A Side Splitting Medieval TikTok Account: Get a Laugh at Medieval Yoga Poses & Much More

@greedypeasant🧘‍♀️ Medieval Yoga 🧘 #medievaltik­tok #yoga #yogalover #peace­with­in #fyp #fory­ou #fory­oupage♬ orig­i­nal sound — Tyler Gun­ther

Tik­Tok, the short-form video-shar­ing plat­form, is an are­na where the young dom­i­nate — last sum­mer, The New York Times report­ed that over a third of its 49 mil­lion dai­ly users in the US were aged 14 or younger.

Yet some­how, a ful­ly grown medieval peas­ant has become one of its most com­pelling pres­ences, breezi­ly shar­ing his yoga reg­i­men, above, his obses­sion with tas­sels and ornate sleeves, and the Met­ro­pol­i­tan Tran­sit Authority’s plans to upcy­cle his era’s tor­ture devices as New York City sub­way exit gates.

30-year-old Brook­lyn-based artist Tyler Gun­ther views his cre­ation, Greedy Peas­ant, as “the man­i­fes­ta­tion of all the strange medieval art we now enjoy in meme form”:

Often times medieval his­to­ry focus­es on roy­als, wars, popes and plagues. With this peas­ant guide, we get to expe­ri­ence the world through the lens of a queer artist who is just try­ing to make sure every­one is on time for their cos­tume fit­tings for the East­er pageant. 

Ear­li­er, Gunther’s medieval fix­a­tion found an out­let in comics that he post­ed to Insta­gram.

Then last Feb­ru­ary, he found him­self quar­an­ti­ning in an Aus­tralian hotel room for 2 weeks pri­or to per­form­ing in the Ade­laide Fes­ti­val as part of The Plas­tic Bag Store, artist Robin Fro­hardt’s alter­nate­ly hilar­i­ous and sober­ing immer­sive super­mar­ket instal­la­tion:

My quar­an­tine plans had been to work on a mas­sive set of illus­tra­tions and teach myself the entire Adobe Cre­ative Suite. Instead I just wan­dered from one cor­ner of the hotel room to the next and stared at the office build­ing direct­ly out­side my win­dow. About 4 days in, Robin texted, “Now is your time to make a Tik­Tok.” I had avoid­ed it for so long. I always had an excuse and I was gen­uine­ly con­fused about how the app worked. But with no alter­na­tives left I made a few videos “just to test out some of the fil­ters” and I was instant­ly hooked. 

Now, a green screen and a set of box lights are per­ma­nent­ly installed in his Brook­lyn stu­dio so he can film when­ev­er inspi­ra­tion strikes, pro­vid­ed it’s not too steamy to don the tights, cowls, wigs and woolens that are an inte­gral part of Greedy Peasant’s look.

@greedypeasant🕷🕷🕷 (to be con­tin­ued) #medievaltik­tok #fyp #fory­oupage #fory­ou #spi­der­man♬ orig­i­nal sound — Tyler Gun­ther

One of Gunther’s most eye pop­ping cre­ations came about when Greedy Peas­ant answered an ad post in the town square seek­ing a Spi­der Man (i.e., a man with spi­ders) to com­bat a bug infes­ta­tion:

As a for­mer cos­tume design stu­dent, I’m intrigued by how super­hero uni­forms fit with­in the very con­ser­v­a­tive world of West­ern men’s fash­ion. We’re sup­posed to believe these col­or blocked body­suits are ath­let­ic and high tech. These man­ly men don’t wear them just because they look great in them, they wear them for our pro­tec­tion and the greater good.  But what if one super­hero did val­ue style over sub­stance? Would he still retain his author­i­ta­tive qual­i­ties if his super suit was embroi­dered and bead­ed and drip­ping with tas­sels? This medieval­ist believes so. 

About that tas­sel obses­sion…

To me tas­sels rep­re­sent orna­men­ta­tion for ornamentation’s sake at its peak. This dec­o­ra­tive con­cept is so maligned in our cur­rent age. 21st cen­tu­ry design trends are so sleek and smooth, which does make our lives prac­ti­cal and effi­cient. But soon we’ll all be dead. Medieval arti­sans seemed to under­stand this on some lev­el. I think if iPhones were sold in the mid­dle ages they would have 4 tas­sels on each cor­ner. Why? Because it would look very nice. A tas­sel looks beau­ti­ful as a piece of sta­t­ic sculp­ture. It adds an air of author­i­ty and pol­ish to what­ev­er object it is attached to. If that were all they pro­vid­ed us it would be enough. But then sud­den­ly you give your elbow a lit­tle flick and before you know it your sleeve tas­sels are in flight! They are per­form­ing a per­son­al bal­let with their lit­tle strings going wher­ev­er the chore­og­ra­phy may take them. It’s a gift.

@greedypeasant(not) FACTS. ##medievaltik­tok ##nyc ##newyorkc­i­ty ##nychis­to­ry ##fyp ##fory­ou ##fory­oupage♬ orig­i­nal sound — Tyler Gun­ther

Gunther’s keen eye extends to his green screen back­grounds, many of which are drawn from the Met­ro­pol­i­tan Muse­um of Art’s online image col­lec­tion.

He also shoots on loca­tion when the sit­u­a­tion war­rants:

Espe­cial­ly in New York City, where it seems like every neigh­bor­hood has at least one build­ing dressed up to look as if it sur­vived the Black Plague. I love this bla­tant­ly false illu­sion of a hero­ic past. We American’s know it’s a façade. We know the build­ing was built in 1910, not 1410, but some­how it still pleas­es us. Even when I went home to Arkansas to vis­it fam­i­ly, we were con­stant­ly scout­ing film­ing loca­tions which looked con­vinc­ing­ly medieval. Our great­est find were the back rooms and the choir loft of a beau­ti­ful goth­ic revival church in our town.

While Gun­ther is obvi­ous­ly his own star attrac­tion, he alter­nates screen time with a group of “reli­quary ladies,” whose main trio, Brid­gette, Aman­da and Susan are the queen bees of the side aisle. Even before he used a green screen fil­ter to ani­mate them with his eyes, lips, and a hint of mus­tache, he was drawn to their hair­dos and indi­vid­ual per­son­al­i­ties dur­ing repeat vis­its to the Met Clois­ters.

“As reli­quar­ies, they embody such a spe­cif­ic medieval sen­si­bil­i­ty,” he enthus­es. “Each housed a small body part of a deceased saint, which peo­ple would make a pil­grim­age to see. This com­bi­na­tion of the sacred, macabre and beau­ti­ful includes all my favorite medieval ele­ments.”

@greedypeasantWill the real St. Catherine’s low­er jaw please stand up. ##medievaltik­tok ##his­to­ry­tok ##fyp ##fory­ou ##fory­oupage ##reli­quary ##peas­ant ##arthis­to­ry♬ orig­i­nal sound — Tyler Gun­ther

Get to know Tyler Gunther’s Greedy Peas­ant here.

Relat­ed Con­tent:

160,000 Pages of Glo­ri­ous Medieval Man­u­scripts Dig­i­tized: Vis­it the Bib­lio­the­ca Philadel­phien­sis

A Free Yale Course on Medieval His­to­ry: 700 Years in 22 Lec­tures

Killer Rab­bits in Medieval Man­u­scripts: Why So Many Draw­ings in the Mar­gins Depict Bun­nies Going Bad

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

The Illuminated Manuscripts of Medieval Europe: A Free Online Course from the University of Colorado

Dr. Roger Louis Martínez-Dávi­la and Ana B. Sanchez-Prieto–two aca­d­e­mics work­ing out of the Uni­ver­si­ty of Col­orado and Uni­ver­si­dad Com­plutense Madrid (Spain)–have teamed up to present Deci­pher­ing Secrets: The Illu­mi­nat­ed Man­u­scripts of Medieval Europe. The free course cov­ers the fol­low­ing ground:

Per­haps no oth­er rel­ic of the Euro­pean Mid­dle Ages cap­tures our imag­i­na­tion more than illu­mi­nat­ed medieval man­u­scripts, or those doc­u­ments dec­o­rat­ed with images and col­ored pig­ments. Serv­ing as win­dows unto a lost world of kings, ladies, faith, war, and cul­ture, they com­mu­ni­cate com­plex visu­al and tex­tu­al nar­ra­tives of Europe’s col­lec­tive cul­tur­al her­itage and pat­ri­mo­ny. In this fash­ion, illu­mi­nat­ed man­u­scripts are dynam­ic mes­sages from our com­mu­nal past that are still rel­e­vant today in fields like graph­ic design and typog­ra­phy.

In this sev­en-week course, stu­dents will explore the mate­r­i­al cre­ation, con­tent, and his­tor­i­cal con­text of illu­mi­nat­ed medieval Euro­pean man­u­scripts. Stu­dents will acquire an intro­duc­to­ry knowl­edge of their dis­tin­guish­ing char­ac­ter­is­tics, their cat­a­logu­ing and peri­odiza­tion (when they were cre­at­ed), the meth­ods uti­lized to pro­duce them, and their his­tor­i­cal con­text and val­ue.

You can take The Illu­mi­nat­ed Man­u­scripts of Medieval Europe for free by select­ing the audit option upon enrolling. If you want to take the course for a cer­tifi­cate, you will need to pay a fee.

The Illu­mi­nat­ed Man­u­scripts of Medieval Europe has been added to our list of Free His­to­ry Cours­es, a sub­set of our col­lec­tion, 1,700 Free Online Cours­es from Top Uni­ver­si­ties.

Relat­ed Con­tent 

Dis­cov­er the Great Medieval Man­u­script, the Book of Kells, in a Free Online Course

The Medieval Mas­ter­piece, the Book of Kells, Is Now Dig­i­tized & Put Online

How Illu­mi­nat­ed Medieval Man­u­scripts Were Made: A Step-by-Step Look at this Beau­ti­ful, Cen­turies-Old Craft

800 Illu­mi­nat­ed Medieval Man­u­scripts Are Now Online: Browse & Down­load Them Cour­tesy of the British Library and Bib­lio­thèque Nationale de France

160,000 Pages of Glo­ri­ous Medieval Man­u­scripts Dig­i­tized: Vis­it the Bib­lio­the­ca Philadel­phien­sis

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A Data Visualization of Every Italian City & Town Founded in the BC Era


Ancient peo­ple did not think about his­to­ry the way most of us do. It made no dif­fer­ence to con­tem­po­rary read­ers of the pop­u­lar Roman his­to­ri­an, Livy (the “JK Rowl­ing of his day”), that “most of the flesh and blood of [his] nar­ra­tive is fic­ti­tious,” and “many of the sto­ries are not real­ly Roman but Greek sto­ries reclothed in Roman dress,” his­to­ri­an Robert Ogilvie writes in an intro­duc­tion to Livy’s Ear­ly His­to­ry of Rome. Ancient his­to­ri­ans did not write to doc­u­ment facts, but to illus­trate moral, philo­soph­i­cal, and polit­i­cal truths about what they saw as immutable human nature.

Much of what we know about Roman antiq­ui­ty comes not from ancient Roman his­to­ry but from mod­ern arche­ol­o­gy (which is still mak­ing “amaz­ing” new dis­cov­er­ies about Roman cities). The remains of Rome at its apogee date from the time of Livy, who was like­ly born in 59 BC and died cir­ca 12 AD. A con­tem­po­rary, and pos­si­bly a friend, of Augus­tus, the his­to­ri­an lived through a peri­od of immense growth in which the new empire spread across the con­ti­nent, found­ing, build­ing, and con­quer­ing towns and cities as it went — a time, he wrote, when “the might of an impe­r­i­al peo­ple is begin­ning to work its own ruin.”

Livy pre­ferred to look back — “turn my eyes from the trou­bles,” he said — “more than sev­en hun­dred years,” to the date long giv­en for the found­ing of Rome, 753 BC, which seemed ancient enough to him. Mod­ern arche­ol­o­gists have found, how­ev­er, that the city prob­a­bly arose hun­dreds of years ear­li­er, hav­ing been con­tin­u­ous­ly inhab­it­ed since around 1000 BC. Livy’s own pros­per­ous but provin­cial city of Pad­ua only became incor­po­rat­ed into the Roman empire a few decades before his birth. Accord­ing to Livy him­self, Pad­ua was first found­ed in 1183 BC by the Tro­jan prince Antenor…  if you believe the sto­ries….

The point is that ancient Roman dates are sus­pect when they come from lit­er­ary sources (or “his­to­ries”) rather than arti­facts and archae­o­log­i­cal dat­ing meth­ods. What is the dis­tri­b­u­tion of such dates across arti­cles about ancient Rome on Wikipedia? Who could say. But the sheer num­ber of doc­u­ments and arti­facts left behind by the Romans and the peo­ple they con­quered and sub­dued make it easy to recon­struct the his­tor­i­cal stra­ta of Euro­pean cities — though we should allow for more than a lit­tle exag­ger­a­tion, dis­tor­tion, and even fic­tion in the data.

The maps you see here use Wikipedia data to visu­al­ize towns and cities in mod­ern-day Italy found­ed before the first cen­tu­ry — that is, every Ital­ian set­tle­ment of any kind with a “BC” cit­ed in its asso­ci­at­ed arti­cle. Many of these were found­ed by the Romans in the 2nd or 3rd cen­tu­ry BC. Many cities, like Pom­peii, Milan, and Livy’s own Pad­ua, were con­quered or slow­ly tak­en over from ear­li­er peo­ples. Anoth­er ver­sion of the visu­al­iza­tion, above, shows a dis­tri­b­u­tion by col­or of the dates from 10,000 BC to 10 BC. It makes for an equal­ly strik­ing way to illus­trate the his­to­ry, and pre­his­to­ry, of Italy up to Livy’s time — that is, accord­ing to Wikipedia.

The cre­ator of the visu­al­iza­tions obtained the data by scrap­ing 8000 Ital­ian Wikipedia arti­cles for men­tions of “BC” (or “AC” in Ital­ian). Even if we all agreed the open online ency­clo­pe­dia is an author­i­ta­tive source (and we cer­tain­ly do not), we’d still be left with the prob­lem of ancient dat­ing in cre­at­ing an accu­rate map of ancient Roman and Ital­ian his­to­ry. Unre­li­able data does not improve in pic­ture form. But data visu­al­iza­tions can, when com­bined with care­ful schol­ar­ship and good research, make dry lists of num­bers come alive, as Livy’s sto­ries made Roman his­to­ry, as he knew it, live for his read­ers.

See the creator’s dataset below and learn more here.

count 1152

mean 929.47

std 1221.89

min 2

25% 196

50% 342.5

75% 1529.5

max 10000

Relat­ed Con­tent: 

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

Rome’s Colos­se­um Will Get a New Retractable Floor by 2023 — Just as It Had in Ancient Times

A Vir­tu­al Tour of Ancient Rome, Cir­ca 320 CE: Explore Stun­ning Recre­ations of The Forum, Colos­se­um and Oth­er Mon­u­ments

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

How Egyptian Papyrus Is Made: Watch Artisans Keep a 5,000-Year-Old Art Alive

In 2013, French Egyp­tol­o­gist Pierre Tal­let dis­cov­ered in an exca­va­tion site near the Red Sea “entire rolls of papyrus, some a few feet long and still rel­a­tive­ly intact, writ­ten in hiero­glyph­ics as well as hier­at­ic, the cur­sive script the ancient Egyp­tians used for every­day com­mu­ni­ca­tion,” Alexan­der Stille writes at Smith­son­ian. The scrolls con­tained the “Diary of Mer­er,” the jour­nals of an offi­cial who led a trans­porta­tion crew, and who observed the build­ing of the largest of the pyra­mids. It has been called “the great­est dis­cov­ery in Egypt in the 21st cen­tu­ry.”

The dis­cov­ery of the diary entries and oth­er papyri at the site “pro­vide a nev­er-before-seen snap­shot of the ancients putting fin­ish­ing touch­es on the Great Pyra­mid.” It is also sig­nif­i­cant since Tal­let found “the old­est known papyri in the world” and has helped give researchers greater insight into how papyrus was used by ancient Egyp­tians for care­ful record-keep­ing — in both the lan­guage of priests and scribes and that of ordi­nary mer­chants — since around 3000 BC.

Papyrus was “pro­duced exclu­sive­ly in Egypt, where the papyrus plant grew” notes Uni­ver­si­ty of Michi­gan Libraries, but “papyrus (the writ­ing mate­r­i­al) was export­ed through­out the clas­si­cal world, and it was the most pop­u­lar writ­ing mate­r­i­al for the ancient Greeks and Romans,” becom­ing the most used plat­form for writ­ing by the first cen­tu­ry AD. That changed with the intro­duc­tion of parch­ment and, lat­er, paper; “the large plan­ta­tions in Egypt which used to cul­ti­vate high-grade papyrus for man­u­fac­ture dis­ap­peared,” as did the knowl­edge of papyrus-mak­ing for around 1000 years.

But papyrus (the paper) has come back, even if wild papyri plants are dis­ap­pear­ing as Egypt’s cli­mate changes. While schol­ars in the 20th cen­tu­ry tried, unsuc­cess­ful­ly, to recon­struct papyrus-mak­ing using ancient sources like Pliny’s Nat­ur­al His­to­ry, Egypt­ian crafts­peo­ple in the 1970s rein­vent­ed the process using their own meth­ods, as you can see in the Busi­ness Insid­er video above. “The indus­try thrived, sell­ing papyrus art to tourists,” the video notes, but it has fall­en on hard times as the plants go extinct and demand falls away.

Learn above how mod­ern Egypt­ian papyrus-mak­ers, scribes, and illus­tra­tors ply their trade — a fair­ly good indi­ca­tor of how the ancients must have done it. There may be lit­tle demand for papyrus, or for parch­ment, for that mat­ter, and maybe paper will final­ly go the way of these obso­lete com­mu­ni­ca­tions tech­nolo­gies before long. But as long as there are those who retain the knowl­edge of these arts, we’ll have an inti­mate phys­i­cal con­nec­tion to the writ­ers, artists, and bureau­crats of empires past.

Relat­ed Con­tent: 

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

Harvard’s Dig­i­tal Giza Project Lets You Access the Largest Online Archive on the Egypt­ian Pyra­mids (Includ­ing a 3D Giza Tour)

Who Built the Egypt­ian Pyra­mids & How Did They Do It?: New Arche­o­log­i­cal Evi­dence Busts Ancient Myths

Learn to Play Senet, the 5,000-Year Old Ancient Egypt­ian Game Beloved by Queens & Pharaohs

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

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

The food of our ances­tors has come back into fash­ion, no mat­ter from where your own ances­tors in par­tic­u­lar hap­pened to hail. Whether moti­vat­ed by a desire to avoid the sup­pos­ed­ly unhealthy ingre­di­ents and process­es intro­duced in moder­ni­ty, a curios­i­ty about the prac­tices of a cul­ture, or sim­ply a spir­it of culi­nary adven­ture, the con­sump­tion of tra­di­tion­al foods has attained a rel­a­tive­ly high pro­file of late. So, indeed, has their prepa­ra­tion: few of us could think of a more tra­di­tion­al food than bread, the home-bak­ing of which became a sweep­ing fad in the Unit­ed States and else­where short­ly after the onset of the COVID-19 pan­dem­ic.

Max Miller, for exam­ple, has baked more than his own share of bread at home. Like no few media-savvy culi­nary hob­by­ists, he’s put the results on Youtube; like those hob­by­ists who devel­op an unquench­able thirst for ever-greater depth and breadth (no pun intend­ed) of knowl­edge about the field, he’s gone well beyond the rudi­ments.

18th-cen­tu­ry Saly Lunn buns, medieval trencher, Pom­pei­ian panis quad­ra­tus, even the bread of ancient Egypt: he’s gone a long way indeed beyond sim­ple sour­dough. But in so doing, he’s learned — and taught — a great deal about the vari­ety of civ­i­liza­tions, all of them hearti­ly food-eat­ing, that led up to ours.

“His show, Tast­ing His­to­ry with Max Miller, start­ed in late Feb­ru­ary,” writes Devan Sauer in a pro­file last year for the Phoenix New Times. “Since then, Tast­ing His­to­ry has drawn more than 470,000 sub­scribers and 14 mil­lion views.” Each of its episodes “has a spe­cial seg­ment where Miller explains the his­to­ry of either the ingre­di­ents or the dish’s time peri­od.” These peri­ods come orga­nized into playlists like “Ancient Greek, Roman, & Mesopotami­an Recipes,” “The Best of Medieval & Renais­sance Recipes,” and “18th/19th Cen­tu­ry Recipes.” In his clear­ly exten­sive research, “Miller looks to pri­ma­ry accounts, or anec­do­tal records from the peo­ple them­selves, rather than his­to­ri­ans. He does this so he can get a bet­ter glimpse into what life was like dur­ing a cer­tain time.”

If past, as L.P. Hart­ley put it, is a for­eign coun­try, then Miller’s his­tor­i­cal cook­ery is a form of not just time trav­el, but reg­u­lar trav­el — exact­ly what so few of us have been able to do over the past year and a half. And though most of the recipes fea­tured on Tast­ing His­to­ry have come from West­ern, and specif­i­cal­ly Euro­pean cul­tures, its chan­nel also has a playlist ded­i­cat­ed to non-Euro­pean foods such as Aztec choco­late; the king­ly Indi­an dessert of payasam; and hwa­jeon, the Kore­an “flower pan­cakes” served in 17th-cen­tu­ry snack bars, or eumshik dabang. He’s also pre­pared the snails served at the ther­mopoli­um, the equiv­a­lent estab­lish­ment of the first-cen­tu­ry Roman Empire recent­ly fea­tured here on Open Cul­ture. But how­ev­er impres­sive Miller’s knowl­edge, enthu­si­asm, and skill in the kitchen, he com­mands just as much respect for hav­ing mas­tered Youtube, the true Forum of ear­ly 21st-cen­tu­ry civ­i­liza­tion.

Relat­ed Con­tent:

What Did Peo­ple Eat in Medieval Times? A Video Series and New Cook­book Explain

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

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

How to Make the Old­est Recipe in the World: A Recipe for Net­tle Pud­ding Dat­ing Back 6,000 BC

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.

What Happened During the 1921 Tulsa Massacre, One of the Worst Episodes of Racial Violence in U.S. History

In Feb­ru­ary 1915, Thomas Dixon, author of pop­u­lar nov­el The Clans­man, and D.W. Grif­fith, the direc­tor who adapt­ed the book into the film Birth of a Nation, lob­bied then-pres­i­dent Woodrow Wil­son for a screen­ing at the White House. The two were sure their sto­ry would get a warm recep­tion from the “well doc­u­ment­ed racist” and one­time schol­ar who pro­duced a five-vol­ume His­to­ry of the Amer­i­can Peo­ple, in which he por­trayed the South as “over­run by ex-slaves who were unde­serv­ing of free­dom,” as Boston Uni­ver­si­ty jour­nal­ism pro­fes­sor Dick Lehr remarks.

Whether or not Wil­son actu­al­ly uttered the words attrib­uted to him after­ward (“It’s like writ­ing his­to­ry with light­ning”), he approved the film’s mes­sage and rebuffed Black lead­ers who were “appalled and out­raged,” says Lehr. The moment was piv­otal for the birth of the Civ­il Rights move­ment, he argues in a recent book. Fol­low­ing the country’s entry into World War I, it also lit the fires of what nov­el­ist, com­pos­er and exec­u­tive direc­tor of the NAACP James Wel­don John­son called “Red Sum­mer”… a sum­mer of lynch­ings, loot­ings, burn­ings, shoot­ings and oth­er vio­lence.

Mass lynch­ings — ignored or mis­con­strued as “race riots” for decades, though now prop­er­ly referred to as mas­sacres — took place all over the coun­try between 1917 and 1923 under var­i­ous pre­texts, “in at least 26 cities,” Deneen Brown writes at Nation­al Geo­graph­ic, “includ­ing Wash­ing­ton, D.C.; Chica­go, Illi­nois; Oma­ha, Nebras­ka; Elaine, Arkansas; Charleston, South Car­oli­na; Colum­bia, Ten­nessee; Hous­ton, Texas,” and — the blood­i­est and most destruc­tive of them all — Tul­sa, Okla­homa, an event many learned about for the first time when the cur­rent pres­i­dent pro­claimed its 100th anniver­sary, May 31st, a “Day of Remem­brance.”

On May 31 and June 1, 1921, the mob who ram­paged through the Tul­sa neigh­bor­hood of Green­wood, a pros­per­ous black com­mu­ni­ty just a gen­er­a­tion removed from slav­ery, killed over 300 Black res­i­dents, “dump­ing their bod­ies into the Arkansas Riv­er or bury­ing them in mass graves. More than a hun­dred busi­ness­es were destroyed, as well as a school, a hos­pi­tal, a library, and dozens of church­es. More than 1,200 Black-owned hous­es burned.” The attack­ers rained death from above: a report by a state-appoint­ed com­mis­sion found “Tul­sa was like­ly the first city” in the coun­try “to be bombed from the air.”

“The eco­nom­ic loss­es in the Black com­mu­ni­ty amount­ed to more than $1 mil­lion,” Brown notes, a fig­ure that can­not account for per­son­al loss­es that res­onat­ed through gen­er­a­tions, like those described by the massacre’s old­est liv­ing sur­vivor, who tes­ti­fied recent­ly before a House sub­com­mit­tee. Son­ali Kol­hatkar writes:

107-year-old Vio­la Fletch­er… tes­ti­fied to Con­gress a few weeks ahead of the 100th anniver­sary and recalled grow­ing up as a child in Green­wood in “a beau­ti­ful home” with “great neigh­bors and… friends to play with.” “I had every­thing a child could need. I had a bright future ahead of me,” she said. A few weeks after Fletch­er turned sev­en, the armed men struck on May 31, 1921. After recount­ing the “vio­lence of the white mob,” and her mem­o­ries of see­ing “Black bod­ies lying in the street” and “Black busi­ness­es being burned,” she went on to describe the grind­ing pover­ty she was thrown into as a result of the mas­sacre.

Fletch­er nev­er made it past the fourth grade in school. The promis­ing future that her fam­i­ly had worked hard to give her was oblit­er­at­ed in the ash­es of the Tul­sa Race Mas­sacre. “Most of my life I was a domes­tic work­er serv­ing white fam­i­lies. I nev­er made much mon­ey. To this day I can bare­ly afford my every­day needs,” she told law­mak­ers dur­ing her tes­ti­mo­ny.

That the anniver­sary now falls on Memo­r­i­al Day (then cel­e­brat­ed on May 30th) seems a bit­ter irony giv­en that much of the back­lash toward Black com­mu­ni­ties came from fear of those return­ing Black sol­diers who stood up against the every­day vio­lence of Jim Crow when they returned from over­seas. Birth of a Nation inspired a reborn Ku Klux Klan and its sup­port­ers to turn that fear into a cru­sade, a kind of pre-emp­tive col­lec­tive retal­i­a­tion.

“Dur­ing the mas­sacres, they mur­dered and maimed peo­ple indis­crim­i­nate­ly, unpro­voked,” says Alice M. Thomas, a Carnegie schol­ar and a pro­fes­sor in the School of Law at Howard Uni­ver­si­ty. “They went into homes, stole per­son­al belong­ings, and burned down homes. They used the mas­sacres as a cov­er to mur­der with­out sanc­tion, maim with­out sanc­tion, and steal with­out sanc­tion. No one, to this day, has been held account­able.”

Red Sum­mer was pri­mar­i­ly dri­ven by what now gets cod­ed as “eco­nom­ic anx­i­ety.” Kar­los K. Hill, pro­fes­sor of African and African Amer­i­can Stud­ies at the Uni­ver­si­ty of Okla­homa, explains that “the Green­wood Dis­trict [of Tul­sa] was per­haps the wealth­i­est Black com­mu­ni­ty in the coun­try… a sym­bol of what was pos­si­ble even in Jim Crow Amer­i­ca.” Referred to as “Black Wall Street” — the moniker giv­en to many oth­er such com­mu­ni­ties — Green­wood posed a threat: “The fear was, if Black peo­ple could have eco­nom­ic and polit­i­cal equal­i­ty, then social equal­i­ty would fol­low right behind.”

Rather than face the fright­en­ing prospect of an actu­al democ­ra­cy, thou­sands of white Amer­i­cans lashed out in Red Sum­mer, burn­ing Black Wall Streets to the ground nation­wide. After a cen­tu­ry of denial, the U.S. is only begin­ning to reck­on with the mas­sacres, and specif­i­cal­ly, with Tul­sa. The president’s procla­ma­tion marks a his­toric step in the right direc­tion. In the Vox video above, learn more about a sto­ry “you won’t find in most his­to­ry books.”

As NPR notes, you can also watch anoth­er doc­u­men­tary on the Tul­sa mas­sacre on PBS.

Relat­ed Con­tent:

When White Suprema­cists Over­threw a Gov­ern­ment (1898): The Hid­den His­to­ry of an Amer­i­can Coup

Take The Near Impos­si­ble Lit­er­a­cy Test Louisiana Used to Sup­press the Black Vote (1964)

Hear the Voic­es of Amer­i­cans Born in Slav­ery: The Library of Con­gress Fea­tures 23 Audio Inter­views with For­mer­ly Enslaved Peo­ple (1932–75)

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

Download 1,000+ Beautiful Woodblock Prints by Hiroshige, the Last Great Master of the Japanese Woodblock Print Tradition

For 200 years, begin­ning in the 1630s, Japan closed itself off from the world. In its cap­i­tal of Edo the coun­try boast­ed the largest city in exis­tence, and among its pop­u­la­tion of more than a mil­lion not a sin­gle one was for­eign-born. “Prac­ti­cal­ly the only Euro­peans to have vis­it­ed it were a hand­ful of Dutch­men,” writes pro­fes­sor of Japan­ese his­to­ry Jor­dan Sand in a new Lon­don Review of Books piece, “and so it would remain until the mid-19th cen­tu­ry. No for­eign­ers were per­mit­ted to live or trade on Japan­ese soil except the Dutch and Chi­nese, who were con­fined to enclaves in the port of Nagasa­ki, 750 miles from Edo. No Japan­ese were per­mit­ted to leave: those who dis­obeyed did so on pain of death.”

These cen­turies of iso­la­tion in the Japan­ese cap­i­tal — known today as Tokyo — thus pro­duced next to noth­ing in the way of West­ern­er-com­posed accounts. But “the peo­ple of Edo them­selves left a rich archive,” Sand notes, giv­en the pres­ence among them of no few indi­vid­u­als high­ly skilled in the lit­er­ary and visu­al arts.

Such notable Edo chron­i­clers include Andō Hiroshige, the samu­rai-descend­ed son of a fire­man who grew up to become Uta­gawa Hiroshige, or sim­ply Hiroshige, one of the last mas­ters of the ukiyo‑e wood­block-print­ing tra­di­tion.

Hiroshige’s late “pic­tures of the float­ing world” are among the most vivid images of life in Japan just before it reopened, works that Sand quotes art his­to­ri­an Tim­on Screech as claim­ing “attest to a new sense of Edo’s place in the world.” For the his­to­ri­o­graph­i­cal view of the sakoku (or “closed coun­try”) pol­i­cy has long since come in for revi­sion. The Japan of the mid-17th to late 19th cen­tu­ry may not actu­al­ly have been as closed as all that, or at least not as free of for­eign influ­ence as pre­vi­ous­ly assumed. The evi­dence for this propo­si­tion includes Hiroshige’s ukiyo‑e prints, espe­cial­ly his late series of mas­ter­works One Hun­dred Famous Views of Edo.

Now, thanks to the Min­neapo­lis Insti­tute of Art’s dig­i­tal col­lec­tion, you can take as long and as close a look as you’d like at — and even down­load — more than 1,000 of his works. That’s an impres­sive num­ber for a sin­gle insti­tu­tion, but bear in mind that Hiroshige pro­duced about 8,000 pieces in his life­time, cap­tur­ing not just the attrac­tions of Edo but views from all over his home­land as he knew it, which had already begun to van­ish in the last years of his life. More than a cen­tu­ry and a half on, the coro­n­avirus pan­dem­ic has prompt­ed Japan to put in place entry restric­tions that, for many if not most for­eign­ers around the world, have effec­tive­ly re-closed the coun­try. Japan itself has changed a great deal since the mid-19th cen­tu­ry, but to much of the world it has once again become a land of won­ders acces­si­ble only through its art. Explore 1,000+ wood­block prints by Hiroshige here.

via Colos­sal

Relat­ed Con­tent:

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

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

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 Real Loca­tions of Ukiyo‑e, His­toric Japan­ese Wood­block Prints, Plot­ted on a Google Map

1,000+ His­toric Japan­ese Illus­trat­ed Books Dig­i­tized & Put Online by the Smith­son­ian: From the Edo & Meji Eras (1600–1912)

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 Inventor of Karaoke, Daisuke Inoue, Who Wanted to “Teach the World to Sing”

Daisuke Inoue has been hon­ored with a rare, indeed almost cer­tain­ly unique com­bi­na­tion of lau­rels. In 1999, Time mag­a­zine named him among the “Most Influ­en­tial Asians of the Cen­tu­ry.” Five years lat­er he won an Ig Nobel Prize, which hon­ors par­tic­u­lar­ly strange and ris­i­ble devel­op­ments in sci­ence, tech­nol­o­gy, and cul­ture. Inoue had come up with the device that made his name decades ear­li­er, in the ear­ly 1970s, but its influ­ence has proven endur­ing still today. It is he whom his­to­ry now cred­its with the inven­tion of the karaoke machine, the assist­ed-singing device that the Ig Nobel com­mit­tee, award­ing its Peace Prize, described as “an entire­ly new way for peo­ple to learn to tol­er­ate each oth­er.”

The achieve­ment of an Ig Nobel recip­i­ent should be one that “makes peo­ple laugh, then think.” Over its half-cen­tu­ry of exis­tence, many have laughed at karaoke, espe­cial­ly as osten­si­bly prac­ticed by the drunk­en salary­men of its home­land. But upon fur­ther con­sid­er­a­tion, few Japan­ese inven­tions have been as impor­tant.

Hence its promi­nent inclu­sion in Japa­nol­o­gist Matt Alt’s recent book Pure Inven­tion: How Japan’s Pop Cul­ture Con­quered the World. As Alt tells its sto­ry, the karaoke machine emerged out of San­nomiya, Kobe’s red-light dis­trict, which might seem an unlike­ly birth­place — until you con­sid­er its “some four thou­sand drink­ing estab­lish­ments crammed into a clus­ter of streets and alleys just a kilo­me­ter in radius.”

In these bars Inoue worked as a hiki-katari, a kind of free­lance musi­cian who spe­cial­ized in “sing-alongs, retun­ing their performances­ on­ the ­fly­ to ­match ­the­ singing­ abil­i­ties ­and­ sobri­ety ­levels­ of pay­ing cus­tomers.” This was karaoke (the Japan­ese term means, lit­er­al­ly, “emp­ty orches­tra”) before karaoke as we know it. Inoue had mas­tered its rig­ors to such an extent that he became known as “Dr. Sing-along,” and the sheer demand for his ser­vices inspired him to cre­ate a kind of auto­mat­ic replace­ment he could send to extra gigs. The 8 Juke, as he called it, amount­ed to an 8‑track car stereo con­nect­ed to a micro­phone, reverb box, and coin slot. Pre-loaded with instru­men­tal cov­ers of bar-goers’ favorite songs, the 8 Jukes Inoue made soon start­ed tak­ing in more coins than they could han­dle.

“When I made the first Juke 8s, a broth­er-in-law sug­gest­ed I take out a patent,” Inoue said in a 2013 inter­view. “But at the time, I didn’t think any­thing would come of it.” Hav­ing assem­bled his inven­tion from off-the-shelf com­po­nents, he did­n’t think there was any­thing patentable about it, and unknown to him, at least one sim­i­lar device had already been built else­where in Japan. But what Inoue invent­ed, as Alt puts it, was “the total pack­age of hard­ware and cus­tom soft­ware that allowed karaoke to grow from a local fad into an enor­mous glob­al busi­ness.” Had it been patent­ed, says Inoue him­self, “I don’t think karaoke would have grown like it did.” Would it have grown to have, as Alt puts  it, “profound­ effects­ on­ the­ fantasy­ lives­ of­ Japanese­ and­ West­ern­ers ­both”? And would Inoue have found him­self onstage more than 30 years lat­er at the Ig Nobels, lead­ing a crowd of Amer­i­cans in a round of “I’d Like to Teach the World to Sing”?

via Messy Nessy

Relat­ed Con­tent:

Author Rob Sheffield Picks Karaoke Songs for Famous Authors: Imag­ine Wal­lace Stevens Singing the Vel­vet Underground’s “Sun­day Morn­ing”

Japan­ese Bud­dhist Monk Cov­ers Ramones’ “Teenage Lobot­o­my,” “Queen’s “We Will Rock You,” Bea­t­les’ “Yel­low Sub­ma­rine” & More

The 10 Com­mand­ments of Chindōgu, the Japan­ese Art of Cre­at­ing Unusu­al­ly Use­less Inven­tions

This Man Flew to Japan to Sing ABBA’s “Mam­ma Mia” in a Big Cold Riv­er

Karaoke-Style, Stephen Col­bert Sings and Struts to The Rolling Stones’ “Brown Sug­ar”

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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