When People Gave Anti-Valentine’s Day Cards: Revisit the “Vinegar Valentines” That Spread Ridicule and Contempt

Krampus—the Christ­mas “half goat, half demon” of Ger­man­ic folklore—has become a fig­ure of some fas­ci­na­tion in pop­u­lar cul­ture recent­ly. We might call the appetite for this “anti-St. Nicholas… who lit­er­al­ly beats peo­ple into being nice and not naughty,” Nation­al Geo­graph­ic writes, a tes­ta­ment to a wide­spread sen­ti­ment: Hang the forced cheer, Christ­mas can be dread­ful.

How much more so can Valentine’s Day feel like a big con, cooked up by mar­keters and choco­latiers? Though estab­lished 200 years after the saint’s 3rd cen­tu­ry A.D. mar­tyr­dom, and linked with roman­tic love by Geof­frey Chaucer in the 14th cen­tu­ry, its sta­tus as a day to over­spend has more mod­ern ori­gins. Even some of us who duti­ful­ly buy jew­el­ry, flow­ers, and cards each year may wish for a Valentine’s Day Kram­pus.

If you count your­self among those hum­bugs, you’ll be hap­py to learn about a once-rich anti-Valentine’s Day tra­di­tion “dur­ing the Vic­to­ri­an era and the ear­ly 20th cen­tu­ry,” as Becky Lit­tle writes at Smith­son­ian, “Feb­ru­ary 14 was also a day in which unlucky vic­tims could receive ‘vine­gar valen­tines’ from their secret haters.” Like the choic­es of San­ta or Kram­pus, tricks or treats, one could make the hol­i­day about love or hate.

One schol­ar, Annebel­la Pollen, who has writ­ten on the sub­ject “says that peo­ple often ask her whether these cards were an ear­ly form of ‘trolling.’” Per­haps that’s not an entire­ly accu­rate com­par­i­son. Trolls like hoax­es, and most­ly like to wit­ness the reac­tions to their provo­ca­tions. But Valen­tines cyn­ics pro­ceed­ed with the same cru­el glee. As Atlas Obscu­ra notes, anti-Valen­tines were meant to wound and shame, Kram­pus-like. Their appeal proved prof­itable:

Vine­gar valen­tines were com­mer­cial­ly bought post­cards that were less beau­ti­ful than their love-filled coun­ter­parts, and con­tained an insult­ing poem and illus­tra­tion. They were sent anony­mous­ly, so the receiv­er had to guess who hat­ed him or her; as if this weren’t bruis­ing enough, the recip­i­ent paid the postage on deliv­ery. In Civ­il War Humor, Cameron C. Nick­els wrote that vine­gar valen­tines were “taste­less, even vul­gar,” and were sent to “drunks, shrews, bach­e­lors, old maids, dandies, flirts, and pen­ny pinch­ers, and the like.” He added that in 1847, sales between love-mind­ed valen­tines and these sour notes were split at a major New York valen­tine pub­lish­er.

Some vine­gar valen­tines pub­lish­ers had anoth­er thing in com­mon with mod­ern-day trolls: they cap­i­tal­ized on a hatred of fem­i­nism. “The women’s suf­frage move­ment of the late 19th and ear­ly 20th cen­tu­ry brought anoth­er class of vine­gar valen­tines, tar­get­ing women who fought for the right to vote.” These por­trayed suf­frag­ists as ugly, abu­sive, and unde­sir­able, a stereo­type found in the world of sin­cere valen­tines as well. One such card “depict­ed a pret­ty woman sur­round­ed by hearts, with a plain appeal: ‘In these wild days of suf­fragette drays, I’m sure you’d ne’er over­look a girl who can’t be mil­i­tant, but sim­ply loves to cook.’”

Vine­gar valen­tines (a lat­er name—they were called “com­ic valen­tines” at the time) prompt­ed all the sorts of con­cerns we’re used to see­ing. Teach­ers wor­ried about the effect of such com­mer­cial­ized emo­tion­al cru­el­ty on their stu­dents. One mag­a­zine enjoined teach­ers to make Valentine’s Day “a day for kind remem­brance than a day for wreck­ing revenge.” But where’s the fun in that? Vine­gar valen­tines, says Pollen, “were designed to expand this hol­i­day into some­thing that could include a whole range of dif­fer­ent peo­ple and a whole range of dif­fer­ent emo­tions,” includ­ing some very un-Valen­tine’s Day-like con­tempt.

Find a big col­lec­tion of Vine­gar Valen­tines at Col­lec­tor’s Week­ly.

via 41 Strange

Relat­ed Con­tent:

Cel­e­brate Valentine’s Day with a Charm­ing Stop Motion Ani­ma­tion of an E.E. Cum­mings’ Love Poem

Tom Waits Shows Us How Not to Get a Date on Valentine’s Day

Franz Kafka’s Kafkaesque Love Let­ters

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

How Stravinsky’s The Rite of Spring Incited a Riot? An Animated Introduction

There was a time when a bal­let could start a riot — specif­i­cal­ly, the night of May 29th, 1913. The place was Paris’ Théâtre des Champs-Élysées, and the bal­let was The Rite of Spring, com­posed by Igor Stravin­sky for the Bal­lets Rus­es com­pa­ny. Pop­u­lar his­to­ry has remem­bered this debut per­for­mance as too bold, too dar­ing, too avant-garde for its gen­teel audi­ence to han­dle — and so, with the bour­geois duly épaté, we can freely appre­ci­ate Stravin­sky’s rad­i­cal work from our posi­tion of 21st-cen­tu­ry sophis­ti­ca­tion. But whether The Rite of Spring incit­ed a riot, a “near-riot” (as some source describe it), or mere­ly a wave of dis­sat­is­fac­tion, what aspects of its art were respon­si­ble?

May 29th, 1913 at the Théâtre des Champs-Élysées comes alive again in the ani­mat­ed TED-Ed les­son above, which exam­ines all the ways The Rite of Spring broke vio­lent­ly with the bal­let form as it had estab­lished itself in the 19th cen­tu­ry. Les­son cre­ator Iseult Gille­spie (pre­vi­ous­ly fea­tured here on Open Cul­ture for her explana­to­ry work on every­thing from Shake­speare and Guer­ni­ca to Fri­da Kahlo and Haru­ki Muraka­mi) writes of its “harsh music, jerky danc­ing, and uncan­ny stag­ing,” all in ser­vice of a high­ly un-gen­teel Pagan premise that “set audi­ences on edge and shat­tered the con­ven­tions of clas­si­cal music.”

Among Stravin­sky’s musi­cal provo­ca­tions — or rather, “for­mal exper­i­ments,” — Gille­spie names “syn­co­pa­tion, or irreg­u­lar rhythm,” “atonal­i­ty, or the lack of a sin­gle key,” and “the pres­ence of mul­ti­ple time sig­na­tures,” as well as the inclu­sion of aspects of the Russ­ian folk music that was Stravin­sky’s cul­tur­al inher­i­tance. Along with the music, already star­tling enough, came visu­al design by Nicholas Roerich, a painter-philoso­pher “obsessed with pre­his­toric times” and pro­fes­sion­al­ly con­cerned with human sac­ri­fice and ancient tomb exca­va­tion.

Wear­ing Roerich’s awk­ward­ly-hang­ing peas­ant gar­ments in front of his “vivid back­drops of primeval nature full of jagged rocks, loom­ing trees, and night­mar­ish col­ors,” the bal­let’s dancers per­formed steps by Vaslav Nijin­sky, whose sense of rig­or brought him to cre­ate dances “to rethink the roots of move­ment itself.” His chore­og­ra­phy “con­tort­ed tra­di­tion­al bal­let, to both the awe and hor­ror of his audi­ence” — but then, that pos­si­bly overde­ter­mined awe and hor­ror could have arisen from sev­er­al num­ber of artis­tic sources at once. The Rite of Spring’s ten­sion and urgency still today reflects the his­tor­i­cal moment of its com­po­si­tion, “the cusp of both the first world war and the Russ­ian rev­o­lu­tion,” and we could also take the ear­ly reac­tion to its inno­va­tions as a reflec­tion of its cre­ators’ genius — or per­haps those first view­ers, as Stravin­sky him­self put it, were sim­ply “naïve and stu­pid peo­ple.”

Relat­ed Con­tent:

Igor Stravin­sky Remem­bers the “Riotous” Pre­miere of His Rite of Spring in 1913: “They Were Very Shocked. They Were Naive and Stu­pid Peo­ple”

Hear The Rite of Spring Con­duct­ed by Igor Stravin­sky Him­self: A Vin­tage Record­ing from 1929

Hear 46 Ver­sions of Stravinsky’s Rite of Spring in 3 Min­utes: A Clas­sic Mashup

Stravinsky’s The Rite of Spring, Visu­al­ized in a Com­put­er Ani­ma­tion

Watch 82-Year-Old Igor Stravin­sky Con­duct the Fire­bird, the Bal­let Mas­ter­piece that First Made Him Famous (1965)

The Night When Char­lie Park­er Played for Igor Stravin­sky (1951)

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.

Pretty Much Pop: A Culture Podcast #27 Discusses the Impact and Aesthetics of Star Wars

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Mark Lin­sen­may­er, Eri­ca Spyres, and Bri­an Hirt grasp the low-hang­ing fruit in pop cul­ture to talk about Star Wars: The unique place that these films have in the brains of peo­ple of a cer­tain age, how we grap­pled with the pre­quels, and why we feel the need to fill in and argue about the details.

We pri­mar­i­ly focus on the two most recent ema­na­tions of this beast, The Man­dalo­ri­an and Rise of Sky­walk­er. We talk alien and droid aes­thet­ics (how much cute­ness is too much?), sto­ry­telling for kids vs. adults reliv­ing their child­hood, pac­ing, plot­ting, cast­ing, whether celebri­ty appear­ances ruin the Star Wars mood, cre­ation by an auteur vs. a com­mit­tee, and what we’d like to see next.

We had enough to say about this that we did­n’t need to draw on online arti­cles, but here’s a sam­pling of what we looked at any­way:

This episode includes bonus dis­cus­sion that you can only hear by sup­port­ing the pod­cast at patreon.com/prettymuchpop. In this case, it’s all just more Star Wars talk, cov­er­ing droid body dys­mor­phia and human­iza­tion, the cycle of embod­i­ment via action fig­ures and re-pre­sen­ta­tion on the screen, tragedy in Star Wars vs. Watch­men, mak­ing up for racism in Star Wars through sym­pa­thet­ic por­tray­als of Sand Per­son cul­ture, watch­ing par­tic­u­lar scenes many times, clown bik­er troop­ers, and more. Don’t miss it!

This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts or start with the first episode.

How Sam Mendes’ WWI Film 1917 Was Made to Look Like One Long, Harrowing Shot

Film edit­ing goes back to the late 1890s. The decades upon decades of tech­no­log­i­cal improve­ment and artis­tic refine­ment of the craft since then have tempt­ed cer­tain film­mak­ers to see if they can do with­out it entire­ly, or at least to look as if they can. Alfred Hitch­cock gave it a try in 1948 with Rope, a film typ­i­cal of his work in that it fit into the genre of the psy­cho­log­i­cal thriller, but quite atyp­i­cal in that its main action played out as a sin­gle long shot. But as we’ve pre­vi­ous­ly fea­tured here on Open Cul­tureRope actu­al­ly con­tained ten art­ful­ly hid­den cuts. Last year saw the release of Sam Mendes’ 1917, which did more or less the same thing, but at a much greater length — and across the bat­tle­fields and through the trench­es of World War I.

As por­trayed in the Insid­er video above, the shoot­ing of 1917 must rank among the most for­mi­da­ble logis­ti­cal achieve­ments in film his­to­ry. It also had the good for­tune to be over­seen by Roger Deakins, one of the most for­mi­da­ble cin­e­matog­ra­phers in film his­to­ry. But even before cap­tur­ing the first frame, Mendes, Deakins, and their many col­lab­o­ra­tors had to plan every detail of the har­row­ing jour­ney tak­en by the pic­ture’s pro­tag­o­nists, two British sol­diers sent across the West­ern Front to deliv­er a mes­sage to anoth­er bat­tal­ion.

This entailed first build­ing and light­ing mod­els of every sin­gle set, and when con­struct­ing the real thing mak­ing sure to include paths (and strate­gi­cal­ly remov­able obsta­cles) for the con­stant­ly for­ward-mov­ing cam­era and its crew as well as for the char­ac­ters.

The war movie is among the old­est of film gen­res, but a “one-shot” war movie like 1917 entered the realm of pos­si­bil­i­ty thanks to recent tech­no­log­i­cal advances. These include cam­eras light enough to be detached from one crane, run across a field, and attached to anoth­er all while shoot­ing; drones to cap­ture mov­ing aer­i­al shots impos­si­ble by more tra­di­tion­al cin­e­mato­graph­ic means; and advanced dig­i­tal effects to smooth — and indeed con­ceal — the tran­si­tions between one shot and the next. The Insid­er video shows an actor tak­ing a run­ning leap off a bridge and onto a mat below, fol­lowed by the seam­less-look­ing final sequence in which he plunges into a riv­er instead, and the cam­era unhesi­tat­ing­ly fol­lows him right into the water. This sort of visu­al wiz­ardry reminds even the most jad­ed view­er that movie mag­ic is alive and well, but also makes one won­der: what could Hitch­cock have done with it?

Relat­ed Con­tent:

Hear the Sounds of World War I: A Gas Attack Record­ed on the Front Line, and the Moment the Armistice End­ed the War

Peter Jackson’s New Film on World War I Fea­tures Incred­i­ble Dig­i­tal­ly-Restored Footage From the Front Lines: Get a Glimpse

Watch World War I Unfold in a 6 Minute Time-Lapse Film: Every Day From 1914 to 1918

The Great War: Video Series Will Doc­u­ment How WWI Unfold­ed, Week-by-Week, for the Next 4 Years

The First Col­or Pho­tos From World War I: The Ger­man Front

The 10 Hid­den Cuts in Rope (1948), Alfred Hitchcock’s Famous “One-Shot” Fea­ture Film

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

The Amazing Artistry & Ingenuity of the Furniture Enjoyed by 18th Century Aristocrats

What­ev­er did peo­ple do with them­selves all day before social media and stream­ing video? Before TV, film, and radio? If you were most peo­ple in Europe, before var­i­ous rev­o­lu­tions, you worked from dawn to dusk and col­lapsed in bed, with rare hol­i­days to break up the monot­o­ny.

But if you were an aris­to­crat, you not only had the plea­sures of juicy gos­sip, live­ly cor­re­spon­dence, and bawdy nov­els to look for­ward to, but you might also—just as mil­lions do now—encounter such plea­sures while gam­ing.

The gam­ing tech­nol­o­gy of the time was all hand­craft­ed, and said aris­to­crats might find them­selves trad­ing wicked barbs while seat­ed around the height of tech above, a table that unfolds a series of leaves to reveal a felt sur­face for card games, a board for chess or check­ers, and a leather writ­ing sur­face that offers the option of a bookrest, for prop­ping up a scan­dalous book of verse.

If you think that’s impres­sive, the table hasn’t fin­ished yet. It fur­ther opens into a backgam­mon board, with slid­ing lids reveal­ing com­part­ments for game pieces. Then, the whole thing folds back to its size as a small side table, with detach­able legs that can be stored inside it for easy portage.

The ani­mat­ed video of the ulti­mate 18th cen­tu­ry gam­ing sys­tem at the top comes to us from the Met­ro­pol­i­tan Muse­um of Art, demon­strat­ing a piece in their col­lec­tion designed by Ger­man cab­i­net­mak­er David Roent­gen that “once graced the inti­mate inte­ri­or of an aris­to­crat­ic Euro­pean home.” Not to be out­done, the Get­ty Muse­um brings us the 3D ani­ma­tion above of an 18th-cen­tu­ry French mechan­i­cal table, with intri­cate work­ings designed by Jean-François Oeben.

“An afflu­ent lady might spend hours at a fash­ion­able table, engaged in leisure or work,” notes a com­pan­ion video above. It illus­trates the point with a pair of ghost­ly ani­mat­ed hands com­pos­ing a let­ter on the table’s silk writ­ing sur­face.

One can imag­ine these hands spilling the ink while open­ing juniper-scent­ed draw­ers, and prop­ping up the book stand; los­ing their place in a book while search­ing through com­part­ments, ear­ly forms of scrolling or open­ing mul­ti­ple tabs.

We may now car­ry mechan­i­cal tables in our pock­ets and right­ly think of gam­ing sys­tems as por­tals to oth­er worlds, but there’s no deny­ing that these bespoke ances­tors of our devices offered plen­ty of oppor­tu­ni­ty for pleas­ant dis­trac­tion.

Relat­ed Con­tent:

How Ladies & Gen­tle­men Got Dressed in the 18th Cen­tu­ry: It Was a Pret­ty Involved Process

The Sights & Sounds of 18th Cen­tu­ry Paris Get Recre­at­ed with 3D Audio and Ani­ma­tion

Restora­tion and 18th Cen­tu­ry Poet­ry: From Dry­den to Wordsworth (Free Course) 

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

How a Philip Glass Opera Gets Made: An Inside Look

Most fever dreams require very lit­tle pre-plan­ning and coor­di­na­tion. All it takes is the flu and a pil­low, and per­haps a shot of Ny-Quil.

A fever dream on the order of com­pos­er Philip Glass’ 1984 opera, Akhnat­en, is a horse of an entire­ly dif­fer­ent col­or, as “How An Opera Gets Made,” above, makes clear.

For those in the per­form­ing arts, the rev­e­la­tions of this eye­pop­ping Vox video will come as no sur­prise, though the for­mi­da­ble resources of New York City’s Met­ro­pol­i­tan Opera, where the piece was recent­ly restaged by direc­tor Phe­lim McDer­mott, may be cause for envy.

The cos­tumes!

The wigs!

The set!

The orches­tra!

The jug­glers!

… wait, jug­glers?

Yes, a dozen, whose care­ful­ly coor­di­nat­ed efforts pro­vide a coun­ter­point to the styl­ized slow motion pace the rest of the cast main­tains for the dura­tion of the three and half hour long show.

This max­i­mal­ist approach to min­i­mal­ist mod­ern opera has proved a hit, though the New York Times’ crit­ic Antho­ny Tom­masi­ni opined that he could have done with less jug­gling…

We pre­sume every­one gets that bring­ing an opera to the stage involves many more depart­ments, steps, and heavy labor than can be squeezed into a 10-minute video.

Per­haps the biggest sur­prise await­ing the unini­ti­at­ed is the play­ful off­stage man­ner of Antho­ny Roth Costan­zo, the supreme­ly gift­ed coun­tertenor in the title role. As the pharaoh who reduced ancient Egypt’s pan­theon to a sin­gle god, Atenaka the sun, he makes his first entrance com­plete­ly nude, head shaved, flecked in gold, fac­ing the audi­ence for the entire­ty of his four-minute descent down a 12-step stair­case.

(One step the video does­n’t touch on is the work­out reg­i­men he embarked on in prepa­ra­tion for his nude debut, a 6‑day-a-week com­mit­ment that inspired him to found one of the first Amer­i­can busi­ness­es to offer fit­ness buffs train­ing ses­sions using Elec­tri­cal Mus­cle Stim­u­la­tion.)

His ded­i­ca­tion to his craft is obvi­ous­ly extra­or­di­nary. It has to be for him to han­dle the score’s demand­ing arpeg­gios and intri­cate rep­e­ti­tions, notably the six-minute seg­ment whose only lyric is “ah.” His breath con­trol on that sec­tion earns high praise from his long­time vocal coach Joan Pate­naude-Yarnell.

But—and this will come as a shock to those of us whose con­cept of male opera stars is informed near­ly exclu­sive­ly by Bugs Bun­ny car­toons and the late Luciano Pavarot­ti—his out­sized tal­ent does not seem to be reflect­ed in out­sized self-regard.

He treats view­ers to a self-dep­re­cat­ing peek inside the Met’s wig room while clad in a decid­ed­ly anti-pri­mo uomo sweat­shirt, game­ly dons his sty­ro­foam khep­resh for close range inspec­tion, and cracks him­self up by high-fiv­ing his own pharaon­ic image in the lob­by.

There’s incred­i­ble light­ness to this being.

As such, he may be more effec­tive at attract­ing a new gen­er­a­tion of admir­ers to the art form than any dis­counts or pre-show mix­er for patrons 35-and-under.

For fur­ther insights into how this musi­cal sausage got made, have a gan­der at the Met­ro­pol­i­tan Opera’s pre-pro­duc­tion videos and read star Antho­ny Roth Costanzo’s essay in the Guardian.

Relat­ed Con­tent:

Is Opera Part of Pop Cul­ture? Pret­ty Much Pop #15 with Sean Spyres

Watch Klaus Nomi Debut His New Wave Vaude­ville Show: The Birth of the Opera-Singing Space Alien (1978)

Hear the High­est Note Sung in the 137-Year His­to­ry of the Met­ro­pol­i­tan Opera

Hear Singers from the Met­ro­pol­i­tan Opera Record Their Voic­es on Tra­di­tion­al Wax Cylin­ders

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Join her in NYC on Mon­day, Jan­u­ary 6 when her month­ly book-based vari­ety show, Necro­mancers of the Pub­lic Domain cel­e­brates New York: The Nation’s Metrop­o­lis (1921). Fol­low her @AyunHalliday.

Celebrating Women Composers: A New BBC Digital Archive Takes You from Hildegard of Bingen (1098) to Nadia Boulanger (1979)

Recent­ly, we pub­lished a post about Nadia Boulanger, the 20th cen­tu­ry’s most influ­en­tial music teacher. While a com­pos­er and con­duc­tor in her own right—indeed, she was the first woman to con­duct major sym­phonies in Europe and the U.S.—Boulanger is best known for her list of illus­tri­ous stu­dents, includ­ing Aaron Cop­land, Leonard Bern­stein, Philip Glass, and Quin­cy Jones.

One read­er of the post right­ly point­ed out a not-so-glar­ing irony in the way Boulanger has been remem­bered. While cel­e­brat­ed as a pow­er­ful woman in music, in a sea of more famous men, her many dis­tin­guished female stu­dents go unmen­tioned, per­haps more due to igno­rance than prej­u­dice (though this may be no great excuse). Most peo­ple have nev­er heard of for­mer Boulanger stu­dents like Graży­na Bacewicz, Mar­i­on Bauer, Louise Tal­ma, Peg­gy Glanville-Hicks and Pri­aulx Rainier.

Not many have heard of Lili Boulanger, Nadia’s sis­ter, a child prodi­gy who died at 24, after com­pos­ing two dozen inno­v­a­tive choral and instru­men­tal works and becom­ing the first woman to win the Prix de Rome in 1913, at the age of 19, for her can­ta­ta Faust and Hélène, with lyrics, by Eugene Ade­nis, based on Goethe’s Faust (top).

Pol­ish com­pos­er Bacewicz, who began study­ing with Nadia Boulanger’s for­mer stu­dent Kaz­imierz Siko­rs­ki at 13, trav­eled to Paris to “learn from the great ped­a­gogue her­self,” notes the BBC Music Mag­a­zine.

Bacewicz was an incred­i­bly tal­ent­ed vio­lin­ist (see her fur­ther up in 1952) and a wide­ly admired com­pos­er, just one of many note­wor­thy female com­posers, of the past and present, who don’t often turn up in con­ver­sa­tion about clas­si­cal and avant-garde music. The BBC aims to cor­rect these major slights with their “Cel­e­brat­ing Women Com­posers” series, which fea­tures archival inter­view clips from leg­ends like Nadia Boulanger, Dame Ethel Smyth (pro­filed above), and Elis­a­beth Lutyens.

You’ll also find inter­views with dozens of con­tem­po­rary female com­posers, a series on com­posers’ rooms, pro­files of his­tor­i­cal greats, links to per­for­mance record­ings, and sev­er­al infor­ma­tive arti­cles on women com­posers past and present. Most of the com­posers pro­filed have found some mea­sure of fame in their life­time, and renown among those in the know, but are unknown to the gen­er­al pub­lic.

Some of the com­posers you’ll learn about, like the five in a fea­ture titled “The Women Erased from Musi­cal His­to­ry,” might have dis­ap­peared entire­ly were it not for the work of archivists. Learn about these redis­cov­ered fig­ures and much, much more at the BBC’s Cel­e­brat­ing Women Com­posers, one of many such projects mak­ing it hard­er to plead igno­rance of women’s pres­ence in clas­si­cal music.

Relat­ed Con­tent:

Meet Nadia Boulanger, “The Most Influ­en­tial Teacher Since Socrates,” Who Men­tored Philip Glass, Leonard Bern­stein, Aaron Cop­land, Quin­cy Jones & Oth­er Leg­ends

1200 Years of Women Com­posers: A Free 78-Hour Music Playlist That Takes You From Medieval Times to Now

Hear Sev­en Hours of Women Mak­ing Elec­tron­ic Music (1938–2014)

Meet Four Women Who Pio­neered Elec­tron­ic Music: Daphne Oram, Lau­rie Spiegel, Éliane Radigue & Pauline Oliv­eros

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

The New York Public Library Announces the Top 10 Checked-Out Books of All Time

Pub­lic libraries are unsung heroes of their com­mu­ni­ties. Many a busy work­ing adult can take their impor­tance for grant­ed. But par­ents of young chil­dren know—the library is a qui­et haven, place of won­der and dis­cov­ery, and free resource for all sorts of edu­ca­tion­al expe­ri­ences. Giv­en the impor­tance of libraries in kids’ lives, it’s no won­der that six of the top ten most-checked-out books—accord­ing to the New York Pub­lic Library—are children’s books.

The NYPL cal­cu­lat­ed the most checked out books in its his­to­ry in hon­or of its 125th anniver­sary. Giv­en that it hous­es the sec­ond largest col­lec­tion in the U.S., after the Library of Con­gress, and serves mil­lions in the most lin­guis­ti­cal­ly diverse city in the coun­try, its cir­cu­la­tion num­bers give us a rea­son­able sam­pling of near-uni­ver­sal tastes.

These include time­less clas­sics of children’s lit­er­a­ture: Ezra Jack Keats’ Calde­cott-win­ning The Snowy Day tops the list, “in print and in the Library’s cat­a­log con­tin­u­ous­ly since 1962”; The Cat in the Hat comes in at a close sec­ond. Where the Wild Things Are and The Very Hun­gry Cater­pil­lar round out the list of books for the very young.

Where is the stal­wart Good­night Moon, you may ask? Here we have a juicy bit of lore:

By all mea­sures, this book should be a top check­out (in fact, it might be the top check­out) if not for an odd piece of his­to­ry: extreme­ly influ­en­tial New York Pub­lic Library children’s librar­i­an Anne Car­roll Moore hat­ed Good­night Moon when it first came out. As a result, the Library didn’t car­ry it until 1972. That lost time bumped the book off the top 10 list for now. But give it time.

For now, Mar­garet Wise Brown’s 1947 clas­sic receives hon­or­able men­tion. Clas­sic kids’ books cir­cu­late a lot because they’re wide­ly read, but also because they’re short, which leads to more turnover, the Library points out. Length of time in print is also a fac­tor, which makes the pres­ence of Har­ry Pot­ter and the Sorcerer’s Stone, pub­lished in 1998, par­tic­u­lar­ly impres­sive.

  1. The Snowy Day by Ezra Jack Keats: 485,583 check­outs
  2. The Cat in the Hat by Dr. Seuss: 469,650 check­outs
  3. 1984 by George Orwell: 441,770 check­outs
  4. Where the Wild Things Are by Mau­rice Sendak: 436,016 check­outs
  5. To Kill a Mock­ing­bird by Harp­er Lee: 422,912 check­outs
  6. Char­lot­te’s Web by E.B. White: 337,948 check­outs
  7. Fahren­heit 451 by Ray Brad­bury: 316,404 check­outs
  8. How to Win Friends and Influ­ence Peo­ple by Dale Carnegie: 284,524 check­outs
  9. Har­ry Pot­ter and the Sor­cer­er’s Stone by J.K. Rowl­ing: 231,022 check­outs
  10. The Very Hun­gry Cater­pil­lar by Eric Car­le: 189,550 check­outs

Like J.K. Rowling’s mod­ern clas­sic, all of the remain­ing books on the list are novels—save out­lier How to Win Friends and Influ­ence Peo­ple by Dale Carnegie—and all are nov­els read exten­sive­ly by mid­dle and high school stu­dents, a fur­ther sign of the sig­nif­i­cance of pub­lic libraries.

Some stu­dents may only be required to read a small hand­ful of nov­els in their school career, and whether they fol­low through, and maybe go on to read more and more books, and maybe write a few books of their own, may depend upon those nov­els con­stant­ly cir­cu­lat­ing for every­one through insti­tu­tions like the New York Pub­lic Library.

See the full list above and learn more about the project at NPR and the NYPL.

via Metafil­ter

Relat­ed Con­tent:

The New York Pub­lic Library Lets Patrons Check Out Ties, Brief­cas­es & Hand­bags for Job Inter­views

The New York Pub­lic Library Puts Clas­sic Sto­ries on Insta­gram: Start with Alice’s Adven­tures in Won­der­land and Read Kafka’s The Meta­mor­pho­sis Soon

What Are the Most Stolen Books? Book­store Lists Fea­ture Works by Muraka­mi, Bukows­ki, Bur­roughs, Von­negut, Ker­ouac & Palah­niuk

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

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