The Oldest Known Sentence Written in an Alphabet Has Been Found on a Head-Lice Comb (Circa 1700 BC)

Image by Daf­na Gaz­it, Israel Antiq­ui­ties Author­i­ty

I don’t recall any of my ele­men­tary-school class­mates look­ing for­ward to head-lice inspec­tion day. But had archae­o­log­i­cal progress been a few decades more advanced at the time, the teach­ers might have turned it into a major his­to­ry les­son. For it was on a comb, designed to remove head lice, that researchers in south­ern Israel recent­ly found the old­est known sen­tence writ­ten in an alpha­bet. Invent­ed around 1800 BC, that Canaan­ite alpha­bet “was stan­dard­ized by the Phoeni­cians in ancient Lebanon,” writes the Guardian’s Ian Sam­ple, lat­er becom­ing “the foun­da­tion for ancient Greek, Latin and most mod­ern lan­guages in Europe today.”

The comb itself, dat­ed to around 1700 BC, bears a sim­ple Canaan­ite mes­sage: “May this tusk root out the lice of the hair and the beard.” As Sam­ple notes, “ancient combs were made from wood, bone and ivory, but the lat­ter would have been expen­sive, import­ed lux­u­ries. There were no ele­phants in Canaan at the time.”

Despite its small size, then, this comb must have been a big-tick­et item. The New York Times’ Oliv­er Whang writes that these facts have already inspired a new set of ques­tions, many of them not strict­ly lin­guis­tic in nature: “Where was the ivory comb inscribed? Who inscribed it? What pur­pose did the inscrip­tion serve?”

As our lice-com­bat­ing tech­nol­o­gy has evolved over the mil­len­nia, so have our alpha­bets. From the Canaan­ite script “the alpha­bet con­tin­ued to evolve, from Phoeni­cian to Old Hebrew to Old Ara­ma­ic to Ancient Greek to Latin, becom­ing the basis for today’s mod­ern Eng­lish char­ac­ters.” And that was­n’t its only path: Korea, where I live, has a com­plete­ly dif­fer­ent alpha­bet of its own, but one that caught on for the same rea­sons as its dis­tant cousins else­where in the world. The key is sim­plic­i­ty, as against old­er writ­ing sys­tems in which one char­ac­ter rep­re­sent­ed one word or syl­la­ble: “Match­ing one let­ter to one sound made writ­ing and read­ing far eas­i­er to learn,” Whang writes. Not that some stu­dents, even today, would­n’t sub­mit to the lice comb rather than prac­tice their ABCs.

via Smith­son­ian

Relat­ed con­tent:

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

The Evo­lu­tion of the Alpha­bet: A Col­or­ful Flow­chart, Cov­er­ing 3,800 Years, Takes You From Ancient Egypt to Today

How Writ­ing Has Spread Across the World, from 3000 BC to This Year: An Ani­mat­ed Map

The Atlas of Endan­gered Alpha­bets: A Free Online Atlas That Helps Pre­serve Writ­ing Sys­tems That May Soon Dis­ap­pear

An Ancient Egypt­ian Home­work Assign­ment from 1800 Years Ago: Some Things Are Tru­ly Time­less

What the Roset­ta Stone Actu­al­ly Says

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

How to Make Ancient Mesopotamian Beer: See the 4,000-Year-Old Brewing Method Put to the Test

The philoso­pher Giambat­tista Vico had quite a few ideas, but we remem­ber him for one above all: Verum esse ipsum fac­tum, often short­ened to the prin­ci­ple of verum fac­tum. It means, in essence, that we under­stand what we make. In accor­dance with verum fac­tum, then, if you want to under­stand, say, ancient Mesopotami­an beer, you should make some ancient Mesopotami­an beer your­self. Such is the path tak­en in the video above by Max Miller, host of the Youtube series Tast­ing His­to­ry.

We pre­vi­ous­ly fea­tured Tast­ing His­to­ry here on Open Cul­ture for its humor­ous and as-faith­ful-as-pos­si­ble re-cre­ations of dish­es from the past, includ­ing peri­ods as recent as the nine­teenth cen­tu­ry and as dis­tant as the dawn of civ­i­liza­tion. No mat­ter the era, human­i­ty has always been eat­ing and drink­ing — and, just as soon as the nec­es­sary tech­nol­o­gy became avail­able, get­ting drunk. That we were doing it 4,000 years ago is evi­denced by the recipe Miller fol­lows in his quest to re-cre­ate Mesopotami­an beer, for which even the research proves to be no sim­ple mat­ter.

In fact, he begins with not a recipe at all, but a hymn to Ninkasi, the Sumer­ian god­dess of beer. But this holy text con­sti­tutes only a start­ing point: Miller goes on to con­sult not just oth­er infor­ma­tion pre­served on archae­o­log­i­cal arti­facts, but at least one expert in the field. The result­ing beer-mak­ing pro­ce­dure isn’t with­out its ambi­gu­i­ty, but you can cer­tain­ly try it at home. You can try it at home if you’ve got about a week to do so, that is; even ancient beer need­ed to fer­ment. (If you’re any­thing like Miller, you’ll use the wait­ing time to research more about Mesopotami­an soci­ety and the sig­nif­i­cant place of beer with­in it.)

How does the final prod­uct taste? Miller describes it as not car­bon­at­ed but “effer­ves­cent,” with a “nut­ti­ness” to its fla­vor: “I’m get­ting, like, a lit­tle bit of a car­damom.” (Mod­erns who pre­fer a sweet­er beer will want to add date syrup.) Per­haps it would go well with a Baby­lon­ian lamb stew, or one of the oth­er ancient dish­es Miller has re-cre­at­ed on Tast­ing His­to­ry. Such a meal would pro­vide a fine occa­sion to test the prin­ci­ple of verum fac­tum — or an even fin­er way to test the Sumer­ian proverb “He who does not know beer, does not know what is good.”

Relat­ed Con­tent:

Dis­cov­er the Old­est Beer Recipe in His­to­ry From Ancient Sume­ria, 1800 B.C.

Cam­bridge Uni­ver­si­ty Pro­fes­sor Cooks 4000-Year-Old Recipes from Ancient Mesopotamia, and Lets You See How They Turned Out

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

5,000-Year-Old Chi­nese Beer Recipe Gets Recre­at­ed by Stan­ford Stu­dents

Beer Archae­ol­o­gy: Yes, It’s a Thing

Tast­ing His­to­ry: A Hit YouTube Series Shows How to Cook the Foods of Ancient Greece & Rome, Medieval Europe, and Oth­er Places & Peri­ods

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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 Archives of the Planet: Explore 72,000 Photos Taken a Century Ago to Document Human Cultures Around the World

The world, we often hear, used to be big­ger. Today, if you feel the faintest twinge of curios­i­ty about a dis­tant place — Bei­jing, Paris, Cam­bo­dia, Egypt — you can near-instan­ta­neous­ly call up count­less hours of high-qual­i­ty video footage shot there, and with only a lit­tle more effort even com­mu­ni­cate in real-time with peo­ple actu­al­ly liv­ing there. This may be the case in the ear­ly twen­ty-first cen­tu­ry, but it cer­tain­ly was­n’t in the ear­ly twen­ti­eth. If you’d want­ed to see the world back then, you either had to trav­el it your­self, an expen­sive and even dan­ger­ous propo­si­tion, or else hire a team of expert pho­tog­ra­phers to go forth and cap­ture it for you.

Albert Kahn, a suc­cess­ful French banker and spec­u­la­tor, did both. A few years after mak­ing his own trip around the world, tak­ing stere­o­graph­ic pho­tos and even motion-pic­ture footage along the way, he came up with the idea for a project called Les archives de la planète, or The Archives of the Plan­et.

Direct­ed by the geo­g­ra­ph­er Jean Brun­hes (and influ­enced by the philoso­pher Hen­ri Berg­son, a friend of Kah­n’s), Les archives de la planète spent most of the nine­teen-tens and nine­teen-twen­ties dis­patch­ing pho­tog­ra­phers to var­i­ous ends of the earth on few­er than four con­ti­nents: Europe, Amer­i­ca, Asia, and Africa. And if you click on those links, you can see the pro­jec­t’s pho­tos from the rel­e­vant regions your­self.

Hav­ing been dig­i­tized, the fruits of Les archives de la planète now reside online, at the web site of the Albert Kahn Muse­um. You can browse its col­lec­tion there, or on this image por­tal, where you can view fea­tured pho­tos or access whichev­er part of the world in the ear­ly twen­ti­eth cen­tu­ry you’d like to see. (Just make sure to do it in French.) The online archive con­tains a large chunk of the 72,000 autochrome pic­tures tak­en in 50 coun­tries by Kah­n’s pho­tog­ra­phers before he was wiped out by the stock mar­ket crash of 1929. Made freely avail­able in high res­o­lu­tion a cen­tu­ry after the height of his project, these vivid and evoca­tive pic­tures remind us that, how­ev­er small the world has become, the past remains a for­eign coun­try.

via Art­Net News/Petapix­el

Relat­ed con­tent:

Around the World in 1896: 40 Min­utes of Real Footage Lets You Vis­it Paris, New York, Venice, Rome, Budapest & More

Footage of Cities Around the World in the 1890s: Lon­don, Tokyo, New York, Venice, Moscow & More

Behold the Pho­tographs of John Thom­son, the First West­ern Pho­tog­ra­ph­er to Trav­el Wide­ly Through Chi­na (1870s)

How Vivid­ly Col­orized Pho­tos Helped Intro­duce Japan to the World in the 19th Cen­tu­ry

1850s Japan Comes to Life in 3D, Col­or Pho­tos: See the Stereo­scop­ic Pho­tog­ra­phy of T. Ena­mi

Petite Planète: Dis­cov­er Chris Marker’s Influ­en­tial 1950s Trav­el Pho­to­book Series

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

How the Ancient Romans Built Their Roads, the Lifelines of Their Vast Empire

At its peak in the sec­ond cen­tu­ry, the Roman Empire dom­i­nat­ed near­ly two mil­lion square miles of the world. As with most such grand achieve­ments, it could­n’t have hap­pened with­out the devel­op­ment of cer­tain tech­nolo­gies. The long reach of the Eter­nal City was made pos­si­ble in large part by the hum­ble tech­nol­o­gy of the road — or at least it looks like a hum­ble tech­nol­o­gy here in the twen­ty-first cen­tu­ry. Roads exist­ed before the Roman Empire, of course, but the Romans built them to new stan­dards of length, capac­i­ty, and dura­bil­i­ty. How they did it so gets explained in the short video above.

On a rep­re­sen­ta­tive stretch of Roman-road-to be, says the nar­ra­tor, a “wide area would be defor­est­ed.” Then “the top­soil would be removed until a sol­id base was found.” Atop that base, work­ers laid down curbs at the width deter­mined by the road plan, then filled the gap between them with a foun­da­tion of large stones.

Atop the large stones went a lay­er of small­er stones mixed with fine aggre­gates, and final­ly the grav­el, sand, and clay that made up the sur­face. All of this was accom­plished with the old-fash­ioned pow­er of man and ani­mal, using tip­per carts to pour out the mate­ri­als and oth­er tools to spread and com­pact them.

Roman road-builders did­n’t just use any old rocks and dirt, but “care­ful­ly select­ed mate­ri­als of the high­est qual­i­ty” — includ­ing for­mi­da­bly long-last­ing Roman con­crete, the secrets of whose stur­di­ness have only been ful­ly under­stood in the past decade. In anoth­er inge­nious design choice recent­ly dis­cov­ered, “ditch­es were placed to pre­vent access to the road from unau­tho­rized vehi­cles,” as well as to widen the periph­er­al view of the road­’s users. In the video just above, civ­il-engi­neer­ing spe­cial­ist Isaac Moreno Gal­lo takes a clos­er look at a sec­tion of a real Roman road being exca­vat­ed where it will inter­sect with a mod­ern high­way under con­struc­tion. The new road will sure­ly stand for a long time to come — but will it inspire fas­ci­na­tion a cou­ple mil­len­nia from now?

Relat­ed con­tent:

The Roman Roads and Bridges You Can Still Trav­el Today

How to Make Roman Con­crete, One of Human Civilization’s Longest-Last­ing Build­ing Mate­ri­als

The First Tran­sit Map: a Close Look at the Sub­way-Style Tab­u­la Peutin­ge­ri­ana of the 5th-Cen­tu­ry Roman Empire

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The Roads of Ancient Rome Visu­al­ized in the Style of Mod­ern Sub­way Maps

The Roman Roads of Britain Visu­al­ized as a Sub­way Map

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

Watch Restored Versions of Classic Fleischer Cartoons on Youtube, Featuring Betty Boop, Koko the Clown & Others

Quite a few gen­er­a­tions of Amer­i­can chil­dren have by now grown up know­ing the names of Max and Dave Fleis­ch­er — albeit know­ing even bet­ter the names of the char­ac­ters they ani­mat­ed, like Bet­ty Boop, Pop­eye the Sailor, and Super­man. The kids who first thrilled to Max Fleis­cher’s ear­ly “Out of the Inkwell” series, which he start­ed in the late nine­teen-tens and con­tin­ued into the late nine­teen-twen­ties, would nat­u­ral­ly have seen them in a movie the­ater. But most of us under the age of eighty would have received our intro­duc­tion to the live­ly, whim­si­cal, and often bizarre world of the broth­ers Fleis­ch­er through the tele­vi­sion, a medi­um hun­gry for car­toons prac­ti­cal­ly since its incep­tion.

Now view­ers of all ages can enjoy Fleis­ch­er car­toons on Youtube, and in new­ly restored form at that. “The Fab­u­lous Fleis­ch­er Car­toons Restored team is ded­i­cat­ed to pre­serv­ing Fleis­cher’s films by restor­ing them from orig­i­nal prints and neg­a­tives,” writes Boing Boing’s Rusty Blazen­hoff, adding that “Adam Sav­age’s Test­ed vis­it­ed the Black­hawk Films scan­ning facil­i­ty in Cal­i­for­nia and spoke with restora­tion expert Steve Stanch­field about the process of bring­ing these clas­sic films back to life.”

The charm of Fleis­ch­er car­toons may still feel effort­less a cen­tu­ry after their cre­ation, but any­one famil­iar with ani­ma­tion knows how painstak­ing that cre­ation would have been; by the same token, bring­ing the sur­viv­ing films back to pris­tine con­di­tion is a more com­pli­cat­ed job than most view­ers would imag­ine.

The cur­rent offer­ings on Fab­u­lous Fleis­ch­er Car­toons Restored’s chan­nel include Bet­ty Boop and Pudgy in “Hap­py You and Mer­ry Me,” Bim­bo the Dog in “Teacher’s Pest,” and even the short but lav­ish Tech­ni­col­or fan­ta­sy “Some­where in Dream­land,” which bright­ened up the grim days of the Great Depres­sion for all who saw it. The restor­ers have also worked their mag­ic on Fleis­ch­er hol­i­day car­toons like “Rudolph the Red-Nosed Rein­deer” and “Christ­mas Comes But Once a Year” (includ­ing with the lat­ter a side-by-side com­par­i­son of the new restora­tion with the exist­ing six­teen-mil­lime­ter DVD print). Yes, Christ­mas has just passed, but it will come again next year, and bring with it the lat­est gen­er­a­tion’s chance to be delight­ed by Fleis­ch­er car­toons crisper and more vivid than the ones with which any of us grew up.

via Boing Boing

Relat­ed con­tent:

Watch a Sur­re­al 1933 Ani­ma­tion of Snow White, Fea­tur­ing Cab Cal­loway & Bet­ty Boop: It’s Ranked as the 19th Great­est Car­toon of All Time

The Harlem Jazz Singer Who Inspired Bet­ty Boop: Meet the Orig­i­nal Boop-Oop-a-Doop, “Baby Esther”

The Orig­i­nal 1940s Super­man Car­toon: Watch 17 Clas­sic Episodes Free Online

The Trick That Made Ani­ma­tion Real­is­tic: Watch a Short His­to­ry of Roto­scop­ing

Einstein’s The­o­ry of Rel­a­tiv­i­ty Explained in One of the Ear­li­est Sci­ence Films Ever Made (1923)

How Walt Dis­ney Car­toons Are Made: 1939 Doc­u­men­tary Gives an Inside Look

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

How to Make Roman Concrete, One of Human Civilization’s Longest-Lasting Building Materials

More than a mil­len­ni­um and a half after its fall, we still look back with won­der on the accom­plish­ments of the ancient Roman Empire. Few ele­ments of its lega­cy impress us as much as its built envi­ron­ment — or in any case, what’s left of its built envi­ron­ment. Still, the fact that any­thing remains at all of the struc­tures built by the Romans tells us that they were doing some­thing right: specif­i­cal­ly, they were doing con­crete right. Just how they made that aston­ish­ing­ly durable build­ing mate­r­i­al has been a sub­ject of research even in recent years, and we even fea­tured it here on Open Cul­ture back in 2017. But could we make Roman con­crete today?

Such is the task of Shawn Kel­ly, host of the Youtube chan­nel Cor­po­ral’s Cor­ner, in the video above. Using mate­ri­als like vol­canic ash, pumice and lime­stone, he makes a brick that looks more than sol­id enough to go up against any mod­ern con­crete.

As of this writ­ing, this sim­ple video has racked up more than three mil­lion views, a num­ber that reflects our endur­ing fas­ci­na­tion with the ques­tion of how the ancient Romans cre­at­ed their world — as well as the ques­tion addressed in the high­er-tech Prac­ti­cal Engi­neer­ing video below, “Was Roman Con­crete Bet­ter?”

The fact of the mat­ter is that, despite pos­sess­ing tech­nolo­gies the Romans could hard­ly have imag­ined, their con­crete lasts longer than ours. Why that should be the case comes down, in large part, to water: we put a great deal more of it into our con­crete than the Romans did, in order to pour it more cheap­ly and eas­i­ly. But this makes it more frag­ile and sub­ject to dete­ri­o­ra­tion over time (as seen in the ear­ly dilap­i­da­tion of cer­tain Bru­tal­ist build­ings), even despite our use of chem­i­cal addi­tives and steel rein­force­ment. Roman con­crete was also mixed with sea­wa­ter, which caused the for­ma­tion of crys­tals with­in the mate­r­i­al that actu­al­ly strength­ened it as it aged — thus cement­ing, as one wag in the com­ments puts it, the Romans’ place in his­to­ry.

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:

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

The Roman Roads and Bridges You Can Still Trav­el Today

How Did Roman Aque­ducts Work?: The Most Impres­sive Achieve­ment of Ancient Rome’s Infra­struc­ture, Explained

The Beau­ty & Inge­nu­ity of the Pan­theon, Ancient Rome’s Best-Pre­served Mon­u­ment: An Intro­duc­tion

Roman Archi­tec­ture: A Free Course from Yale

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

How Fast Food Began: The History of This Thoroughly American (and Now Global) Form of Dining

What is the most Amer­i­can insti­tu­tion of all? The mind first goes in the direc­tions of church, of the mil­i­tary, of foot­ball. But if we con­sid­er only the sys­tems of mod­ern life devel­oped on Unit­ed States soil, the most influ­en­tial must sure­ly be fast food. That influ­ence man­i­fests in not just the home­land but the rest of the world as well, and like every robust Amer­i­can cre­ation, fast food both changes and adapts to the for­eign lands in which it takes root. Though unknown in the U.S., the yel­low motor­cy­cles of McDon­ald’s deliv­ery­men are an every­day sight in the cap­i­tal of South Korea, where I live. That could hard­ly have fig­ured in even the far­thest-reach­ing visions Richard and Mau­rice McDon­ald had for the entire­ly new mod­el of ham­burg­er stand they launched in San Bernardi­no, Cal­i­for­nia, in 1948.

Back in post­war Amer­i­ca, “car cul­ture reigns supreme. Dri­ve-in movies and dri­ve-in restau­rants become all the rage, tak­ing con­ve­nience to anoth­er lev­el.” So says the nar­ra­tor of the clip above, from the fast-food episode of the Net­flix series His­to­ry 101. But before long, dri­ve-ins would be rel­e­gat­ed to the sta­tus of his­tor­i­cal curios­i­ty, and fast food on the McDon­ald’s mod­el would become near­ly omnipresent.

As with much else in Amer­i­can indus­tri­al his­to­ry, the key was effi­cien­cy. Hav­ing pre­vi­ous­ly run a dri­ve-in, the McDon­ald broth­ers under­stood well how cum­ber­some such oper­a­tions could be, and how they encour­aged cus­tomers to linger rather than spend their mon­ey and be on their way. The stripped-down menu, the stream­lined cook­ing process: every ele­ment was now engi­neered for speed above all.

McDon­ald’s did not, how­ev­er, invent the dri­ve-through. That hon­or goes to a Texas estab­lish­ment called Pig Stand, which first erect­ed that pil­lar of the Amer­i­can way of life back in 1921. In Fast Food: The Fast Lane of Life, the His­to­ry Chanel doc­u­men­tary above, the pres­i­dent of Texas Pig Stands says that the chain’s founder Jessie G. Kir­by “was famous for his quote of say­ing that peo­ple with cars are so lazy that they don’t want to get out of them to go eat. That prophe­cy proved to be very true.” Even as the spread of car own­er­ship across Amer­i­ca and then the world made dri­ve-through fast food into a viable propo­si­tion, it put (and con­tin­ues to put) greater and greater pres­sure on the busi­ness­es to deliv­er their prod­uct in short­er and short­er times.

“Beyond the chal­lenges of tech­ni­cal hard­ware that deliv­ered things fast, the indus­try had to deliv­er a pipeline to deliv­er the food,” says the doc­u­men­tary’s nar­ra­tor. “Through­out the eight­ies, the burg­er giants set about design­ing a net­work of sup­pli­ers that could deliv­er mil­lions of tons of foods to thou­sands of restau­rants at exact­ing stan­dards of uni­for­mi­ty.” This uni­for­mi­ty — ham­burg­ers that cost and taste exact­ly the same, every­where — enchant­ed Andy Warhol, that maven of Amer­i­can mass cul­ture. It has also, arguably, done its part to triv­i­al­ize the rit­u­als of prepar­ing and con­sum­ing food, to say noth­ing of the health dan­gers posed by fre­quent indul­gence in salty, sug­ary, oily meals, espe­cial­ly in the con­text of a seden­tary auto­mo­tive lifestyle. But if you don’t under­stand fast food — and all the tech­no­log­i­cal, eco­nom­ic, and social fac­tors that have made it not just pos­si­ble but world-dom­i­nant — can you claim under­stand Amer­i­ca?

Relat­ed con­tent:

Watch Andy Warhol Eat an Entire Burg­er King Whop­per — While Wish­ing the Burg­er Came from McDonald’s (1981)

30,000 Peo­ple Line Up for the First McDonald’s in Moscow, While Gro­cery Store Shelves Run Emp­ty (1990)

How Eat­ing Ken­tucky Fried Chick­en Became a Christ­mas Tra­di­tion in Japan

The Hertel­la Cof­fee Machine Mount­ed on a Volk­swa­gen Dash­board (1959): The Most Euro­pean Car Acces­so­ry Ever Made

A Brief His­to­ry of the Great Amer­i­can Road Trip

McDonald’s Opens a Tiny Restau­rant — and It’s Only for Bees

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

American Gothic Explained: How Grant Wood Created His Iconic American Painting (1930)

“We should fear Grant Wood. Every artist and every school of artists should be afraid of him, for his dev­as­tat­ing satire.” Gertrude Stein wrote those words after see­ing Amer­i­can Goth­ic, the 1930 paint­ing that would become one of the most icon­ic images cre­at­ed in the Unit­ed States. Yet Wood him­self “said he paint­ed Amer­i­can Goth­ic to extol rur­al Amer­i­can val­ues, real peo­ple in their well-ordered world: an image of reas­sur­ance dur­ing the onset of the Great Depres­sion.” That’s how Art His­to­ry School host Paul Priest­ley puts it in the video above, which asks of the paint­ing, “Is it a satire, or a pos­i­tive state­ment of Amer­i­can rur­al life?”

It could be nei­ther; then again, it could be both. That very ambi­gu­i­ty goes some way to explain­ing Amer­i­can Goth­ic’s suc­cess — as well as its per­sis­tence in the cul­ture through fre­quent and unceas­ing par­o­dy. Yet in its day, the paint­ing also angered some of its view­ers: “An Iowan farmer’s wife who’d seen the pic­ture in the papers in 1930 tele­phoned Wood to express her anger,” says Priest­ly.

“She claimed she wished to come over and smash his head for depict­ing her coun­try­men as grim Bible-thumpers.” Wood main­tained that he was one of them, “dress­ing in rugged over­alls after the paint­ing was com­plet­ed and telling the press, ‘All the real­ly good ideas I’d ever had come to me while I was milk­ing a cow.’

Yet Wood was no farmer. A son of Cedar Rapids, he trav­eled exten­sive­ly to Europe to study Impres­sion­ism and post-Impres­sion­ism. There he first saw the work of Jan van Eyck, whose com­bi­na­tion of visu­al clar­i­ty and com­plex­i­ty inspired him to devel­op the sig­na­ture look and feel of the move­ment that would come to be known as Region­al­ism. He became “half Euro­pean artiste, half Iowan farm boy,” as Vox’s Phil Edwards puts it in the video just above, all the bet­ter to strad­dle his home­land’s widen­ing divide between town and coun­try. “In 1880, almost half of all Amer­i­cans were on the farm,” but by 1920 more than half the pop­u­la­tion lived in cities. Amer­i­can Goth­ic came a decade lat­er, and most of a cen­tu­ry there­after, it still makes Amer­i­cans ask them­selves — earnest­ly or sar­don­ical­ly — just what kind of peo­ple they are.

Relat­ed con­tent:

What’s the Key to Amer­i­can Goth­ic’s Endur­ing Fame? An Intro­duc­tion to the Icon­ic Amer­i­can Paint­ing

The Mod­els for “Amer­i­can Goth­ic” Pose in Front of the Icon­ic Paint­ing (1942)

The Art Insti­tute of Chica­go Puts 44,000+ Works of Art Online: View Them in High Res­o­lu­tion

Arti­fi­cial Intel­li­gence Brings to Life Fig­ures from 7 Famous Paint­ings: The Mona Lisa, Birth of Venus & More

Whit­ney Muse­um Puts Online 21,000 Works of Amer­i­can Art, By 3,000 Artists

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities, 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.

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