The Zimmermann Telegram

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 263rd installment in the series.  

January 16-17, 1917: The Zimmermann Telegram

Germany’s decision to resume unrestricted U-boat warfare at the beginning of 1917 was arguably the worst strategic decision of the First World War – but Germany dug the hole even deeper by attempting to start a war between Mexico and the United States. Together these ill-advised moves turned American public opinion decisively against the Central Powers, setting the stage for U.S. entry into the war in April 1917.

The secret initiative to bring Mexico into the war – which didn’t stay secret for long – was laid out in the “Zimmermann Telegram,” a coded message first sent by the German State Secretary for Foreign Affairs Arthur Zimmermann to the German ambassador to the U.S. Johann von Bernstorff, who passed it along to the ambassador to Mexico Heinrich von Eckhardt (this indirect route was used in an attempt to avoid interception, futile as it turned out; below, the coded telegram from Bernstorff). 

In his previous role as undersecretary of foreign affairs Zimmermann enjoyed some success fomenting dissension abroad to distract Germany’s enemies from the European war, most notably the Easter Rising in Ireland, which complicated British war efforts and delivered a stinging propaganda defeat to the Allies, supposedly fighting for the rights of small countries. On taking the reins from the previous foreign secretary, Gottlieb von Jagow, Zimmermann naturally continued his predecessor’s policy of stirring up trouble between Mexico and the U.S. in order to distract the latter – an easy task considering their fraught relations following the Mexican Revolution, Tampico Incident, the repeated depredations of Pancho Villa, and the Punitive Expedition.

But now Zimmermann planned a dangerous escalation, reflecting the mounting stakes. With unrestricted U-boat warfare set to resume on February 1, 1917, Germany’s leaders knew there was a very good chance it would provoke the United States to join the war against them, and so (despite reassuring predictions from military hardliners that the American effort would be desultory at best) were willing to consider any gambit to refocus America’s attention away from Germany – ideally on an enemy closer to home. 

The Germans spared nothing in their effort to bring Mexico into the war, at least as far as promises go. The key enticement – and a diplomatic bombshell when revealed – was the offer to help Mexico win back the lost provinces of the American southwest, taken by the U.S. as spoils of victory in the Mexican-American War in 1848. Even more sensational, the Germans wanted Mexico to help convince Japan to turn on the U.S. as well, capitalizing on growing tension between the countries over Japanese expansion in the Pacific Ocean and aggression in China. The full text of the telegram delivered to Eckhardt read:

We intend to begin on the 1st of February unrestricted submarine warfare. We shall endeavor in spite of this to keep the United States of America neutral. In the event of this not succeeding, we make Mexico a proposal of alliance on the following basis: make war together, make peace together, generous financial support and an understanding on our part that Mexico is to reconquer the lost territory in Texas, New Mexico and Arizona. The settlement in detail is left to you. You will inform the President of the above most secretly as soon as the outbreak of war with the United States of America is certain and add the suggestion that he should, on his own initiative, invite Japan to immediate adherence and at the same time mediate between Japan and ourselves. Please call the President’s attention to the fact that the ruthless employment of our submarines now offers the prospect of compelling England in a few months to make peace. Signed, Zimmermann.

Unfortunately for the Germans, Eckhardt and Mexico’s leader Venustiano Carranza (who would be sworn in as president on May 1, 1917) weren’t the only ones privy to this shocking proposal, transmitted by coded telegraph. Unbeknownst to the German foreign ministry the British Admiralty’s cryptography division, “Room 40,” had been monitoring German messages since the war began, and were routinely able to decode these messages with the help of captured codebooks and ciphers. 

The Zimmermann Telegram was originally dispatched from Berlin to Washington, D.C. on January 16, 1917 using standard diplomatic channels, which in wartime meant sending it on undersea telegraph cables via a neutral country – in this case Denmark. After receiving a copy of the intercepted message on January 17, 1917, the British code-breakers went to work and almost immediately realized the value of the intelligence gathered from the partially decoded document, which was bound to infuriate American public opinion and hopefully bring the U.S. into the war on the side of the Allies. They continued their work and by February 5 the message was nearly complete.

The Admiralty was understandably careful about sharing or acting on information uncovered by Room 40, in order to avoid arousing German suspicions that their codes were compromised, but the Zimmermann Telegram presented an opportunity too good to pass up. In order to bring the telegram to the attention of President Woodrow Wilson without tipping their hand to the Germans, and without disclosing the awkward fact that they were spying on American telegraph traffic, Room 40 chief Admiral William Hall came up with two clever ruses. First, the British would tell the Americans they obtained the telegram by bribing a telegraph company employee in Mexico; second, when it was time to go public they would make it appear the deciphered message had been obtained by British agents through treachery in Mexico City, rather than intercepted and deciphered as it crossed the Atlantic. 

For now the British kept their secret to themselves, in the hopes that Germany’s resumption of unrestricted U-boat warfare would be enough to bring the U.S. into the war; they only disclosed the existence of the telegram on February 24, 1917, when their American cousins seemed to be dragging their feet (at which point the British were able to cover their tracks even more completely with the collaboration of the U.S. government, by staging additional deceptions to make it appear that it was American spies who obtained the text – this time through treachery in the German embassy in Washington, D.C. The full details of this exciting episode are set forth in Barbara Tuchman’s classic book, The Zimmermann Telegram. Above, the decoded version).

Meanwhile the Mexican government responded skeptically to the German proposal. U.S.-Mexican relations, while certainly at a low point during the Punitive Expedition, had apparently been improving since the summer of 1916, when Wilson disavowed war with Mexico and Carranza offered concessions. Further, Carranza’s generals warned that Mexico would never be able to absorb the large “Anglo” populations of the states in question, foreshadowing endless future conflicts with restive natives as well as the irredentist U.S. (top, an American cartoon after the telegram became public). 

Worse still, Mexico would bear the brunt of the war by itself, with no prospect of effective help from Germany thanks to the British naval blockade – a daunting prospect considering the Mexican Army could barely secure the country’s own northern territories (Japan was also unlikely to go to war lightly, as it relied on imports of American kerosene, cotton, and steel, and also depended on America as its largest export market). 

In short, Germany had unwittingly provided Britain with a deadly diplomatic weapon, sealing its own fate, all for the sake of an improbable – some might say fantastic – foreign adventure. Later, Zimmermann’s inexplicable admission that he was the author of the telegram put the final nail in the coffin of the reputation of Imperial Germany’s foreign service, already discredited by incompetent diplomacy in the lead-up to the war.

See the previous installment or all entries.

Take Advantage of Amazon's Early Black Friday Deals on Tech, Kitchen Appliances, and More

Amazon
Amazon

This article contains affiliate links to products selected by our editors. Mental Floss may receive a commission for purchases made through these links.

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10 Behind-the-Scenes Secrets of Professional Songwriters

A songwriter in her natural habitat.
A songwriter in her natural habitat.
Soundtrap, Unsplash

Behind every club banger and power ballad is an eclectic team of individuals, each with their own role in its creation and promotion. Needless to say, it couldn’t happen without the songwriters. These gifted musicians don’t just pen the lyrics that fuel all your car concerts and karaoke nights—they also manage egos, help artists articulate their innermost feelings, and juggle their own side gigs. So what does a songwriting career actually look like? Mental Floss chatted with three experienced songwriters about everything from how they make money to how they make hits.

1. It’s common for songwriters to have their own music careers.

From Carole King to Pharrell Williams, the music industry has long teemed with talented artists who’ve written songs for other acts—so it’s not exactly surprising that so many songwriters are nurturing what they call their own “artist projects.” In fact, all three songwriters interviewed for this article have released new music in the last few months. Daniel Capellaro released the EP Nightside [A] in November under the moniker “Dvniel”; Skyler Stonestreet’s first single as “The Sunshine State” dropped in late October; and Trent Park has been unveiling a steady stream of singles and corresponding music videos since June.

Though it seems like it could be difficult to constantly fork over songs that they might want to release themselves, the collaborative nature of the business prevents this from being a major issue. Often, the songwriter is working off ideas and emotions specific to the artist they’re writing for, so the song truly feels like it belongs to that artist. Other times, the song gets tweaked by so many writers and producers that it’s no longer the original songwriter’s personal opus. “When a song comes out, sometimes I’m like, ‘Ah that was good, but I would’ve done it a totally different way,” Park says. “But that means it wouldn’t be the song that it is.”

2. Songwriters sometimes have to fake it ’til they make it.

In a business built on relationships, it’s pivotal for up-and-coming songwriters to always be on the lookout for new connections. Sometimes, this means acting first and thinking later. During Capellaro’s early days in Los Angeles, his demo CD was his de facto business card. About a month after giving one to an executive from Universal Music Group, he got a call from the company asking when he was playing next. Having no dates lined up, he picked one at random: March 16. “So I hang up and I'm like, ‘OK, I’ve just committed to playing a show. I've got no venue. I've got no band. I have to get all this put together in the next 30 days,” Capellaro remembers.

He found a former bass player from the band Lifehouse on Craigslist, and the two set about securing the rest of the band. For the venue, Capellaro chose a well-known rehearsal space called SIR (Studio Instrument Rentals), only to find out that the Universal exec slated to see the show “[had] never signed a single act at SIR—she hates that place.” It was too late to switch venues, so Capellaro reassured his Universal contact over the phone that “she won’t recognize it” and immediately transported everything in his recently furnished living room to the stage to give it a whole new look. “I had a couch, a rug, tea candles,” he says. “I wanted it to feel like MTV Unplugged.” The hard-to-please executive was duly impressed. “She’s like ‘You sound great. How long have you guys been playing together?’ and I’m like, ‘Ah, you know, for a while.’ I didn’t want to tell her ‘Four days.’”

When asked what surprised him most about the industry, Park answered without hesitation: “That nobody knows what they’re doing.” He, too, confessed to occasional fibbery. “There are some times when I reach out to an artist and I say, ‘I love your stuff. I have a song for you,'” he says. “I’m completely lying. I just want to work with that person, and once they reach out I end up formulating songs in the vein of their stuff.”

3. Songwriters don’t just write for career music artists.

Songwriters like Capellaro and Stonestreet, who are signed to music publishing companies, mainly do work on songs for fellow artists. Park, on the other hand, is an independent songwriter—so his clients sometimes come from other industries altogether. “Right now I'm writing for a couple lawyers that are just doing it as a passion, but they pay me really well,” he says. “I’m there for everyone. Honestly, it’s way better money.” Park also spent a few weeks writing songs for the wife of a billionaire app developer. Not only did she pay him triple his per-song rate and triple his per-diem rate, she also insisted on posting him up in a luxury hotel and giving him an additional $500 each day for food and other expenses. “That was a really cool [scenario],” Park says, “I’m hoping for more of those.”

4. There are countless ways to create a song—and countless people involved.

Songwriting isn’t exactly a linear process. “You can start from any place,” Capellaro says. “You can start with someone toe-tapping, or have a piano pulled up and just start playing a C chord over and over again.” Often, the record label has already started for you—they’ll send an instrumental track to multiple songwriters, who each adds their own lyrics and melody. Then, the label simply chooses their favorite.

Other songs originate in songwriting camps. Basically, a record label will gather various songwriters in a house, split them into small groups, and “see if magic happens,” Stonestreet says. During a camp meant to generate hits for Dua Lipa a few years ago, it did: Stonestreet and several other writers penned her 2018 single “IDGAF.”

But even after a track has lyrics and a melody, there’s always a chance it’ll undergo another round of edits. Maybe a label liked a certain producer’s work on another song, so they ask them to tweak this one; or they bring in a new writer to fine-tune a few words or add a post-chorus. Big artists also sometimes have personal collaborators that they want credited on the song, whether or not they actually helped create it. “That’s why when you look at a Katy Perry song, you’re like ‘How did 14 people write this one song that has the most juvenile lyrics I’ve ever heard in my life?’ They didn’t—it’s all politics,” Capellaro says.

5. Songwriters don’t make much from music streaming services like Spotify.

Music streaming services like Spotify and Apple Music are notorious for pocketing most of the earnings from artists’ work. Spotify, for example, pays the rights holder as little as $0.006 for each stream—and that paltry sum must then be split among all the people involved in making the song. Songwriters, producers, musicians, managers, label executives, and any number of other people could each be entitled to a certain percentage of the profits. “I have over a million streams on one catalog, and that translated to $785,” Capellaro says. “If I sold a million copies, I would’ve had a house up in [Beverly Hills].” Not only are the rates low, but artists also have to somehow make their songs stand out from the tens of thousands of other new songs released each week, which Capellaro admits is “virtually impossible.”

6. Songwriters often juggle other jobs.

Since songwriters can’t rely on streaming dividends for income—and salaried music publishing positions don’t always come easy—they often make ends meet with a variety of side gigs. Park realized early in his career that while songwriters were mainly earning money from royalties, producers were often paid an hourly rate or up-front lump sum. “So I learned how to produce,” he says. Then, he purchased a mic and other equipment so he could record vocals at home—like hooks for people’s rap or EDM songs. “Basically, I’m an a la carte thing,” he explained. Park eventually branched out into music video production, and he’s now directed videos for chart-topping artists like G-Eazy and Ty Dolla $ign. He also served as a music technical consultant for 2020’s The High Note, starring Tracee Ellis Ross and Dakota Johnson; in that position, he made sure the dialogue, instruments, and other music-related details matched real life.

Even when a songwriter appears to be working a job entirely unrelated to the music industry, there could be a shrewd reason for doing so. Capellaro spent more than a decade running a restaurant called Amici in Brentwood, California. “I knew I wanted to be there because that’s where the celebrities live,” he explains. Sure enough, he connected with people like J.J. Abrams, Laura Dern, and Bonnie Hunt, who was hosting her NBC talk show at the time. One evening while refilling Hunt’s water glass, Capellaro posed a question: “Hey Bonnie, what would it take to be on your show?” She asked if he had a CD on hand, which he did, and booked him as a musical guest within weeks. The day after the taping, Hunt dined at Amici again and lauded Capellaro for his performance. “I’m like, ‘This is so surreal. I was just on your show yesterday, and now I’m bringing you sea bass.” A producer who caught the performance later reached out to Capellaro and ended up inviting him to his studio for songwriting sessions—which yielded hits for Chris Brown and Boyz II Men.

It was also at Amici that Capellaro developed a friendship with Marc Caruso, a music engineer who happened to be the founder of a music publishing company called Angry Mob Music Group. About five years ago, Caruso, knowing Capellaro was itching to give up his restaurant job and focus on music full-time, offered him a music publishing deal; Capellaro’s been there ever since.

7. Songwriters have to form close bonds with artists in a few hours or less.

Because the goal is to create a song that feels personal to the artist, songwriters usually prefer to work directly with them whenever possible. And getting the artist to give them some seed of inspiration means forging a deep friendship with them within minutes of entering the studio.

“There’s so much trust that needs to happen in the room. You’re telling potentially intimate details about yourself that would be uncomfortable sharing [with a stranger]. So much of it is trying to create a safe place for the artist and a safe place for the writers, all the while dealing with egos the size of tall buildings,” Capellaro says. “It’s almost like a therapy session: What’s your mood today? What happened over the weekend? What’re you pissed off about? What’re you inspired by at this very moment? Because it can change at 5 p.m. today, and maybe that inspires the song.”

Stonestreet expressed a similar sentiment. “I honestly love when the artist is involved. You won’t know anything specific unless you’re sitting there having a conversation—it can be emotional. You form a relationship, and you trust each other to handle the information.”

8. Songwriters have to say “no” without actually saying “no.”

Songwriters have to find creative ways of steering a song in the right direction without flatly rejecting an artist’s not-so-great suggestion. Stonestreet might toss out a compliment and lean on the lackluster reaction of the room as evidence that they haven’t yet struck gold. Something to the effect of: “‘That’s cool, and I like it, but maybe it’s not jumping out, and it’s not making everyone jump around the room and [giving everyone] that feeling of ‘This is so exciting.’”

“I always say, ‘Let’s try it,’” Park says. “‘I don’t necessarily hear what you’re talking about, but let’s try it.’” Sometimes, hearing their idea come to life is enough to make the artist realize it isn’t a great fit. Park also occasionally asks the artist’s manager, significant other, or another trusted party to weigh in, hoping they’ll side with him. “But I am always honest. I’m like, ‘Yeah, I don’t think the idea works. If you like it, 100-percent do it. It’s not my vibe, but it’s your song.'”

And since the artist does have final say, the writers also need to know when to cut their losses. If the artist is hell-bent on certain subpar lyrics? “You’re going to go with whatever they’re going to like,” Capellaro says.

9. Songs sometimes get lost in the abyss.

Earlier this year, Stonestreet wrote Ariana Grande and Justin Bieber’s duet “Stuck with U,” which got released mere weeks later. “I just heard the demo of it last week, and it’s coming out Friday. I don’t understand what’s going on,” she thought at the time. “That was a freak thing. Usually you do have to wait a minute.” A minute could be a year—or never. “So many people have to say yes to the song for it to come out … All the label’s people, the artist’s team, your team.” Even after getting all those green lights, a single could still test poorly among advance radio reviewers and end up stalling indefinitely.

Sometimes, a record label neglects to send the finished product back to the songwriter. “I think some songs can go into a complete abyss where they just sit on a hard drive for years and years,” Stonestreet says.

10. Songwriters have mixed feelings about making music via Zoom.

Since songwriting often involves multiple people spending long hours in a small studio, the coronavirus pandemic threatened to upend the whole system. So songwriters went virtual. Some, like Park and Stonestreet, already had recording equipment at home; Capellaro, meanwhile, quickly invested in a mic, a monitor, cables, and all the other requisite gadgets. To shift the workflow online, they’ve had to more clearly define each person’s task for each song.

“I’m a vocalist, so I’m going to record vocals in my house, and I will send the stems to producer X, Y, or Z, have them tune them for me [and] put them into the rest of the track," Capellaro says. “I can have another guy master it, [and] we can always hop on a FaceTime or Zoom call to get it written and recorded.” This streamlined process has actually helped with productivity. “I have been writing more music since March than I was previously,” Capellaro says.

Making music via video chat tends to work better with fewer people, so Stonestreet has enjoyed the opportunity for more one-on-one sessions. When there are several people on the call, they cut down on confusion over who’s speaking (and singing) by thoroughly explaining each suggestion. “You really talk things through, which has been really nice,” she says. That said, the camaraderie born in the studio is hard to recreate on a computer screen, and songwriters are eager to experience that again. “I love Zoom, but I also really miss people in the room with me,” Stonestreet says.