The Drugs Used by the Ancient Greeks and Romans

Many of us living in the parts of the world where marijuana has recently been legalized may regard ourselves as partaking of a highly modern pleasure. And given the ever-increasing sophistication of the growing and processing techniques that underlie what has become a formidable cannabis industry, perhaps, on some level, we are. But as intellectually avid enthusiasts of psychoactive substances won’t hesitate to tell you, their use stretches farther back in time than history itself. “For as long as there has been civilization, there have been mind-altering drugs,” writes Science‘s Andrew Lawler. But was anyone using them in the predecessors to western civilization as we know it today?

For quite some time, scholars believed that unlike, say, Mesoamerica or north Africa, “the ancient Near East had seemed curiously drug-free.” But now, “new techniques for analyzing residues in excavated jars and identifying tiny amounts of plant material suggest that ancient Near Easterners indulged in a range of psychoactive substances.”




The latest evidence suggests that, already three millennia ago, “drugs like cannabis had arrived in Mesopotamia, while people from Turkey to Egypt experimented with local substances such as blue water lily.” That these habits seem to have continued in ancient Greece and Rome is suggested by archaeological evidence summarized in the video above.

In 2019, archaeologists unearthed a few precious artifacts from a fourth-century Scythian burial mound near Stavropol in Russia. There were “golden armbands, golden cups, a heavy gold ring, and the greatest treasure of all, two spectacular golden vessels,” says narrator Garrett Ryan, who earned a PhD in Greek and Roman History from the University of Michigan. The interiors of those last “were coated with a sticky black residue,” confirmed in the lab to be opium with traces of marijuana. “The Scythians, in other words, got high” — as did “their Greek and Roman neighbors.” Ryan, author of Naked Statues, Fat Gladiators, and War Elephants: Frequently Asked Questions about the Ancient Greeks and Romans, goes on to make intriguing connections between scattered but relevant pieces of archaeological and textual evidence. We know that some of our civilizational forebears got high; how many, and how high, are questions for future scholastic inquiry.

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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.

In 1997, Wired Magazine Predicts 10 Things That Could Go Wrong in the 21st Century: “An Uncontrollable Plague,” Climate Crisis, Russia Becomes a Kleptocracy & More

Hydrogen-powered cars. Biological, then quantum computing. Gene-therapy cancer treatments. An end to the War on Drugs. Reliable automatic translation. The impending end of the nation-state. Man setting foot on Mars. These are just a few of the developments in store for our world by the year 2020 — or so, at any rate, predicts “The Long Boom,” the cover story of a 1997 issue of Wired magazine, the official organ of 1990s techno-optimism. “We’re facing 25 years of prosperity, freedom, and a better environment for the whole world,” declares the cover itself. “You got a problem with that?”

Since the actual year 2020, this image has been smirkingly re-circulated as a prime example of blinkered End-of-History triumphalism. From the vantage of 2021, it’s fair to say that the predictions of the article’s authors Peter Schwartz and Peter Leyden (who expanded their thesis into a 2000 book) went wide of the mark.




But their vision of the 21st century hasn’t proven risible in every aspect: a rising China, hybrid cars, video calls, and online grocery-shopping have become familiar enough hardly to merit comment, as has the internet’s status as “the main medium of the 21st century.” And who among us would describe the cost of university as anything but “absurd”?

Schwartz and Leyden do allow for darker possibilities than their things-can-only-get-better rhetoric make it seem. Some of these they enumerate in a sidebar (remember sidebars?) headlined “Ten Scenario Spoilers.” Though not included in the article as archived on Wired‘s web site, it has recently been scanned and posted to social media, with viral results. A “new Cold War” between the U.S. and China; a “global climate change that, among other things, disrupts the food supply”; a “major rise in crime and terrorism forces the world to pull back in fear”; an “uncontrollable plague — a modern-day influenza epidemic or its equivalent”: to one degree or another, every single one of these ten dire developments seems in our time to have come to pass.

“We’re still on the front edge of the great global boom,” we’re reminded in the piece’s conclusion. “A hell of a lot of things could go wrong.” You don’t say. Yet for all of the 21st-century troubles that few riding the wave of first-dot-com-boom utopianism would have credited, we today run the risk of seeing our world as too dystopian. Now as then, “the vast array of problems to solve and the sheer magnitude of the changes that need to take place are enough to make any global organization give up, any nation back down, any reasonable person curl up in a ball.” We could use a fresh infusion of what Schwartz and Leyden frame as the boom’s key ingredient: American optimism. “Americans don’t understand limits. They have boundless confidence in their ability to solve problems. And they have an amazing capacity to think they really can change the world.” In that particular sense, perhaps we all should become Americans after all.

via Reddit

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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 the World’s First Anti-Vax Movement Started with the First Vaccine for Smallpox in 1796, and Spread Fears of People Getting Turned into Half-Cow Babies

A cartoon from a December 1894 anti-vaccination publication (Courtesy of The Historical Medical Library of The College of Physicians of Philadelphia)

For well over a century people have queued up to get vaccinated against polio, smallpox, measles, mumps, rubella, the flu or other epidemic diseases. And they have done so because they were mandated by schools, workplaces, armed forces, and other institutions committed to using science to fight disease. As a result, deadly viral epidemics began to disappear in the developed world. Indeed, the vast majority of people now protesting mandatory vaccinations were themselves vaccinated (by mandate) against polio, smallpox, measles, mumps, rubella, etc., and hardly any of them have contracted those once-common diseases. The historical argument for vaccines may not be the most scientific (the science is readily available online). But history can act as a reliable guide for understanding patterns of human behavior.

In 1796, Scottish physician Edward Jenner discovered how an injection of cowpox-infected human biological material could make humans immune to smallpox. For the next 100 years after this breakthrough, resistance to inoculation grew into “an enormous mass movement,” says Yale historian of medicine Frank Snowden. “There was a rejection of vaccination on political grounds that it was widely considered as another form of tyranny.”




Fears that injections of cowpox would turn people into mutants with cow-like growths were satirized as early as 1802 by cartoonist James Gilray (below). While the anti-vaccination movement may seem relatively new, the resistance, refusal, and denialism are as old as vaccinations to infectious disease in the West.

Image via Wikimedia Commons

“In the early 19th century, British people finally had access to the first vaccine in history, one that promised to protect them from smallpox, among the deadliest diseases in the era,” writes Jess McHugh at The Washington Post. Smallpox killed around 4,000 people a year in the UK and left hundreds more disfigured or blinded. Nonetheless, “many Britons were skeptical of the vaccine…. The side effects they dreaded were far more terrifying: blindness, deafness, ulcers, a gruesome skin condition called ‘cowpox mange’ — even sprouting hoofs and horns.” Giving a person one disease to frighten off another one probably seemed just as absurd a notion as turning into a human/cow hybrid.

Jenner’s method, called variolation, was outlawed in 1840 as safer vaccinations replaced it. By 1867, all British children up to age 14 were required by law to be vaccinated against smallpox. Widespread outrage resulted, even among prominent physicians and scientists, and continued for decades. “Every day the vaccination laws remain in force,” wrote scientist Alfred Russel Wallace in 1898, “parents are being punished, infants are being killed.” In fact, it was smallpox claiming lives, “more than 400,000 lives per year throughout the 19th century, according to the World Health Organization,” writes Elizabeth Earl at The Atlantic“Epidemic disease was a fact of life at the time.” And so it is again. Covid has killed almost 800,000 people in the U.S. alone over the past two years.

 

Then as now, medical quackery played its part in vaccine refusal — in this case a much larger part. “Never was the lie of ‘the good old days’ more clear than in medicine,” Greig Watson writes at BBC News. “The 1841 UK census suggested a third of doctors were unqualified.” Common causes of illness in an 1848 medical textbook included “wet feet,” “passionate fear or rage,” and “diseased parents.” Among the many fiery lectures, caricatures, and pamphlets issued by opponents of vaccination, one 1805 tract by William Rowley, a member of the Royal College of Physicians, alleged that the injection of cowpox could mar an entire bloodline. “Who would marry into any family, at the risk of their offspring having filthy beastly diseases?” it asked hysterically.

Then, as now, religion was a motivating factor. “One can see it in biblical terms as human beings created in the image of God,” says Snowden. “The vaccination movement injecting into human bodies this material from an inferior animal was seen as irreligious, blasphemous and medically wrong.” Granted, those who volunteered to get vaccinated had to place their faith in the institutions of science and government. After medical scandals of the recent past like the Tuskegee experiments or Thalidomide, that can be a big ask. In the 19th century, says medical historian Kristin Hussey, “people were asking questions about rights, especially working-class rights. There was a sense the upper class were trying to take advantage, a feeling of distrust.”

The deep distrust of institutions now seems intractable and fully endemic in our current political climate, and much of it may be fully warranted. But no virus has evolved — since the time of the Jenner’s first smallpox inoculation — to care about our politics, religious beliefs, or feelings about authority or individual rights. Without widespread vaccination, viruses are more than happy to exploit our lack of immunity, and they do so without pity or compunction.

via Washington Post

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

Albert Einstein in Four Color Films

We all think we know just what Albert Einstein looked like — and broadly speaking, we’ve got it right. At least since his death in 1955, since which time generation after generation of children around the world have grown up closely associating his bristly mustache and semi-tamed gray hair with the very concept of scientific genius. His sartorial rumpledness and Teutonically hangdog look have long been the stuff of not just caricature, but (as in Nicolas Roeg’s Insignificance) earnest tribute as well. Yet how many of us can say we’ve really taken a good look at Einstein?

These four pieces of film get us a little closer to that experience. At the top of the post we have a colorized newsreel clip (you can see the original here) showing Einstein in his office at Princeton’s Institute for Advanced Study, where he took up a post in 1933.




Even earlier colorized newsreel footage appears in the video just above, taken from an episode of the Smithsonian Channel series America in Color. It depicts Einstein arriving in the United States in 1930, by which time he was already “the world’s most famous physicist” — a position then meriting a welcome not unlike that which the Beatles would receive 34 years later.

Einstein returned to his native Germany after that visit. The America in Color clip also shows him back at his cottage outside Berlin (and in his pajamas), but his time back in his homeland amounted only to a few years. The reason: Hitler. During Einstein’s visiting professorship at Cal Tech in 1933, the Gestapo raided his cottage and Berlin apartment, as well as confiscated his sailboat. Later the Nazi government banned Jews from holding official positions, including at universities, effectively cutting off his professional prospects and those of no few other German citizens besides. The 1943 color footage above offers a glimpse of Einstein a decade into his American life.

A couple of years thereafter, the end of the Second World War made Einstein even more famous. He became, in the minds of many Americans, the brilliant physicist who “helped discover the atom bomb.” So declares the announcer in that first newsreel, but in the decades since, the public has come to associate Einstein more instinctively with his theory of relativity — an achievement less immediately comprehensible than the apocalyptic explosion of the atomic bomb, but one whose scientific implications run much deeper. Many clear and lucid précis of Einstein’s theory exist, but why not first see it explained by the man himself, and in color at that?

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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.

Stephen Fry Takes Us Inside the Story of Johannes Gutenberg & the First Printing Press

Stephen Fry loves technology. Here on Open Culture we’ve featured his investigations into everything from cloud computing to nanoscience to artificial intelligence and simulation theory. “I have never seen a smartphone I haven’t bought,” he wrote in 2007, the year Apple’s iPhone came out. But the iPhone would surely never have been if not for the Macintosh, the third of which ever sold in the United Kingdom went to Fry. (His fellow British technophile Douglas Adams had already snagged the first two.) And there wouldn’t have been a Macintosh — a stretch though this may seem — if not for the printing press, which by some reckonings set off the technological revolution that carries us along to this day.

The history of the printing press is thus, in a sense, a history of technology in microcosm. In the hourlong documentary The Machine that Made Us, Fry seeks out an understanding of the invention, the workings, and the evolution of the device that, as he puts it, “shaped the modern world.”




The use of movable type to run off many copies of a text goes back to 11th-century China, strictly speaking, but only in Europe did it first flourish to the point of giving rise to mass media. In order to place himself at the beginning of that particular story, Fry travels to Mainz in modern-day Germany, birthplace of a certain Johannes Gutenberg, whose edition of the Bible from the 1450s isn’t just the earliest mass-produced book but the most important one as well.

Fry may not have a straightforward relationship with religion, but he does understand well the ramifications of Gutenberg’s Bible-printing enterprise. And he comes to understand that enterprise itself more deeply while following the “Gutenberg trail,” retracing the steps of the man himself as he assembled the resources to put his invention into action. Since none of the presses Gutenberg built survive today (though at least one functioning approximate model does exist), Fry involves himself in reconstructing an example. He also visits a paper mill and a type foundry whose craftsmen make their materials with the same methods used in the 15th century. The fruit of these combined labors is a single replica page of the Gutenberg Bible: a reminder of what brought about the economic, political, and cultural reality we still inhabit these 570 years later.

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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.

Meet the Mysterious Genius Who Patented the UFO

American inventors never met a phenomenon — natural, manmade, or otherwise — they couldn’t try to patent. From impossible technologies to possible evidence of aliens visiting planet Earth, everything’s fair game if you can sell the idea. After highly-publicized UFO sightings in Washington State and Roswell, New Mexico, for example, patents for flying saucers began pouring into government offices. “As soon as there was a popular ‘spark,’” writes Ernie Smith at Atlas Obscura, “the saucer was everywhere.” It received its own classification in the U.S. Patent Office, with the indexing code B64C 39/001, for “flying vehicles characterized by sustainment without aerodynamic lift, often flying disks having a UFO-shape.”

Google Patents lists “around 192 items in this specific classification,” with surges in applications between 1953-56, 1965-71, and  an “unusually dramatic surge… between 2001 and 2004.” Make of that what you will. The story of the UFO gets both stranger and more mundane when we learn that Alexander Weygers, the very first person to file a patent for such a flying vehicle, invented it decades before UFO-mania and patented it in 1945. He was not an American inventor but the Indonesian-born son of a Dutch sugar plantation family. He learned blacksmithing on the farm, received an education in Holland in mechanical engineering and naval architecture, and honed his mechanical skills while taking long sea voyages alone.

In 1926, Weygers and his wife Jacoba Hutter moved to Seattle, Ashlee Vance writes at Bloomberg Businessweek, “where he pursued a career as a marine engineer and ship architect and began inking drawings of the Discopter” — the flying-saucer-like vehicle he would patent after working for many years as a painter and sculptor, mourning the death of his wife, who died in childbirth in 1928. By the time Weygers was ready to revive the Discopter, the time was ripe, it seems, for a wave of technological convergent evolution — or a technological theft. Perhaps, as Weygers’ claimed, UFOs really were Army test planes: test pilots flying something based on the inventor’s design — which was not a UFO, but an attempt at a better helicopter.

Sightings of strange objects in the sky did not begin in 1947. “Tales of mysterious flying objects date to medieval times,” Vance writes, “and other inventors and artists had produced images of disk-shaped crafts. Henri Coanda, a Romanian inventor, even built a flying saucer in the 1930s that looked similar to what we now think of as the classic craft from outer space. Historians suspect that the designs of Coanda and Weygers, floating around in the public sphere, combined with the postwar interest in sci-fi technology to create an atmosphere that gave rise to a sudden influx of UFO sightings.” In the 1950s, NASA and the U.S. Navy even began testing vertical takeoff vehicles that looked suspiciously like the patented Discopter.

Weygers was livid and “convinced his designs had been stolen.” The press even picked up the story. In 1950 the San Francisco Chronicle ran an article headlined “Carmel Valley Artist Patented Flying Saucer Five Years Ago: ‘Discopter’ May Be What People Have Seen Lately.” Although Weygers never built a Discopter himself, the article goes on to note that “the invention became the prototype for all disk-shaped vertical take-off aircraft since built by the U.S. armed forces and private industry, both here and abroad.” Just how many such vehicles have been constructed, and have actually been air-worthy, is impossible to say.

Smith surveys many of the patents for flying saucers filed over the past 75 years by both individuals and large companies. In the latter category, we have companies like Airbus and startups created by Google co-founder Larry Page currently working on flying saucer-like designs. The history of such vehicles may not provide sufficient evidence to disprove UFO sightings, but it may one day lead to the technology for flying cars we thought would already have arrived this far into the space age. For that we have to thank, though he may never get the credit, the modern Renaissance artist and inventor Alexander Weygers.

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

What Is Sun Tzu’s The Art of War About?: A Short Introduction

After wars in Japan and Vietnam, the U.S. military became quite keen on a slim volume of ancient Chinese literature known as The Art of War by a supposedly historical general named Sun Tzu. This book became required reading at military academies and a favorite of law enforcement, and has formed a basis for strategy in modern wartime — as in the so-called “Shock and Awe” campaigns in Iraq. But some have argued that the Western adoption of this text — widely read across East Asia for centuries — neglects the crucial context of the culture that produced it.

Despite historical claims that Sun Tzu served as a general during the Spring and Autumn period, scholars have mostly doubted this history and date the composition of the book to the Warring States period (circa 475-221 B.C.E.) that preceded the first empire, a time in which a few rapacious states gobbled up their smaller neighbors and constantly fought each other.




“Occasionally the rulers managed to arrange recesses from the endemic wars,” translator Samuel B. Griffith notes. Nonetheless, “it is extremely unlikely that many generals died in bed during the hundred and fifty years between 450 and 300 B.C.”

The author of The Art of War was possibly a general, or one of the many military strategists for hire at the time, or as some scholars believe, a compiler of an older oral tradition. In any case, constant warfare was the norm at the time of the book’s composition. This tactical guide differs from other such guides, and from those that came before it. Rather than counseling divination or the study of ancient authorities, Sun Tzu’s advice is purely practical and of-the-moment, requiring a thorough knowledge of the situation, the enemy, and oneself. Such knowledge is not easily acquired. Without it, defeat or disaster are nearly certain:

If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat. If you know neither the enemy nor yourself, you will succumb in every battle.

The kind of knowledge Sun Tzu recommends is practical intelligence about troop deployments, food supplies, etcetera. It is also knowledge of the Tao — in this case, the general moral principle and its realization through the sovereign. In a time of Warring States, Sun Tzu recognized that knowledge of warfare was “a matter of vital importance”; and that states should undertake it as little as possible.

“To subdue the enemy without fighting is the acme of skill,” The Art of War famously advises. Diplomacy, deception, and indirection are all preferable to the material waste and loss of life in war, not to mention the high odds of defeat if one goes into battle unprepared. “The ideal strategy of restraint, of winning without fighting… is characteristic of Taoism,” writes Rochelle Kaplan. “Both The Art of War and the Tao Te Ching were designed to help rulers and their assistants achieve victory and clarity,” and “each of them may be viewed as anti-war tracts.”

Read a full translation of The Art of War by Lionel Giles, in several formats online here, and just above, hear the same translation read aloud.

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

Life Magazine Predicts in 1914 How People Would Dress in the 1950s

Though still just within living memory, 1950 now seems as if it belongs not just to the past but to a wholly bygone reality. Yet that year once stood for the future: that is to say, a time both distant enough to fire up the imagination and near enough to instill a sense of trepidation. It must have felt that way, at least, to the subscribers of Life magazine in December of 1914, when they opened an issue of that magazine dedicated in part to predicting the state of humanity 36 years hence. Its bold cover depicts a man and woman of the 1950s amusedly regarding pictures of a man and woman in 1914: the latter wear buttoned-up European street clothing, while the former have on almost nothing at all.

As rendered by illustrator Otho Cushing, the thoroughly modern 1950s female wears a kind of slip, something like a garment from ancient Greece updated by abbreviation. Her male counterpart takes his inspiration from an even earlier stage of civilization, his loincloth covering as few as possible of the abstract patterns painted or tattooed all over his body. (About his choice to top it all off with a plumed helmet, an entire PhD thesis could surely be written.)




Any credible vision of the future must draw inspiration from the past, and Cushing’s interests equipped him well for the task: 28 years later, his New York Times obituary would refer to his early specialization in depicting “handsome young men and women in Greek or modern costumes.”

Even though fashions have yet to make a return to antiquity, how many outfits on the street of any major city today would scandalize the average Life reader of 1914? Of course, the cover is essentially a gag, as is much of the ostensible prognostication inside. As circulated again not long ago in a tweet thread by Andy Machals, it foresees monarchs in the unemployment line, boys’ jobs taken by girls, women acquiring harems of men, and the near-extinction of marriage. But some predictions, like 30 miles per hour becoming a slow enough driving speed to be ticketable, have come true. Another piece imagines people of the 1950s hiring musicians to accompany them throughout each phase of the day. Few of us do that even in the 2020s, but living our digitally soundtracked lives, we may still wonder how our early 20th-century ancestors managed: “Between meals they listened to almost absolutely nothing.”

via Messy Nessy

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

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