The Olympics in the 2020s Versus 1912: See Side-by-Side Comparisons of the Athletes’ Performance Then & Now

The Olympic Games have their ori­gins in antiq­ui­ty, but their mod­ern revival has also been going on longer than any of us has been here. Even the fifth Sum­mer Olympics, which took place in Stock­holm in 1912, has passed out of liv­ing mem­o­ry. But thanks to the tech­nol­o­gy of the twen­ty-first cen­tu­ry, we can call up sur­pris­ing­ly crisp footage of its com­pe­ti­tions any time we like, much as we’re doing with that of the cur­rent­ly ongo­ing thir­ty-third Sum­mer Olympics in Paris. One espe­cial­ly fas­ci­nat­ing use of these resources, for those invest­ed in sport­ing his­to­ry, is to com­pare the per­for­mances of Olympic ath­letes over time: we know they’ve improved, but it’s one thing to see the num­bers, and quite anoth­er to see a side-by-side com­par­i­son.

Take the ven­er­a­ble men’s 100 meters, whose 1912 and 2020 finals both appear in the video above. 112 years ago, the Unit­ed States of Amer­i­ca’s Ralph Craig won the day (after sev­en false starts, and arguably an eighth as well) with a time of 10.8 sec­onds. Three years ago (Tokyo 2020 hav­ing been delayed by COVID-19 to 2021), the vic­tor of that same event was Italy’s Mar­cell Jacobs, who crossed the fin­ish line at 9.8 sec­onds. 

An even greater evo­lu­tion man­i­fests in the javelin throw, in which the Swedish Eric Lem­ming’s 60.64 meters in 1912 becomes Neer­aj Chopra’s 87.58 meters in 2020. (Nor has Chopra fin­ished set­ting records, at least judg­ing by the media fan­fare in his home­land that attend­ed his recent arrival in Paris’ Olympic vil­lage.)

Pole vault­ing, too, has under­gone a great leap for­ward, or rather, upward. Just above, you can see the 1912 record of 3.95 meters set by Hen­ry S. Bab­cock of the Unit­ed States, then the 2020 record of 6.02 meters set by Armand “Mon­do” Duplan­tis of Swe­den — or tech­ni­cal­ly, of both Swe­den and the U.S., hav­ing been born and raised in the lat­ter, but able to rep­re­sent the for­mer due to his moth­er’s being Swedish. In recent decades, such cas­es of nation­al­ly mixed parent­age (the Amer­i­can-born Ital­ian Jacobs being anoth­er) have become more com­mon in the Olympics, which in that and oth­er respects has long reflect­ed changes in the wider world. And though whether human­i­ty is improv­ing on the whole remains a mat­ter of heat­ed debate, we’ve unde­ni­ably been get­ting a lot bet­ter at run­ning, throw­ing, and jump­ing with the aid of big sticks.

Relat­ed con­tent:

The Sci­ence of the Olympic Flame; Ancient Style Meets Mod­ern Tech­nol­o­gy

The Sto­ry Behind the Icon­ic Black Pow­er Salute Pho­to at the 1968 Olympics in Mex­i­co City

Did Joe Strum­mer, Front­man of The Clash, Run the Paris and Lon­don Marathons?

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

Roger Federer’s Dartmouth Commencement Address: “Effortless Is a Myth” & Other Life Lessons from Tennis

In 2006, David Fos­ter Wal­lace pub­lished a piece in the New York Times Mag­a­zine head­lined “Roger Fed­er­er as Reli­gious Expe­ri­ence.” Even then, he could declare Fed­er­er, “at 25, the best ten­nis play­er cur­rent­ly alive. Maybe the best ever.” Much had already been writ­ten about “his old-school sto­icism and men­tal tough­ness and good sports­man­ship and evi­dent over­all decen­cy and thought­ful­ness and char­i­ta­ble largess.” Less eas­i­ly com­ment­ed upon — because much less eas­i­ly described — was the aes­thet­ic tran­scen­dence of his per­for­mance on the court, which Wal­lace thought best wit­nessed in per­son.

“If you’ve watched ten­nis only on tele­vi­sion, you sim­ply have no idea how hard these pros are hit­ting the ball, how fast the ball is mov­ing, how lit­tle time the play­ers have to get to it, and how quick­ly they’re able to move and rotate and strike and recov­er,” Wal­lace writes. “And none are faster, or more decep­tive­ly effort­less about it, than Roger Fed­er­er.” Was that one of the obser­va­tions the cham­pi­on had in mind this past week­end, eigh­teen years lat­er — and two years after his own retire­ment from the game — when he took the tree-stump lectern before Dart­mouth’s class of 2024 and declared that “Effort­less is a myth”?

That was one of three “ten­nis lessons” — that is, lessons for life derived from his long and huge­ly suc­cess­ful expe­ri­ence in ten­nis — that Fed­er­er lays out in the com­mence­ment address above. The sec­ond, “It’s only a point,” is a notion of which it’s all too easy to lose sight of amid the bal­let­ic inten­si­ty of a match. The third, “Life is big­ger than the court,” is one Fed­er­er him­self now must learn in the dai­ly life after his own “grad­u­a­tion” that stretch­es out before him. For a man still con­sid­ered one of the great­est play­ers ever to pick up a rack­et, is there life after pro­fes­sion­al ten­nis?

Fed­er­er acknowl­edges the irony of his not hav­ing gone to col­lege, but choos­ing instead to leave school at six­teen in order to devote him­self to his sport. “In many ways, pro­fes­sion­al ath­letes are our cul­ture’s holy men,” Wal­lace writes in anoth­er essay. “They give them­selves over to a pur­suit, endure great pri­va­tion and pain to actu­al­ize them­selves at it, and enjoy a rela­tion­ship to per­fec­tion that we admire and reward.” But when their ath­let­ic careers inevitably end, they find them­selves in a great­ly height­ened ver­sion of the sit­u­a­tion we all do when we come to the end of our insti­tu­tion­al­ized edu­ca­tion, won­der­ing what could or should come next.

Clear­ly, Fed­er­er does­n’t suf­fer from the kind of inar­tic­u­la­cy and unre­flec­tive­ness that Wal­lace diag­nosed over and over in oth­er pro­fes­sion­al ath­letes about whom he wrote. In pro­fil­ing play­er Michael Joyce, for instance, Wal­lace saw that Joyce and his col­leagues lived in “a world that, like a child’s world, is very seri­ous and very small” — but which Fed­er­er has long dis­played an uncom­mon abil­i­ty to see beyond. Still, as he must know, that guar­an­tees him a sat­is­fy­ing sec­ond act no more than even world-beat­ing suc­cess in any giv­en field guar­an­tees any of us gen­er­al well-being in life. Wal­lace, too, knew that full well — and of course, he was no mean com­mence­ment speak­er him­self.

Relat­ed con­tent:

David Fos­ter Wallace’s Famous Com­mence­ment Speech, “This is Water,” Gets Ani­mat­ed on a White­board

Ani­ma­tions Revive Lost Inter­views with David Fos­ter Wal­lace, Jim Mor­ri­son & Dave Brubeck

Mar­cel Proust Plays Air Gui­tar on a Ten­nis Rack­et (1891)

30 Free Essays & Sto­ries by David Fos­ter Wal­lace on the Web

Bob Dylan and George Har­ri­son Play Ten­nis, 1969

Medieval Ten­nis: A Short His­to­ry and Demon­stra­tion

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

Considering Rocky/Creed, Our Most Successful Sports Film Franchise — Pretty Much Pop: A Culture Podcast #149

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Your Pret­ty Much Pop hosts Mark Lin­sen­may­er, Lawrence Ware, Sarahlyn Bruck, and Al Bak­er talk through the ups and downs of this nine-film fran­chise that start­ed with Rocky, the high­est gross­ing film of 1976 and win­ner of that year’s Acad­e­my Award for Best Pic­ture. We’re espe­cial­ly con­cerned with this year’s Creed III, direct­ed by its star Michael B. Jor­dan, which is the first entry in the fran­chise that’s entire­ly free of Sylvester Stal­lone.

How can such an appar­ent­ly sim­ple for­mu­la (start as an under­dog, train, and win at least a moral vic­to­ry) stay fresh? Why was there a robot in Rocky IV? Is there any ratio­nale for an extend­ed, con­tin­u­ing Rocky-verse? Does enjoy­ing these films involve approv­ing of box­ing as a sport, or the glo­ri­fi­ca­tion of fic­tion­al sports heroes over real-life ones?

For var­i­ous arti­cles about things going on in the fran­chise, check out totalrocky.com. Sarahlyn men­tions the NPR pod­cast The Stat­ue.

Fol­low us @law_writes@sarahlynbruck@ixisnox@MarkLinsenmayer.

Hear more Pret­ty Much Pop. If you’re not sub­scribed to the pod­cast, you’re miss­ing lots of good episodes. Sup­port the show and hear bonus talk­ing for this and near­ly every oth­er episode at patreon.com/prettymuchpop or by choos­ing a paid sub­scrip­tion through Apple Pod­casts. This pod­cast is part of the Par­tial­ly Exam­ined Life pod­cast net­work.

Pret­ty Much Pop: A Cul­ture Pod­cast is the first pod­cast curat­ed by Open Cul­ture. Browse all Pret­ty Much Pop posts.

An Exhilarating ASL Performance of Rihanna’s Super Bowl Halftime Show

Before Super Bowl LVII fades too far into the back­ground (being an Eagles fan, it can’t fade fast enough for me), it’s worth flag­ging this great ASL per­for­mance of Rihanna’s Super Bowl Half­time Show. Above, you can watch Justi­na Miles, a nurs­ing stu­dent at HBCU Bowie State Uni­ver­si­ty, become “the first female deaf per­former for the Super Bowl’s half­time show,” notes CNBC. Before this, Miles went viral when her ASL per­for­mance of Lil’ Kim’s “Crush on You” explod­ed on Tik­Tok. As one com­menter not­ed on YouTube, this may be the best Super Bowl per­for­mance since Prince.

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 and BlueSky.

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!

via Kot­tke

Relat­ed Con­tent 

Watch Prince Per­form “Pur­ple Rain” in the Rain in His Tran­scen­dent Super Bowl Half-Time Show (2007)

“Alexan­der Hamil­ton” Per­formed with Amer­i­can Sign Lan­guage

Hip Hop Hits Sung Won­der­ful­ly in Sign Lan­guage: Eminem’s “Lose Your­self,” Wiz Khalifa’s “Black and Yel­low” & More

How Inge­nious Sign Lan­guage Inter­preters Are Bring­ing Music to Life for the Deaf: Visu­al­iz­ing the Sound of Rhythm, Har­mo­ny & Melody

Neil deGrasse Tyson, High School Wrestling Team Captain, Once Invented a Physics-Based Wrestling Move

We know that Neil deGrasse Tyson was some­thing of a wun­derkind dur­ing his high school years. If you’re an OC reg­u­lar, you’ve read all about how Carl Sagan per­son­al­ly recruit­ed Tyson to study with him at Cor­nell. Deft­ly, polite­ly, the young Tyson declined and went to Har­vard.

There’s per­haps anoth­er side of the pre­co­cious Tyson you might not know as much about. The ath­let­ic side. While a stu­dent at The Bronx High School of Sci­ence, Tyson (class of 1976) wore bas­ket­ball sneak­ers belong­ing to the Knick­’s Walt “Clyde” Fra­zier. He ran an impres­sive 4:25 mile. And he cap­tained the school’s wrestling team, dur­ing which time he con­jured up a new-fan­gled wrestling move. In pro­fes­sion­al wrestling, Ric Flair had the dread­ed Fig­ure Four Leg Lock, and Jim­my Snu­ka, a dev­as­tat­ing Super­fly Splash. Tyson? He had the feared “Dou­ble Tidal Lock.” He explains and demon­strates the physics-based move in the video below, orig­i­nal­ly record­ed at the Uni­ver­si­ty of Indi­anapo­lis.

Relat­ed Con­tent:

Andy Warhol’s One Minute of Pro­fes­sion­al Wrestling Fame (1985)

The Ulti­mate War­rior, Pro­fes­sion­al Wrestler & Philoso­pher, Cre­at­ed a Glos­sary of World Philoso­phies

Neil deGrasse Tyson Lists 8 (Free) Books Every Intel­li­gent Per­son Should Read

When Samuel Beck­ett Drove Young André the Giant to School

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Medieval Mixed-Gender Fight Club: Behold Images from a 15th-Century Fighting Manual

Wel­come to Medieval Mixed-Gen­der Fight Club.

The first rule of Medieval Mixed-Gen­der Fight Club is: you do not talk about Medieval Mixed-Gen­der Fight Club.

The sec­ond rule of Medieval Mixed-Gen­der Fight Club is: you DO NOT talk about Medieval Mixed-Gen­der Fight Club!

Why?

The Pub­lic Domain Review’s man­ag­ing edi­tor, Hunter Dukes, wise­ly argues that it’s because we have so lit­tle to go on, beyond these star­tling images of “judi­cial duels” between men and women in Ger­man fenc­ing mas­ter Hans Tal­hof­fer’s illus­trat­ed 15th-cen­tu­ry “fight books.”

The male com­bat­ant, armed with a wood­en mace, starts out in a waist-deep hole.

The female, armed with a rock wrapped in a length of cloth, stands above, feet plant­ed to the ground.

Their match­ing uni­sex gar­ments wouldn’t look out of place at the Met Gala, and pro­vide for max­i­mum move­ment as evi­denced by the acro­bat­ic, and seri­ous­ly painful-look­ing paces Tal­hof­fer puts them through.

Dukes is not alone in won­der­ing what’s going on here, and he doesn’t mince words when call­ing bull­shit on those respon­si­ble for “hasti­ly researched arti­cles” eager­ly pro­nounc­ing them to be action shots of divorce-by-com­bat.

Such bru­tal meth­ods of for­mal uncou­pling had been ren­dered obso­lete cen­turies before Tal­hof­fer began work on his instruc­tion­al man­u­als. 

In a 1985 arti­cle in Source: Notes in the His­to­ry of Art, Alli­son Coud­ert,  a pro­fes­sor of Reli­gious Stud­ies at UC Davis, posits that Tal­hof­fer might have been draw­ing on the past in these pages:

I would sug­gest that no records of judi­cial duels between hus­bands and wives exists after 1200 because of both changes in the real­i­ty and the ide­al of what a woman could be and do. Before 1200, women may well have bat­tled their hus­bands. Women under­stood and defend­ed the impor­tance of their eco­nom­ic and admin­is­tra­tive roles in the house­hold. After the twelfth cen­tu­ry, how­ev­er, law, cus­tom and reli­gion made mar­i­tal duels all but unthink­able.

Why would Tal­hof­fer both­er includ­ing archa­ic mate­r­i­al if the focus of his Fecht­buchs was giv­ing less expe­ri­enced fight­ers con­crete infor­ma­tion for their bet­ter­ment?

We like the notion that he might have been seek­ing to inject his man­u­scripts with a bit of an erot­ic charge, but con­cede that schol­ars like Coud­ert, who have PhDs, research chops, and actu­al exper­tise in the sub­ject, are prob­a­bly warmer when reck­on­ing that he was just cov­er­ing his his­tor­i­cal bases.

For now, let us enjoy these images as art, and pos­si­ble sources of inspi­ra­tion for avant-garde cir­cus acts, Hal­loween cou­ples cos­tumes, and Valen­tines.

 

Explore more images from the 15th-cen­tu­ry Fecht­buchs of Hans Tal­hof­fer here and here.

via the Pub­lic Domain Review

Relat­ed Con­tent 

What It’s Like to Actu­al­ly Fight in Medieval Armor

How to Get Dressed & Fight in 14th Cen­tu­ry Armor: A Reen­act­ment

Watch Accu­rate Recre­ations of Medieval Ital­ian Longsword Fight­ing Tech­niques, All Based on a Man­u­script from 1404

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

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

Pelé’s Great World Cup Goals (RIP)

Today, the soc­cer leg­end, Pelé, passed away at age 82. The most dom­i­nant play­er of his gen­er­a­tion, Pelé turned pro­fes­sion­al at age 15, won the World Cup at age 17 in 1958 (before win­ning two more World Cups in 1962 and 1970), and ulti­mate­ly scored 1,283 goals in 1,367 pro­fes­sion­al match­es, aver­ag­ing near­ly one goal per game. On the inter­na­tion­al stage, he scored 77 goals for Brazil, 12 of them in the World Cup.

The high­light reel above fea­tures the young Pelé’s goals in the 1958 World Cup. Sep­a­rate­ly, you can see his 5 great­est goals in the World Cup finals here. And, for good mea­sure, we’ve added more footage below that high­lights his mag­i­cal skills across his career.

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 and BlueSky.

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 

Video: Bob Mar­ley Plays a Soc­cer Match in Brazil, 1980

Albert Camus’ Lessons Learned from Play­ing Goalie: “What I Know Most Sure­ly about Moral­i­ty and Oblig­a­tions, I Owe to Foot­ball”

Why Jorge Luis Borges Hat­ed Soc­cer: “Soc­cer is Pop­u­lar Because Stu­pid­i­ty is Pop­u­lar”

How Qatar Built Stadiums with Forced Labor

I will let Vox pref­ace the video above:

Ever since Qatar won the rights to host the FIFA World Cup in 2010, its treat­ment of migrant work­ers has made inter­na­tion­al head­lines. News sto­ries and human rights orga­ni­za­tions revealed migrant work­ers who built the sta­di­ums, hotels, and all the new infra­struc­ture required for the World Cup were being forced to work, not get­ting paid, unable to leave, and in some cas­es, dying.

At the heart of the abuse faced by migrant work­ers is the kafala sys­tem. A sys­tem preva­lent in Gulf states that ties work­ers to their spon­sors, it often gives spon­sors almost total con­trol of migrant work­ers’ employ­ment and immi­gra­tion sta­tus.

Due to all the scruti­ny Qatar has been under, some reforms have been put in place, but the kafala sys­tem is more than a law — it’s a prac­tice. And while these reforms exist on paper, human rights orga­ni­za­tions say there’s still a long way to go.

To under­stand how hun­dreds of thou­sands of migrant work­ers were stuck in an exploita­tive sys­tem while build­ing the sta­di­ums for the World Cup, watch our 10-minute video above.

To delve deep­er, it’s also worth lis­ten­ing to the New York Times’ recent pod­cast, Qatar’s Big Bet on the World Cup and read The Guardian arti­cle, 6,500 migrant work­ers have died in Qatar since World Cup award­ed.

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 and BlueSky.

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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