Last 32 Meals of Famous People

Here is your daily dose of food history today folks! Stumbled upon this on
Artist Sarah Lazarovic create a pictograph of twenty famous individuals and their last meals “according to their fanciness and calorific content.”


Personally I think James Dean’s last meal is the way to go!

Artist Sarah Lazarovic has made a graph charting 20 famous people's last meals according to their fanciness and calorific content.View this image ›

But let’s not forget the rest.

1. James Dean.

Shutterstock / bonchan

Apple pie and a glass of milk.

2. Rasputin.

Shutterstock / Wiktory

Honeyed cake, black bread, Russian hors d’oeuvres and Madeira wine.

3. Brittany Murphy.

Getty / Stephane L’hostis

Shutterstock / Joshua Resnick

Noodles, leftover Thai food, Gatorade, water and tea with lemon.

4. Adolf Hitler.

Shutterstock / Viktor1

Spaghetti with a light sauce.

5. General George Armstrong Custer.

Shutterstock / Denis Vrublevski

Roasted buffalo steaks, beans and molasses, roasted wild corn and prairie hen.

6. Saddam Hussein.

Boiled chicken and rice with a glass of hot water and honey.

7. Liberace.

Shutterstock / Nik Merkulov

Cream of wheat.

8. John Belushi.

Shutterstock / Timolina

Lentil soup.

9. Robert E. Lee.

Shutterstock / as3

Beef soup and brandy.

10. John Candy.

Shutterstock / NADKI


11. Allen Ginsberg.

Shutterstock / Razmarinka

Fish chowder.

12. Mahatma Gandhi.

Shutterstock / B. and E. Dudzinscy

Cooked vegetables, orange, goat’s milk and ginger, sour lemons, strained butter and aloe juice.


Historical Giggles: Lewis and Clark

This is the pilot blog of a new segment I am going to introduce called “Historical Giggles.” It will share funny things that relate to history that I have stumbled upon on television, the web, and in magazines. To kick off my first publication, I thought I’d share funny things I’ve found about Lewis and Clark, because history is always funny.


P.S. Have you seen some Historical Giggles? Share them below so they can be included in future Historical Giggles posts!

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The Far Side Gallery #5

The Far Side Gallery #5


Royal Baby George’s Namesake a bit of a player…

In honour of little Prince George’s christening yesterday, here is an excerpt from an article about another English Prince, George IV, who has a reputation of being obsessively self-interested. Enjoy!

George IV: The Royal Joke? by Dr. Steven Parissien

George’s notorious treatment of his legion of mistresses is easy to censure. His first serious affair was at the age of 17, and by the time he came of age in 1783 he was well-known as an inveterate ladies man who would woo his targets ardently, promise them his eternal love – and a sizeable pension – and then brusquely drop them when he tired of their charms. The whole royal edifice of sexual respectability and family values which George III had worked so hard to create in the 1760s and 70s was rapidly demolished by his son and heir, brick by brick. And, significantly, as he grew older George’s marked preference was not for younger, libidinous lovers but for older, motherly mistresses who were able to offer a degree of sympathy and understanding which had never received from his own, coldly calculating mother, Queen Charlotte.
The most famous and long lasting of these older women was the twice-widowed Catholic, Maria Fitzherbert, whom George actually married – in an illegal ceremony – in 1785. His attachment to Maria was predictably fitful; cast aside for the scheming Countess of Jersey in 1794, she was reconciled to the royal bosom in 1800 only to be rejected once more a decade later. In the meantime, however, George was forced to agree to a proper marriage to a suitably Protestant German princess in order to have his immense debts paid off by parliament – by no means the last time that such a solution would be necessary.

Somewhat inevitably, the subsequent marriage to Princess Caroline of Brunswick was an unmitigated disaster. The Prince was blind drunk at his wedding, and the couple only cohabited long enough to beget an heir: the ill-fated Princess Charlotte, who tragically died in childbirth in 1817. When, in his letter to Queen Caroline of 30 April 1796, the Prince of Wales piously expressed the hope that ‘the rest of our lives will be passed in uninterrupted tranquillity’, he actually had no intention of fulfilling this lofty aim, and had indeed already parted from her. Almost from the moment that Princess Charlotte was born, the Prince exaggerated or simply invented slights perpetrated by his wife against himself, and as the years progressed his demands and complaints became increasingly unreasonable and hysterical. The climax came with his attempted divorce of 1820 – an act which only served to unite the whole nation against him, which as quickly dropped by the government, and which provided even further ammunition for the scurrilous satires of the day.

Women were not George’s only passion. Flamboyant and extravagant costumes were another significant and lifelong preoccupation. From his earliest years he enjoyed the feel, colour and sheer thrill of expensive and well-cut new outfits. As early as 1782 George’s friend the Duchess of Devonshire admitted that the Prince of Wales ‘is fond of dress even to a tawdry degree’ and that ‘his person, his dress and the admiration he has met… from women take up his thoughts chiefly’. Her prediction, however, that his fascination with clothes, ‘young as he is, will soon wear off’, was to prove very optimistic. Indeed, as he grew older, the images which fashion could create – whether of the ‘First Gentleman of Europe’, an Admiral of the Fleet or an Elizabethan sovereign – became one of George’s primary obsessions. Guided by the arbiter of fashion George ‘Beau’ Brummell, the Prince’s day-to-day wear did indeed become an important standard for British and continental contemporaries. The memory of the subtlety and exemplary tailoring of such outfits was, however, soon erased by George’s increasing girth – his waist measured 50 inches on his death – and by his growing penchant for outrageous, pseudo-historical fancy dress.

Read the complete article here

Movie History-Vampire Films, From Nosferatu to Twilight

Blog post on AMC TV by Tim Dirks, July 4th 2010:

With all the recent interest in vampires (the Twilight saga, HBO’s True Blood, CW’s Vampire Diaries), it seems essential to note that the vampire character is one of the most ubiquitous in the history of cinema, extending from the earliest days of cinema to present-day manifestations. Dark, primitive, and revolting characters that simultaneously attract and repel us form the irresistible heart of big-screen vampire tales.

Vampire Source Material
Vampires began to emerge in popular fiction in the eighteenth and nineteenth centuries, during which time Irish writer Bram Stoker’s 1897 vampire novel, Dracula, was written. It has become the most popular, influential, and preeminent source material for many vampire films. Stoker’s seminal book hatched all the elements of future vampire films: predatory female vampires kissing the necks of male victims for their human blood, in order to remain immortal; an elderly count dwelling in a sinister Transylvanian castle; and a vampire hunter armed with a wooden stake and garlic to ward off the Prince of Darkness. Sheridan Le Fanu’s 1872 Carmilla was a close second to Stoker’s writings, becoming the source of numerous lesbian-vampire tales.

Earliest Variations on the Vampire
The first horror movie was a silent film of 1896 made by imaginative
French filmmaker Georges Méliès, titled Le manoir du diable (a.k.a. The House of the Devil), containing familiar elements of later horror and vampire films: a flying
bat, a medieval castle, a cauldron, a demon figure (Mephistopheles),
and a crucifix to dispatch with evil. Female vampires made an appearance in
Robert Vignola’s melodramatic Vampire: they were
femmes fatales who seductively sucked the lifeblood from foolish men. (See also the popular vampire actress Theda Bara in A Fool
There Was
.) The earliest significant vampire film was director
Arthur Robison’s 1916 German silent film, Nächte des Grauens (a.k.a.
A Night of Horror), which featured strange, vampirelike people.
Until recently, the lost 1921 Hungarian film Drakula halála (a.k.a. Dracula’s Death) was widely assumed to be the first adaptation of
Stoker’s vampire novel, and it featured cinema’s first Dracula.

Nosferatu (1922)
The first genuine vampire picture was produced by German director F.W.
Murnau — 1922′s feature-length Nosferatu.
Shot on location, it was an unauthorized film adaptation of Stoker’s
novel, with Max Schreck in the title role as the screen’s first vampire –
a mysterious aristocrat named Count Orlok, who lived in the late
1830s in the town of Bremen. Because of copyright problems, the vampire
was named Nosferatu, rather than Dracula, and the action was moved from
Transylvania to Bremen. The emaciated, balding, undead vampire’s image
was unforgettable, with a devil-rat face, pointy ears, elongated fingers,
sunken cheeks, and long fangs, with plague rats following him wherever
he went. There were many attempts to copy or remake the film: German
director Werner Herzog’s faithful shot-by-shot color remake, Nosferatu
the Vampyre
, starred Klaus Kinski as a nauseating Count
Dracula and beautiful Isabelle Adjani as Lucy Harker. The fanciful Shadow
of the Vampire
 retold the making of the 1922 classic, with
John Malkovich as obsessive director F.W. Murnau and Willem Dafoe as
vampirish actor Schreck.

Dracula (1931)
With Tod Browning’s direction, Universal Studios produced a film version
of Bela Lugosi’s 1927 Broadway stage success about a bloodsucking 500-year-old menacing-yet-suave vampire named Dracula. His opening
line of dialogue — “I…am…Dracula. I bid you…welcome” — was one of the
most memorable entrances in horror-film history. The atmospheric,
commercially successful film adaptation of Stoker’s novel played
upon fears of sexuality, blood, and the nebulous period between life and
death. The heavily accented voice and acting of Hungarian actor Lugosi was frightening to early audiences: the undead villain
hypnotically charmed his victims with a predatory gaze. To capitalize on
its earlier successes, Universal slowly churned out other Dracula
sagas, including their first official Dracula sequel — the lesbian-tinged Dracula’s Daughter, starring Gloria Holden as Countess Marya Zaleska.

Hammer’s Cycle of Dracula Films
The U.K.’s Hammer Studios reinvigorated and sexually liberated the Stoker novel in a vast collection of provocative low-budget
films, by employing garishly sensual colors, bloody reds, and more
overtly gory violence. The British production company remained faithful
to the genre’s material (the classics from Universal) in
tightly produced, spectacular Technicolor sequels featuring a seductive,
alluring, and virile vampire. Talented director Terence Fisher (with
Christopher Lee — in one of his best appearances — as the reclusive Count
Dracula and Peter Cushing as arch-nemesis vampire hunter Dr. Van
Helsing) created the classic 1958 flick Horror of Dracula. A
flood of other romantic-gothic horror films followed.

Revisionist Interpretations or Portrayals of Vampires
As with all successful franchises, the key to Dracula’s longevity
was imagination and creativity. Although the basic elements of Stoker’s
novel remain in most vampire films, the revisionist variations have
been striking and dramatic. A wide variety of vampire tales were put on
celluloid in the eighties and afterward, usually with more overtly sexual
overtones and bloody violence. There have been blaxploitation vampires (Blacula), lesbian vampires (The Vampire LoversVampyres: Daughters of Darkness, and The Hunger), comic vampires (Once
), a sickly junkie count (Andy Warhol’s Dracula),
a dog vampire (Dracula’s Dog), teenage-punk vampires (The Lost Boys), Western-outlaw
vampires (Near Dark), a cursed virginal rock-star vampire (Rockula), a Valley Girl vampire-hunter (Buffy the Vampire Slayer),
a homoerotic vampire bromance (Interview With the Vampire: The Vampire Chronicles), a trio of postmodern heroin-chic vampire films (Nadja,
The Addiction, and Habit), Mexican strip-joint vampires (From Dusk Till Dawn), comic-book-adapted vampires (Blade), a goth-rock vampire (Queen
of the Damned
), an anti-lycanthropic vampire warrior (Underworld), viral mutant vampires (I Am Legend),
Alaskan subzero vampires (30 Days of Night), and (yes) romantic teen vampires in the throes of forbidden love (Twilight).

Daily Prompt: Home Sweet Home is where these misfits are

Daily Prompt: Home Sweet Home is where these misfits are

Daily Prompt: Home Sweet Home

by michelle w. on October 19, 2013

When you’re away from home, what person, thing, or place do you miss the most?

Photographers, artists, poets: show us HOME.


Home is wherever this group of misfits is.

“Oh Women couldn’t do that”: The generalization of women’s absence in history

After learning a bit about Jennie Hodgers aka Albert Cashier (who I wrote about in this blog post) I started thinking about how women are remembered in history. Mostly this was related to my own (and probably your) surprise to the fact that women played an active part in the Civil War. This got me thinking as to why this is. Why did I immediately assume that a woman wouldn’t have had a part in the war?

I think that it might have had something to do with the fact that it is often assumed that women didn’t play a very active part in history. There is a general idea that women, due to patriarchy, sexism etc., were restricted in their actions, and therefore “didn’t” and “couldn’t” lead exciting and meaningful lives. This is undeniably false. There are many wonderful examples, like Hodgers/Cashier, of women who played and active and important roll in history. Additionally, just because an individual isn’t famous in history standards doesn’t mean they lead an active and important life.

So how do we change this? It may be through the promotion and discussion of famous (and not-so-famous) women so much so that it becomes normal to know of many interesting historical women. Or is it maybe by making more of an effort to integrate women’s history into the general historical narrative?

Or better yet, is it by not talking about women at all, and just start talking about people, regardless of gender?

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Jennie Hodgers aka Albert Cashier: Civil War badass

Jennie Hodgers, born in Clogher Head Parish south of Belfast in Ireland, was a veteran of the American Civil War.

Take a moment and re-read that. Do you see the surprise?

Jennie Hodgers was (genetically at least) a woman.

Jennie Hodgers, an Irish immigrant to the United States, is a fantastic historical example of a transgendered individual, and of a general badass. In Larry G. Eggleston’s book Women in the Civil War: Extraordinary Stories of Soldiers, Spies, and Nurses, Doctors, Crusaders and Others dedicates a chapter of his book to detail the life of Jennie Hodgers and her involvement in the Civil War. Hodgers, at the age of 18, enlisted in the Illinois Volunteer Infantry as Albert D.J. Cashier. According to Eggleston, Cashier “holds the longest length of service for a woman soldier in the Civil War.” (p. 17) Cashier served for the entire war, avoiding detecting by her comrades, and continued life under the named “Albert Cashier” as a labourer and cattle herder. Cashier’s “secret” became in 1913, and was written about in newspapers.

Albert Cashier

Cashier’s gender was uncovered at least three times prior to the point, however each party agreed to respect Cashier’s decision and privacy. According to Eggleston, following the very public discussion of Cashier’s gender, Cashier became “erratic and hard to handle” (p. 19) and was admitted to the State of Illinois Asylum for insanity. Cashier passed away at the age of 72 and was buried in full military honours.

Serving your country and being true to yourself in my eyes makes Jennie Hodgers-Albert Cashier a person worth noting. And definite special mention goes out to all the people who knew Cashier and showed respect.


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Eggleston, Larry G. “Jennie Hodgers.”  In Women in the Civil War: Extraordinary Stories of Soldiers, Spies, and Nurses, Doctors, Crusaders and Others. 16-22. Jefferson: McFarland and Company Inc., 2003.