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A PERSONAL JOURNAL, KEPT LARGELY TO RECORD REFERENCES TO WRITINGS, MUSIC, POLITICS, ECONOMICS, WORLD HAPPENINGS, PLAYS, FILMS, PAINTINGS, OBJECTS, BUILDINGS, SPORTING EVENTS, FOODS, WINES, PLACES AND/OR PEOPLE.
About Me
- Xerxes
- New Orleans, Louisiana, United States
- Admire John McPhee, Bill Bryson, David Remnick, Thomas Merton, Richard Rohr and James Martin (and most open and curious minds)
31.7.14
Crowds
LISTEN
Ross Clark and Lara Prendergast discuss the demise of individualism
Hell, as one of Jean-Paul Sartre’s characters said, is other people. Unless, that is, you happen to be British and born after about 1980, in which case hell is the opposite: being alone for more than about five minutes. As for the absolute pit, the eighth circle or however else you describe the geography of Beelzebub’s kingdom, that is being left alone without a 3G mobile phone signal.
Of all changes in British life over the past generation, nothing has been quite so as stark as the strange death of individualism. When in 1995 the then transport secretary Steven Norris told the Commons transport committee that the reason why many people preferred to travel by car than by bus was that they saw an advantage in ‘not having to put up with dreadful human beings sitting next to you’, he was of course barked at by the left for being a heartless Tory bastard who cared nothing for the poor. But even his critics acknowleged, as the Independent did in an editorial at the time, that he was nevertheless speaking for the misanthrope who lurks within us all.
Such a comment no longer really makes any sense; not when you hear of as many as 200,000 people eschewing their home sound systems to squash together at Glastonbury, leaving aside all the other wannabe Glastos; not when you see every last pebble of Brighton beach covered with the backsides of day-trippers who could have gone to any beach in the South East — many of which actually have some sand — and yet chose here, where they must have known they would be unable to move. The inner misanthrope wasn’t much in evidence, either, among the six million people who last month lined the streets eight deep to watch the Tour de France. It can’t have been the sport they were after; a more unsatisfactory spectator experience could scarcely be imagined; a real fan would watch on the television so as to see the race develop; not stand for hours with the sweaty masses to catch a glimpse. The popularity of the event can only be described in terms of a un-Norrisite desire to be part of a large crowd.
You can see this yearning to be part of a crowd in the housing market, too. Until the mid-1990s everyone seemed to want to leave smoky, rotten old London. Yet there has been a snap-back, with people choosing to live piled on top of each other in overpriced broom cupboards, while rural property struggles to sell. (London’s population was under 7 million in 1995, and has now passed 8.5 million.) It shows up in restaurants which 30 years ago were full of couples and small groups, but which if you walk into now, even midweek, you find the tables have been shifted together for a vast girls’ night out. It shows, too, in our pubs, the backstreet ones of which have gone to be replaced by vast drinking factories catering for a thousand or more people at a time. You can see it in literary festivals, attending which seems to have become a substitute for reading books, and on Ben Nevis, which has become a four-lane motorway of sponsored walks while lovelier mountains nearby go unclimbed.
But there is no greater symptom of Britain’s newfound herd instinct than in the popularity of big screens showing sporting events and the like. A big screen is really just a huge telly. You don’t get to see a live sporting event. You just sit and watch a screen, as you could do in your own living room, but without your fridge close at hand — and in the company of a few hundred or thousand other human beings who each presumably have the same BO and irritating personal habits which inspired Mr Norris’s love for his car.
I started with a rather negative view of individualism because that is where the left would want me to start. For many, the death of individualism is to be celebrated. They would love to think of the yearning to be part of a crowd as the ultimate defeat of Mrs Thatcher’s brutal view of humanity. They would love to see the desire to share public spaces as an embrace of collectivist values. For them, the rise and rise of shared mass experiences among the young is the living embodiment of a generational divide, between an older, Ukip-friendly age group who live in fear of national over-crowding, and a younger mass for whom each extra person living on our shores merely serves to add more atmosphere to the great big street party that is modern Britain.
Yet here is the twist. The rise of the mass shared experience has not been accompanied by a revival of socialism, or anything approaching it. Quite the opposite. The generation of crowd-lovers shows little inclination to share its money. The divisions between the well-off and the less well-off grow sharper by the year, and the young, like Peter Mandelson, seem intensely relaxed about it. I stand to be corrected on this, but I don’t recall a campaign on the part of this year’s Glastonbury-goers, who had paid a minimum of £210 for their tickets, for the poor to be let in at a discount, still less for the festival to return to being free, as it was in 1971. You occasionally hear moans about the price of Premiership tickets excluding the working man from what was traditionally his game, but it is all rather mild, really. The crowds of which we like to be part are largely socioeconomic monocultures made up of people rather like ourselves.
There has to be some other explanation for the rise in herd behaviour. Some interpret it as a reaction to more solitary working environments. Where once we worked close together in factories, goes the argument, now more of us work from home, and so we get to the end of the day gagging for human company. Yet many factory workers laboured effectively alone, with any attempt to talk to their fellow strugglers drowned out by clanking machinery if not banned by the management.
In any case, the golden age for individualism fell some time after the decline of manufacturing industry. The desire to plough one’s own social furrow was strongest in the 1980s and 1990s when many of us already worked in atomised, de-unionised industries. I see something quite different: that individualism sowed the seeds of its own demise, by denying its children the time and space to develop as individuals.
Until the 1970s it was normal for parents, even middle-class ones, to leave their children to make their own entertainment. That might mean going out and forming mini-gangs — life as a child in the middle-class suburbs where I was brought up in the 1970s had its Moss Side moments. But quite often it meant spending time alone. Yet from around the early 1980s onwards laissez-faire parenting no longer seemed good enough for successful people who wanted to give their own children an advantage in life. For many, childhood became much more organised. Children became ferried around from one activity to another.
The result is a generation which has never spent time by itself and has no idea how to entertain itself without some external input. The positive side of the individualism we have lost was self-reliance and resilience. Being alone — or even just being cut off the greater mass of humanity — has become something to be feared. My eye was recently caught by the story of a ‘cliff rescue’. A party of five had gone for a walk onto the sands near Weston-super-Mare. The tide had come in, they clambered a little way up a cliff, made frantic calls and were rescued by helicopter. A narrow squeak, as it was reported. Except that the photographs showed something quite different: of people sitting on a grassy bank which quite clearly was not going to be engulfed by the high tide. Moreover, it was the middle of summer. All they had to do was to wait for the water to recede and then to walk back to their car. For an earlier generation it might have been considered a minor adventure, but for this one it was an experience of sheer terror: being cut off from external sources of entertainment for a few hours.
There is a fashionable theory that creativity results from gathering large numbers of people in the same place like Silicon Valley or indeed the less-pastoral Silicon Roundabout in east London. By this theory large cities thrive because they have a critical mass of brains, while small towns become culturally moribund. But then it rather depends what you are trying to create. If it is a social media start-up I don’t doubt you are better off in a space — as they like to call their offices — with lots of other men with ponytails. But would Gustav Mahler really have composed better music had he worked in a roomful of composers and an organic coffee machine than in his lonely hut on the Wörthersee?
Social media is the sheepdog of the new, crowd-loving Britain. It is the beast which manipulates minds and concentrates attention on a few favoured places, ideas, products and cultural works at the expense of others. No one discovers anything any more; it is all discovered for us. Social media works on the latest obsessive-compulsive disorder in us; the voice in us telling us we must do or see something because everyone else is telling us to. What has happened to the publishing industry is instructive. Social media has not quite killed off books; but they have killed off browsing while inflating sales of a few titles for which the only recommendation required is that 10 million people have already bought them. Whether these lucky books are actually read, as opposed to discussed in 140 characters, is another matter.
I don’t want to sound too much like an old grandad. Indeed, there is something inside me which welcomes the rise in herd mentality. It is the compulsion to pile into crowded places, thereby making them even more crowded, which keeps other places quiet for the country’s remaining few misanthropes like me. Keep on going to your festivals, I say, keep on piling on to Brighton beach and into Wetherspoon’s. It is thanks to you, the herded, that I could find last weekend, on a hot day in the middle of summer, a beach in highly populated southern England deserted enough for nude bathing.
I am not telling you where it is in case some jerk with 10 million Twitter followers thinks: what a great place for a festival.
James Brown
The Possessed: James Brown in Eighteen Minutes
BY DAVID REMNICK
“Get On Up” is the second-best film ever made about James Brown.
This is not a trifling achievement. For at least the first hour of an overlong bio-pic, it’s fun to see Chadwick Boseman, who recently played Jackie Robinson, in “42,” inhabit the Godfather of Soul’s ineffable soul. It’s fun to watch Boseman in the same way that it was to see Jamie Foxx do Ray Charles, Joaquin Phoenix do Johnny Cash, Cate Blanchett do Bob Dylan, Sissy Spacek do Loretta Lynn, Forest Whitaker do Charlie Parker, and Jimmy Stewart do Glenn Miller.
These are good impersonations, even good performances, but what puts them in the shade is the real thing. And when it comes to James Brown, the real thing, in its most thrilling, compressed, erotic, explosive form, just eighteen minutes long, is also arguably the most electrifying performance in the history of postwar American music. First, watch:
This was fifty years ago, in October, 1964, a few months after the passage of the Civil Rights Act. Emceed—adorably, cornily—by the rock-and-roll duo Jan and Dean at the Santa Monica Civic Auditorium, the T.A.M.I. show (the Teenage Awards Music International) was a departure from the “Shindig”-style pop programming of the time. The lineup was long and included white acts like Gerry and the Pacemakers, Billy J. Kramer and the Dakotas, the Beach Boys, Lesley Gore, and, as headliners, the Rolling Stones, but it was heavily weighted with black acts of all sorts: Chuck Berry, Marvin Gaye, the Supremes, Smokey Robinson and the Miracles, and James Brown and the Famous Flames.
The Stones had come to the States from England determined to play black R. & B. for a mainly white audience that did not know its Son House from its Howlin’ Wolf. They were already stars, and the T.A.M.I. producers had them scheduled to close the show. James Brown did not approve. “Nobody follows James Brown!” he kept telling the show’s director, Steve Binder. Mick Jagger himself was hesitant. He and Keith Richards were boys from Kent with an unusual obsession with American blues. They knew what Brown could do. In Santa Monica, they watched him from the wings, just twenty feet away, and, as they did, they grew sick with anxiety.
Brown, who had played the Chitlin Circuit for years, was genuinely incensed that the producers would put him on before pallid amateurs (in his mind) like the Stones. His performance, he later admitted, was a cutting contest that he refused to lose. As Brown puts it in his memoir, “James Brown: The Godfather of Soul,” “We did a bunch of songs, nonstop, like always. . . . I don’t think I ever danced so hard in my life, and I don’t think they’d ever seen a man move that fast.” It was a four-song set: the staccato blues number “Out of Sight”; an astonishing inside-out revival of “Prisoner of Love,” which had been recorded by smoothies like Billy Eckstine and Perry Como; the dramatic centerpiece “Please, Please, Please”; and the closer, “Night Train,” which the boxer Sonny Liston would play to get himself going in the gym.
What is there to say? If Astaire’s dancing was the graceful line of black-tie seduction, Brown’s was a paroxysm of sexual frenzy, a blend of Pentecostal possession and erotic release. RJ Smith’s “The One” is the book to read on James Brown. (The Profile to read is Philip Gourevitch’s brilliant “Mr. Brown,” published in 2002, four years before Brown’s death. Two veteran critics, Alan Light and Edna Gundersen, have written interesting pieces on the T.A.M.I. performance.) Smith quotes Brown as saying that the T.A.M.I. performance was the “highest energy” moment of his career: “I danced so hard my manager cried. But I really had to. What I was up against was pop artists—I was R. & B. I had to show ’em the difference, and believe me, it was hard.”
This was the first time that Brown, while singing “Please, Please, Please,” pulled out his “cape act,” in which, in the midst of his own self-induced hysteria, his fit of longing and desire, he drops to his knees, seemingly unable to go on any longer, at the point of collapse, or worse. His backup singers, the Flames, move near, tenderly, as if to revive him, and an offstage aide, Danny Ray, comes on, draping a cape over the great man’s shoulders. Over and over again, Brown recovers, throws off the cape, defies his near-death collapse, goes back into the song, back into the dance, this absolute abandonment to passion.
“It’s a Holiness feeling—like a Baptist thing,” Brown said of the act. “It’s a spiritual-background thing. You’re involved and you don’t want to quit. That’s the definition of soul, you know. Being involved and they try to stop you and you just don’t want to stop. The idea of changing capes came later, ’cause it’s good for show business.” As Smith writes,
That falling-to-the-knees-overcome-with-emotion dramaturgy is straight out of the Holiness Church, out of a belief system holding, in the charnel heat of the moment, that a person could be overpowered by a sudden tap from the Holy Ghost. Holy Ghost jumpers were what they called those filled with the spirit in the earliest days of Pentecostalism. It was a form of possession, of yielding with glory to a higher force. Many figures in the black Pentecostal tradition wore the cape. There was King Louis Narcisse, a preacher who modeled himself on Daddy Grace. . . . There was Brother Joe May, one of the major gospel voices of the ’50s and ’60s . . .
Watching the film, it’s easy to see why Jagger was tempted to stay in his dressing room. This was 1964, and the Stones were not yet fully formed. They still played a mix of originals and covers (Berry’s “Around and Around,” Bobby Womack’s “It’s All Over Now”). Jagger had not quite worked out his peculiar blend of frugging and Satanic posturing. He is hardly Perry Como, but, compared with Brown, he is an anemic thing, a pretender. Nelson George, a sharp writer on race and music and much else, calls out Jagger at the T.A.M.I. show for his “lame funky chicken,” in contrast to Brown’s “proto-moon-walking, athletically daring performance.” Taking the stage after Brown, the Stones are Unitarians making nice:
Richards would eventually say that the very idea of following James Brown was the biggest mistake of the Stones’ careers. “Just go out there and do your best,” Marvin Gaye had told Jagger. And he did. Jagger was never anything but admiring and respectful of James Brown—and he is one of the producers of “Get On Up.”
By all means, see the bio-pic. If nothing else, you’ll glimpse a movie star in Chadwick Boseman and at least the suggestion of an immortal. You’ll see that Brown was an abused and abusive man, as well as a source of radiance onstage. But start with T.A.M.I. (and listen to the “Live at the Apollo” recordings, too). An outfit called Shout! Factory issued a good cleaned-up DVD of the complete T.A.M.I. concert four years ago, and, to hype it, Steve Van Zandt rightly called it “the best rock movie you’ve never seen.” But the somewhat grainy eighteen minutes on YouTube will do you just fine. You’ll feel good. You’ll feel nice.
Covers
In 2010, the BBC interviewed a Wiltshire man named Steve Hare who'd been collecting Penguin paperbacks so assiduously that he'd amassed over 15,000 titles. In fact, they no longer fit inside his home, and had "overflowed into a garden outhouse." Mr. Hare is not alone in his peculiar obsession. The Penguin Collectors Society boasts over 500 members (which may seem a small group, but remember, this is a club whose sole purpose is to collect one very particular kind of typically low-value book), and a quick search on Pinterest or Flickr will turn up dozens and dozens of bookshelves packed to the brim with those brightly colored spines.
When, on this day in 1935, the very first Penguin paperbacks were released, there were only ten titles, including some authors who are still widely read (Agatha Christie) and others to whom time has not been so kind (Susan Erzt). In the years since as the fabulous book Penguin by Designchronicles, the trim little books evolved from throwaway commodities into aesthetic statements, plastered on everything from commemorative mugs to postcards to two different types of wallpaper.
While the iconic orange stripes and simple sans serif typeface are perhaps the most indelible feature of the Penguin paperback, the examples below prove that with its evolution, Penguin has continued to push the boundaries of what makes a book cover smart, coveted, and collectible.
A Farewell to Arms, by Ernest Hemingway.
Hemingway's classic novel was included in the original ten Penguins and features the name of Penguin's original parent company, The Bodley Head. The paperbacks' clean, crisp style sold so well (reportedly more than 3 million copies in the first year), that a year later Penguin struck out as a solo company.
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1984, by George Orwell.
A more recent spin on the original style, the blacked-out text shows the impact of provocative design.
To Kill a Mockingbird, by Harper Lee.
This 1963 version of Harper Lee's classic took promotional marketing to a whole new level, purposely rendering the novel's accolades in amateur-ish crayon and making the text the focal point of the cover. Somehow the (deserved) bragging almost comes off as charming.
Kiss Kiss, by Roald Dahl.
It's simple, it's alluring, it's ... Roald Dahl? A pair of sensuously parted lips (with an odd green glow emanating from them) isn't exactly what comes to mind when one imagines the world's most macabre children's writer, but the design is so stark and intriguing that it can't help but capture your attention.
Writings from the Zen Masters, by various authors.
Rather than cluttering up this cover (from Penguin's Great Ideas series) with text, designer Alistair Hall went as streamlined and well, zen, as possible with a simple calligraphed circle. It stands in marked contrast to the often ornate covers of the other Great Ideas books.
In Cold Blood, by Truman Capote.
Designer David Pelham's work for Penguin was vivid and in-your-face. Rather than creating an aura of mystery for Capote's suspenseful, genre-altering work, Pelham went right for the blood.
A Clockwork Orange, by Anthony Burgess.
The defining cover for Anthony Burgess' trippy masterpiece captures the absurdity and brashness of the novel. That single, gear-shaped eye elevates this cover, as Flavorwire pointed out in this fabulous roundup, to iconic status.
The Penguin Poets, by various authors.
Perhaps the most classically beautiful of all Penguin's paperbacks, Stephen Russ's work for the Penguin Poets series matched occasionally chaotic prints with poets. Stacks of Penguin Poets books are among the most pinned images on Pinterest.
Lady Chatterley's Lover, by D.H. Lawrence.
As the first publishers of the complete, uncensored version of D.H. Lawrence's novel, Penguin fought the Obscene Publications Act in 1960—and won. The cover design (again by Stephen Russ) of a rising phoenix is particularly apt.
Yes, We Have No.......
Banana: The Fate of the Fruit That Changed The World by Dan Koeppel. In the early 20th century, with American industry just beginning to expand overseas and Latin America still just emerging from colonial shackles, bananas became one of America's first powerhouse industries:
"[Bananas] are the world's largest fruit crop and the fourth-largest product grown overall after wheat, rice, and corn. ... In Central America, [American banana companies] built and toppled nations: a struggle to control the banana crop led to the overthrow of Guatemala's first democratically elected government in the 1950s, which in turn gave birth to the Mayan genocide of the 1980s. In the 1960s, banana companies -- trying to regain plantations nationalized by Fidel Castro -- allowed the CIA to use their freighters as part of the failed Bay of Pigs invasion of Cuba. ... Eli Black, the chairman of Chiquita, threw himself out of the window of a Manhattan skyscraper in 1974 after his company's political machinations were exposed. ...
"On August 12, [1898], Spain surrendered [Cuba in the Spanish-American War] and the United States gained control over the island, opening a naval base at Guantanamo Bay. Over the next thirty-five years; the U.S. military intervened in Latin America twenty-eight times: in Mexico, in Haiti, the Dominican Republic and Cuba in the Caribbean; and in Panama, Honduras, Nicaragua, Guatemala, Costa Rica and El Salvador, in Central America. The biggest consequence of those incursions was to make the region safe for bananas. One of the first businesses to enter Cuba was United Fruit. The banana and sugar plantations it established would eventually encompass 300,000 acres. An 1899 article in the Los Angeles Times described Latin America as 'Uncle Sam's New Fruit Garden', offering readers insight into 'How bananas, pineapples, and coconuts can be turned into fortunes.' ...
Bringing fruit out to loading platform, Puerto Castilla, Honduras, circa 1920s . |
"[But the U.S.] public knew little about events like the 1912 U.S. invasion of Honduras, which granted United Fruit broad rights to build railroads and grow bananas in the country. They weren't aware that, in 1918 alone, U.S. military forces put down banana workers' strikes in Panama, Columbia and Guatemala. For every direct intervention, there were two or three softer ones, accomplished by proxy through local armies and police forces controlled by friendly governments. One of the few observers to take note of the situation was Count Vay de Vaya of Hungary, who ... upon returning from a visit to Latin America, described the banana as 'a weapon of conquest.' "
30.7.14
Plastic Surgery?
What People Think of You Based on Your Photo
A new study pinpoints the facial features that contribute to others' snap judgments.
In his recent story on the analysis paralysis of online dating, New York Observer reporter Matthew Kassel wrote, "I can’t tell you how much time I’ve spent swiping through Tinder, in a state of confused arousal, to find matches—in the bathroom, at work, walking down the street, even on Tinder dates—a sea of names and faces and random pornbots sloshing around in my brain."
Like many who have dipped their toes into Tinder's balmy waters, Kassel found it hard to predict what a woman would be like as a girlfriend based purely on a "mildly pornographic" photo, as he puts it.
It's impossible to deduce personality traits from a quick glance at a duckface iPhone photo. But a new study finds that, when it comes to first impressions, certain facial features do tend to convey specific personality characteristics to others with shocking consistency. You may not be an approachable-yet-dominant sexpot, but you sure look like one in your Facebook photo.
For the experiment, a group of researchers from the University of York in the United Kingdom gathered a set of 1,000 images of peoples' faces from around the web, all taken in different lighting and angles and depicting varying expressions. They marked 65 points around each face and measured the distances between them in order to determine things like the length of the eyebrows, the shape of the jaw, and the size of the eyes.
They then asked people to rate the photos across three traits: approachability ("Will this person help me or harm me?"), dominance ("Are they capable of carrying out those intentions?"), and attractiveness ("Would this person be a good romantic partner?")
What they found was that a combination of different facial features could predict the subjects' first impressions of the person in the photo with surprising accuracy. A model that combined the different feature measurements could explain 58 percent of the variance in the subjects' appraisals of the photos.
The physical features that were the most strongly correlated with specific impressions were the size of the person's smile (with approachability), large eyes (with youthfulness and attractiveness), and a more masculine appearance (with dominance).
Using the correlations between facial measurements and perceived attributes, the researchers then constructed cartoon faces that were supposed to represent a given personality trait. A more approachable avatar, for example, would wear a big smile and have a slightly wider nose:
They then presented the cartoon faces to a new panel of judges, who, once again, picked up on the personality traits the faces were "programmed" to have.
The big caveat here is that, as job-seekers, daters, and readers of Pride and Prejudice know, first impressions are often inaccurate.
Still, these findings could be useful for situations in which a lot rides on just one photo—which, for everyone's sanity, are hopefully few and far between.
Like many who have dipped their toes into Tinder's balmy waters, Kassel found it hard to predict what a woman would be like as a girlfriend based purely on a "mildly pornographic" photo, as he puts it.
It's impossible to deduce personality traits from a quick glance at a duckface iPhone photo. But a new study finds that, when it comes to first impressions, certain facial features do tend to convey specific personality characteristics to others with shocking consistency. You may not be an approachable-yet-dominant sexpot, but you sure look like one in your Facebook photo.
For the experiment, a group of researchers from the University of York in the United Kingdom gathered a set of 1,000 images of peoples' faces from around the web, all taken in different lighting and angles and depicting varying expressions. They marked 65 points around each face and measured the distances between them in order to determine things like the length of the eyebrows, the shape of the jaw, and the size of the eyes.
They then asked people to rate the photos across three traits: approachability ("Will this person help me or harm me?"), dominance ("Are they capable of carrying out those intentions?"), and attractiveness ("Would this person be a good romantic partner?")
What they found was that a combination of different facial features could predict the subjects' first impressions of the person in the photo with surprising accuracy. A model that combined the different feature measurements could explain 58 percent of the variance in the subjects' appraisals of the photos.
The physical features that were the most strongly correlated with specific impressions were the size of the person's smile (with approachability), large eyes (with youthfulness and attractiveness), and a more masculine appearance (with dominance).
Using the correlations between facial measurements and perceived attributes, the researchers then constructed cartoon faces that were supposed to represent a given personality trait. A more approachable avatar, for example, would wear a big smile and have a slightly wider nose:
They then presented the cartoon faces to a new panel of judges, who, once again, picked up on the personality traits the faces were "programmed" to have.
The big caveat here is that, as job-seekers, daters, and readers of Pride and Prejudice know, first impressions are often inaccurate.
Still, these findings could be useful for situations in which a lot rides on just one photo—which, for everyone's sanity, are hopefully few and far between.
"If you're attaching an image to an online dating profile, you should give thought to the way that the visual cues in your photo are producing social impressions on the part of the receiver," Tom Hartley, a University of York psychologist and one of the study authors, told me.
Hartley said his line of work has made him a bit more self-conscious about how others see him.
"I have a somewhat babyfaced appearance—if you imagine, say, like Leonardo DiCaprio," he says (This is a photo of Hartley). "People might form the impression that I might be a bit of a lightweight. But now I've grown facial hair so maybe people will take me more seriously."
Change
What Hath God Wrought by Daniel Walker Howe. In 1815, Americans were young, went barefoot, and didn't take baths:
"Life in America in 1815 was dirty, smelly, laborious, and uncomfortable. People spent most of their waking hours working, with scant opportunity for the development of individual talents and interests unrelated to farming. Cobbler-made shoes being expensive and uncomfortable, country people of ordinary means went barefoot much of the time. White people of both sexes wore heavy fabrics covering their bodies, even in the humid heat of summer, for they believed (correctly) sunshine bad for their skin. People usually owned few changes of clothes and stank of sweat.
"Only the most fastidious bathed as often as once a week. Since water had to be carried from a spring or well and heated in a kettle, people gave themselves sponge baths, using the washtub. Some bathed once a year, in the spring, but as late as 1832, a New England country doctor complained that four out of five of his patients did not bathe from one year to the next. When washing themselves, people usually only rinsed off, saving their harsh, homemade soap for cleaning clothes. Inns did not provide soap to travelers.
"Having an outdoor privy signified a level of decency above those who simply relieved themselves in the woods or fields. Indoor light was scarce and precious; families made their own candles, smelly and smoky, from animal tallow. A single fireplace provided all the cooking and heating for a common household. During winter, everybody slept in the room with the fire, several in each bed. Privacy for married couples was a luxury. ...
"It was a young society: The census listed the median age as sixteen, and only one person in eight as over forty-three years old. Women bore children in agony and danger, making their life expectancy, unlike today, slightly shorter than that of men. Once born, infants often succumbed to diseases like diphtheria, scarlet fever, and whooping cough. One-third of white children and over half of black children died before reaching adulthood. The women had enough babies to beat these grim odds. To help them through labor, neighbors and trained midwives attended them. Doctors were in short supply, hospitals almost unknown. This proved a blessing in disguise, for physicians then did as much harm as good, and hospitals incubated infection. The upside of rural isolation was that epidemics did not spread easily."
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