Explore the Roman Cookbook, De Re Coquinaria, the Oldest Known Cookbook in Existence

West­ern schol­ar­ship has had “a bias against study­ing sen­su­al expe­ri­ence,” writes Reina Gat­tuso at Atlas Obscu­ra, “the rel­ic of an Enlight­en­ment-era hier­ar­chy that con­sid­ered taste, touch, and fla­vor taboo top­ics for sober aca­d­e­m­ic inquiry.” This does not mean, how­ev­er, that cook­ing has been ignored by his­to­ri­ans. Many a schol­ar has tak­en Euro­pean cook­ing seri­ous­ly, before recent food schol­ar­ship expand­ed the canon. For exam­ple, in a 1926 Eng­lish trans­la­tion of an ancient Roman cook­book, Joseph Dom­mers Vehling makes a strong case for the cen­tral­i­ty of food schol­ar­ship.

“Any­one who would know some­thing worth while about the pri­vate and pub­lic lives of the ancients,” writes Vehling, “should be well acquaint­ed with their table.” Pub­lished as Cook­ery and Din­ing in Impe­r­i­al Rome (and avail­able here at Project Guten­berg), it is, he says, the old­est known cook­book in exis­tence.

The book, orig­i­nal­ly titled De Re Coquinar­ia, is attrib­uted to Api­cius and may date to the 1st cen­tu­ry A.C.E., though the old­est sur­viv­ing copy comes from the end of the Empire, some­time in the 5th cen­tu­ry. As with most ancient texts, copied over cen­turies, redact­ed, amend­ed, and edit­ed, the orig­i­nal cook­book is shroud­ed in mys­tery.

The cook­book’s author, Api­cius, could have been one of sev­er­al “renowned gas­tronomers of old Rome” who bore the sur­name. But whichev­er “famous eater” was respon­si­ble, over 2000 years lat­er the book has quite a lot to tell us about the Roman diet. (All of the illus­tra­tions here are by Vehling, who includes over two dozen exam­ples of ancient prac­tices and arti­facts.)

Meat played an impor­tant role, and “cru­el meth­ods of slaugh­ter were com­mon.” But the kind of meat avail­able seems to have changed dur­ing Apicius’s time:

With the increas­ing short­age of beef, with the increas­ing facil­i­ties for rais­ing chick­en and pork, a rever­sion to Api­cian meth­ods of cook­ery and diet is not only prob­a­bly but actu­al­ly seems inevitable. The ancient bill of fare and the ancient meth­ods of cook­ery were entire­ly guid­ed by the sup­ply of raw materials—precisely like ours. They had no great food stores nor very effi­cient mar­ket­ing and trans­porta­tion sys­tems, food cold stor­age. They knew, how­ev­er, to take care of what there was. They were good man­agers.

But veg­e­tar­i­ans were also well-served. “Api­cius cer­tain­ly excels in the prepa­ra­tion of veg­etable dish­es (cf. his cab­bage and aspara­gus) and in the uti­liza­tion of parts of food mate­ri­als that are today con­sid­ered infe­ri­or.” This appar­ent need to use every­thing, and to some­times heav­i­ly spice food to cov­er spoilage, may have led to an unusu­al Roman cus­tom. As How Stuff Works puts it, “cooks then were revered if they could dis­guise a com­mon food item so that din­ers had no idea what they were eat­ing.”

As for the recipes them­selves, well, any attempt to dupli­cate them will be at best a broad interpretation—a trans­la­tion from ancient meth­ods of cook­ing by smell, feel, and cus­tom to the mod­ern way of weights and mea­sures. Con­sid­er the fol­low­ing recipe:

WINE SAUCE FOR TRUFFLES

PEPPER, LOVAGE, CORIANDER, RUE, BROTH, HONEY AND A LITTLE OIL.

ANOTHER WAY: THYME, SATURY, PEPPER, LOVAGE, HONEY, BROTH AND OIL.

I fore­see much frus­trat­ing tri­al and error (and many hope­ful sub­sti­tu­tions for things like lovage or rue or “sat­u­ry”) for the cook who attempts this. Some foods that were plen­ti­ful­ly avail­able could cost hun­dreds now to pre­pare for a din­ner par­ty.

SEAFOOD MINCES ARE MADE OF SEA-ONION, OR SEA CRAB, FISH, LOBSTER, CUTTLE-FISH, INK FISH, SPINY LOBSTER, SCALLOPS AND OYSTERS. THE FORCEMEAT IS SEASONED WITH LOVAGE, PEPPER, CUMIN AND LASER ROOT.

Vehling’s foot­notes most­ly deal with ety­mol­o­gy and define unfa­mil­iar terms (“laser root” is wild fen­nel), but they pro­vide lit­tle prac­ti­cal insight for the cook. “Most of the Api­cian direc­tions are vague, hasti­ly jot­ted down, care­less­ly edit­ed,” much of the ter­mi­nol­o­gy is obscure: “with the advent of the dark ages, it ceased to be a prac­ti­cal cook­ery book.” We learn, instead, about Roman ingre­di­ents and home eco­nom­ic prac­tices, insep­a­ra­ble from Roman eco­nom­ics more gen­er­al­ly, accord­ing to Vehling.

He makes a judg­ment of his own time even more rel­e­vant to ours: “Such atroc­i­ties as the will­ful destruc­tion of huge quan­ti­ties of food of every descrip­tion on the one side and the starv­ing mul­ti­tudes on the oth­er as seen today nev­er occurred in antiq­ui­ty.” Per­haps more cur­rent his­to­ri­ans of antiq­ui­ty would beg to dif­fer, I wouldn’t know.

But if you’re just look­ing for a Roman recipe that you can make at home, might I sug­gest the Rose Wine?

ROSE WINE

MAKE ROSE WINE IN THIS MANNER: ROSE PETALS, THE LOWER WHITE PART REMOVED, SEWED INTO A LINEN BAG AND IMMERSED IN WINE FOR SEVEN DAYS. THEREUPON ADD A SACK OF NEW PETALS WHICH ALLOW TO DRAW FOR ANOTHER SEVEN DAYS. AGAIN REMOVE THE OLD PETALS AND REPLACE THEM BY FRESH ONES FOR ANOTHER WEEK; THEN STRAIN THE WINE THROUGH THE COLANDER. BEFORE SERVING, ADD HONEY SWEETENING TO TASTE. TAKE CARE THAT ONLY THE BEST PETALS FREE FROM DEW BE USED FOR SOAKING.

You could prob­a­bly go with red or white, though I’d haz­ard Api­cius went with a fine vinum rubrum. This con­coc­tion, Vehling tells us in a help­ful foot­note, dou­bles as a lax­a­tive. Clever, those Romans. Read the full Eng­lish trans­la­tion of the ancient Roman cook­book here.

Relat­ed Con­tent: 

Cook Real Recipes from Ancient Rome: Ostrich Ragoût, Roast Wild Boar, Nut Tarts & More

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

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

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

How to Win an Argument (at the U.S. Supreme Court, or Anywhere Else): A Primer by Litigator Neal Katyal

Do you like being right? Of course, every­one does. Are you suc­cess­ful at con­vinc­ing oth­ers? That’s a tougher one. We may polite­ly dis­agree, avoid, or scream bloody mur­der at each oth­er, but what­ev­er our con­flict style, no one is born, and few are raised, know­ing how to per­suade.

Per­sua­sion does not mean coer­cion, deceit, or manip­u­la­tion, the tac­tics of con artists, under­hand­ed sales­per­sons, or stereo­typ­i­cal­ly untrust­wor­thy lawyers….

Per­sua­sion is about shift­ing oth­ers’ point of view, respect­ful­ly and char­i­ta­bly, through the use of evi­dence and argu­ment, eth­i­cal appeals, mov­ing sto­ries, and “faith in the pow­er of your ideas,” as Neal Katyal explains in his TED pre­sen­ta­tion above, “How to Win an Argu­ment (at the U.S. Supreme Court, or any­where).”

Katyal’s job as a Supreme Court lit­i­ga­tor makes him an author­i­ty on this sub­ject. It may also dis­tract you with thoughts about the cur­rent Court pow­er strug­gle. Try to put those thoughts aside. In places where rea­son, evi­dence, and ethics have pur­chase, Katyal’s advice can pay div­i­dends in your quest to win oth­ers over.

In his first case before the Court a “hand­ful of years” after the 9/11 attacks, he rep­re­sent­ed Osama bin Laden’s dri­ver in a suit press­ing to rec­og­nize Gene­va Con­ven­tion rules in the war on ter­ror and to rule Guan­tanamo uncon­sti­tu­tion­al. His oppo­nent, the Solic­i­tor Gen­er­al of the U.S., had argued 35 cas­es before the court; “I wasn’t even 35 years old,” Katyal says. He won the case, and he’ll tell you how.

His most impor­tant les­son? Win­ning argu­ments isn’t about being right. It isn’t about believ­ing real­ly, real­ly hard that you’re right. Per­sua­sion is not about con­fi­dence, Katyal insists. It’s about empa­thy. Oral argu­ments in the court­room (which judges could just as well read in tran­script form) show us as much, he says.

When his legal exper­tise was not help­ing in prepa­ra­tion for the big tri­al, Katyal felt des­per­ate and hired an act­ing coach, who trained him in such tech­niques as hold­ing hands while mak­ing his argu­ments. What? Yes, that’s exact­ly what Katyal said. But he did it, and it worked.

Hold­ing hands with the Jus­tices isn’t an option in court, but Katyal found oth­er ways to remind him­self to stay close to what mat­tered, wear­ing acces­sories his par­ents had giv­en him, for exam­ple, and writ­ing his children’s names on a legal pad: “That’s why I’m doing this, for them. To leave the coun­try bet­ter than I found it.”

Once he had estab­lished his pri­vate rea­sons for car­ing, he was ready to present his pub­lic rea­sons. As the old say­ing goes, “peo­ple don’t care how much you know, until they know how much you care.” The facts absolute­ly mat­ter, yet the bur­den of show­ing how and why facts mat­ter falls to the per­suad­er, whose own pas­sion, integri­ty, com­mit­ment, etc. will go a long way toward mak­ing an audi­ence recep­tive.

This advice applies in any sit­u­a­tion, but if you’re won­der­ing how to move Katyal’s advice online.… well, maybe the ulti­mate les­son here is that we’re at our most per­sua­sive when we’re close enough—physically or virtually—to take some­body’s hand.…

Relat­ed Con­tent:

Read An Illus­trat­ed Book of Bad Argu­ments: A Fun Primer on How to Strength­en, Not Weak­en, Your Argu­ments

Lit­er­ary The­o­rist Stan­ley Fish Offers a Free Course on Rhetoric, or the Pow­er of Argu­ments

How to Argue With Kind­ness and Care: 4 Rules from Philoso­pher Daniel Den­nett

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

10,000 Vintage Recipe Books Are Now Digitized in The Internet Archive’s Cookbook & Home Economics Collection

“Ear­ly cook­books were fit for kings,” writes Hen­ry Notak­er at The Atlantic. “The old­est pub­lished recipe col­lec­tions” in the 15th and 16th cen­turies in West­ern Europe “emanat­ed from the palaces of mon­archs, princes, and grand señores.” Cook­books were more than recipe collections—they were guides to court eti­quette and sump­tu­ous records of lux­u­ri­ous liv­ing. In ancient Rome, cook­books func­tioned sim­i­lar­ly, as the extrav­a­gant fourth cen­tu­ry Cook­ing and Din­ing in Impe­r­i­al Rome demon­strates.

Writ­ten by Api­cius, “Europe’s old­est [cook­book] and Rome’s only one in exis­tence today”—as its first Eng­lish trans­la­tor described it—offers “a bet­ter way of know­ing old Rome and antique pri­vate life.” It also offers keen insight into the devel­op­ment of heav­i­ly fla­vored dish­es before the age of refrig­er­a­tion. Api­cus rec­om­mends that “cooks who need­ed to pre­pare birds with a ‘goat­ish smell’ should bathe them in a mix­ture of pep­per, lovage, thyme, dry mint, sage, dates, hon­ey, vine­gar, broth, oil and mus­tard,” Melanie Radz­ic­ki McManus notes at How Stuff Works.

Ear­ly cook­books com­mu­ni­cat­ed in “a folksy, impre­cise man­ner until the Indus­tri­al Rev­o­lu­tion of the 1800s,” when stan­dard (or met­ric) mea­sure­ment became de rigueur. The first cook­book by an Amer­i­can, Amelia Sim­mons’ 1796 Amer­i­can Cook­ery, placed British fine din­ing and lav­ish “Queen’s Cake” next to “john­ny cake, fed­er­al pan cake, buck­wheat cake, and Indi­an slap­jack,” Kei­th Stave­ly and Kath­leen Fitzger­ald write at Smith­son­ian, all recipes sym­bol­iz­ing “the plain, but well-run and boun­ti­ful Amer­i­can home.” With this book, “a dia­logue on how to bal­ance the sump­tu­ous with the sim­ple in Amer­i­can life had begun.”

Cook­books are win­dows into history—markers of class and caste, doc­u­ments of dai­ly life, and snap­shots of region­al and cul­tur­al iden­ti­ty at par­tic­u­lar moments in time. In 1950, the first cook­book writ­ten by a fic­tion­al lifestyle celebri­ty, Bet­ty Crock­er, debuted. It became “a nation­al best-sell­er,” McManus writes. “It even sold more copies that year than the Bible.” The image of the per­fect Step­ford house­wife may have been big­ger than Jesus in the 50s, but Crock­er’s career was decades in the mak­ing. She debuted in 1921, the year of pub­li­ca­tion for anoth­er, more hum­ble recipe book: the Pil­grim Evan­gel­i­cal Luther­an Church Ladies’ Aid Soci­ety of Chicago’s Pil­grim Cook Book.

As Ayun Hal­l­i­day not­ed in an ear­li­er post, this charm­ing col­lec­tion fea­tures recipes for “Blitz Torte, Cough Syrup, and Sauer­kraut Can­dy,” and it’s only one of thou­sands of such exam­ples at the Inter­net Archive’s Cook­book and Home Eco­nom­ics Col­lec­tion, drawn from dig­i­tized spe­cial col­lec­tions at UCLA, Berke­ley, and the Prelinger Library. When we last checked in, the col­lec­tion fea­tured 3,000 cook­books. It has grown since 2016 to a library of 10,600 vin­tage exam­ples of home­spun Amer­i­cana, fine din­ing, and mass mar­ket­ing.

Laugh at gag-induc­ing recipes of old; cringe at the pious advice giv­en to women osten­si­bly anx­ious to please their hus­bands; and mar­vel at how var­i­ous inter­na­tion­al and region­al cuisines have been rep­re­sent­ed to unsus­pect­ing Amer­i­can home cooks. (It’s hard to say whether the cov­er or the con­tents of a Chi­nese Cook Book in Plain Eng­lish from 1917 seem more offen­sive.) Cook­books of recipes from the Amer­i­can South are pop­u­lar, as are cov­ers fea­tur­ing stereo­typ­i­cal “mam­my” char­ac­ters. A more respect­ful inter­na­tion­al exam­ple, 1952’s Luchow’s Ger­man Cook­book gives us “the sto­ry and the favorite dish­es of Amer­i­ca’s most famous Ger­man restau­rant.”

There are guides to mush­rooms and “com­mon­er fun­gi, with spe­cial empha­sis on the edi­ble vari­eties”; col­lec­tions of “things moth­er used to make” and, most prac­ti­cal­ly, a cook­book for left­overs. And there is every oth­er sort of cook­book and home ec. man­u­al you could imag­ine. The archive is stuffed with help­ful hints, rare ingre­di­ents, unex­pect­ed region­al cook­eries, and mil­lions of minute details about the habits of these books’ first hun­gry read­ers.

Relat­ed Con­tent:

The New York Times Makes 17,000 Tasty Recipes Avail­able Online: Japan­ese, Ital­ian, Thai & Much More

Archive of Hand­writ­ten Recipes (1600 – 1960) Will Teach You How to Stew a Calf’s Head and More

A Data­base of 5,000 His­tor­i­cal Cookbooks–Covering 1,000 Years of Food History–Is Now Online

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

A Creepy 19th Century Re-Creation of the Famous Ancient Roman Statue, Laocoön and His Sons

Beware of Greeks bear­ing gifts. We’ve all heard that proverb, but few of us could name its source: the Tro­jan priest Lao­coön, a his­tor­i­cal char­ac­ter in the Aeneid. “Do not trust the Horse, Tro­jans,” Vir­gil has him say. “What­ev­er it is, I fear the Greeks even bear­ing gifts.” He was right to do so, as we all know, though his death came not at the hands of the Greek army let into Troy by the sol­diers hid­den inside the Horse, but those of the gods. As Vir­gil has it, an enraged Lao­coön threw a spear at the Horse when his com­pa­tri­ots dis­re­gard­ed words of cau­tion, and in response the god­dess Min­er­va sent forth a cou­ple of sea ser­pents to do him in.

The Aeneid, of course, offers only one account of Lao­coön’s fate. Sopho­cles, for instance, had him spared and only his sons killed, and his osten­si­ble crime — being a priest yet mar­ry­ing — had noth­ing to do with the Tro­jan Horse. But what­ev­er drew the ser­pents Lao­coön’s way, the moment they set upon him and his sons was immor­tal­ized by Rho­di­an sculp­tors Age­sander, Athen­odor­os, and Poly­dorus in Lao­coön and His Sons, among the most famous ancient sculp­tures in exis­tence since its exca­va­tion in 1506. (The sculp­ture was orig­i­nal­ly cre­at­ed some­where between 200 BC and 70 AD.) Var­i­ous trib­utes have been paid to it over the cen­turies, most notably by an Aus­tri­an anatomist named Josef Hyrtl, whose built his high­ly Hal­loween-suit­able recre­ation out of skele­tons — both human and snake.

“Accord­ing to Christo­pher Polt, an assis­tant pro­fes­sor in the clas­si­cal stud­ies depart­ment at Boston Col­lege who tweet­ed a side-by-side com­par­i­son of the two ver­sions, Hyrtl cre­at­ed his take on the sculp­ture at the Uni­ver­si­ty of Vien­na around 1850,” writes Hyper­al­ler­gic’s Valenti­na Di Lis­cia. In response, a his­to­ri­an named Gre­go­ry Stringer tweet­ed that Hyrtl must have been able to intu­it the “prop­er pose” of Lao­coön’s right arm, since in the mid-19th cen­tu­ry the sculp­ture’s orig­i­nal arm was still miss­ing, yet to be redis­cov­ered and reat­tached, and since 1510 had been replaced in copies with an incor­rect­ly out­stretched sub­sti­tute. Lao­coön and His Sons now resides at the Vat­i­can (learn more about it in the Smarthis­to­ry video below), but Hyrtl’s skele­tal Lao­coön and His Sons was destroyed in the 1945 Allied bomb­ing of Vien­na.

In 2018, a sim­i­lar project was attempt­ed again for an exhib­it at the Hous­ton Muse­um of Nat­ur­al Sci­ence. The new all-skele­ton ver­sion of Lao­coön and His Sons was cre­at­ed, as the Hous­ton Press’ Jef Rouner reports, by taxi­der­mist Lawyer Dou­glas, taxi­dermy col­lec­tor Tyler Zottarelle, and artist Joshua Ham­mond. “It looks a lot like inter­pre­ta­tive dance,” Rouner quotes Dou­glas as say­ing of Hyrtl’s work. “It’s a beau­ti­ful piece, but I was con­cerned it wasn’t able to cap­ture the orig­i­nal strug­gle of ani­mal ver­sus human.” Though Age­sander, Athen­odor­os, and Poly­dorus’ orig­i­nal is known as a “pro­to­typ­i­cal icon of human agony,” it turns out that “get­ting per­pet­u­al­ly grin­ning skulls to seem in agony is hard­er than you might think.” But if any time of the year is right for grin­ning skulls to express the human expe­ri­ence, sure­ly this is it.

via Hyper­al­ler­gic

Relat­ed Con­tent:

Free Art & Art His­to­ry Cours­es

19th-Cen­tu­ry Skele­ton Alarm Clock Remind­ed Peo­ple Dai­ly of the Short­ness of Life: An Intro­duc­tion to the Memen­to Mori

How Ancient Greek Stat­ues Real­ly Looked: Research Reveals Their Bold, Bright Col­ors and Pat­terns

An Artist Cro­chets a Life-Size, Anatom­i­cal­ly-Cor­rect Skele­ton, Com­plete with Organs

Cel­e­brate The Day of the Dead with The Clas­sic Skele­ton Art of José Guadalupe Posa­da

3D Scans of 7,500 Famous Sculp­tures, Stat­ues & Art­works: Down­load & 3D Print Rodin’s Thinker, Michelangelo’s David & More

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.

The Incredible Six-Octave Vocal Range of Opera-Singing Punk Diva Nina Hagen

If you’re a read­er of this site, it’s like­ly you known the name Klaus Nomi, the diminu­tive Ger­man singer who stunned New Wave audi­ences in New York with his angel­ic sopra­no voice and opera cov­ers. If you know of Nomi, you like­ly know of Nina Hagen, who start­ed releas­ing records in her native East Ger­many in the late 70s, mix­ing opera with punk, funk, and reg­gae and cov­er­ing clas­sics from Tina Turn­er to The Tubes “White Punks on Dope.” She became a major star, but her name does not come up often these days. She is long over­due for a revival.

Like Nomi, Hagen was a mas­ter of fright make-up and exag­ger­at­ed, Expres­sion­ist faces. She did not, how­ev­er, have an alien alter-ego or col­lec­tion of space­suits. What she had was a whol­ly orig­i­nal style all her own, full of eccen­tric vocal­iza­tions crit­ic Robert Christ­gau com­pared to The Exor­cist’s Lin­da Blair.

Her stage shows were what Hagen her­self described as “inde­scrib­able.” She applied her “umpteen-octave range,” as Christ­gau wrote, with­out restraint to every imag­in­able kind of mate­r­i­al, from cabaret to Nor­man Greenbaum’s “Spir­it in the Sky.”

Impos­si­ble to clas­si­fy, Hagen was beloved by the likes of the Sex Pis­tols and the Slits. Less than a decade after her 1978 debut with the Nina Hagen Band, she appeared in Tokyo with the Japan­ese Phil­har­mon­ic Orches­tra in a con­cert broad­cast to 15 coun­tries, per­form­ing the songs of Bertolt Brecht and Kurt Weill. (See her that same year, 1985, sing from Car­men in Copen­hagen, Den­mark, just above.) She con­vert­ed to Chris­tian­i­ty lat­er in life, fre­quent­ly sings gospel tunes, and released an album called Per­son­al Jesus in 2010 fea­tur­ing a cov­er of the icon­ic Depeche Mode song.

Hagen emerged in 1978 along­side a num­ber of the­atri­cal female singers with preter­nat­u­ral­ly unset­tling voic­es, debut­ing at the same time as Siouxsie Sioux, Kate Bush, and Dia­man­da Galas (who has received her own com­par­isons to Lin­da Blair). But her own jour­ney was par­tic­u­lar­ly unusu­al. “Lis­ten­ing to Hagen chat mat­ter-of-fact­ly about her life,” wrote The Irish Times in a review, “Madon­na seems like Doris Day in com­par­i­son, while your pre­tender Lady Gaga is, in Hagen’s own words, ‘a pop pros­ti­tute who has more to do with biki­ni adver­tis­ing.’”

Put more in more pos­i­tive terms, the singer honed her the­atri­cal “quick-change” per­sona through a “bar­rage of influ­ences,” the New York Times not­ed. Crit­ics were divid­ed over her eclec­ti­cism. Rolling Stone called her 1982 solo, Eng­lish-lan­guage debut the “most unlis­ten­able” album ever made, an unfair­ly harsh assess­ment that did­n’t stop her from exper­i­ment­ing with even more dis­so­nant, dis­ori­ent­ing sounds.

As Hagen her­self tells her sto­ry:

I grew up in East Berlin, in a fam­i­ly of artists. I heard opera all day long. From the time I was 9 years old I was imi­tat­ing the singers; lat­er I stud­ied opera. But we also got West­ern tele­vi­sion and radio, from the Amer­i­cans in West Berlin. When I was 11 years old, I turned into a hip­pie and gave flow­ers to police­men. And when I was 21 and left Berlin for Lon­don, I became a punk.

She became a punk diva, that is. Hagen’s vocal range—which you can hear demon­strat­ed in the thor­ough video analy­sis above—over her band’s prog-like jams (as in “Naturträne), con­jured up both angels and demons. She evokes dread with gut­tur­al growls and wide-eyed stares, she can look “child­like, sweet or ter­ri­fy­ing,” or all three at once, and she nev­er lacks the essen­tial qual­i­ty an opera singer needs to make it in rock and roll: a sense of humor.

Relat­ed Con­tent:

Klaus Nomi Per­forms with Kraftwerk on Ger­man Tele­vi­sion (1982)

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

33 Songs That Doc­u­ment the His­to­ry of Fem­i­nist Punk (1975–2015): A Playlist Curat­ed by Pitch­fork

How to Lis­ten to Music: A Free Course from Yale Uni­ver­si­ty

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

How Science Fiction Formed Jimi Hendrix

“Through the entire­ty of his short life Jimi Hen­drix was an avid fan of sci­ence fic­tion. As a young child Hen­drix and his broth­er Leon would escape their trou­bled upbring­ing by dream­ing up sto­ries of far-off plan­ets and fly­ing saucers.” So begins the Poly­phon­ic video above, an explo­ration of how sci-fi informed the apoc­a­lyp­tic images and spaced-out sounds in Hendrix’s songs. His love of sci­ence fic­tion “only inten­si­fied as an adult,” espe­cial­ly when Hen­drix moved in with Chas Chan­dler, who would become his man­ag­er and pro­duc­er, and who owned a large col­lec­tion of sci-fi nov­els.

The books Hen­drix read at the time pro­vid­ed him with the mate­r­i­al he need­ed for a psy­che­del­ic rev­o­lu­tion. He turned the “pur­plish haze” in Philip Jose Farmer’s Night of Light into “Pur­ple Haze.” The song’s lyrics ref­er­ence the dis­ori­ent­ing state of mind char­ac­ters in Farmer’s sto­ry expe­ri­ence from cos­mic radi­a­tion, while they also allude, of course, to oth­er kinds of altered states. Hen­drix didn’t just weave sci-fi themes and ref­er­ences into his songs. He and Chan­dler com­posed space-rock epics that expand­ed the pos­si­bil­i­ties of the elec­tric gui­tar and the record­ing stu­dio.

Third Stone from the Sun” is writ­ten “from the per­spec­tive of an alien scout who is observ­ing Earth from afar.” Though he deflects with humor and innu­en­do, the alien char­ac­ter in the song express­es com­plete dis­gust with human­i­ty: “Your peo­ple I do not under­stand / So to you I shall put an end.” In “Up from the Skies,” Hen­drix sings from “the per­spec­tive of one who lived on Earth long ago, and is dis­mayed at the state of the plan­et when he comes back to vis­it.” Call­ing the Earth a “peo­ple farm,” he says to the plan­et as a whole, “I heard some of you got your fam­i­lies / Liv­ing in cages.”

The video links Hendrix’s use of sci­ence fic­tion as social com­men­tary to some of the best-known writ­ers of the genre, includ­ing Aldous Hux­ley, Isaac Asi­mov, Stanis­law Lem, and Ursu­la K. LeGuin. These are wor­thy com­par­isons, to be sure, but there is anoth­er tra­di­tion in which to sit­u­ate him, one that had been at work in pop­u­lar music since Sun Ra first stepped onstage and claimed to be from out­er space. Hendrix’s respons­es to the “apoc­a­lyp­tic” images of the Viet­nam War and the mass protest, civ­il unrest, and racial strife in the U.S. draws on an Afro­fu­tur­ist lex­i­con as much as from pre­dom­i­nate­ly white sci-fi.

Coined in 1995 by crit­ic Mark Dery in con­ver­sa­tion with sci­ence fic­tion giant Samuel R. Delany, crit­ic Greg Tate, and Pro­fes­sor Tri­cia Rose, the term “Afro­fu­tur­ism” describes a hybrid sci-fi aes­thet­ic that ties togeth­er past, present, and future Black expe­ri­ences. “From Sun-Ra to Janelle Monáe, the appro­pri­a­tion of oth­er-world­ly and alien iconog­ra­phy estab­lish­es Afro-futur­ists as out­siders,” writes Mawe­na Yehoues­si. Afro­fu­tur­ism is the cre­ative expres­sion of dou­ble con­scious­ness: C. Bran­don Ogbunu traces the genre back to W.E.B. Du Bois’ 1920 short sto­ry “The Comet” and argues that the abil­i­ty of Black artists to view the cul­ture as both insid­ers and out­siders can “help us to con­sid­er uni­vers­es of bet­ter alter­na­tives.”

Hendrix’s nar­ra­tors describe apoc­a­lyp­tic visions, but they do so from the point-of-view of oth­er, bet­ter worlds, or bet­ter times, or, in “A Mer­man I Should Turn to Be”—perhaps one of Hendrix’s most tren­chant critiques—an under­sea refuge.

Well it’s too bad that our friends, can’t be with us today
Well it’s too bad
‘The machine, that we built,
Would nev­er save us’, that’s what they say
(That’s why they ain’t com­ing with us today)
And they also said it’s impos­si­ble for a man to live and breathe under
Water, for­ev­er,
Was their main com­plaint
And they also threw this in my face, they said:
Any­way, you know good and well it would be beyond the will of God,
And the grace of the King (grace of the King)
(Yeah, yeah)

The per­spec­tive seems to antic­i­pate the pes­simistic, post-apoc­a­lyp­tic visions of Octavia But­ler. It’s a view Afro­fu­tur­ist the­o­rist Kod­wo Eshun links to the expe­ri­ences of peo­ple of the African dias­po­ra gen­er­al­ly, who “live the estrange­ment that sci­ence-fic­tion writ­ers envi­sion. Black expe­ri­ence and sci­ence fic­tion are one and the same.” Afro­fu­tur­ism has “always looked for­ward,” Tay­lor Crump­ton writes at Clever, pro­vid­ing a “blue­print for cul­tur­al growth.” In Hendrix’s songs, we feel the urgent ten­sion between a world on fire and a desire to escape, resolv­ing, Poly­phon­ic con­cludes, with “hope in a new way of liv­ing.”

Relat­ed Con­tent:

Watch Rare Footage of Jimi Hen­drix Per­form­ing “Voodoo Child” in Maui, Plus a Trail­er for a New Doc­u­men­tary on Jimi Hendrix’s Leg­endary Maui Per­for­mances (1970)

Behold Moe­bius’ Many Psy­che­del­ic Illus­tra­tions of Jimi Hen­drix

Watch a 5‑Part Ani­mat­ed Primer on Afro­fu­tur­ism, the Black Sci-Fi Phe­nom­e­non Inspired by Sun Ra

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

The Great Illustration That Accompanied Eddie Van Halen’s Application to the U.S. Patent and Trademark Office (1987)

Through­out the past week, we’ve read many trib­utes to Eddie Van Halen and his end­less capac­i­ty for inno­va­tion. Styl­is­ti­cal­ly, EVH changed the sound of rock with tap­ping, a tech­nique that let him play rapid arpeg­gios with two hands on the gui­tar’s fret­board. (Exhib­it A is here.) Tech­ni­cal­ly, he cre­at­ed a unique sound by fash­ion­ing his own gui­tar, the Franken­strat, which meld­ed the sounds of Gib­son and Fend­er gui­tars. And what’s more, he patent­ed three inven­tions, one of which came with the daz­zling illus­tra­tion above. Edward L. Van Halen’s 1987 patent for a “musi­cal instru­ment sup­port” was described as fol­lows:

A sup­port­ing device for stringed musi­cal instru­ments, for exam­ple, gui­tars, ban­jos, man­dolins and the like… The sup­port­ing device is con­struct­ed and arranged for sup­port­ing the musi­cal instru­ment on the play­er to per­mit total free­dom of the play­er’s hands to play the instru­ment in a com­plete­ly new way, thus allow­ing the play­er to cre­ate new tech­niques and sounds pre­vi­ous­ly unknown to any play­er. The device, when in its oper­a­tional posi­tion, has a plate which rests upon the play­er’s leg leav­ing both hands free to explore the musi­cal instru­ment as nev­er before. Because the musi­cal instru­ment is arranged per­pen­dic­u­lar to the play­er’s body, the play­er has max­i­mum vis­i­bil­i­ty of the instru­men­t’s entire play­ing sur­face.

What would this device look like? The graph­ic above visu­al­izes it all. Find the illus­tra­tion in the patent appli­ca­tion here.

Back in 2015, Van Halen wrote a piece in Pop­u­lar Mechan­ics dis­cussing his patents and oth­er tech­ni­cal work on gui­tars and amps. For those who want to delve deep­er into his tin­ker­ing, read the arti­cle here.

via Brad­ford Peter­son & Boing Boing

If you would like to sign up for Open Culture’s free email newslet­ter, please find it here. Or fol­low our posts on Threads, Face­book, BlueSky or Mastodon.

If you would like to sup­port the mis­sion of Open Cul­ture, con­sid­er mak­ing a dona­tion to our site. It’s hard to rely 100% on ads, and your con­tri­bu­tions will help us con­tin­ue pro­vid­ing the best free cul­tur­al and edu­ca­tion­al mate­ri­als to learn­ers every­where. You can con­tribute through Pay­Pal, Patre­on, and Ven­mo (@openculture). Thanks!

Relat­ed Con­tent:

Watch Some of Eddie Van Halen’s (RIP) Great­est Per­for­mances: “Shred­ding Was Eddie’s Very Essence”

15-Year-Old French Gui­tar Prodi­gy Flaw­less­ly Rips Through Solos by Eddie Van Halen, David Gilmour, Yng­wie Malm­steen & Steve Vai

Musi­cal Come­di­an Reg­gie Watts Rein­vents Van Halen’s Clas­sic, “Pana­ma”

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The David Lynch Retrospective: A Two Hour Video Essay on Lynch’s Complete Filmography, from Eraserhead to Inland Empire

If you were to watch David Lynch’s com­plete fil­mog­ra­phy from begin­ning to end, how would you see real­i­ty after­ward? Video essay­ist Lewis Bond sure­ly has some idea. As the cre­ator of Chan­nel Criswell, whose exam­i­na­tions of auteurs like Andrei TarkovskyFran­cis Ford Cop­po­la, and Mar­tin Scors­ese we’ve pre­vi­ous­ly fea­tured here on Open Cul­ture, he once released a med­i­ta­tion on what makes a Lynch film “Lynchi­an.” Now, under the new ban­ner of The Cin­e­ma Car­tog­ra­phy (and in part­ner­ship with film stream­ing ser­vice MUBI), Bond not only returns to the well of the Lynchi­an, but plunges in deeply enough to come up with The David Lynch Ret­ro­spec­tive.

In two hours, this video essay makes a jour­ney through all the dark recess­es of Lynch’s fea­ture fil­mog­ra­phy — a fil­mog­ra­phy that, admit­ted­ly, can at times seem made up of noth­ing but dark recess­es. It begins in 1977 with Eraser­head, Lynch’s first full-length pic­ture as well as his least remit­ting. How­ev­er har­row­ing its bio­me­chan­i­cal strange­ness, that debut drew the eye of Hol­ly­wood, result­ing in Lynch’s hir­ing to direct The Ele­phant Man, a chiaroscuro vision of the life of deformed 19th-cen­tu­ry Eng­lish­man Joseph Mer­rick. There fol­lows the infa­mous Dune, which finds Lynch at the helm (at least nom­i­nal­ly) of a $40-mil­lion adap­ta­tion of Frank Her­bert’s sci­ence-fic­tion epic, an extrav­a­gant mis­match as was ever made between direc­tor and mate­r­i­al.

Bond men­tions that he con­sid­ered exclud­ing Dune from The David Lynch Ret­ro­spec­tive, see­ing as the direc­tor him­self has dis­owned the pic­ture. Still, no Lynch enthu­si­ast can deny that it brought him to the artis­ti­cal­ly uncom­pro­mis­ing posi­tions that have made the rest of his body of work what it is. But what, exact­ly, is it? Bond draws some pos­si­bil­i­ties from Blue Vel­vet, Lynch’s return to the art house whose mem­o­rably oneir­ic fusion of idyl­lic small-town Amer­i­ca with sadism and voyeurism also func­tions as a state­ment of philo­soph­i­cal and aes­thet­ic intent. Not that Lynch is giv­en to state­ments, per se: as Bond empha­sizes in a vari­ety of ways, none of these works admit of direct expli­ca­tion, and this holds as true for the ultra-pas­tiche road movie Wild at Heart as it does for the split-per­son­al­i­ty neo-noir Lost High­way.

Then comes 1999’s The Straight Sto­ry, a movie about an old man who dri­ves a trac­tor across the Amer­i­can Mid­west to vis­it his broth­er. Bond frames the lat­ter as the most Lynchi­an choice the direc­tor could have made, its seem­ing­ly thor­ough mun­dan­i­ty shed­ding light on his per­cep­tion of cin­e­ma and real­i­ty itself. It also low­ers the Lynch-fil­mog­ra­phy binge-watcher’s psy­cho­log­i­cal defens­es for the simul­ta­ne­ous Hol­ly­wood fan­ta­sy and night­mare to come, Mul­hol­land Dri­ve. Though Bond describes it as “the zenith of all that’s Lynchi­an,” not every fan agrees that it’s Lynch’s mas­ter­piece: some opt for the impen­e­tra­ble three-hour dose of pure Lynchi­an­ism (and cryp­tic sit­com rab­bits) that is Inland Empire. Bond describes Inland Empire, still Lynch’s most recent fea­ture, as “a tor­tur­ous film, and this should be seen only as com­pli­men­ta­ry.” There speaks a true Lynchi­an.

Relat­ed Con­tent:

What Makes a David Lynch Film Lynchi­an: A Video Essay

A Young David Lynch Talks About Eraser­head in One of His First Record­ed Inter­views (1979)

How David Lynch Manip­u­lates You: A Close Read­ing of Mul­hol­land Dri­ve

Watch an Epic, 4‑Hour Video Essay on the Mak­ing & Mythol­o­gy of David Lynch’s Twin Peaks

Twin Peaks Actu­al­ly Explained: A Four-Hour Video Essay Demys­ti­fies It All

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 Virtual Table Read of Fast Times at Ridgemont High, Featuring Jennifer Aniston, Morgan Freeman, Shia LaBeouf, Sean Penn, Brad Pitt, Julia Roberts, John Legend & More

If you will for­give a gross over­sim­pli­fi­ca­tion, there are two kinds of peo­ple in this world:

Those (like me) who, hav­ing seen Fast Times at Ridge­mont High the night before the first day of their senior year of high school, made sure to pack car­rots in their lunch­box­es, and those who were too young to see it in its orig­i­nal release, pos­si­bly because they hadn’t been born yet.

For those of us in the first group, Feel­in’ A‑Live’s #Fast­Times­Live, a vir­tu­al table read of the script for Cameron Crowe’s 1982 semi-auto­bi­o­graph­i­cal teen sex romp, is a bit of a tough sell, even as a fundrais­er for two good caus­es: the COVID-19 relief orga­ni­za­tion CORE and REFORM Alliance, which is ded­i­cat­ed to crim­i­nal jus­tice reform and staunch­ing COVID-19’s spread with­in the incar­cer­at­ed pop­u­la­tion.

It’s kind of a mess.

Pos­si­bly we’re just crab­by from all the Zoom per­for­mances we’ve watched and tak­en part in over the last 6+ months.

Were we sup­posed to be charmed that this live, unre­hearsed per­for­mance fea­tured A‑list movie stars, bum­bling through like reg­u­lar Joes cir­ca April 2020?

Ray Liot­ta, repris­ing the late Ray Wal­ston’s author­i­ty fig­ure, Mr. Hand, is ham­strung by his old school paper script, ensur­ing that most of his lines will be deliv­ered with down­cast eyes.

Julia Roberts, as 15-year-old hero­ine, Sta­cy, is win­some­ly fresh, but out of focus.

Is it this blur­ri­ness of the tech­ni­cal dif­fi­cul­ties that caused the pro­duc­tion, orig­i­nal­ly con­ceived of as a fea­ture-length table read, to be re-pack­aged as a sort of high­lights trib­ute?

(Roberts’ com­put­er glitch appears to have been cleared up after orga­niz­er Dane Cook’s first inter­rup­tion to encour­age dona­tions (cur­rent­ly stand­ing at a $2,132, which is par­tic­u­lar­ly dis­ap­point­ing giv­en that the film took in $2,545,674 its open­ing week­end, in 1992.))

Jen­nifer Anis­ton, in the role orig­i­nat­ed by Sev­en­teen mod­el, Phoebe Cates, is pre­dictably fun­ny, and also brings pro­fes­sion­al qual­i­ty make up and light­ing to the pro­ceed­ings, but it’s some­how unjust that her celebri­ty sta­tus excus­es her face-obscur­ing hair­do. Actress­es of her gen­er­a­tion, lack­ing her star pow­er, ply­ing their trade on Zoom are invari­ably ordered to bar­rette up.

The tech­ni­cal prob­lems were not enough to spare us from a reen­act­ment of the film’s most noto­ri­ous scene, in which Stacy’s old­er broth­er, orig­i­nal­ly played by Judge Rein­hold, now brought to life by Anniston’s ex, Brad Pitt, fan­ta­sizes about Cates unclasp­ing her biki­ni top, only to be barged in on enjoy­ing an extreme­ly pri­vate moment by the very object of those fan­tasies.

It’s at the 37 minute mark, FYI.

A fit­ting pun­ish­ment for those of us who, remem­ber­ing the tabloid head­lines, eager­ly focused on Aniston’s face as Pitt was being intro­duced.

It wouldn’t hold a can­dle to the now-prob­lem­at­ic orig­i­nal, if Pitt weren’t blush­ing and Mor­gan Free­man weren’t read­ing the stage direc­tions.

(“Do you want me to use my Lorne Greene sonorous voice or just read like I’m not here?”)

Many view­ers picked up on the play­ers’ seem­ing­ly cool recep­tion of their cast­mate, Method actor, Shia LaBeouf, born four years after the orig­i­nal film’s release. In the role of surfin’ ston­er, Jeff Spi­coli, he was tasked with some very big shoes to fill.

It’s a trib­ute to orig­i­nal Spi­coli, activist Sean Penn’s ver­sa­til­i­ty that he wasn’t for­ev­er type­cast as vari­ants on his star mak­ing role. As the only mem­ber of the orig­i­nal cast in atten­dance (as well as the founder of one of the des­ig­nat­ed char­i­ties), he alone seems to be enjoy­ing the hell out of LaBeouf’s scene steal­ing antics.

Writer Crowe and direc­tor Amy Heck­er­ling dish on his audi­tion at the end of the pro­ceed­ings, and in so doing shed some light on LaBeouf’s eccen­tric­i­ties, and the oth­ers’ wari­ness.

Even though the sto­ry con­flicts, some­what, with the cast­ing director’s rec­ol­lec­tion below, we’re will­ing to take it on faith that LaBeouf’s fel­lows’ fail­ure to clap for him is as much a part of the joke as Pitt’s game use of icon­ic head­gear.

Dane Cook hedged his bets in def­er­ence to those who may not have lived through the peri­od par­o­died by the film:

One more thing, before we start, the big dis­claimer with a cap­i­tal D, a whole lot of beliefs and lan­guage have changed since this came out, so don’t @ us, unless it’s to donate. Remem­ber, it was a cer­tain time and place, and the sen­ti­ments in the script do not reflect the peo­ple read­ing it today. They do reflect the fic­tion­al char­ac­ters from an imag­i­nary school in a total­ly make believe sto­ry, got it?

We get it!

The recast­ing with actors the same age as Jen­nifer Jason Leigh (Sta­cy) and Phoebe Cates remains a bit­ter pill, but per­haps it spares us all com­ments fix­at­ing on the rav­ages of time. Instead, we get to hear about the “time­less” beau­ty of Annis­ton and Roberts.

Relat­ed Con­tent: 

Delet­ed Scene from Almost Famous: Mom, “Stair­way to Heav­en” is Based on the Lit­er­a­ture of Tolkien

1980s Met­al­head Kids Are Alright: Sci­en­tif­ic Study Shows That They Became Well-Adjust­ed Adults

10 Tips From Bil­ly Wilder on How to Write a Good Screen­play

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

Requiem for a Dream: The Cast & Crew Reunite 20 Years Later

Cour­tesy of the Muse­um of Mod­ern Art: “Dar­ren Aronofsky’s Requiem for a Dream has only grown in stature since its explo­sive debut in 2000. His har­row­ing and influ­en­tial visu­al depic­tion of addic­tion and depen­den­cy across four char­ac­ters in Brook­lyn is a film that’s still whis­pered about in tones of rev­er­ence.” To cel­e­brate 20th anniver­sary, Aronof­sky and actors Ellen Burstyn, Jared Leto, Jen­nifer Con­nel­ly, and Mar­lon Wayans reunit­ed to recon­sid­er the film and its impact on cin­e­ma and cul­ture. This vir­tu­al con­ver­sa­tion was mod­er­at­ed by Rajen­dra Roy, the Celeste Bar­tos Chief Cura­tor of Film. If you become a MoMA mem­ber, you will gain access to more spe­cial events along these lines.

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!

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Charlie Chaplin & Buster Keaton Go Toe to Toe (Almost) in a Hilarious Boxing Scene Mash Up from Their Classic Silent Films

Coke or Pep­si?

Box­ers or briefs?

Char­lie Chap­lin or Buster Keaton?

A dif­fi­cult choice that usu­al­ly boils down to per­son­al taste…

In the case of the two silent screen greats, they evinced dif­fer­ent per­son­al­i­ties, but both were pos­sessed of phys­i­cal grace, a tremen­dous work eth­ic, and the abil­i­ty to make audi­ences root for the lit­tle guy.

Their endur­ing influ­ence on phys­i­cal com­e­dy is evi­dent in the box­ing scene mash up above, which pulls from Keaton’s star turn in 1926’s Bat­tling But­ler and Chaplin’s wide­ly cel­e­brat­ed City Lights from 1931.

Even cut up and spliced back togeth­er in alter­nat­ing shots, it’s a mas­ter class on build­ing antic­i­pa­tion, defy­ing expec­ta­tions, and the humor of rep­e­ti­tion.

Both films’ plots hinge on a mild fel­low going to extra­or­di­nary lengths to prove him­self wor­thy of the girl he loves.

Chap­lin, besot­ted with a blind flower-sell­er, is drawn into the ring by the prospect of prize mon­ey, which he would use to cov­er her unpaid rent.

His oppo­nent is played by Hank Mann, the brains behind the Key­stone Cops peri­od who went on to work with Jer­ry Lewis.

The pas de trois between the ref and the two box­ers rep­re­sents the pin­na­cle of Chaplin’s long affin­i­ty for the sport, fol­low­ing 1914’s Key­stone short, The Knock­out and 1915’s The Cham­pi­on.

Bat­tling But­ler is built on a case of delib­er­ate­ly mis­tak­en iden­ti­ty, after Keaton’s mil­que­toast rich boy impress­es his work­ing class sweetheart’s fam­i­ly by allow­ing them to think he is a famous box­er whose name he inci­den­tal­ly shares.

The fight scenes were filmed in LA’s brand new Olympic Audi­to­ri­um, aka the Punch Palace, which went on to serve as a loca­tion for the more recent box­ing clas­sics Rocky (1976) and Mil­lion Dol­lar Baby (2004).

The edi­tor who thought to score this mashup to Mari­achi Internacional’s cov­er of Zor­ba El Griego is cer­tain­ly a con­tender in their own right, but read­ers, what we real­ly want to know is in this cham­pi­onship round between Chap­lin and Keaton, who would you declare the win­ner?

Relat­ed Con­tent: 

Dis­cov­er the Cin­e­mat­ic & Comedic Genius of Char­lie Chap­lin with 60+ Free Movies Online

What Would the World of Char­lie Chap­lin Look Like in Col­or?: Watch a Col­or­ful­ly Restored Ver­sion of A Night at the Show (1915)

A Super­cut of Buster Keaton’s Most Amaz­ing Stunts

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


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