3,200-Year-Old Egyptian Tablet Records Excuses for Why People Missed Work: “The Scorpion Bit Him,” “Brewing Beer” & More

Image via The British Muse­um 

We mar­vel today at what we con­sid­er the won­ders of ancient Egypt, but at some point, they all had to have been built by peo­ple more or less like our­selves. (This pre­sumes, of course, that you’ve ruled out all the myr­i­ad the­o­ries involv­ing super­nat­ur­al beings or aliens from out­er space.) Safe to say that, when­ev­er in human his­to­ry work has been done, work has been skipped, espe­cial­ly when that work is per­formed by large groups. It would’ve tak­en great num­bers indeed to build the pyra­mids, but even less colos­sal­ly scaled tombs could­n’t have been built alone. And when a tomb-builder took the day off, he need­ed an excuse suit­able to be writ­ten in stone — on at any rate, on stone.

“Ancient Egypt­ian employ­ers kept track of employ­ee days off in reg­is­ters writ­ten on tablets,” writes Madeleine Muz­dakis at My Mod­ern Met. One such arti­fact “held by the British Muse­um and dat­ing to 1250 BCE is an incred­i­ble win­dow into ancient work-life bal­ance.” Called ostra­ca, these tablets were made of “flakes of lime­stone that were used as ‘notepads’ for pri­vate let­ters, laun­dry lists, records of pur­chas­es, and copies of lit­er­ary works,” accord­ing to Egyp­tol­o­gist Jen­nifer Bab­cock.

Dis­cov­ered along with thou­sands of oth­ers in the tomb builder’s vil­lage of Deir el-Med­i­na, this par­tic­u­lar ostra­con, on view at the British Muse­um’s web site, offers a rich glimpse into the lives of that trade’s prac­ti­tion­ers. Over the 280-day peri­od cov­ered by this 3,200-year-old ostra­con, com­mon excus­es for absence include “brew­ing beer” and “his wife was bleed­ing.”

Beer, Muz­dakis explains, “was a dai­ly for­ti­fy­ing drink in Egypt and was even asso­ci­at­ed with gods such as Hathor. As such, brew­ing beer was a very impor­tant activ­i­ty.” And alarm­ing though that “bleed­ing” may sound, the ref­er­ence is to men­stru­a­tion: “Clear­ly men were need­ed on the home front to pick up some slack dur­ing this time. While one’s wife men­stru­at­ing is not an excuse one hears nowa­days, cer­tain­ly the ancients seem to have had a sim­i­lar work-life jug­gling act to per­form.” Most of us today pre­sum­ably have it eas­i­er than did the aver­age ancient Egypt­ian labor­er, or even arti­san. Depend­ing on where you live, maybe you, too, could call in sick to work with the excuse of hav­ing been bit­ten by a scor­pi­on. But how well would it fly if you were to plead the need to feast, to embalm your broth­er, or to make an offer­ing to a god?

via My Mod­ern Met

Relat­ed con­tent:

A 4,000-Year-Old Stu­dent ‘Writ­ing Board’ from Ancient Egypt (with Teacher’s Cor­rec­tions in Red)

Try the Old­est Known Recipe For Tooth­paste: From Ancient Egypt, Cir­ca the 4th Cen­tu­ry BC

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

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

The Turin Erot­ic Papyrus: The Old­est Known Depic­tion of Human Sex­u­al­i­ty (Cir­ca 1150 B.C.E.)

Won­ders of Ancient Egypt: A Free Online Course from the Uni­ver­si­ty of Penn­syl­va­nia

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.

Google App Uses Machine Learning to Discover Your Pet’s Look Alike in 10,000 Classic Works of Art


Does your cat fan­cy her­self a 21st-cen­tu­ry incar­na­tion of Bastet, the Egypt­ian God­dess of the Ris­ing Sun, pro­tec­tor of the house­hold, aka The Lady of Slaugh­ter?

If so, you should def­i­nite­ly per­mit her to down­load the Google Arts & Cul­ture app on your phone to take a self­ie using the Pet Por­traits fea­ture.

Remem­ber all the fun you had back in 2018 when the Art Self­ie fea­ture mis­took you for William II, Prince of Orange or the woman in “Jacob Cor­nelisz. van Oost­sa­nen Paint­ing a Por­trait of His Wife”?

Sure­ly your pet will be just as excit­ed to let a machine-learn­ing algo­rithm trawl tens of thou­sands of art­works from Google Arts & Culture’s part­ner­ing muse­ums’ col­lec­tions, look­ing for dop­pel­gängers.

Or maybe it’ll just view it as one more exam­ple of human fol­ly, if a far less­er evil than our predilec­tion for pet cos­tumes.

Should your pet wish to know more about the art­works it resem­bles, you can tap the results to explore them in depth.

Dogs, fish, birds, rep­tiles, hors­es, and rab­bits can play along too, though any­one hail­ing from the rodent fam­i­ly will find them­selves shut out.

Mash­able reports that “upload­ing a stock image of a mouse returned draw­ings of wolves.”

We can’t blame your pet snake for fum­ing.

Dit­to your Viet­namese Pot-bel­lied pig.

Though your pet fer­ret prob­a­bly doesn’t need an app (or a crys­tal ball) to know what its result would be. Bet­ter than an ermine col­lar, any­way…


If your pet is game and falls with­in Pet Por­traits approved species para­me­ters, here are the steps to fol­low:

  1. Launch the Google Arts & Cul­ture app and select the Cam­era but­ton. Scroll to the Pet Por­traits option.
  2. Have your pet take a self­ie. (Or alter­na­tive­ly, upload a saved image.)
  3. Give the app a few sec­onds (or min­utes) to return mul­ti­ple results with sim­i­lar­i­ty per­cent­ages.

Down­load the Google Arts & Cul­ture app here.

- 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.

Relat­ed Con­tent:

Google’s Free App Ana­lyzes Your Self­ie and Then Finds Your Dop­pel­ganger in Muse­um Por­traits

Con­struct Your Own Bayeux Tapes­try with This Free Online App

A Gallery of 1,800 Gigapix­el Images of Clas­sic Paint­ings: See Vermeer’s Girl with the Pearl Ear­ring, Van Gogh’s Star­ry Night & Oth­er Mas­ter­pieces in Close Detail

Tate Kids Presents Introductions to Art Movements: Cubism, Impressionism, Surrealism & More

Tate Kids has a sol­id grasp on the sort of hands on art-relat­ed con­tent that appeals to chil­dren — Make a mud paint­ing! Make a spaghet­ti sculp­ture! Pho­to fil­ter chal­lenge!

Chil­dren of all ages, grown ups who skipped out on art his­to­ry includ­ed, will ben­e­fit from their break­neck overviews of entire art move­ments.

Take cubism.

The Tate Kids’ ani­ma­tion, above, pro­vides a sol­id if speedy overview, zip­ping through eight can­vas­es, six artists, and expla­na­tions of the move­men­t’s two phas­es — ana­lyt­i­cal and syn­thet­ic. (Three phas­es if you count Orphism, the abstract, cubist influ­enced paint­ing style mar­ried artists Robert and Sonia Delau­nay hatched around 1912.)

Giv­en the intend­ed audi­ence, the fond friend­ship between the fathers of cubism, Georges Braque and Pablo Picas­so looms large, with nary a peep about Picasso’s nar­cis­sism and misog­y­ny. And it must be said that the narrator’s tone grates a bit — a bit too loud, a bit too wowed.

The Impres­sion­ists come off as the real cool kids, with a dif­fer­ent nar­ra­tor, and nifty col­lage ani­ma­tions that find Camille Pis­sar­ro throw­ing horns and a Mohawked Alfred Sis­ley as they reject the Salon’s insis­tence on “myths, bat­tles and paint­ings of impor­tant peo­ple.”

Their defi­ant spir­it is sup­port­ed by crit­i­cism that most def­i­nite­ly has not stood the test of time:

Pure evil! 

Wall­pa­per! 

Like a mon­key has got hold of a box of paints!

Kid pre­sen­ters seize the con­trols for an intro­duc­tion to the mid-cen­tu­ry Japan­ese avant-garde move­ment, Gutai.

Their con­clu­sion?

Smash­ing things up is fun!

As are man­i­festos:

Let’s bid farewell to the hoax­es piled up on the altars and in the palaces, the draw­ing rooms and the antique shops…Lock up these corpses in the grave­yard!

Yay!

Those who are poor­ly equipped to stom­ach the nar­ra­tors’ whizbang enthu­si­asm should take a restora­tive min­utes to vis­it the muse­um oranges in hand, with 12-year-old Jae­da and 9‑year-old Fati­matu. Their calm will­ing­ness to engage with con­cep­tu­al art is a ton­ic:

When I start­ed art, I though art was just about mak­ing it per­fect, but you don’t have to care what oth­er peo­ple say. That could still mean an art to you.

Watch a Tate Kids Art Move­ments playlist on YouTube. Sup­ple­ment what you’ve learned with a host of Tate Kids activ­i­ties, col­or­ing pages, games, quizzes, artist bios and a gallery of crowd­sourced kid art.

Relat­ed Con­tent 

The Tate Dig­i­tizes 70,000 Works of Art: Pho­tos, Sketch­books, Let­ters & More

Watch the Tate Mod­ern Restore Mark Rothko’s Van­dal­ized Paint­ing, Black on Maroon: 18 Months of Work Con­densed Into 17 Min­utes

A 110-Year-Old Book Illus­trat­ed with Pho­tos of Kit­tens & Cats Taught Kids How to Read

- 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.

Discover Khipu, the Ancient Incan Record & Writing System Made Entirely of Knots

Khi­pus, the portable infor­ma­tion archives cre­at­ed by the Inca, may stir up mem­o­ries of 1970s macrame with their long strands of intri­cate­ly knot­ted, earth-toned fibers, but their func­tion more close­ly resem­bled that of a dense­ly plot­ted com­put­er­ized spread­sheet.

As Cecil­ia Par­do-Grau, lead cura­tor of the British Museum’s cur­rent exhi­bi­tion Peru: a jour­ney in time explains in the above Cura­tors Cor­ner episode, khi­pus were used to keep track of every­thing from inven­to­ries and cen­sus to his­tor­i­cal nar­ra­tives, using a sys­tem that assigned mean­ing to the type and posi­tion of knot, spaces between knots, cord length, fiber col­or, etc.

Much of the infor­ma­tion pre­served with­in khi­pus has yet to be deci­phered by mod­ern schol­ars, though the Open Khipu Repos­i­to­ry — com­pu­ta­tion­al anthro­pol­o­gist Jon Clin­daniel’s open-source data­base — makes it pos­si­ble to com­pare the pat­terns of hun­dreds of khi­pus resid­ing in muse­um and uni­ver­si­ty col­lec­tions.

Even in the Incan Empire, few were equipped to make sense of a khipu. This task fell to quipu­ca­may­ocs, high born admin­is­tra­tive offi­cials trained since child­hood in the cre­ation and inter­pre­ta­tion of these organ­ic spread­sheets.

Fleet mes­sen­gers known as chask­is trans­port­ed khipus on foot between admin­is­tra­tive cen­ters, cre­at­ing an infor­ma­tion super­high­way that pre­dates the Inter­net by some five cen­turies. Khi­pus’ stur­dy organ­ic cot­ton or native camelid fibers were well suit­ed to with­stand­ing both the rig­ors of time and the road.

A 500-year-old com­pos­ite khipu that found its way to British Muse­um organ­ics con­ser­va­tor Nicole Rode pri­or to the exhi­bi­tion was intact, but severe­ly tan­gled, with a brit­tle­ness that betrayed its age. Below, she describes falling under the khipu’s spell, dur­ing the painstak­ing process of restor­ing it to a con­di­tion where­by researchers could attempt to glean some of its secrets.

Vis­it Museo Chileno de Arte Precolombino’s web­site to learn more about khipu in a series of fas­ci­nat­ing short arti­cles that accom­pa­nied their ground­break­ing 2003 exhib­it QUIPU: count­ing with knots in the Inka Empire.

via Aeon.

Relat­ed Con­tent: 

How the Inca Used Intri­cate­ly-Knot­ted Cords, Called Khipu, to Write Their His­to­ries, Send Mes­sages & Keep Records

Take a Vir­tu­al Tour of Machu Pic­chu, One of the New 7 Won­ders of the World

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

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.

Download 215,000 Japanese Woodblock Prints by Masters Spanning the Tradition’s 350-Year History

If you enjoy Japan­ese wood­block prints, that appre­ci­a­tion puts you in good com­pa­ny: with Vin­cent van Gogh, for exam­ple, and per­haps even more flat­ter­ing­ly, with many of your fel­low read­ers of Open Cul­ture. So avid is the inter­est in ukiyo‑e, the tra­di­tion­al Japan­ese “pic­tures of the float­ing world,” that you might even have missed one of the large, free online col­lec­tions we’ve fea­tured over the years. Take, for instance, the one made avail­able by the Van Gogh Muse­um itself, which fea­tures the work of such well-known mas­ters as Kat­sushi­ka Hoku­sai, artist of The Great Wave off Kanaza­wa, and Uta­gawa Hiroshige, he of the One Hun­dred Views of Edo.

Edo was the name of Tokyo until 1868, a decade after Hiroshige’s death — an event that itself marked the end of an aes­thet­i­cal­ly fruit­ful era for ukiyo‑e. But the his­to­ry of the form itself stretch­es back to the 17th cen­tu­ry, as reflect­ed by the Unit­ed States Library of Con­gress’ online col­lec­tion “Fine Prints: Japan­ese, pre-1915.”

There you’ll find plen­ty of Hoku­sai and Hiroshige, but also oth­ers who took the art form in their own direc­tions like Uta­gawa Yoshi­fu­ji, whose prints include depic­tions of not just his coun­try­men but vis­it­ing West­ern­ers as well. (The results are some­what more real­is­tic than the ukiyo‑e Lon­don imag­ined in 1866 by Uta­gawa Yoshi­to­ra, anoth­er mem­ber of the same artis­tic lin­eage.)

As if all this was­n’t enough, you can also find more than 220,000 Japan­ese wood­block prints at Ukiyo‑e.org. Quite pos­si­bly the most expan­sive such archive yet cre­at­ed, it includes works from Hiroshige and Hoku­sai’s 19th-cen­tu­ry “gold­en age of print­mak­ing” as well as from the devel­op­ment of the art form ear­ly in the cen­tu­ry before. Even after its best-known prac­ti­tion­ers were gone, ukiyo‑e con­tin­ued to evolve: through Japan’s mod­ern­iz­ing Mei­ji peri­od in the late 19th and ear­ly 20th cen­tu­ry, through var­i­ous aes­thet­ic move­ments in the years up to the Sec­ond World War, and even on to our own time, which has seen the emer­gence even of pro­lif­ic non-Japan­ese print­mak­ers.

Of course, these ukiyo‑e prints weren’t orig­i­nal­ly cre­at­ed to be viewed on the inter­net; the works of Hoku­sai and Hiroshige may look good on a tablet, but not by their design. Still, they did often have the indi­vid­ual con­sumer in mind: these are artists “known today for their wood­block prints, but who also excelled at illus­tra­tions for deluxe poet­ry antholo­gies and pop­u­lar lit­er­a­ture,” writes the Met­ro­pol­i­tan Muse­um of Art cura­tor John Car­pen­ter. His words greet the vis­i­tor to the Met’s online col­lec­tion of more than 650 illus­trat­ed Japan­ese books, which presents ukiyo‑e as it would actu­al­ly have been seen by most peo­ple when the form first explod­ed in pop­u­lar­i­ty — not that, even then, its enthu­si­asts could imag­ine how many appre­ci­a­tors it would one day have around the world.

Below you can find a list of pri­or posts fea­tur­ing archives of Japan­ese wood­block prints. Please feel free to explore them at your leisure.

Relat­ed con­tent:

Down­load Hun­dreds of 19th-Cen­tu­ry Japan­ese Wood­block Prints by Mas­ters of the Tra­di­tion

Down­load Vin­cent van Gogh’s Col­lec­tion of 500 Japan­ese Prints, Which Inspired Him to Cre­ate “the Art of the Future”

Down­load 2,500 Beau­ti­ful Wood­block Prints and Draw­ings by Japan­ese Mas­ters (1600–1915)

Enter a Dig­i­tal Archive of 213,000+ Beau­ti­ful Japan­ese Wood­block Prints

The Met Puts 650+ Japan­ese Illus­trat­ed Books Online: Mar­vel at Hokusai’s One Hun­dred Views of Mount Fuji and More

Watch the Mak­ing of Japan­ese Wood­block Prints, from Start to Fin­ish, by a Long­time Tokyo Print­mak­er

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

How to Make Comics: A Four-Part Series from the Museum of Modern Art


A paint­ing? “Mov­ing. Spir­i­tu­al­ly enrich­ing. Sub­lime. ‘High’ art.” The com­ic strip? “Vapid. Juve­nile. Com­mer­cial hack work. ‘Low’ art.” A paint­ing of a com­ic strip pan­el? “Sophis­ti­cat­ed irony. Philo­soph­i­cal­ly chal­leng­ing. ‘High’ art.” So says Calvin of Bill Wat­ter­son­’s Calvin and Hobbes, whose ten-year run con­sti­tutes one of the great­est artis­tic achieve­ments in the his­to­ry of the news­pa­per com­ic strip. The larg­er medi­um of comics goes well beyond the fun­ny pages, as any num­ber of trend pieces have told us, but as an art form it remains less than per­fect­ly under­stood.  Per­haps, as else­where, one must learn by doing: hence “How to Make Comics,” a “four-part jour­ney through the art of comics” from the Muse­um of Mod­ern Art.

Cre­at­ed by comics schol­ar and writer Chris Gavaler, this edu­ca­tion­al series begins with the broad­est pos­si­ble ques­tion: “What Are Comics?” That sec­tion offers two answers, the first being that comics are “car­toons in the fun­nies sec­tions of news­pa­pers and the pages of com­ic books” telling sto­ries “about super­heroes or talk­ing ani­mals” — or they’re longer-for­mat “graph­ic nov­els,” which “can be more seri­ous and include per­son­al mem­oirs.”

The sec­ond, broad­er answer con­ceives of comics as noth­ing more spe­cif­ic than “jux­ta­posed images. Any work of art that divides into two or more side-by-side parts is for­mal­ly a com­ic. So if an artist cre­ates two images and places them next to each oth­er, they’re work­ing in the comics form.”

That sec­ond def­i­n­i­tion of comics includes, say, Andy Warhol’s Jacque­line Kennedy III — a work of art that con­ve­nient­ly hap­pens to be owned by MoMA. The muse­um’s visu­al resources fig­ure heav­i­ly into the whole “How to Make Comics,” in which Gavaler explains not just the process of cre­at­ing comics but the rela­tion­ship between comics and oth­er (often longer insti­tu­tion­al­ly approved) forms of art. And to what­ev­er degree they jux­ta­pose images, the works of art in MoMA’s online col­lec­tion — rich as so many of them are with action, char­ac­ter, nar­ra­tive, humor, and even words — offer inspi­ra­tion to com­ic artists bud­ding and expe­ri­enced alike. The bet­ter part of two cen­turies into its devel­op­ment, this thor­ough­ly mod­ern medi­um has the pow­er to incor­po­rate ideas from any oth­er art form; the high-and-low dis­tinc­tions can take care of them­selves. Enter “How to Make Comicshere.

via Kot­tke

Relat­ed Con­tent:

Take a Free Online Course on Mak­ing Com­ic Books, Com­pli­ments of the Cal­i­for­nia Col­lege of the Arts

Fol­low Car­toon­ist Lyn­da Barry’s 2017 “Mak­ing Comics” Class Online, Pre­sent­ed at UW-Wis­con­sin

Watch Car­toon­ist Lyn­da Barry’s Two-Hour Draw­ing Work­shop

Down­load Over 22,000 Gold­en & Sil­ver Age Com­ic Books from the Com­ic Book Plus Archive

Down­load 15,000+ Free Gold­en Age Comics from the Dig­i­tal Com­ic Muse­um

MoMA’s Online Cours­es Let You Study Mod­ern & Con­tem­po­rary Art and Earn a Cer­tifi­cate

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.

Explore Thousands of Free Vintage Cocktail Recipes Online (1705–1951)

Where do the hip­ster mixol­o­gists of TokyoMex­i­co City and Brook­lyn take their inspi­ra­tion?

If not from the Expo­si­tion Uni­verselle des Vins et Spir­itueux’ free col­lec­tion of dig­i­tized vin­tage cock­tail recipe books, per­haps they should start.

An ini­tia­tive of the Muse­um of Wine and Spir­its on the Ile de Ben­dor in South­east­ern France, the col­lec­tion is a boon to any­one with an inter­est in cock­tail cul­ture …dit­to design, illus­tra­tion, evolv­ing social mores…

1928’s Chee­rio, a Book of Punch­es and Cock­tails was writ­ten by Charles, for­mer­ly of Delmonico’s, tout­ed in the intro­duc­to­ry note as “one who has served drinks to Princes, Mag­nates and Sen­a­tors of many nations”. No doubt dis­cre­tion pre­vent­ed him from pub­lish­ing his sur­name.

Charles appar­ent­ly abid­ed by the the­o­ry that it’s five o’clock some­where, with drinks geared to var­i­ous times of day, from the moment you “stag­ger out of bed, grog­gy, grouchy and cross-tem­pered” (try a Charleston Brac­er or a Brandy Port Nog) to the mid­night hour when “insom­nia, bad dreams, dis­il­lu­sion­ment and despair” call for such reme­dies as a Cholera Cock­tail or an Egg Whiskey Fizz.

As not­ed on the cov­er, there’s a sec­tion devot­ed to favorite recipes of celebri­ties. These big­wigs’ names will like­ly mean noth­ing to you near­ly one hun­dred years lat­er, but their first per­son rem­i­nis­cences bring them roar­ing back to the­atri­cal, boozy life.

Here’s cel­e­brat­ed vaude­vil­lian Trix­ie Frig­an­za:

In that nau­ti­cal city of Venice, I first made the acquain­tance of a remark­ably deli­cious drink known as ‘Port and Star­board’. Pour one half part Grena­dine or rasp­ber­ry syrup in a cor­dial glass. Then on top of this pour one half por­tion of Creme de Men­the slow­ly so that the ingre­di­ents will not mix. Dear old Venice. 

Indeed.

Pre­sum­ably any cock­tail recipe in the EUVS’s vast col­lec­tion could be adapt­ed as a mock­tail, but Charles gives a delib­er­ate nod to Pro­hi­bi­tion with a sec­tion on alco­hol-free (and extreme­ly easy to pre­pare) Tem­per­ance Drinks.

Don’t expect a Shirley Tem­ple — the triple threat child star was but an infant when Chee­rio was pub­lished. Expand your options with a Sarato­ga Cool­er or an Oggle Nog­gle instead.

Before attempt­ing to recite the poem that opens 1949’s Bot­toms Up: A Guide to Pleas­ant Drink­ing, you may want to slam a cou­ple of Depth Bombs Cock­tails or a Mer­ry Wid­ow Cock­tail No. 1.

In an abstemious con­di­tion, there’s no way this dit­ty can be made to scan…or rhyme:

The Advent of the Cock­tail

A lone­ly, aban­doned jig­ger of gin
Sat on a table top. “Alas”, cried he,
“Who will join me?” And he tried a friend­ly grin.
Came a pret­ty youth, Mam’selle Ver­mouth,
Who was bored with just being winey.
Said she to Sir Gin: “You’d be ever so nice
With Olive and Ice. And so they were Mar­ti­ni.

The cock­tail recipes are sol­id, through­out, how­ev­er, as one might expect from a book that dou­bled as an ad for spon­sor First Avenue Wine and Liquor Cor­po­ra­tion — “for Liquor…Quicker.”

We’ve yet to try any­thing from the “wines in cook­ery” sec­tion — but sus­pect that stur­dy fare like Pota­to Soup and Baked Beans could help sop up some of the alco­hol, even if con­tains some hair of the dog…

Shak­ing in the 60’s author Eddie Clark’s pre­vi­ous titles include Shak­ing with Eddie, Shake Again with Eddie and 1954’s Prac­ti­cal Bar Man­age­ment. 

Clark, who served as head bar­tender at London’s Savoy Hotel, Berke­ley Hotel and Albany Club, gets in the swing­ing 60s spir­it, by ded­i­cat­ing this work to “all imbib­ing lovers.”

William S. McCall’s decid­ed­ly boozy illus­tra­tions of ele­phants, anthro­po­mor­phized cock­tail glass­es and scant­i­ly clad ladies con­tribute to the fes­tive atmos­phere, though you prob­a­bly won’t be sur­prise to learn that some of them have not aged well.

Shak­ing in the 60’s boasts dozens of straight for­ward cock­tail recipes (the Beat­nik the Bun­ny Hug and the Mon­key Hugall fea­ture Pern­od), a sur­pris­ing­ly seri­ous-mind­ed sec­tion on wine, and a cou­ple of pages devot­ed to non-alco­holic drinks.

If your child turns up their nose at Clark’s Remain Sober, serve ‘em an Alber­mar­le Pussy­cat.

Clark also draws on his pro­fes­sion­al exper­tise to help home bar­tenders get a grip on mea­sure­ment con­ver­sionssup­ply lists, and toasts.

So con­fi­dent is he in his abil­i­ty to help read­ers throw a tru­ly mem­o­rable par­ty, he includes a dishy par­ty log, that prob­a­bly should be kept under lock and key after it’s been filled out. We imag­ine it would pair well with the Morn­ing Mashie, anoth­er Pern­od-based con­coc­tion ded­i­cat­ed to “all those enter­ing the hang­over class.”

Delve into the Expo­si­tion Uni­verselle des Vins et Spir­itueux’ free col­lec­tion of dig­i­tized vin­tage cock­tail recipe books from the 1820s through the 1960s here.

via Messy Nessy

Relat­ed Con­tent: 

A Dig­i­tal Library for Bar­tenders: Vin­tage Cock­tail Books with Recipes Dat­ing Back to 1753

A New Dig­i­tized Menu Col­lec­tion Lets You Revis­it the Cui­sine from the “Gold­en Age of Rail­road Din­ing”

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

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine. Fol­low her @AyunHalliday.

Vintage Public Health Posters That Helped People Take Smart Precautions During Past Crises


We sub­scribe to the the­o­ry that art saves lives even in the best of times.

In the midst of a major pub­lic health cri­sis, art takes a front line posi­tion, com­mu­ni­cat­ing best prac­tices to cit­i­zens with eye catch­ing, easy to under­stand graph­ics and a few well cho­sen words.

In March of 2020, less than 2 weeks after COVID-19 brought New York to its knees, Angeli­na Lip­pert, the Chief Cura­tor of Poster House, one of the city’s new­er muse­ums shared a blog post, con­sid­er­ing the ways in which the CDC’s basic hygiene rec­om­men­da­tions for help­ing stop the spread had been tout­ed to pre­vi­ous gen­er­a­tions.

As she not­ed in a lec­ture on the his­to­ry of the poster as Pub­lic Ser­vice Announce­ment the fol­low­ing month, “mass pub­lic health action… is how we stopped tuber­cu­lo­sis, polio, and oth­er major dis­eases that we don’t even think of today:”

And a major part of erad­i­cat­ing them was edu­cat­ing the pub­lic. That’s real­ly what PSAs are—a means of inform­ing and teach­ing the pub­lic en masse. It goes back to that idea … of not hav­ing to seek out infor­ma­tion, but just being pre­sent­ed with it. Keep­ing the bar­ri­er for entry low means more peo­ple will see and absorb the infor­ma­tion.

The Office of War Infor­ma­tion and the Dis­trict of Colum­bia Soci­ety for the Pre­ven­tion of Blind­ness used an approach­able look­ing rac­coon to con­vince the pub­lic to wash hands in WWII.

Artist Sey­mour Nydorf swapped the rac­coon for a blonde wait­ress with glam­orous red nails in a series of six posters for the U.S. Pub­lic Health Ser­vice of the Fed­er­al Secu­ri­ty Agency

Cough­ing and sneez­ing took posters into some­what gross­er ter­rain.

The New Zealand Depart­ment of Health’s 50s era poster shamed care­less sneez­ers into using a han­kie, and might well have giv­en those in their vicin­i­ty a per­sua­sive rea­son to bypass the buf­fet table.

Great Britain’s Cen­tral Coun­cil for Health Edu­ca­tion and Min­istry of Health col­lab­o­rat­ed with

Her Majesty’s Sta­tionery Office to teach the pub­lic some basic infec­tion math in WWII.

Children’s well­be­ing can be a very per­sua­sive tool. The WPA Fed­er­al Art Project was not play­ing in 1941 when it paired an image of a cheru­bic tot with stern warn­ings to par­ents and oth­er fam­i­ly mem­bers to curb their affec­tion­ate impuls­es, as well as the trans­mis­sion of tuber­cu­lo­sis.

The arrest­ing image packs more of a wal­lop than this earnest and far wordier, ear­ly 20s poster by the Nation­al Child Wel­fare Asso­ci­a­tion and the Nation­al Asso­ci­a­tion for the Study and Pre­ven­tion of Tuber­cu­lo­sis.

Read Poster House Chief Cura­tor Angeli­na Lippert’s Brief His­to­ry of PSA Posters here.

Down­load the free anti-xeno­pho­bia PSAs Poster House com­mis­sioned from design­er Rachel Gin­grich ear­ly in the pan­dem­ic here.

Relat­ed Con­tent: 

Down­load Beau­ti­ful Free Posters Cel­e­brat­ing the Achieve­ments of Liv­ing Female STEM Lead­ers

The First Muse­um Ded­i­cat­ed Exclu­sive­ly to Poster Art Opens Its Doors in the U.S.: Enter the Poster House

Sal­vador Dalí Cre­ates a Chill­ing Anti-Vene­re­al Dis­ease Poster Dur­ing World War II

Down­load 2,000 Mag­nif­i­cent Turn-of-the-Cen­tu­ry Art Posters, Cour­tesy of the New York Pub­lic Library

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

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