­fied to learn that the show’s pro­duc­er want­ed him to sing with the win­some star of To Sir, With Love. The plan called for The Jimi Hen­drix Expe­ri­ence to open their set with “Voodoo Child (Slight Return)” and then play their ear­ly hit “Hey Joe,” with Lulu join­ing Hen­drix onstage at the end to sing the final bars with him before segue­ing into her reg­u­lar show-clos­ing num­ber. “We cringed,” writes bassist Noel Red­ding in his mem­oir, Are You Expe­ri­enced? The Inside Sto­ry of The Jimi Hen­drix Expe­ri­ence.

Red­ding describes the scene that he, Hen­drix, and drum­mer Mitch Mitchell walked into that day as being “so straight it was only nat­ur­al that we would try to com­bat that atmos­phere by hav­ing a smoke in our dress­ing room.” He con­tin­ues:

In our haste, the lump of hash got away and slipped down the sink drain­pipe. Pan­ic! We just could­n’t do this show straight–Lulu did­n’t approve of smok­ing! She was then mar­ried to Mau­rice Gibb of the Bee Gees, whom I’d vis­it­ed and shared a smoke with. I could always tell Lulu was due home when Mau­rice start­ed throw­ing open all the win­dows. Any­way, I found a main­te­nance man and begged tools from him with the sto­ry of a lost ring. He was too help­ful, offer­ing to dis­man­tle the drain for us. It took ages to dis­suade him, but we suc­ceed­ed in our task and had a great smoke.

When it was time for The Jimi Hen­drix Expe­ri­ence to go on cam­era, they were feel­ing fair­ly loose. They tore through “Voodoo Child” and then the pro­gram cut to Lulu, who was squeezed awk­ward­ly into a chair next to an audi­ence mem­ber in the front row. “That was real­ly hot,” she said. “Yeah. Well ladies and gen­tle­men, in case you did­n’t know, Jimi and the boys won in a big Amer­i­can mag­a­zine called Bill­board the group of the year.” As Lulu spoke a loud shriek of feed­back threw her off bal­ance. Was it an acci­dent? Hen­drix, of course, was a pio­neer in the inten­tion­al use of feed­back. A bit flus­tered, she con­tin­ued: “And they’re gonna sing for you now the song that absolute­ly made them in this coun­try, and I’d love to hear them sing it: ‘Hey Joe.’ ”

The band launched into the song, but mid­way through–before Lulu had a chance to join them onstage–Hendrix sig­naled to the oth­ers to quit play­ing. “We’d like to stop play­ing this rub­bish,” he said, “and ded­i­cate a song to the Cream, regard­less of what kind of group they may be in. We ded­i­cate this to Eric Clap­ton, Gin­ger Bak­er and Jack Bruce.” With that the band veered off into an instru­men­tal ver­sion of “Sun­shine of Your Love” by the recent­ly dis­band­ed Cream. Noel Red­ding con­tin­ues the sto­ry:

This was fun for us, but pro­duc­er Stan­ley Dorf­man did­n’t take it at all well as the min­utes ticked by on his live show. Short of run­ning onto the set to stop us or pulling the plug, there was noth­ing he could do. We played past the point where Lulu might have joined us, played through the time for talk­ing at the end, played through Stan­ley tear­ing his hair, point­ing to his watch and silent­ly scream­ing at us. We played out the show. After­wards, Dorf­man refused to speak to us but the result is one of the most wide­ly used bits of film we ever did. Cer­tain­ly, it’s the most relaxed.

The stunt report­ed­ly got Hen­drix banned from the BBC–but it made rock and roll his­to­ry. Years lat­er, Elvis Costel­lo paid homage to Hen­drix’s antics when he per­formed on Sat­ur­day Night Live. You can watch The Stunt That Got Elvis Costel­lo Banned From SNL here.

Note: An ear­li­er ver­sion of this post appeared on our site in 2012.

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.

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Relat­ed con­tent:

The Stunt That Got Elvis Costel­lo Banned From Sat­ur­day Night Live (1977)

The Night John Belushi Booked the Punk Band Fear on Sat­ur­day Night Live, And They Got Banned from the Show

Jimi Hen­drix Unplugged: Two Great Record­ings of Hen­drix Play­ing Acoustic Gui­tar

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