Despite the city's ever-changing landscape, many would be surprised to learn that New York—famously nicknamed the Big Apple—could have just as easily been known as the Big Oyster for the land’s once-plentiful oyster beds that were regularly harvested by the area's Lenape tribes. The Dutch took note of these clams—specifically their gigantic size and number—leading them to deem areas such as today's Ellis and Liberty islands as "Little Oyster Island" and "Great Oyster Island," respectively.
In his book The Big Oyster: History on the Half Shell, Mark Kurlansky claims "the history of New York oysters is the history of New York itself—its wealth, its strength, its excitement, its greed, its thoughtlessness, its destructiveness, its blindness, and—as any New Yorker will tell you—its filth." For him, oysters are the real New Yorkers, the true natives of the land.
According to Kurlansky, the most common indicator of pre-European settlements in New York are middens—an archaeological term for piles of domestic waste left behind by the ages. These shell heaps are found throughout the city, with one particularly mountainous pile reportedly giving Manhattan's Pearl Street its name (although these oysters were not the pearl-producing kind). When New York's oyster business boomed, the sheer bulk of the delicacy contributed to low prices. By 1860, there were more than 12 million oysters sold in New York markets annually.
Eventually, oyster populations were severely reduced by pollution and overharvesting. Although there are some modern efforts to bring back the oyster's former glory, the city's standing as a mollusk haven has become a nearly forgotten thing of the past.
If you're looking for a gift for the person who can't get enough history in their life, we think you'll find something on this list. From an atlas of the United States's National Parks to a book that will allow one to record their own family genealogy, these presents will both enlighten and entertain even the history buffs who already own every Theodore Roosevelt biography and Titanic exposé.
1. Atlas of the National Parks; $59
National Geographic / Amazon
This stunning atlas from National Geographic invites armchair explorers into all 61 national parks, from Gates of the Arctic to Dry Tortugas, American Samoa to Acadia. Each entry features a brand-new map and information about the park’s character, covering archaeology, geology, human history, wildlife, and more. All of which are illustrated with amazing photographs. You can order it now, and according to Amazon, the book will be in stock December 24.
Remind your favorite history buff of that book project they've been working on for many years with a library scent that doesn’t evoke mildewed paper and anxiety. Homesick’s hand-poured soy wax candle features spicy notes of orange, nutmeg, sandalwood, and amber.
Your giftee will need to make some space on the Christmas tree for these ornaments depicting amazing women in history. Artist Gulnara Kydyrmyshova and her team of textile artisans in Kyrgyzstan make each ornament by hand from local wool. You can choose Florence Nightingale, Jane Austen, Harriet Tubman, Susan B. Anthony, or all four.
Just in time for holiday parties, this DIY gin-making kit includes two elegant bottles, stoppers, a selection of dried herbs and spices, and mixing tools. The giftee supplies the vodka, which acts like a blank slate, to be flavored with juniper berries, coriander seeds, rosemary, rose hips, and more.
Here’s a genealogy gift for the holidays that doesn’t require handing over genetic data to private corporations! This handy book includes organizational charts for tracing one’s family tree back five generations. Plus, there are fill-in family group pages and sheets to record personal memories.
Up to eight layers of wood are used to demonstrate the depths of each of the five Great Lakes in this unusual topographical map, which also depicts the major rivers and towns of the region. If these lakes don’t float your boat, 3D maps of Cape Cod, the Hawaiian Islands, Puget Sound, the Chesapeake Bay, and other waterways are available.
7. Black Lives 1900: W.E.B. Du Bois at the Paris Exposition; $35
With colorful, hand-drawn infographics, civil rights leader W.E.B. Du Bois illustrated the progress and challenges of African Americans in the South at the beginning of the 20th century. This beautiful volume pairs his maps and charts, which were displayed at the 1900 Paris Exposition, with contemporary photographs of black people and communities.
An explorer should always have a pen and paper at the ready. Make your giftee’s travels memorable with this set of three pocket-sized notebooks, each bound with a vintage map design on the cover and blank, lined, or graph pages.
It’s been said that bicycles kickstarted the women’s equality movement by giving ladies the means to explore their world. Celebrate that history by giving your fave cycling enthusiast this cute watch, which depicts a penny-farthing, the Victorian precursor to modern bikes. The leather band and analog face complete the watch’s old-timey look.
This 14-ounce ceramic mug includes 30 Elizabethan insults that you can feel free to use any morning pre-coffee—but you may need to reassure you gift recipient that you’re not actually calling them a “canker-blossom” or a “lump of foul deformity” when they open the box.
This LEGO set is based on the White House design by James Hoban, which was selected by George Washington back on July 16, 1792. And now, with over 500 pieces, you can recreate your own version of this iconic building. And when you're done, the set also includes a booklet highlighting interesting facts about the White House.
Stories behind such famous NYC icons as the Flatiron Building or the Empire State Building are well known. Those skyline staples appear in this book, but author Sam Roberts also dives deeper into other notable buildings that changed the course of the city’s history—like the Tweed Courthouse, the Marble Palace, and the Coney Island Boardwalk. (For a similar approach to urban history, see the new book The Seine: The River That Made Paris).
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In the late 1970s, Leonard Cohen sat down to write a song about god, sex, love, and other mysteries of human existence that bring us to our knees for one reason or another. The legendary singer-songwriter, who was in his early forties at the time, knew how to write a hit: He had penned "Suzanne," "Bird on the Wire," "Lover, Lover, Lover," and dozens of other songs for both himself and other popular artists of the time. But from the very beginning, there was something different about what would become "Hallelujah"—a song that took five years and an estimated 80 drafts for Cohen to complete.
In the 35 years since it was originally released, "Hallelujah" has been covered by more than 300 other artists in virtually every genre. Willie Nelson, k.d. lang, Justin Timberlake, Bono, Brandi Carlile, Bon Jovi, Susan Boyle, Pentatonix, and Alexandra Burke—the 2008 winner of the UK version of The X Factor—are just a few of the individuals who have attempted to put their own stamp on the song. After Burke’s soulful version was downloaded 105,000 times in its first day, setting a new European record, “Hallelujah” soon became a staple of TV singing shows.
It's an impressive feat by any standard, but even more so when you consider that "Hallelujah"—one of the most critically acclaimed and frequently covered songs of the modern era—was originally stuck on side two of 1984’s Various Positions, an album that Cohen’s American record label deemed unfit for release.
“Leonard, we know you’re great,” Cohen recalled CBS Records boss Walter Yetnikoff telling him, “but we don’t know if you’re any good.”
Yetnikoff wasn’t totally off-base. With its synth-heavy ’80s production, Cohen’s version of “Hallelujah” doesn’t announce itself as the chill-inducing secular hymn it’s now understood to be. (Various Positions was finally released in America on the indie label Passport in 1985.) Part of why it took Cohen five years to write the song was that he couldn’t decide how much of the Old Testament stuff to include.
“It had references to the Bible in it, although these references became more and more remote as the song went from the beginning to the end,” Cohen said. “Finally I understood that it was not necessary to refer to the Bible anymore. And I rewrote this song; this is the ‘secular’ ‘Hallelujah.’”
The first two verses introduce King David—the skilled harp player and great uniter of Israel—and the Nazarite strongman Samson. In the scriptures, both David and Samson are adulterous poets whose ill-advised romances (with Bathsheba and Delilah, respectively) lead to some big problems.
In the third verse of his 1984 studio version, Cohen grapples with the question of spirituality. When he’s accused of taking the Lord’s name in vain, Cohen responds, hilariously, “What’s it to ya?” He insists there’s “a blaze of light in every word”—every perception of the divine, perhaps—and declares there to be no difference between “the holy or the broken Hallelujah.” Both have value.
“I wanted to push the Hallelujah deep into the secular world, into the ordinary world,” Cohen once said. “The Hallelujah, the David’s Hallelujah, was still a religious song. So I wanted to indicate that Hallelujah can come out of things that have nothing to do with religion.”
Amazingly, Cohen's original "Hallelujah" pales in comparison to Velvet Underground founder John Cale’s five-verse rendition for the 1991 Cohen tribute album I’m Your Fan. Cale had seen Cohen perform the song live, and when he asked the Canadian singer-songwriter to fax over the lyrics, he received 15 pages. “I went through and just picked out the cheeky verses,” Cale said.
Cale’s pared down piano-and-vocals arrangement inspired Jeff Buckley to record what is arguably the definitive “Hallelujah,” a haunting, seductive performance found on the late singer-songwriter’s one and only studio album, 1994’s Grace. Buckley’s death in 1997 only heightened the power of his recording, and within a few years, “Hallelujah” was everywhere. Cale’s version turned up in the 2001 animated film Shrek, and the soundtrack features an equally gorgeous version by Rufus Wainwright.
In 2009, after the song appeared in Zack Snyder's Watchmen, Cohen agreed with a critic who called for a moratorium on covers. “I think it’s a good song,” Cohen told The Guardian. “But too many people sing it.”
Except “Hallelujah” is a song that urges everyone to sing. That’s kind of the point. The title is from a compound Hebrew word comprising hallelu, to praise joyously, and yah, the name of god. As writer Alan Light explains in his 2013 bookThe Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of "Hallelujah,” the word hallelujah was originally an imperative—a command to praise the Lord. In the Christian tradition, it’s less an imperative than an expression of joy: “Hallelujah!” Cohen seemingly plays on both meanings.
Cohen’s 1984 recording ends with a verse that begins, “I did my best / It wasn’t much.” It’s the humble shrug of a mortal man and the sly admission of an ambitious songwriter trying to capture the essence of humanity in a pop song. By the final lines, Cohen concedes “it all went wrong,” but promises to have nothing but gratitude and joy for everything he has experienced.
Putting aside all the biblical allusions and poetic language, “Hallelujah” is a pretty simple song about loving life despite—or because of—its harshness and disappointments. That message is even clearer in Cale’s five-verse rendition, the guidepost for all subsequent covers, which features the line, “Love is not a victory march.” Cale also adds in Cohen’s verse about sex, and how every breath can be a Hallelujah. Buckley, in particular, realized the carnal aspect of the song, calling his version “a Hallelujah to the orgasm.”
“Hallelujah” can be applied to virtually any situation. It’s great for weddings, funerals, TV talent shows, and cartoons about ogres. Although Cohen’s lyrics don’t exactly profess religious devotion, “Hallelujah” has become a popular Christmas song that’s sometimes rewritten with more pious lyrics. Agnostics and atheists can also find plenty to love about “Hallelujah.” It’s been covered more than 300 times because it’s a song for everyone.
When Cohen died on November 7, 2016, at the age of 82, renewed interest in “Hallelujah” vaulted Cohen's version of the song onto the Billboard Hot 100 for the first time. Despite its decades of pop culture ubiquity, it took more than 30 years and Cohen's passing for “Hallelujah”—the very essence of which is about finding beauty amid immense sadness and resolving to move forward—to officially become a hit song.
“There’s no solution to this mess,” Cohen once said, describing the human comedy at the heart of “Hallelujah. “The only moment that you can live here comfortably in these absolutely irreconcilable conflicts is in this moment when you embrace it all and you say 'Look, I don't understand a f***ing thing at all—Hallelujah! That's the only moment that we live here fully as human beings.”