When Helen Keller Met Charlie Chaplin and Taught Him Sign Language (1919)

Char­lie Chap­lin had many high-pro­file fans in his day, includ­ing some of the lumi­nar­ies of the ear­ly twen­ti­eth cen­tu­ry. We could per­haps be for­giv­en for assum­ing that the writer and activist Hellen Keller was not among them, giv­en the lim­i­ta­tions her con­di­tion of deaf­ness and blind­ness — or “deaf­blind­ness” — would nat­u­ral­ly place on the enjoy­ment of film, even the silent films in which Chap­lin made his name. But mak­ing that assump­tion would be to mis­un­der­stand the dri­ving force of Keller’s life and career. If the movies were sup­pos­ed­ly unavail­able to her, then she’d make a point of not just watch­ing them, but befriend­ing their biggest star.

Keller met Chap­lin in 1919 at his Hol­ly­wood stu­dio, dur­ing the film­ing of Sun­ny­side. This, as biog­ra­phers have revealed, was not one of the smoothest-going peri­ods in the come­di­an-auteur’s life, but that did­n’t stop him from enjoy­ing his time with Keller, and even learn­ing from her.

In her 1928 auto­bi­og­ra­phy Mid­stream, she would remem­ber that he’d been “shy, almost timid,” and that “his love­ly mod­esty lent a touch of romance to the occa­sion that might oth­er­wise have seemed quite ordi­nary.” The pic­tures that have cir­cu­lat­ed of the meet­ing, seen here, include one of Keller teach­ing Chap­lin the tac­tile sign-lan­guage alpha­bet she used to com­mu­ni­cate.

It was also the means by which, with the assis­tance of com­pan­ion Anne Sul­li­van, she fol­lowed the action of Chap­lin’s films A Dog’s Life and Shoul­der Arms when they were screened for her that evening. When Keller and Chap­lin met again near­ly thir­ty years lat­er, he sought her feed­back on the script for his lat­est pic­ture, Mon­sieur Ver­doux. “There is no lan­guage for the ter­ri­fy­ing pow­er of your mes­sage that sears with sar­casm or rends apart coverts of social hypocrisy,” Keller lat­er wrote to Chap­lin. A polit­i­cal­ly charged black com­e­dy about a bigamist ser­i­al killer bear­ing lit­tle resem­blance indeed to the beloved Lit­tle Tramp, Mon­sieur Ver­doux met with crit­i­cal and com­mer­cial fail­ure upon its release. The film has since been re-eval­u­at­ed as a sub­ver­sive mas­ter­work, but it was per­haps Keller who first tru­ly saw it.

Relat­ed con­tent:

Helen Keller Writes a Let­ter to Nazi Stu­dents Before They Burn Her Book: “His­to­ry Has Taught You Noth­ing If You Think You Can Kill Ideas” (1933)

Mark Twain & Helen Keller’s Spe­cial Friend­ship: He Treat­ed Me Not as a Freak, But as a Per­son Deal­ing with Great Dif­fi­cul­ties

When Albert Ein­stein & Char­lie Chap­lin Met and Became Fast Famous Friends (1930)

When Mahat­ma Gand­hi Met Char­lie Chap­lin (1931)

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

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, on Face­book, or on Insta­gram.

A Brief History of Dumplings: An Animated Introduction

Dumplings are so deli­cious and so ven­er­a­ble, it’s under­stand­able why more than one coun­try would want to claim author­ship.

As cul­tur­al food his­to­ri­an Miran­da Brown dis­cov­ers in her TED-Ed ani­ma­tion, dumplings are among the arti­facts found in ancient tombs in west­ern Chi­na, rock hard, but still rec­og­niz­able.

Schol­ar Shu Xi sang their prais­es over 1,700 years ago in a poem detail­ing their ingre­di­ents and prepa­ra­tion. He also indi­cat­ed that the dish was not native to Chi­na.

Lamb stuffed dumplings fla­vored with gar­lic, yogurt, and herbs were an Ottoman Empire treat, cir­ca 1300 CE.

The 13th-cen­tu­ry Mon­gol inva­sions of Korea result­ed in mass casu­al­ties , but the sil­ver lin­ing is, they gave the world man­doo.

The Japan­ese Army’s bru­tal occu­pa­tion of Chi­na dur­ing World War II gave them a taste for dumplings that led to the cre­ation of gyoza.

East­ern Euro­pean pel­menipiero­gi and vareni­ki may seem like vari­a­tions on a theme to the unini­ti­at­ed, but don’t expect a Ukrain­ian or Russ­ian to view it that way.

Is the his­to­ry of dumplings real­ly just a series of bloody con­flicts, punc­tu­at­ed by peri­ods of rel­a­tive har­mo­ny where­in every­one argues over the best dumplings in NYC?

Brown takes some mild pot­shots at cuisines whose dumplings are clos­er to dough balls than “plump pock­ets of per­fec­tion”, but she also knows her audi­ence and wise­ly steers clear of any posi­tions that might lead to play­ground fights.

Relax, kids, how­ev­er your grand­ma makes dumplings, she’s doing it right.

It’s hard to imag­ine sushi mas­ter Naomichi Yasu­da dial­ing his opin­ions down to pre­serve the sta­tus quo.

A purist — and favorite of Antho­ny Bour­dain — Chef Yasu­da is unwa­ver­ing in his con­vic­tions that there is one right way, and many wrong ways to eat and pre­pare sushi.

He’s far from prig­gish, instruct­ing cus­tomer Joseph George, for VICE Asia MUNCHIES in the prop­er han­dling of a sim­ple piece of sushi after it’s been light­ly dipped, fish side down, in soy sauce:

Don’t shake it. Don’t shake it! Shak­ing is just to be fin­ished at the men’s room.

Oth­er take­aways for sushi bar din­ers:

  • Use fin­gers rather than chop­sticks when eat­ing maki rolls.
  • Eat­ing pick­led gin­ger with sushi is “very much bad man­ners”
  • Roll sushi on its side before pick­ing it up with chop­sticks to facil­i­tate dip­ping
  • The tem­per­a­ture inter­play between rice and fish is so del­i­cate that your expe­ri­ence of it will dif­fer depend­ing on whether a wait­er brings it to you at a table or the chef hands it to you across the counter as soon as it’s assem­bled.

Explore TED-Ed’s Brief His­to­ry of Dumplings les­son here.

For a deep­er dumpling dive, read the Oxford Symposium’s Wrapped and Stuffed Foods: Pro­ceed­ings on the Sym­po­sium: Foods and Cook­ery, 2012, avail­able as a free Google Book.

Relat­ed Con­tent 

Japan­ese Restau­rants Show You How to Make Tra­di­tion­al Dish­es in Med­i­ta­tive Videos: Soba, Tem­pu­ra, Udon & More

How to Make Sushi: Free Video Lessons from a Mas­ter Sushi Chef

How the Aston­ish­ing Sushi Scene in Wes Anderson’s Isle of Dogs Was Ani­mat­ed: A Time-Lapse of the Month-Long Shoot

- Ayun Hal­l­i­day is the author of Cre­ative, Not Famous: The Small Pota­to Man­i­festo and the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

What Americans Ate for Dessert 200 Years Ago: Watch Re-Creations of Original Recipes

Many of us avoid turn­ing on the oven dur­ing a heat­wave, but how do we feel about mak­ing cook­ies in a Dutch Oven heaped with glow­ing embers?

Jus­tine Dorn, co-cre­ator with oth­er half, Ron Ray­field, of the Ear­ly Amer­i­can YouTube chan­nel, strives to recre­ate 18th and ear­ly 19th cen­tu­ry desserts in an authen­tic fash­ion, and if that means whisk­ing egg whites by hand in a 100 degree room, so be it.

“Maybe hot­ter,” she wrote in a recent Insta­gram post, adding:

It’s hard work but still I love what I do. I hope that every­one can expe­ri­ence the feel­ing of being where you belong and doing what you know you were born to do. Maybe not every­one will under­stand your rea­son­ing but if you are com­fort­able and hap­py doing what you do then con­tin­ue.

Her his­toric labors have an epic qual­i­ty, but the recipes from aged cook­books are rarely com­plex.

The gluten free choco­late cook­ies from the 1800 edi­tion of The Com­plete Con­fec­tion­er have but three ingre­di­ents — grat­ed choco­late, cast­er sug­ar, and the afore­men­tioned egg whites — cooked low and slow on parch­ment, to cre­ate a hol­low cen­ter and crispy, mac­aron-like exte­ri­or.

Unlike many YouTube chefs, Dorn doesn’t trans­late mea­sure­ments for a mod­ern audi­ence or keep things mov­ing with busy edit­ing and bright com­men­tary.

Her silent, light­ly sub­ti­tled approach lays claim to a pre­vi­ous­ly unex­plored cor­ner of autonomous sen­so­ry merid­i­an response — ASMR His­tor­i­cal Cook­ing.

The sounds of crack­ling hearth, eggs being cracked into a bowl, hot embers being scraped up with a met­al shov­el turn out to be com­pelling stuff.

So were the cook­ies, referred to as “Choco­late Puffs” in the orig­i­nal recipe.

Dorn and Ray­field have a sec­ondary chan­nel, Fron­tier Par­rot, on which they grant them­selves per­mis­sion to respond ver­bal­ly, in 21st cen­tu­ry ver­nac­u­lar, albeit while remain­ing dressed in 1820s Mis­souri garb.

“I would pay a man $20 to eat this whole plate of cook­ies because these are the sweet­est cook­ies I’ve ever come across in my life,” Dorn tells Ray­field on the Fron­tier Par­rot Chat and Chew episode, below. “They only have three ingre­di­ents, but if you eat more than one you feel like you’re going to go into a coma — a sug­ar coma!”

He asserts that two’s his lim­it and also that they “sound like hard glass” when knocked against the table.

Ear­ly Amer­i­cans would have gaped at the indul­gence on dis­play above, where­in Dorn whips up not one but three cake recipes in the space of a sin­gle episode.

The plum cakes from the Housekeeper’s Instruc­tor (1791) are frost­ed with an icing that Ray­field iden­ti­fies on a solo Fron­tier Par­rot as 2 cups of sug­ar whipped with a sin­gle egg white.

“We suf­fered for this icing,” Dorn revealed in an Insta­gram post. “SUFFERED. Ya’ll don’t know true pain until you whip icing from hand using only egg whites and sug­ar.”

The flat lit­tle pound cakes from 1796’s Amer­i­can Cook­ery call for but­ter rubbed with rose­wa­ter.

The hon­ey cake from Amer­i­can Domes­tic Cook­ery, Formed on Prin­ci­ples of Econ­o­my, For the Use of Pri­vate Fam­i­lies (1871), gets a lift from pearl ash or “potash”, a Ger­man leav­en­ing agent that’s been ren­dered vir­tu­al­ly obso­lete by bak­ing pow­der.

Those who insist on keep­ing their ovens off in sum­mer should take a moment to let the title of the  below episode sink in:

Mak­ing Ice Cream in the 1820s SUCKS. “

This dish does­n’t call for blood, sweat and tears,” Dorn writes of the pre-Vic­to­ri­an, crank-free expe­ri­ence, “but we’re gonna add some any­way.”

Find a playlist of Dorn’s Ear­ly Amer­i­can dessert recon­struc­tions, includ­ing an amaz­ing cher­ry rasp­ber­ry pie and a cheap seed cake here.

Relat­ed Con­tent 

What Amer­i­cans Ate for Break­fast & Din­ner 200 Years Ago: Watch Re-Cre­ations of Orig­i­nal Recipes

Thomas Jefferson’s Hand­writ­ten Vanil­la Ice Cream Recipe

Emi­ly Dickinson’s Hand­writ­ten Coconut Cake Recipe Hints at How Bak­ing Fig­ured Into Her Cre­ative Process

Dessert Recipes of Icon­ic Thinkers: Emi­ly Dickinson’s Coconut Cake, George Orwell’s Christ­mas Pud­ding, Alice B. Tok­las’ Hashish Fudge & More

- Ayun Hal­l­i­day is the Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine and author, most recent­ly, of Cre­ative, Not Famous: The Small Pota­to Man­i­festo.  Fol­low her @AyunHalliday.

Watch the Sinking of the Lusitania Animated in Real Time (1915)

If you are a grad­u­ate of a U.S. school sys­tem, the words “Remem­ber the Lusi­ta­nia” may be as vague­ly famil­iar to you as “Remem­ber the Alamo.” And you may be just as fuzzy about the details. We learn rough­ly that the sink­ing of the British lux­u­ry lin­er was an act of Ger­man aggres­sion that moved the U.S. to enter World War I. That les­son is large­ly the result of a pro­pa­gan­da effort launched at the time to inflame anti-Ger­man sen­ti­ments and push the U.S. out of iso­la­tion­ism. But it would take almost two years after the attack before the coun­try entered the war. The Lusi­ta­nia did not change Pres­i­dent Woodrow Wilson’s posi­tion. While the “sink­ing of the Lusi­ta­nia was a cru­cial moment in help­ing to sway the Amer­i­can pub­lic in sup­port of the Allied cause,” it was only kept in the pub­lic eye by those who want­ed the U.S. in the war.

Main­stream U.S. cov­er­age imme­di­ate­ly after­ward was not over­ly bel­liger­ent. A week after the dis­as­ter, in a May 16th, 1915 issue, the Sun­day New York Times ran a two-page spread enti­tled “Promi­nent Amer­i­cans Who Lost Their Lives on the S.S. Lusi­ta­nia.” Two weeks lat­er, anoth­er pho­to spread hon­ored the ship’s dead, reflect­ing a “panora­ma of respons­es to the dis­as­ter,” the Library of Con­gress writes, includ­ing “sor­row, hero­ism, ambiva­lence, con­so­la­tion, and anger.”

These were emo­tion­al sur­veys of a tragedy, not inves­tiga­tive jour­nal­ism of an act of war. “Remark­ably,” the attack had “dom­i­nat­ed the head­lines for only about a week before being over­tak­en by a new­er sto­ry.” We might com­pare this to news of the Titan­ic dis­as­ter three years ear­li­er, cred­it­ed as “one of the first and most sig­nif­i­cant inter­na­tion­al news sto­ries of the 20th cen­tu­ry.” There is much about the Lusi­ta­nia the pub­lic did not learn, lead­ing to lat­er accu­sa­tions of a British Naval Intel­li­gence cov­er-up.

For one thing, sto­ries report­ed that the ship had been hit by two tor­pe­does when there was only one. Imme­di­ate­ly after its impact, how­ev­er, a sec­ondary explo­sion from inside the ship caused the Lusi­ta­nia to list per­ilous­ly to one side (ren­der­ing most lifeboats use­less) and take on water. Where the Titan­ic had tak­en 2 hours and 40 min­utes to go down, the Lusi­ta­nia sank in 18 min­utes — as you can see in the real-time ani­ma­tion above — killing approx­i­mate­ly 1,200 pas­sen­gers includ­ing around 120 Amer­i­cans. The sec­ond explo­sion lent cred­i­bil­i­ty to Ger­man accu­sa­tions that the pas­sen­ger ship was car­ry­ing muni­tions from New York to Britain. (Divers in a 1993 Nation­al Geo­graph­ic expe­di­tion found four mil­lion U.S.-made Rem­ing­ton bul­lets on board.) While this could not be proven at the time, the British had tak­en to hid­ing arms on pas­sen­ger ships, and the Lusi­ta­nia was out­fit­ted to be com­man­deered for war.

Not only did British author­i­ties put the Lusi­ta­nia in har­m’s way by allow­ing civil­ian pas­sen­gers to sail through block­ad­ed waters in which Ger­man sub­marines had been sink­ing mer­chant ships, but pas­sen­gers know­ing­ly put them­selves in dan­ger. The Ger­man High Com­mand had warned of attacks in Amer­i­can news­pa­pers in days before the ship set sail. Yet “only a cou­ple of peo­ple actu­al­ly can­celed,” says Erik Lar­son, author of the book Dead Wake: The Last Cross­ing of the Lusi­ta­nia. No war at sea or recent mem­o­ry of the Titan­ic could dis­suade them.

They saw this ship as so fast it could out­run any sub­ma­rine. They saw it as being so immense, so well built, so safe, and so well equipped with lifeboats in the wake of the Titan­ic dis­as­ter that even if it were hit by a tor­pe­do, no one imag­ined this thing actu­al­ly sink­ing. But no one could imag­ine a sub­ma­rine going after the Lusi­ta­nia in the first place.

Lar­son­’s last point sig­nals the crit­i­cal dif­fer­ence between this attack and all of those pre­vi­ous: the sink­ing of the Lusi­ta­nia was a shock­ing turn­ing point in the war, even if it did­n’t force Wilson’s hand as Churchill hoped. No one had expect­ed it. “In the his­to­ry of mod­ern war­fare,” the Library of Con­gress notes, the Lusi­ta­nia sig­naled “the end of the ‘gen­tle­man­ly’ war prac­tice of the nine­teenth cen­tu­ry and the begin­ning of a more omi­nous and vicious era of total war­fare.” While the Ger­mans ceased the prac­tice after British out­cry, they resumed the tar­get­ing of pas­sen­ger and mer­chant ships in 1917, final­ly prompt­ing U.S. involve­ment. The era that began with the Lusi­ta­nia con­tin­ues over a cen­tu­ry lat­er. Indeed, the wan­ton destruc­tion of civil­ian life no longer seems like trag­ic col­lat­er­al dam­age in cur­rent war zones, but the very point of wag­ing mod­ern war.

Relat­ed Con­tent:

Watch the Titan­ic Sink in Real Time in a New 2‑Hour, 40 Minute Ani­ma­tion

Titan­ic Sur­vivor Inter­views: What It Was Like to Flee the Sink­ing Lux­u­ry Lin­er

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

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

The Oldest Tattoos Ever Discovered on an Egyptian Mummy Date Back 5,000 Years

Some his­to­ries tell us more about their nar­ra­tors than their char­ac­ters. The sto­ry of tat­toos in ancient Egypt is one exam­ple. While tat­toos and oth­er forms of body mod­i­fi­ca­tion have been part of near­ly every ancient cul­ture, Egyp­tol­o­gists have found many more tat­tooed female than male mum­mies at ancient bur­ial sites. Since tat­too­ing seemed to be an almost “exclu­sive­ly female prac­tice in ancient Egypt,” writes arche­ol­o­gist Joann Fletch­er, “mum­mies found with tat­toos were usu­al­ly dis­missed by the (male) exca­va­tors who seemed to assume the women were of ‘dubi­ous sta­tus,’ described in some cas­es as ‘danc­ing girls.’ ”

There is no evi­dence, how­ev­er, to sug­gest that tat­toos in ancient Egypt specif­i­cal­ly marked dancers, pros­ti­tutes, con­cu­bines, or indi­vid­u­als of a low­er class (and thus of lit­tle inter­est to some ear­ly archae­ol­o­gists). One mum­my described as a con­cu­bine “was actu­al­ly a high-sta­tus priest­ess named Amunet, as revealed by her funer­ary inscrip­tions.” Ear­ly archae­ol­o­gists stub­born­ly clung to deroga­to­ry 19th-cen­tu­ry assump­tions about tat­toos (and class, danc­ing, sex, and reli­gion), even when dis­cussing tat­tooed Egypt­ian women whose buri­als obvi­ous­ly showed they were priest­esses or extend­ed mem­bers of a roy­al fam­i­ly.

Until rel­a­tive­ly recent­ly, “the most con­clu­sive evi­dence of Egypt­ian tat­toos,” writes Joshua Mark at the World His­to­ry Ency­clo­pe­dia, “dates the prac­tice to the Mid­dle King­dom” — span­ning the 11th through the 13th Dynas­ties (approx­i­mate­ly 2040 to 1782 BC). In 2018, how­ev­er, researchers at the British Muse­um took anoth­er look at two nat­u­ral­ly mum­mi­fied 5,000-year-old Pre­dy­nas­tic bod­ies, one male one female, dat­ing from between 3351 and 3017 BC. They looked specif­i­cal­ly for signs of body mod­i­fi­ca­tion that might have gone unseen by ear­li­er Egyp­tol­o­gists.

Known as the Gebelein pre­dy­nas­tic mum­mies, these bod­ies are two of six exca­vat­ed at the end of the 1800s by Egyp­tol­o­gist Sir Wal­lis Budge. Through the use of CT scan­ning, radio­car­bon dat­ing and infrared imag­ing, the British Muse­um has found that pre­vi­ous­ly unex­am­ined marks “push back the evi­dence for tat­too­ing in Africa by a mil­len­ni­um,” the Muse­um blog notes, describ­ing the find­ings in detail.

The male mum­my, called “Gebelein Man A,” showed a design on his bicep:

Dark smudges on his arm, appear­ing as faint mark­ings under nat­ur­al light, had remained unex­am­ined. Infrared pho­tog­ra­phy recent­ly revealed that these smudges were in fact tat­toos of two slight­ly over­lap­ping horned ani­mals. The horned ani­mals have been ten­ta­tive­ly iden­ti­fied as a wild bull (long tail, elab­o­rate horns) and a Bar­bary sheep (curv­ing horns, humped shoul­der). Both ani­mals are well known in Pre­dy­nas­tic Egypt­ian art. The designs are not super­fi­cial and have been applied to the der­mis lay­er of the skin, the pig­ment was car­bon-based, pos­si­bly some kind of soot.

The female mum­my, or “Gebelein Woman,” showed more intel­li­gi­ble mark­ings:

[A] series of four small ‘S’ shaped motifs can be seen run­ning ver­ti­cal­ly over her right shoul­der. Below them on the right arm is a lin­ear motif which is sim­i­lar to objects held by fig­ures par­tic­i­pat­ing in cer­e­mo­ni­al activ­i­ties on paint­ed ceram­ics of the same peri­od. It may rep­re­sent a crooked stave, a sym­bol of pow­er and sta­tus, or a throw-stick or baton/clappers used in rit­u­al dance. The ‘S’ motif also appears on Pre­dy­nas­tic pot­tery dec­o­ra­tion, always in mul­ti­ples.

In Mid­dle King­dom tat­too­ing prac­tices, a series of marks seemed to pro­vide pro­tec­tion, espe­cial­ly in fer­til­i­ty and child­birth rites, func­tion­ing as per­ma­nent amulets or a kind of prac­ti­cal mag­ic. Even if their mean­ings remain unclear, Marks writes, it does, “seem evi­dent that they had an array of impli­ca­tions and that women of many dif­fer­ent social class­es chose to wear them.” And it does seem clear that tat­too­ing was impor­tant to ancient, Pre­dy­nas­tic men and women, maybe for sim­i­lar rea­sons. Tat­too­ing tools have also been found dat­ing from around the same time as the Gebelein mum­mies, exca­vat­ed at Aby­dos and con­sist­ing of “sharp met­al points with a wood­en han­dle.”

The dat­ing of Gebelein Man A and Gebelein Woman place them as approx­i­mate con­tem­po­raries of Ötzi, a nat­u­ral­ly mum­mi­fied man cov­ered in tat­toos. Dis­cov­ered in 1991 on the bor­der of Aus­tria and Italy, Ötzi was pre­vi­ous­ly con­sid­ered the old­est tat­tooed mum­my. You can learn more about how the British Muse­um re-exam­ined the Gebelein bod­ies in the “Cura­tor’s Cor­ner” video above with cura­tor of phys­i­cal anthro­pol­o­gy Daniel Antoine. Read more about the find­ings at the British Muse­um’s blog and the Jour­nal of Archae­o­log­i­cal Sci­ence.

Relat­ed Con­tent:

What Ancient Egypt­ian Sound­ed Like & How We Know It

The Met Dig­i­tal­ly Restores the Col­ors of an Ancient Egypt­ian Tem­ple, Using Pro­jec­tion Map­ping Tech­nol­o­gy

A 3,000-Year-Old Painter’s Palette from Ancient Egypt, with Traces of the Orig­i­nal Col­ors Still In It

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

The Evolution of Music: 40,000 Years of Music History Covered in 8 Minutes

“We’re drown­ing in music,” says Michael Spitzer, pro­fes­sor of music at the Uni­ver­si­ty of Liv­er­pool. “If you were born in Beethoven’s time, you’d be lucky if you heard a sym­pho­ny twice in your life­time, where­as today, it’s as acces­si­ble as run­ning water.” We should­n’t take music, or run­ning water, for grant­ed, and the com­par­i­son should give us pause: do we need music –- for exam­ple, near­ly any record­ing of any Beethoven sym­pho­ny we can think of -– to flow out of the tap on demand? What does it cost us? Might there be a mid­dle way between hear­ing Beethoven when­ev­er and hear­ing Beethoven almost nev­er?

The sto­ry of how human­i­ty arrived at its cur­rent rela­tion­ship with music is the sub­ject of the Big Think inter­view with Spitzer above, in which he cov­ers 40,000 years in 8 min­utes: “from bone flutes to Bey­on­cé.” We begin with his the­sis that “we in the West” think of music his­to­ry as the his­to­ry of great works and great com­posers. This mis­con­cep­tion “tends to reduce music into an object,” and a com­mod­i­ty. Fur­ther­more, we “over­val­ue the role of the com­pos­er,” plac­ing the pro­fes­sion­al over “most peo­ple who are innate­ly musi­cal.” Spitzer wants to recov­er the uni­ver­sal­i­ty music once had, before radios, record play­ers, and stream­ing media.

For near­ly all of human his­to­ry, until Edi­son invents the phono­graph in 1877, we had no way of pre­serv­ing sound. If peo­ple want­ed music, they had to make it them­selves. And before humans made instru­ments, we had the human voice, a unique devel­op­ment among pri­mates that allowed us to vocal­ize our emo­tions. Spitzer’s book The Musi­cal Human: A His­to­ry of Life on Earth tells the sto­ry of human­i­ty through the devel­op­ment of music, which, as Matthew Lyons points out in a review, came before every oth­er met­ric of mod­ern human civ­i­liza­tion:

The ear­li­est known pur­pose-built musi­cal instru­ment is some forty thou­sand years old. Found at Geis­senklöster­le in what is now south­east­ern Ger­many, it is a flute made from the radi­al bone of a vul­ture. Remark­ably, the five holes bored into the bone cre­ate a five-note, or pen­ta­ton­ic, scale. Which is to say, before agri­cul­ture, reli­gion, set­tle­ment – all the things we might think of as ear­ly signs of civil­i­sa­tion – palae­olith­ic men and women were already famil­iar with the con­cept of pitch.

If music is so crit­i­cal to our social devel­op­ment as a species, we should learn to treat it with the respect it deserves. We should also, Spitzer argues, learn to play and sing for our­selves again, and think of music not only as a thing that oth­er, more tal­ent­ed peo­ple pro­duce for our con­sump­tion, but as our own evo­lu­tion­ary inher­i­tance, passed down over tens of thou­sands of years.

Relat­ed Con­tent: 

Watch an Archae­ol­o­gist Play the “Litho­phone,” a Pre­his­toric Instru­ment That Let Ancient Musi­cians Play Real Clas­sic Rock

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

See Ancient Greek Music Accu­rate­ly Recon­struct­ed for the First Time

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

The Last Cigarette Commercial Ever Aired on American TV (1971)

The slo­gan “You’ve come a long way, baby” still has some pop-cul­tur­al cur­ren­cy. But how many Amer­i­cans under the age of six­ty remem­ber what it adver­tised? The line was first rolled out in 1968 to pro­mote Vir­ginia Slims, the then-new brand of cig­a­rettes mar­ket­ed explic­it­ly to women. “Every ad in the cam­paign put a woman front and cen­ter, equat­ing smok­ing Vir­ginia Slims with being inde­pen­dent, styl­ish, con­fi­dent and lib­er­at­ed,” says the Amer­i­can Asso­ci­a­tion of Adver­tis­ing Agen­cies. “The slo­gan itself spoke direct­ly about the progress women all over Amer­i­ca were fight­ing for.”

Such was the zeit­geist pow­er of Vir­ginia Slims that they became the very last cig­a­rette brand ever adver­tised on Amer­i­can TV, at 11:59 p.m on Jan­u­ary 2, 1971, dur­ing The Tonight Show Star­ring John­ny Car­son. Richard Nixon had signed the Pub­lic Health Cig­a­rette Smok­ing Act, which banned cig­a­rette adver­tise­ments on broad­cast media, on April 1, 1970. But it did­n’t take effect imme­di­ate­ly, the tobac­co indus­try hav­ing man­aged to nego­ti­ate for itself one last chance to air com­mer­cials dur­ing the col­lege foot­ball games of New Year’s Day 1971.

“The Philip Mor­ris com­pa­ny has bought all com­mer­cial time on the first half hour of all the net­work talk shows tonight,” says ABC’s Har­ry Rea­son­er on a news­cast from that same day. “That is, the last half hour on which it is legal to sell cig­a­rettes on radio or tele­vi­sion in the Unit­ed States. This marks, as we like to say, the end of an era.” In trib­ute, ABC put togeth­er an assem­blage of past cig­a­rette com­mer­cials. That some will feel odd­ly famil­iar even to those of us who would­n’t be born for a decade or two speaks to the pow­er of mass media in post­war Amer­i­ca. More than half a cen­tu­ry lat­er, now that cig­a­rettes are sel­dom glimpsed even on dra­mat­ic tele­vi­sion, all this feels almost sur­re­al­is­ti­cal­ly dis­tant in his­to­ry.

Equal­ly strik­ing, cer­tain­ly by con­trast to the man­ner of news anchors in the twen­ty-twen­ties, is the poet­ry of Rea­son­er’s reflec­tion on the just-closed chap­ter of tele­vi­sion his­to­ry. “It isn’t like say­ing good­bye to an old friend, I guess, because the doc­tors have con­vinced us they aren’t old friends,” he admits. “But we may be par­doned, I think, on dim win­ter nights in the future, sit­ting by the fire and nod­ding and say­ing, ‘Remem­ber L.S./M.F.T.? Remem­ber Glen Gray play­ing smoke rings for the Camel car­a­van? Remem­ber ‘Nature in the raw is sel­dom mild’? Remem­ber all those girls who who had it all togeth­er?’ ”

Relat­ed con­tent:

When the Flint­stones Ped­dled Cig­a­rettes

Cig­a­rette Com­mer­cials from David Lynch, the Coen Broth­ers and Jean Luc Godard

Two Short Films on Cof­fee and Cig­a­rettes from Jim Jar­musch & Paul Thomas Ander­son

Glo­ri­ous Ear­ly 20th-Cen­tu­ry Japan­ese Ads for Beer, Smokes & Sake (1902–1954)

How Edward Munch Sig­naled His Bohemi­an Rebel­lion with Cig­a­rettes (1895): A Video Essay

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, on Face­book, or on Insta­gram.

As Star Trek’s Lieutenant Uhura, Nichelle Nichols (RIP) Starred in “TV’s First Interracial Kiss” in 1968

The orig­i­nal Star Trek ran for only three sea­sons, but in that short time it had, to put it mild­ly, an out­sized cul­tur­al impact. That part­ly had to do with the series hav­ing aired in the late nine­teen-six­ties, an era when a host of long-stand­ing norms in Amer­i­can soci­ety (as well as in oth­er soci­eties across the world) seemed to have come up for re-nego­ti­a­tion. Through its sci­ence-fic­tion­al premis­es and twen­ty-third-cen­tu­ry set­ting, Star Trek could deal with the present in ways that would have been dif­fi­cult for oth­er, osten­si­bly more real­is­tic pro­grams.

In “Pla­to’s Stepchil­dren,” an episode from 1968, sev­er­al mem­bers of the Enter­prise’s crew find them­selves cap­tive on a plan­et of tele­ki­net­ic, ancient-Greece-wor­ship­ping sadists. It was there that Star Trek staged one of its most mem­o­rable moments, a kiss between William Shat­ner’s Cap­tain Kirk and the late Nichelle Nichols’ Lieu­tenant Uhu­ra. It aris­es not out of a rela­tion­ship that has devel­oped organ­i­cal­ly between the char­ac­ters, but out of com­pul­sion by the pow­ers of their “Pla­ton­ian” cap­tors, who force the humans to per­form for their enter­tain­ment.

Despite that nar­ra­tive loop­hole, the scene nev­er­the­less wor­ried the man­age­ment at NBC. They imag­ined that, giv­en that Shat­ner was white and Nichols black, to show them kiss­ing would pro­voke a neg­a­tive reac­tion among view­ers in parts of the coun­try his­tor­i­cal­ly hos­tile to the idea of roman­tic rela­tions between those races. Ensur­ing that the scene made it to the air as writ­ten (Nichols lat­er remem­bered in her auto­bi­og­ra­phy) neces­si­tat­ed such tac­tics as sab­o­tag­ing the alter­nate takes shot with­out the kiss: “Bill shook me and hissed men­ac­ing­ly in his best ham-fist­ed Kirkian stac­ca­to deliv­ery, ‘I! WON’T! KISS! YOU! I! WON’T! KISS! YOU!’ ”

The Kirk-Uhu­ra kiss did occa­sion a great many respons­es, prac­ti­cal­ly all of them pos­i­tive. That Nichols and Shat­ner — not to men­tion Star Trek cre­ator Gene Rod­den­ber­ry, and all their oth­er col­lab­o­ra­tors – pulled it off in the right way at the right moment is evi­denced by its being remem­bered more than 50 years lat­er as “TV’s First Inter­ra­cial Kiss.” In fact there had been inter­ra­cial kiss­es on tele­vi­sion for at least a decade (one, on a 1958 Ed Sul­li­van Show, involved Shat­ner him­self), but none had made quite such a con­vinc­ing state­ment, even to skep­tics. “I am total­ly opposed to the mix­ing of the races,” as Nichols remem­bered one view­er writ­ing in. “How­ev­er, any time a red-blood­ed Amer­i­can boy like Cap­tain Kirk gets a beau­ti­ful dame in his arms that looks like Uhu­ra, he ain’t gonna fight it.”

Relat­ed con­tent:

Nichelle Nichols Explains How Mar­tin Luther King Con­vinced Her to Stay on Star Trek

Star Trek‘s Nichelle Nichols Cre­ates a Short Film for NASA to Recruit New Astro­nauts (1977)

Watch the First-Ever Kiss on Film Between Two Black Actors, Just Hon­ored by the Library of Con­gress (1898)

Watch Edith+Eddie, an Intense, Oscar-Nom­i­nat­ed Short Film About America’s Old­est Inter­ra­cial New­ly­weds

William Shat­ner in Tears After Becom­ing the Old­est Per­son in Space: ‘I’m So Filled with Emo­tion … I Hope I Nev­er Recov­er from This”

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, on Face­book, or on Insta­gram.

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