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15 Historical Complaints About Young People Ruining Everything

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A recent New York Times article about millennials in the workforce didn't paint a pretty picture. But a few admittedly astonishing anecdotes shouldn't be used to stereotype millions of people. Nothing is certain in this life but death, taxes, and the existence in every generation of people who complain about young kids ruining everything.

1. "So Fatal a Contagion"

From an 1816 issue of the Times of London:

The indecent foreign dance called the Waltz was introduced ... at the English Court on Friday last ... It is quite sufficient to cast one's eyes on the voluptuous intertwining of the limbs, and close compressure of the bodies ... to see that it is far indeed removed from the modest reserve which has hitherto been considered distinctive of English females...[Now that it is] forced on the respectable classes of society by the evil example of their superiors, we feel it a duty to warn every parent against exposing his daughter to so fatal a contagion.

2. "Self-Admiring, Emaciated Fribbles"

In Paris Fashion: A Cultural History, Valerie Steele published a letter sent to Town and Country magazine in November 1771 by a reader who wanted to get something off of his chest: 

Whither are the manly vigor and athletic appearance of our forefathers flown? Can these be their legitimate heirs? Surely, no; a race of effeminate, self-admiring, emaciated fribbles can never have descended in a direct line from the heroes of Potiers and Agincourt...

3. "The total neglect of the art of speaking"

In the preface to the 1780 book A General Dictionary of the English Language, Thomas Sheridan wrote:

The total neglect of this art [speaking] has been productive of the worst consequences...in the conduct of all affairs ecclesiastical and civil, in church, in parliament, courts of justice...the wretched state of elocution is apparent to persons of any discernment and taste… if something is not done to stop this growing evil …English is  likely to become a mere jargon, which every one may pronounce as he pleases.

4. "Corrupted the Morals of Many a Promising Youth"

In the 1790 book Memoirs of the Bloomsgrove Family, Reverend Enos Hitchcock wrote, 

The free access which many young people have to romances, novels, and plays has poisoned the mind and corrupted the morals of many a promising youth; and prevented others from improving their minds in useful knowledge. Parents take care to feed their children with wholesome diet; and yet how unconcerned about the provision for the mind, whether they are furnished with salutary food, or with trash, chaff, or poison?

5. "A Lessening Sense for Both Duty and Discipline"

In 1904, psychologist and educator Granville Stanley Hall published The Psychology of Adolescence, in which he warned that it was a dangerous time, particularly for young folk:

Never has youth been exposed to such dangers of both perversion and arrest as in our own land and day. Increasing urban life with its temptations, prematurities, sedentary occupations, and passive stimuli just when an active life is most needed, early emancipation and a lessening sense for both duty and discipline, the haste to know and do all befitting man's estate before its time, the mad rush for sudden wealth and the reckless fashions set by its gilded youth--all these lack some of the regulatives they still have in older lands with more conservative conditions.

6. "Lax Habits, Low Moral Standards, Hotel Episodes..."

Besides the devil, nothing was more dangerous to the immortal soul than film—at least, according to "The 'Movies'--The Greatest Religious Menace," published in the November 6, 1926 issue of The Pentecostal Evangel:

...[The screen artists'] beauty, their exquisite clothing, their lax habits and low moral standards, are becoming unconsciously appropriated by the plastic minds of American youth. Let them do what they may; divorce scandals, hotel episodes, free love, all are passed over and condoned by the young... The eye-gate is the widest and most easily accessible of all the avenues of the soul; whatever is portrayed on the screen is imprinted indelibly upon the nation's soul.

7. "A Mere Amusement of a Very Inferior Character"

In its July 1859 issue, Scientific American rallied against a wicked game that made both the mind and body weaker—chess:

A pernicious excitement to learn and play chess has spread all over the country, and numerous clubs for practicing this game have been formed in cities and villages...chess is a mere amusement of a very inferior character, which robs the mind of valuable time that might be devoted to nobler acquirements, while it affords no benefit whatever to the body. Chess has acquired a high reputation as being a means to discipline the mind, but persons engaged in sedentary occupations should never practice this cheerless game; they require out-door exercises--not this sort of mental gladiatorship.

8. "A Mendacious Umbrella"

Robert Louis Stevenson, author of Treasure Island, The Strange Case of Dr Jekyll and Mr Hyde, and the 1894 essay “The Philosophy of Umbrellas,” could tell a lot about a person based on what they held over their heads when it was raining:

A mendacious umbrella is a sign of great moral degradation. Hypocrisy naturally shelters itself below a silk; while the fast youth goes to visit his religious friends armed with the decent and reputable gingham. May it not be said of the bearers of these inappropriate umbrellas that they go about the streets "with a lie in their right hand"?

9. "Lewd Wicked Children"

In 1695, Robert Russel wrote in A Little Book for Children and Youth (subtitled Being Good Counsel and Instructions for Your Children, Earnestly Exhorting Them to Resist the Temptation of the Devil...):

... I find by sad Experience how the Towns and Streets are filled with lewd wicked Children, and many Children as they have played about the Streets have been heard to curse and swear and call one another Nick-names, and it would grieve ones Heart to hear what bawdy and filthy Communications proceeds from the Mouths of such...

10. "Dogs at Their Heels and Other Evidence of Dissolute Habits"

In a speech to the House of Commons on February 28, 1843, Anthony Ashley Cooper, the 7th Earl of Shaftesbury, ranted:

...a fearful multitude of untutored savages... [boys] with dogs at their heels and other evidence of dissolute habits...[girls who] drive coal-carts, ride astride upon horses, drink, swear, fight, smoke, whistle, and care for nobody...the morals of children are tenfold worse than formerly.

11. "Full of Self-Conceit and Admiration"

It's probably safe to assume that the writer S.B.S. wasn't invited to any more kids' shindigs after "Children And Children's Parties" was published in The Mothers' Journal and Family Visitant in 1853:

... see the simpering little beau of ten gallanting home the little coquette of eight, each so full of self-conceit and admiration of their own dear self, as to have but little to spare for any one else... and confess that the sight is both ridiculous and distressing... the sweet simplicity and artlessness of childhood, which renders a true child so interesting, are gone (like the bloom of the peach rudely nipped off) never to return.

12. "The Mad Spirit of the Times"

In “Degeneracy of Stature,” which appeared in the December 18, 1856 issue of The National Era, Thrace Talmon wrote:

Household luxuries, school-room steam-press systems, and, above all, the mad spirit of the times, have not come to us without a loss more than proportionate...[a young man] rushes headlong, with an impetuosity which strikes fire from the sharp flints under his tread...Occasionally, one of this class...amasses an estate, but at the expense of his peace, and often of his health. The lunatic asylum or the premature grave too frequently winds up his career...We expect each succeeding generation will grow "beautifully less."

13. "A Progeny Yet More Corrupt"

In Book III of Odes, circa 20 BCE, Horace wrote:

Our sires' age was worse than our grandsires'. We, their sons, are more
worthless than they; so in our turn we shall give the world a progeny yet more
corrupt.

14. "Youth Were Never More Sawcie"

In his 1624 book The Wise-Man's Forecast against the Evill Time, Thomas Barnes, the minister of St. Margaret's Church on New Fish Street in London, bemoaned:

Youth were never more sawcie, yea never more savagely saucie . . . the ancient are scorned, the honourable are contemned, the magistrate is not dreaded.

15. "Throwing Off Every Kind of Social Restraint "

In Hour of Decision, published in 1933 (and translated by C.F. Atkinson in 1942), Oswald Spengler wrote:

The bad manners of all parliaments, the general tendency to connive at a rather shady business transaction if it promises to bring in money without work, jazz and Negro dances as the spiritual outlet in all circles of society, women painted like prostitutes, the efforts of writers to win popularity by ridiculing...the correctness of well-bred people, and the bad taste shown even by the nobility and old princely families in throwing off every kind of social restraint and time-honoured custom: all of these go to prove that it is now the vulgar mob that gives the tone.

See Also...

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10 Haunting Documentaries That Are Stranger Than Fiction

An earlier version of this list appeared in 2013.

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12 Surprising Facts About Bela Lugosi
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On October 20, 1882—135 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

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The First Known Uses of 6 Common Typographic Symbols
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Many of the most common symbols on our keyboards have fascinating origin stories. Some, such as the zero, we now take for granted—yet the idea of denoting an absence of value was not present in Western mathematics until introduced from the East. Other symbols, such as the hashtag or at-sign, had a variety of uses until the internet ushered in a new way of communicating and fixed them with the meanings we know today. Below are six examples of the first known usage and subsequent history of some of the most common typographic symbols.

1. AT SIGN // @

The @ (or at-sign) is usually dated to 1536 in a letter from a Florentine merchant, Francesco Lapi, who used it to mean a unit of wine called “amphorae.” But a Spanish researcher claims to have found an even earlier usage in a 1448 document, where the symbol also referred to a unit of measurement (even today, Spaniards call the @ symbol arroba, which is also a unit of weight, and some other Romance languages have similar dual meanings). Either way, the researchers think that the symbol then moved to Northern Europe, where it eventually gained the meaning of “at the price.” Other explanations have also been offered, but whatever the exact root of the symbol, its meaning eventually became known as shorthand for at, and it was generally used in written financial transactions—for example, in noting “Bob sells James 4 apples @ $1.”

The sign had largely fallen out of use by the early 1970s, when computer scientist Ray Tomlinson was working at what is now BBN Technologies, in Cambridge, Massachusetts. Tomlinson, who was working for the government on a forerunner of the internet, was trying to figure out how to address messages sent from one computer to another when he noticed the little-used @ on his computer keyboard, and used it to send a prototype email. This precedent was soon adopted as the internet developed, and the at-sign is now, of course, central to our lives.

2. ZERO // 0

The absence of a value is a complex concept, one that many ancient civilizations struggled with. The idea of a zero ultimately came to the West from the mathematicians of India, where, as in a few other cultures, zero was initially used as a placeholder, for example to indicate a lack of units, as in the number 101.

The earliest surviving usage of a zero in India has been traced to an ancient mathematical text known as the Bakhshali manuscript, which is held at Oxford’s Bodleian Library. In September 2017, radiocarbon dating indicated that the manuscript was produced as early as the 3rd or 4th century—providing us with the first known usage of zero some 500 years earlier than previously thought. As Oxford’s Bodleian Library says, “the symbol in the Bakhshali manuscript is particularly significant for two reasons. Firstly, it is this dot that evolved to have a hollow centre and became the symbol that we use as zero today. Secondly, it was only in India that this zero developed into a number in its own right, hence creating the concept and the number zero that we understand today."

The manuscript itself was discovered buried in a field in 1881 in what is today Pakistan. Written on 70 delicate leaves of birch bark, historians think it represents a training manual for Silk Road traders, teaching them concepts of arithmetic.

3. HASHTAG // #

Hashtag on an old typewriter key
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The origin of the hashtag (or pound sign as it's traditionally known in the U.S.) comes from scribes writing shorthand for the Latin libra pondo, which translates as "pound by weight." The abbreviation they used was lb, which was sometimes misread as 16. So, scribes took to drawing a line through the top of the two letters, which over time developed into the now familiar #. In the 1960s, the pound sign was chosen by Bell Laboratories to be a function key on their newly designed telephone keypad. (The Bell Labs team fondly nicknamed the symbol the “octothorpe,” possibly in honor of athlete Jim Thorpe.) Fast-forward to 2007, when early Twitter users wanted to be able to group and filter their feeds, so developer Chris Messina suggested they appropriate the method used in IRC (Internet Relay Chat) whereby users employed the pound sign or "hashtag" to signpost what they were chatting about. (Programmers knew the symbol as the hash, which was now being used to "tag" content.) This simple method soon caught on, and today the hashtag has become indelibly linked to the rise of social media.

4. ELLIPSIS // …

Originally, periods of silence were marked textually with a series of hyphens, but today the symbol of choice is the , a.k.a. the ellipsis. Dr. Anne Toner of Cambridge University spent years researching the ellipsis and finally discovered what she thinks is its first use—an English translation of Roman dramatist Terence’s play Andria printed in 1588. Although the play used hyphens instead of dots, the general idea caught on rapidly. (Toner notes that although there are only four “ellipses” in the 1588 translation, there are 29 in the 1627 version.) By the 18th century, dots started to replace the dashes, which an assistant professor from Southeastern University suggests may be connected to a medieval piece of punctuation called subpuncting or underdotting, which generally indicated something was incorrectly copied.

5. AMPERSAND // &

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The ampersand originated in Latin when the word et (meaning and) was written in cursive script as a ligature (in which one or more letters are written together as a single glyph). One of the earliest examples was found daubed in graffiti on the walls of a house in Pompeii, where it was preserved by the eruption of Vesuvius in 79 CE. By the 8th century the ampersand became a recognizably distinct character, but the word ampersand did not come into use until the late 18th/19th century, when English school children would recite "and per se and" meaning “and by itself means and” to help remember the symbol (per se being Latin for "by itself"). One of the most thorough investigations into the typographic history of the ampersand comes courtesy of German graphic designer Jan Tschichold, who in 1953 published The am­persand: its ori­gin and de­vel­op­ment, in which he collected numerous examples of the ampersand from the 1st century onwards, visually charting its developing form.

6. PLUS SIGN // +

A variety of ceramic plus signs
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The plus sign used for addition in mathematics likely derives from a shorthand ligature for the Latin et meaning “and” and was probably in use for a long time before a surviving example appeared in print. One candidate for the earliest surviving usage is in French philosopher and polymath Nicole Oresme's Algorismus proportionum, a manuscript handwritten between 1356 and 1361, although scholars debate whether it's a true plus symbol. The first use of a plus sign in a printed book is more definitive, and can be found in a 1489 edition of Johannes Widmann’s Mercantile Arithmetic. Widmann also uses the minus sign for the first time in print in this volume—although both plus and minus signs relate not to addition and subtraction but to surpluses and deficits in business accounting. After this usage, the plus sign began to appear more frequently in German mathematical texts, and first appeared in an English text in 1557 in Robert Recorde’s The Whetstone of Witte—which also introduced the equals sign.

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