Peek Inside a Trove of Witchcraft Artifacts at This Rare Exhibit

Courtesy of Cornell University
Courtesy of Cornell University

Ithaca, New York is home to perhaps the world’s spookiest library repository. The Cornell Witchcraft Collection contains more than 3000 books, manuscripts, and artifacts, providing a historic overview of European magic, superstition, and persecution. These items are typically accessible to the public only by appointment—but starting this Halloween, a new exhibition will allow visitors to get up close and personal with an assortment of witchy relics.

The World Bewitch’d” will be the university’s first full-fledged exhibition dedicated to the Cornell Witchcraft Collection. Containing around 200 items—including rare books, handwritten trial transcriptions, early images of witches in flight, and more—it will trace how societal views of witchcraft have spread and evolved over the past few centuries, in addition to telling the stories of real-life trial victims. It will also include popular culture depictions of the witch, including 20th and 21st century movie posters.

Cornell’s Witchcraft Collection was originally compiled in the 1880s by university co-founder Andrew Dickson White and his librarian, George Lincoln Burr. White “was interested in things at the margin,” Anne Kenney, a now-retired Cornell University librarian who co-curated “The World Bewitch’d,” tells Mental Floss.

In addition to witchcraft materials, White also collected anti-slavery and Civil War pamphlets, and had a particular fascination “with those who were oppressed and subject to discrimination,” Kenney says. White ended up amassing North America's largest collection of witchcraft artifacts, and one of the world's largest collections of slavery and abolitionist materials.

“The World Bewitch’d” will include a mix of contemporary and archival items, says Kenney, who co-organized the exhibit along with Kornelia Tancheva, another former Cornell librarian. It also contains plenty of “firsts”: the first-known book on witchcraft ever printed, the first printed image of witches in flight, and the first-known illustration of the devil claiming an evil spirit, to name a few.

Woodcut illustration of the Berkeley Witch from the Nuremberg Chronicle, ca. 1493

Woodcut illustration of the Berkeley Witch from the Nuremberg Chronicle, ca. 1493. This image popularized the link between the practice of witchcraft and the devil.

Courtesy of Cornell University

The first book on witchcraft was printed in 1471, and was authored by Alphonso de Spina, a Spanish Franciscan bishop, preacher, and writer. Called Fortalitium Fidei (Fortress of Faith), it “describes the various threats to the Catholic faith, and the last of those threats dealt with the war of demons, which also included witchcraft,” Kenney says.

Also on display will be the Nuremberg Chronicle, the 1493 Biblical world history text by Hartmann Schedel. It contains a woodblock print of the Devil carrying off the Witch of Berkeley, a figure from English folklore. This image “helped popularize the link between the practice of witchcraft and the devil,” Kenney says. “It was reproduced around the 16th century, and lots of people mimicked it in their representation of witches.”

Meanwhile, the first printed image of witches in flight comes from legal scholar Ulrich Molitor’s 1489 treatise on witchcraft, De Lamiis et Pythonicis Mulieribus. It was the first witchcraft book to contain woodcut illustrations, although his witches in flight straddle wooden forks instead of brooms. (Brooms were a “later conceit,” Kenney says.) The witches are presented as animals, to demonstrate their purported shape-shifting abilities.

The first printed image of witches in flight. Ulrich Molitor, 1493, De lamiis et phitonicis mulieribus

The first printed image of witches in flight. Ulrich Molitor, 1493, De lamiis et phitonicis mulieribus

Courtesy of Cornell University

David Hauber Eberhard, 1695 to 1765, Bibliotheca acta et scripta magica: Gründliche Nachrichten und Urtheile von solchen Büchern und Handlungen, welche die Macht des Teufels in leiblichen Dingen betreffen.

David Hauber Eberhard, 1695 to 1765, Bibliotheca acta et scripta magica: Gründliche Nachrichten und Urtheile von solchen Büchern und Handlungen, welche die Macht des Teufels in leiblichen Dingen betreffen.

Courtesy of Cornell University

While largely concerned with popular representations of witches, other parts of the exhibition will shift visitors’ focus back to real-life victims of persecution. One exhibition case will focus on two sensational trials that involved men, including the story of Dietrich Flade, a high-ranking judge in the city of Trier, Germany, whose opposition to witch trials led to his own accusation, torture, and execution in 1589. Another will tell the tales of seven individual women who were accused of witchcraft.

The gendering of witchcraft is yet another key theme in the exhibition—around 80 percent of accused witches were women, Kenney says. Most of the accused women included in “The World Bewitch’d” "had reputations of being difficult and ill-tempered—one of the signs of being a witch was if you swore or cursed,” Kenney says. “Women who were highly independent, and not subservient, might have been more subject to being targeted. All of these women suffered torture. Only two of them—two sisters—were declared innocent, because one of them withstood torture for quite a bit of time and did not confess to any crimes.”

Théophile Louïse, De la sorcellerie et de la justice criminelle à Valenciennes (XVIe et XVIIe siècles), 1861

Théophile Louïse, De la sorcellerie et de la justice criminelle à Valenciennes (XVIe et XVIIe siècles), 1861

Courtesy of Cornell University

R.B., 1632 to 1725, The kingdom of darkness: or, The history of daemons, specters, witches, apparitions, possessions, disturbances, and other wonderful and supernatural delusions, mischievous feats and malicious impostures of the Devil.

R.B., 1632 to 1725, The kingdom of darkness: or, The history of daemons, specters, witches, apparitions, possessions, disturbances, and other wonderful and supernatural delusions, mischievous feats and malicious impostures of the Devil.

Courtesy of Cornell University

In short, "The World Bewitch'd" "isn't an exhibition to take trick-or-treaters to," Kenney laughs. But it's still a must-see for anyone interested in the history of witchcraft—or those who prefer to get their thrills from libraries instead of haunted houses.

"The World Bewitch'd" will go on display in Cornell's Carl A. Kroch Library in the Hirshland Exhibiton Gallery on October 31 and run through August 31, 2018.

5 Weird American Cemetery Legends

iStock/grandriver
iStock/grandriver

These strange, spooky cemetery tales of vampires, ghosts, and bloody headstones will keep you up at night. (If you're not too scared, add them to your next cemetery road trip, and keep this guide of common cemetery symbols handy for when you visit.)

1. The Vampire of Lafayette Cemetery

Perhaps it's not surprising that a grave with "born in Transylvania" etched on it would invite vampire comparisons. Local legends say that a tree growing over this grave in Lafayette, Colorado, sprung from the stake that killed the vampire inside, and that the red rosebushes nearby are his bloody fingernails. There are also reports of a tall, slender man in a dark coat with black hair and long nails who sometimes sits on the tombstone. It's not clear what the man who bought the plot—Fodor Glava, a miner who died in 1918—would have thought of all these stories, especially since he might not have actually been buried there.

2. The Green Glow of Forest Park Cemetery

The abandoned Forest Park Cemetery (also known as Pinewoods Cemetery) near Troy, New York, is known for several urban legends. One of the strangest concerns local taxi drivers, who say they pick up fares nearby asking to go home, only to have the passenger mysteriously vanish when they drive by the cemetery. Others tell of a decapitated angel statue that bleeds from its neck—although the effect may be attributed to a certain kind of moss. But one of the eeriest parts of the grounds is a dilapidated mausoleum said to be home to a green, glowing light often seen right where the coffins used to be located.

3. The New Orleans Tomb That Grants Wishes

Famed "Voodoo Queen" Marie Laveau is buried in arguably the oldest and most famous cemetery in New Orleans, St. Louis Cemetery No. 1. (Or said to be, anyway—some dispute surrounds her actual burial spot.) For years, visitors hoping to earn Marie's supernatural assistance would mark three large Xs on her mausoleum; some also knocked three times on her crypt. However, a 2014 restoration of her tomb removed the Xs, and there's a substantial fine now in place for anyone who dares write on her tomb.

4. Pennsylvania's Bleeding Headstone

The Union Cemetery in Millheim has one of the nation's weirder headstones: It's said to bleed. The grave belongs to 19th-century local William (or Daniel) Musser, whose descendants tried to replace the tombstone repeatedly, but the blood (or something that looked like blood) just kept coming back—until they added an iron plate on top.

5. Smiley's Ghost in Garland, Texas

A single plot in the Mills Cemetery is home to five members of the Smiley family, who all died on the same day. Rumor has it that if you lie down on the grave at midnight (especially on Halloween), you'll find it very difficult to rise back up, as the ghost of old man Smiley tries to pull you down, hoping to add one more member to the family's eternal resting place.

16 Soothing Facts About Muzak

Keith Brofsky/iStock via Getty Images
Keith Brofsky/iStock via Getty Images

Whether you know it as background music, elevator music, or, as Ted Nugent once called it, an “evil force causing people to collapse into uncontrollable fits of blandness,” Muzak has ruled speakers for the better part of a century. Press play on your favorite easy-listening album and scroll on for some unforgettable facts about the most forgettable genre of music.

1. Muzak is a brand name.

Much like Chapstick, Popsicle, and a certain type of vacuum-sealing plastic food container, Muzak is a registered trademark. It began as the name of the company that first produced the easy-listening instrumental tunes that played in factories, elevators, and department stores. As its popularity grew, people started to use Muzak as a generic term for all background music.

2. Muzak was invented by a U.S. army general.

Major General George Owen Squier
Library of Congress // Public Domain

During World War I, Major General George Owen Squier used electrical power lines to transmit phonograph music over long distances without interference. He patented this invention in 1922 and founded Wired Radio, Inc. to profit from the technology. The company first devised a subscription service that included three channels of music and news and marketed it to Cleveland residents for $1.50 per month. When Squier and his associates realized their product was a little too close to regular (free) radio, they started pitching it to hotel and restaurant owners, who were more willing to pay for a steady broadcast of background music without interruptions from radio hosts or advertisements.

3. The name is a portmanteau of music and Kodak.

In 1934, Squier changed the name of his business from Wired Radio to Muzak, combining the first syllable of music with the last syllable of Kodak, which had already proven to be an extremely catchy, successful name for a company.

4. Muzak has been releasing instrumental covers of pop songs since its inception.

The first-ever original Muzak recording was an instrumental medley of three songs performed by the Sam Lanin Orchestra: “Whispering,” by John and Malvin Shonberger, “Do You Ever Think of Me?” which was covered by Bing Crosby, and “Here in My Arms,” by Lorenz Hart and Richard Rodgers from the 1925 Broadway musical Dearest Enemy.

5. Muzak was briefly owned by Warner Bros.

The sound of Muzak was wafting across the country by the end of the 1930s, which caught the ears of Warner Bros. The company bought Muzak in 1938, fostered it for about a year, and then sold it to three businessmen: Waddill Catchings, Allen Miller, and William Benton (Benton would later publish the Encyclopaedia Britannica and serve as a U.S. senator for Connecticut).

6. Muzak was designed to make factory workers more productive.

Muzak manufactured soundtracks, based on a theory called “stimulus progression,” that consisted of 15-minute segments of background music that gradually ascended in peppiness. The method was meant to tacitly encourage workers to increase their pace, especially during the productivity lulls that often occurred during the late morning and mid-afternoon.

7. Muzak helped calm anxious elevator passengers.

Since more advanced electric elevators diminished the need for elevator operators in the mid-20th century, passengers were often left alone with an unsettling silence that made them all too aware that they were hurtling upward or downward in a steel box. Soft, calming Muzak played through speakers offered the perfect distraction.

8. There’s a reason Muzak's tempo is slower in supermarkets.

Just like factory workers might move faster while listening to fast-paced tracks, you might slow down while shopping to slower-tempo Muzak—which is exactly what supermarket owners want you to do. The more time you spend in a store, the more likely you are to toss a few extra snacks in your cart. (It's unclear whether the slower music might inhibit the productivity of supermarket workers.)

9. More than one U.S. president endorsed Muzak.

Muzak was installed in the White House during Dwight D. Eisenhower’s administration, but he was arguably only the second biggest presidential fan of the genre. Lyndon B. Johnson actually owned Muzak franchises in Austin while serving as a U.S. Senator from Texas.

10. Andy Warhol was also a fan of Muzak.

Andy Warhol
Graham Wood/Evening Standard/Hulton Archive/Getty Images

Pop culture aficionado Andy Warhol supposedly said, “I like anything on Muzak—it’s so listenable. They should have it on MTV.”

11. Ted Nugent offered to buy Muzak for $10 million to “shelve it for good.”

In 1986, the Whackmaster put in a bid to purchase Muzak from parent company Westinghouse just to shut it down. According to the Ottawa Citizen, he called it an “evil force” that was “responsible for ruining some of the best minds of our generation.” Westinghouse rejected the bid.

12. Muzak didn’t formally introduce vocals until 1987.

As part of a rebranding campaign to modernize Muzak, the company started adding voice-accompanied tunes in 1987. Before that, Muzak broadcasts had only featured voices twice. The first was an announcement that Iran had freed American hostages in 1981, and the second was as part of a worldwide radio broadcast of “We Are the World” in 1985.

13. 7-Elevens blared Muzak in parking lots to chase off loiterers.

7-Eleven storefront at night
Mike841125, Wikimedia Commons // Public Domain

In 1991, 7-Eleven parking lots in Southern California became well-trafficked watering holes for youth who evidently had no place else to go. To deter them from loitering with skateboards, beer, and lots of teen angst, the stores blared Muzak—and it worked. “It will keep us away,” one young loafer told the Los Angeles Times. “But they’re torturing themselves more than us because they have to sit inside and listen to it.”

14. Seattle is the capital of Muzak.

Though it's well known as the birthplace of grunge, Seattle also had a thriving elevator music scene. Muzak based its corporate headquarters there in the 1980s, and three other leading background (and foreground) music corporations opened in the city over the years: Yesco Foreground Music, Audio Environments Inc., and Environmental Music Service Inc.

15. Kurt Cobain wanted Muzak to cover Nirvana songs.

When an interviewer told the Seattle-based rock star that Muzak didn’t recreate Nirvana tracks because it found them too aggressive for its purposes, an amused Cobain said, “Oh, well, we have some pretty songs, too. God, that’s really a bummer. That upsets me.”

16. It’s no longer called Muzak.

In 2013, an Ontario-based sensory marketing company called Mood Media acquired Muzak. The company, which provides music, smells, signs, lights, and interactive displays to businesses to achieve a certain mood, consolidated all of its services under the Mood brand, effectively killing the Muzak name (at least officially).

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