Coca-Cola Was Originally Sold as an Intellectual Stimulant & Medicine: The Unlikely Story of the Iconic Soft Drink’s Invention

in Food & Drink, History | April 29th, 2022

We all know that sweetened, carbonated soft drinks have effects on those who drink them. The most conspicuous, among especially avid consumers, include obesity and its associated health troubles. This, fair to say, was not the intention of John Stith Pemberton, the Georgia pharmacist who in the 1880s came up with the drink that would become Coca-Cola. In that era, writes Smithsonian.com’s Kat Eschner, “people overwhelmed by industrialization and urbanization as well as the holdover of the Civil War and other social changes struggled to gain purchase, turning to patent medicines for cures that doctors couldn’t provide.” And it was in a patent medicine, one of the countless many dubiously ballyhooed in the nineteenth century, that Coca-Cola first appeared.

Injured in the Civil War, Pemberton developed a morphine addiction for which he fruitlessly sought treatment. But then he got word of a new substance with the potential to cure his “morphinism”: cocaine. At the time, cocaine was an ingredient in a wine-based beverage enjoyed by Parisians called Vin Mariani.

“It actually made people feel great, and it was sold as medicine,” writes Eschner. “Combining cocaine and alcohol produces another chemical more potent than what’s normally found in cocaine, enhancing the high.” Adapting Vin Mariani for his own local market, Pemberton introduced what he called “French Wine Coca”: a treatment, as he promoted it, for everything from dyspepsia to neurasthenia to constipation, as well as a “most wonderful invigorator of the sexual organs.”

Coca-Cola carries many associations today, few of them having to do with the life of the mind. Yet it was to upper-class intellectuals, their minds disordered by the rapid development of nineteenth-century America, that Pemberton promoted his invention. It would be called “a valuable Brain Tonic, and a cure for all nervous affections.” Its supposed mental benefits became the main selling point in 1886, when temperance laws in Atlanta prompted a re-engineering of the formula. Even the non-alcoholic version contained “the valuable TONIC and NERVE STIMULANT properties of the Coca plant and Cola nuts,” as advertisements put it, but in the early decades of the twentieth century (long after Pemberton’s death in 1888, by which time he’d sold off his rights to the drink), the Coca-Cola Company phased that ingredient out. If it weren’t illegal, a cocaine-fortified soft drink would now benefit from the retro appeal of the eighties — the eighteen-eighties and nineteen-eighties alike.

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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, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

An Online Archive of Beautiful, Early 20th Century Japanese Postcards

in Archives, Art, History, Museums | April 28th, 2022

The world thinks of Japan as having transformed itself utterly after its defeat in the Second World War. And indeed it did, into what by the nineteen-eighties looked like a gleaming, technology-saturated condition of ultra-modernity. But the standard version of modernity, as conceived of in the early 20th century with its trains, telephones, and electricity, came to Japan long before the war did. “Between 1900 and 1940, Japan was transformed into an international, industrial, and urban society,” writes Museum of Fine Arts Boston curator Anne Nishimura Morse. “Postcards — both a fresh form of visual expression and an important means of advertising — reveal much about the dramatically changing values of Japanese society at the time.”

These words come from the introductory text to the MFA’s 2004 exhibition “Art of the Japanese Postcard,” curated from an archive you can visit online today. (The MFA has also published it in book form.) You can browse the vintage Japanese postcards in the MFA’s digital collections in themed sections like architecture, women, advertising, New Year’s, Art Deco, and Art Nouveau.

These represent only a tiny fraction of the postcards produced in Japan in the first decades of the twentieth century, when that new medium “quickly replaced the traditional woodblock print as the favored tableau for contemporary Japanese images. Hundreds of millions of postcards were produced to meet the demands of a public eager to acquire pictures of their rapidly modernizing nation.”

The earliest Japanese postcards “were distributed by the government in connection with the Russo-Japanese War (1904–5), to promote the war effort. Almost immediately, however, many of Japan’s leading artists — attracted by the informality and intimacy of the postcard medium — began to create stunning designs.” The work of these artists is collected in a dedicated section of the online archive, where you’ll find postcards by the commercial graphic-design pioneer Suguira Hisui; the French-educated, highly Western-influenced Asai Chi; the multitalented Ota Saburo, known as the illustrator of Kawabata Yasunari’s The Scarlet Gang of Asakusa; and Nakazawa Hiromitsu, creator of the “diver girl” long well-known among Japanese-art collectors.

Surprisingly, Nakazawa’s diver girl (also known as the “mermaid,” but most correctly as “Heroine Matsuzake” of a popular play at the time) seems not to have been among the possessions of cosmetics billionaire and art collector Leonard A. Lauder, who donated more than 20,000 Japanese selections from his vast postcard collection to the MFA. “In 1938 or ’39, a boy of five or six, or maybe seven, was so enthralled by the beauty of a postcard of the Empire State Building that he took his entire five-cent allowance and bought five of them,” writes the New Yorker’s Judith H. Dobrzynski. The youngster thrilling to the paper image of a skyscraper was, of course, Lauder — who couldn’t have known how much, in that moment, he had in common with the equally modernity-intoxicated people on the other side of the world.

via Flashbak

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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, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( None ) |

A Whirlwind Architectural Tour of the New York Public Library–“Hidden Details” and All

in Architecture, History | April 27th, 2022

The New York Public Library opened in 1911, an age of magnificence in American city-building. Eighteen years before that, writes architect-historian Witold Rybczynski, “Chicago’s Columbian Exposition provided a real and well-publicized demonstration of how the unruly American downtown could be tamed though a partnership of classical architecture, urban landscaping, and heroic public art.” Modeled after Europe’s urban civilization, the “White City” built on the ground of the Columbian Exposition inspired a generation of American architects and planners including John Nolen, Frederick Law Olmsted, Jr., and John Carrère, co-designer of the New York Public Library.

Carrère appears in the Architectural Digest tour video of the NYPL building above — or at least his bust does, prominently placed as it is on the landing of one of the grand staircases leading up from the main entrance. The staircases are marble, as is much of else; when the NYPL opened after nine years of construction, so the tour’s narration informs us, it did so as the largest marble-clad structure in the country.

On the soundtrack we have not just one guide, but three: NYPL visitor volunteer program manager Keith Glutting, design historian Judith Gura, and architectural historian Paul Ranogajec. Together they tell the story of this venerable American building, and also point out the “hidden details” that a visitor might not otherwise notice.

Take the terrace on which the whole building stands, a feature of the European villa and palace tradition. Or the murals depicting the history of the written word from Moses’ stone tablets on down. Or the pneumatic tubes, artifacts of the analog information-technology system in use before the NYPL computerized in the nineteen-seventies. Or the rendering of the world in the library’s formidable map room that mistakenly depicts California as an island (not that every New Yorker would disagree). The video also includes other, even lesser-seen wonders both old and new, from a 1455 Gutenberg Bible — the first in the New World — to the automated trolley system that brings books out of the stacks. But it is the building itself that inspires wonder, its extravagant solidity and detail that hark back to a time of consensus, however brief, that nothing was too good for ordinary people.

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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, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Stunningly Elaborate Ottoman Calligraphy Drawn on Dried Leaves

in Art, History | April 26th, 2022

The study of Islamic calligraphy is “almost inexhaustible,” begins German-born Harvard professor Annemarie Schimmel’s Calligraphy and Islamic Culture, “given the various types of Arabic script and the extension of Islamic culture” throughout the Arabian Peninsula, Persia, Africa, and the Ottoman Empire. The first calligraphic script, called Ḥijāzī, allegedly originated in the Hijaz region, birthplace of the Prophet Muhammad himself. Another version called Kūfī, “one of the earliest extant Islamic scripts,” developed and flourished in the “Abbasid Baghdad,” Anchi Hoh writes for the Library of Congress, “a major center of culture and learning during the classical Islamic age.”

Despite the long and venerable history of calligraphy around the Islamic world, there is good reason for the saying that the Qur’an was “revealed in Mecca, recited in Egypt, and written in Istanbul.” The Ottomans refined Arabic calligraphy to its highest degree, bringing the art into a “golden age… unknown since the Abbasid era,” Hoh writes.

“Ottoman calligraphers adopted [master Abbasid calligrapher] Ibn Muqlah’s six styles and elevated them to new peaks of beauty and elegance.” One of the peaks of this refinement can be seen here in these delicately preserved dead leaves covered with golden Arabic script.

This particular application of the art is, needless to say, “difficult and delicate work,” say the notes on one such leaf in Singapore’s Asian Civilisation Museum:

The leaf has to be dried, and the tissue has to be removed slowly so as to leave the skeletal membrane. The stencil of the composition is placed behind the leaf and the gold ink with gum Arabic is applied over it. This art of producing calligraphy of a dried leaf, is one that was practised most widely in Ottoman Turkey during the 19th century. During this period, Ottoman calligraphers were interested in producing compositions which took the shape of fruits, animals and even inanimate objects like ships and houses.

The examples here come from a Twitter thread by Bayt Al Fann, an artist collective “exploring art & culture inspired by Islamic tradition.” There you can find many more elaborate examples and translations and descriptions of the calligraphic script — generally verses from the Qur’an, Hadith prayers, and poetry. Learn much more about Islamic calligraphy in Schimmel’s book; in her Metropolitan Museum of Art bulletin “Islamic Calligraphy” with Barbara Rivolta (free here); and in Hoh’s three-part Library of Congress series here. And find out how Turkish calligraphers like Nick Merdenyan and Saliha Aktaş have reinvented the art in the 21st century.…

via MetaFilter

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

by Josh Jones | Permalink | Make a Comment ( None ) |

Why Does This Lady Have a Fly on Her Head?: A Curious Look at a 15th-Century Portrait

in Art, History | April 26th, 2022

In the National Gallery there hangs a portrait of an unknown woman, painted by an unknown artist around 1470 somewhere in southwestern Germany. This may sound like an artwork of little note, but it does boast one highly conspicuous mark of distinction: a housefly. It’s not that the portraitist was in such thrall to realism that he included an insect that happened to drop into the sitting; at first glance, the fly looks as if it belongs to our reality, and has alighted on the canvas itself. Why would a painter, presumably commissioned at the considerable expense of the sitter’s family, include such a seemingly bizarre detail? National Gallery curator Francesca Whitlum-Cooper offers answers in the video below.

“It’s a joke,” says Whitlum-Cooper. “And it’s a joke that works on different levels, because on the one hand, the fly has been tricked into thinking this is a real headdress,” fooled by the painter’s mastery of that most difficult color for light and shadow, white.

“But obviously there’s a double joke, because we, looking at it, think, ‘Oh my gosh, there’s a fly on that painting!’ ” It is our very instinct to shoo the bug away that tells us “we’ve been duped, because actually, everything here is two-dimensional. This is just paint. And the skill of the artist is that they’ve been able to take that paint, and brush, and a bit of wood, and conjure it into something that feels so lifelike, we do believe — even just for a second — that’s a fly sitting on that picture.”

Five centuries later the joke still works, though it could well be more than a joke. One theory put forth here and there in the comments holds that the fly functions as a reminder of impermanence, of decay, of mortality. If so, it suggests that the subject of this portrait may already have been dead by the time of its painting, a notion supported by the symbolic weight of the forget-me-nots in her hand. (One commenter even argues that the artist is none other than the famed Albrecht Dürer, and that the woman depicted is his late mother.) Though it may not rank among the great works of art, this mysterious image nevertheless shares with them the quality of multivalence. The fly could be a gag, and it could be a memento mori — but why not both?

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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, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

How Thomas Edison & Henry Ford Envisioned a Low-Priced Electric Vehicle in 1914, Almost Changing the Direction of Automobile History

in History, Technology | April 25th, 2022

Few inventions have come to define twenty-first century mobility as much as the electric car. As reported at EVBox by Joseph D. Simpson and Wesley van Barlingen, the number of electric vehicles on the road has exploded from “negligible” in 2010 to “as many as 10 million” by the end of 2021. Electric vehicle manufacturer Tesla “is the most valuable automotive company on the planet,” worth “an estimated $1 trillion.” That company takes its name from inventor and alternating-current pioneer Nikola Tesla, but it was under the influence of Tesla’s rival Thomas Edison that the electric car went through much of its early evolution.

“At about the time Ford Motor Co. was founded in 1903, Edison had made inroads with battery technology and started offering nickel-iron batteries for several uses, including automobiles,” writes Wired’s Dan Strohl. At the turn of the 20th century, the vehicles on American roads ran on three different kinds of power: 40 percent used steam, almost as many used electricity, and round 20 percent used gasoline.

Never hesitant to promote his own technologies, Edison declared that “electricity is the thing,” with its lack of “whirring and grinding gears with their numerous levers to confuse,” of “that almost terrifying uncertain throb and whirr of the powerful combustion engine,” of a “water-circulating system to get out of order,” of “dangerous and evil-smelling gasoline.”

As BBC Future Planet’s Allison Hirschlag tells it, “Edison claimed the nickel-iron battery was incredibly resilient, and could be charged twice as fast as lead-acid batteries.” He even had a deal in place with Ford Motors to produce this purportedly more efficient electric vehicle.” Alas, “by the time Edison had a more refined prototype” — one that could be driven from Scotland to London — “electric vehicles were on the way out in favor of fossil-fuel-powered vehicles that could go longer distances before needing to refuel or recharge.” It didn’t help, as Simpson and van Barlingen add, that “after the discovery of oil in Texas, gasoline became cheap and readily available for many, while electricity only remained available in cities.” As a result, electric vehicles had “almost completely disappeared from the market” by the mid-nineteen-thirties.

By the mid-twenty-thirties, however, electric vehicles will quite possibly dominate the market, and 200 years after their invention at that. “It is said that the first electric vehicle was displayed at an industry conference in 1835 by a British inventor by the name of Robert Anderson,” write Simpson and van Barlingen. The twentieth century century saw its development set back by the slow development of battery technology, combined with the sudden development of gasoline-related technologies and infrastructure. But economic, environmental, and political factors have converged to make it seem as if electricity is, indeed, the thing after all, and cars powered by it are positioned to come roaring — or at least humming — back.

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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, on Facebook, or on Instagram.

by Colin Marshall | Permalink | Make a Comment ( None ) |

The History of Birth Control: From Alligator Dung to The Pill

in Gender, Health, History, Politics, Religion | April 25th, 2022

The history of birth control is almost as old as the history of the wheel.

Pessaries dating to Mesopotamia and ancient Egypt provide the launching pad for documentarian Lindsay Holiday’s overview of birth control throughout the ages and around the world.

Holiday’s History Tea Time series frequently delves into women’s history, and her pledge to donate a portion of the above video’s ad revenue to Pathfinder International serves as reminder that there are parts of the world where women still lack access to affordable, effective, and safe means of contraception.

One goal of the World Health Organization’s Ending Preventable Maternal Mortality initiative is for 65% of women to be able to make informed and empowered decisions regarding sexual relations, contraceptive use, and their reproductive health by 2025.

As Holiday points out, expense, social stigma, and religious edicts have impacted ease of access to birth control for centuries.

The further back you go, you can be certain that some methods advocated by midwives and medicine women have been lost to history, owing to unrecorded oral tradition and the sensitive nature of the information.

Holiday still manages to truffle up a fascinating array of practices and products that were thought — often erroneously — to ward off unwanted pregnancy.

Some that worked and continue to work to varying degrees, include barrier methods, condoms, and more recently the IUD and The Pill.

Definitely NOT recommended: withdrawal, holding your breath during intercourse, a post-coital sneezing regimen, douching with Lysol or Coca-Cola, toxic cocktails of lead, mercury or copper salt, anything involving alligator dung, and slugging back water that’s been used to wash a corpse.

As for silphium, an herb that likely did have some sort of spermicidal properties, we’ll never know for sure. By 1 CE, demand outstripped supply of this remedy, eventually wiping it off the face of the earth despite increasingly astronomical prices. Fun fact: silphium was also used to treat sore throat, snakebite, scorpion stings, mange, gout, quinsy, epilepsy, and anal warts

The history of birth control can be considered a semi-secret part of the history of prostitution, feminism, the military, obscenity laws, sex education and attitudes toward public health.

From Margaret Sanger and the 60,000 women executed as witches in the 16th and 17th centuries, to economist Thomas Malthus’ 1798 Essay on the Principle of Population and legendary adventurer Giacomo Casanova’s satin ribbon-trimmed jimmy hat, this episode of History Tea Time with Lindsay Holiday touches on it all.

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

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by Ayun Halliday | Permalink | Make a Comment ( None ) |

Explore a Big Archive of Vintage Early Comics: 1700–1929

in Archives, Art, Comics/Cartoons, History | April 22nd, 2022

The popularity of graphic novels (and more than a few extremely lucrative superhero movie franchises) have conferred respectability on comics.

Handsome reissues of such stunning early works as Winsor McKay’s Little Nemo in Slumberland, George Herriman’s Krazy Kat, and Frank King’s Walt and Skeezix suggest that readers’ appetite for vintage comics extends deeper and further back than mere nostalgia for the Sunday funnies of their youth.

Artist Andy Bleck’s Andy’s Early Comics Archive is an excellent resource for those seeking to discover early examples of the form that have yet to be reissued in a collected edition. (Fair warning: reflecting the attitudes of the time, the collection does inevitably contains some racist imagery. Such imagery won’t be on display in this post.)

Bleck, the creator of Konky Kru, a beautifully simple, wordless series, as well as several self-published mini comics, takes a historian’s interest in his subject, beginning with the William Hogarth engravings A Harlot’s Progress from 1730:

The famous ‘progressions’ by Hogarth were not actually comics. The images don’t lead into and don’t interact with each other. Each shows a distinct, separate stage of a longer story. However, because of their great popularity, they established the very notion of telling entertaining stories with a series of pictures and so became a highly influential stepping stone for future developments.

He also cites the influence of British political cartoons, Chinese woodcuts, illustrated fairy tales and nursery rhymes, and Heinrich Hoffmann’s Struwwelpeter, a book that terrified children into behaving by depicting the monstrous consequences befalling those who failed to do so.

Ironically, Franz Joseph Goez’s Lenardo und Blandine, an actual graphic novelette from 1783, “probably had little influence:”

It was too ahead of its time as far as the comic structure is concerned. In content, it was delightfully very much of its time, full of outrageous melodrama.

Things continued to evolve in the second half of the 19th-century, with picture broadsheets for children, such as the ones starring Wilhelm Busch’s wildly popular Max and Moritz. (See an English translation here.)

Bleck traces the birth of modern comics, whose storytelling vocabulary continues today, to the beginning of the 20th century, with American newspaper strips and particularly, the Sunday funnies:

The newspaper format was much larger and cheaper, providing a lot more empty space to fill. The audience was less sophisticated, but (possibly because of this) more open to a particular type of experimentation, despite the dumb and lowbrow humor… these American Sunday pages became the breeding ground for something new. Weirder, rougher, slapdashier. Also easier, for children, but not childish. More popular. More … somethingier.

Maybe it was that new type of human being, the urban immigrant, who was most prepared and eager to pay for all this new visual goings on.

Andy’s Early Comics Archive can be searched chronologically, or alphabetically by artist’s name. Enter here.

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

by Ayun Halliday | Permalink | Make a Comment ( None ) |

Coca-Cola Was Originally Sold as an Intellectual Stimulant & Medicine: The Unlikely Story of the Iconic Soft Drink’s Invention

An Online Archive of Beautiful, Early 20th Century Japanese Postcards

A Whirlwind Architectural Tour of the New York Public Library–“Hidden Details” and All

Stunningly Elaborate Ottoman Calligraphy Drawn on Dried Leaves

Why Does This Lady Have a Fly on Her Head?: A Curious Look at a 15th-Century Portrait

How Thomas Edison & Henry Ford Envisioned a Low-Priced Electric Vehicle in 1914, Almost Changing the Direction of Automobile History

The History of Birth Control: From Alligator Dung to The Pill

Explore a Big Archive of Vintage Early Comics: 1700–1929

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