As a choirmaster in 1870s Salzburg, Innocenz Achleitner often saw sheet music treated in a less-than-reverent manner. It might be scattered across a composer’s desk, crammed into vocalists’ folios, or even marred with personal notes about bowings or breath marks. Never before, however, had he seen it wrapped around vegetables.
Only about 80% of men at the time were literate enough to sign their own name, so it’s possible Achleitner’s greengrocer didn’t recognize what the marks on his packing material meant, especially since each page stretched roughly 80 centimeters tall and resembled something more like newsprint rather than a standard sheet of music. The choirmaster knew better, of course, and quickly convinced his grocer to hand them over.
Thus, by a coincidence of his shopping schedule, Achleitner happened to rescue the Missa Salisburgensis, or Salzburg Mass, known today to be the largest surviving composition from the Baroque era. It would come to be recognized as one of the most important historical works of music, and it would certainly cement its composer’s place as a master at the forefront of the era…if experts could figure out who wrote it.
In the late 1430s and early 1440s, a certain Korean scholar embarked on a massively ambitious project, working almost single-handedly and spurred on largely by personal interest. Although the Korean language had existed for almost 1,500 years, it had never had its own dedicated writing system. Korean writers had long tended to rely on Chinese writing, which was logographic—that is, it was a system of symbols that stood for concepts. Adapting the Chinese characters to Korean meant borrowing some Chinese symbols because of the way they were pronounced, and others because of the concept they conveyed.
This approach had centuries of tradition behind it, but it was not ideal. In particular, Korean had more prefixes, suffixes, and short grammatical words (e.g., prepositions) than Chinese did, and Chinese logographs were not well-suited to capturing these. More practically, learning the thousands of Chinese characters required a good deal of study, which meant that only the most well-educated Koreans could read and write. The Korean scholar in question was determined to bring literacy to the masses. His insight was that they needed an alphabet—that is, a writing system based entirely on pronunciation, and one that required far fewer characters than the logographs.
“What do you know of language and linguistics?” the bold scholar asked of several high-ranking officials who objected to his idea. “This project is for the people, and if I don’t do it, who will?” The scholar was none other than Sejong, the king of Korea, who had held the throne since 1418. His profoundly democratic conviction that literacy ought to be accessible to everyone was revolutionary in every sense. When King Sejong unveiled Hangul—his new alphabet for the Korean language—it was met with vehement opposition from Sejong’s advisors, from the literary elite, and from subsequent monarchs. For these objectors, Hangul was barbaric, it was primitive, it was unnecessary, it was an insult, and it needed to be eliminated.
Please note that this piece contains a bit of swearing.
The seventh of May 1931 was a hot, dusty day in the mountain town of Corbin, Kentucky. Alongside a dirt road, a service station manager named Matt Stewart stood on a ladder painting a cement railroad wall. His application of a fresh coat of paint was gradually obscuring the sign that had been painted there previously. Stewart paused when he heard an automobile approaching at high speed—or what counted for high speed in 1931.
It was coming from the north—from the swath of backcountry known among locals as “Hell’s Half-Acre.” The area was so named for its primary exports: bootleg booze, bullets, and bodies. The neighborhood was also commonly referred to as “the asshole of creation.”
Stewart probably squinted through the dust at the approaching car, and he probably wiped sweat from his brow with the back of a paint-flecked wrist. He probably knew that the driver would be armed, angry, and about to skid to a stop nearby. Stewart set down his paint brush and picked up his pistol. The car skidded to a stop nearby. But it was not an armed man that emerged—it was three armed men. “Well, you son of a bitch!” the driver shouted at the painter, “I see you done it again.” The driver of the car had been using this particular railroad wall to advertise his service station in town, and this was not the first time that the painter—the manager of a competing station—had installed an ad blocker.
Stewart leapt from his ladder, firing his pistol wildly as he dove for cover behind the railroad wall. One of the driver’s two companions collapsed to the ground. The driver picked up his fallen comrade’s pistol and returned fire. Amid a hail of bullets from his pair of adversaries, the painter finally shouted, “Don’t shoot, Sanders! You’ve killed me!” The dusty roadside shootout fell silent, and indeed the former painter was bleeding from his shoulder and hip. But he would live, unlike the Shell Oil executive lying nearby with a bullet wound to the chest.
This encounter might have been as commonplace as any other gunfight around Hell’s Half-Acre were it not for the identity of the driver. The “Sanders” who put two bullets in Matt Stewart was none other than Harland Sanders, the man who would go on to become the world-famous Colonel Sanders. He was dark-haired and clean-shaven at the time, but his future likeness would one day appear on Kentucky Fried Chicken billboards, buildings, and buckets worldwide. In contrast to most other famous food icons, Colonel Sanders was once a living, breathing person, and his life story is considerably more tumultuous than the white-washed corporate biography suggests.
This piece was intended primarily as an audio experience, there is an adio player embedded in the episode page.
On the 10th of January 1956—about a decade into the Cold War and about a year into the Space Race—the United States Air Force launched the first vehicle in its top secret Genetrix program. The vehicle was a balloon—an enormous, 200-foot-tall, 100-foot-wide helium balloon—the first of hundreds that the US would ultimately launch from sites in Scotland, Norway, Germany, and Turkey. Upon release, each balloon ascended into the stratosphere, where the winter jet stream was perfectly situated to carry it over and across the interior of the USSR. A coffin-sized gondola dangled from the bottom of each balloon, housing a set of downward-facing high-resolution cameras. Whenever an onboard photocell detected that the surface below was illuminated by daylight, these cameras snapped periodic photographs. The Genetrix balloons were some of the original high-altitude spy cameras—precursors to spy planes and satellites.
Whenever a balloon cleared Soviet airspace, the US Air Force sent an encoded radio signal that would detonate a small explosive charge on the gondola’s attachment line. If all went according to plan, a specially equipped C-119 airplane would be loitering in the nearby airspace, ready to snag the parachuting payload of photographic film in mid-air. Once retrieved, the film was sent back to the states to be developed and analyzed.
The Genetrix balloons were designed to be practically invisible to radar, using very thin balloon film and a gondola much smaller than a typical aircraft. And this might have worked were it not for the fact that one of the steel rods in the balloon rigging was 91 centimeters long. US Air Force engineers didn’t realize it at the time, but 91 centimeters happened to correspond to one of the frequencies used by Soviet early-warning radar. This caused the otherwise inconsequential rod to resonate and glint like a mirror on Soviet radar screens.
Soviet leaders were understandably annoyed when their military pilots reported back regarding the nature of these radar reflections. US officials replied that these were innocuous weather balloons for the study of cloud formations, a claim which was roundly ridiculed. During the day, there was little the Soviets could do about it apart from political posturing—the balloons cruised at 55,000 feet, which was higher than Soviet weapons could reach. But MiG fighter pilots soon discovered they could shoot the balloons out of the sky at sunrise. The chill of the night robbed the balloons of some of their buoyancy, and they dipped down into weapons range.
The Genetrix program lasted only 27 days. It had originally been planned to continue indefinitely, but president Eisenhower cancelled any further spy balloon launches due to the Soviets’ strenuous diplomatic protests. Of the 500 or so spy balloons that were launched, only about 50 camera gondolas were successfully recovered by the US Air Force. These provided over 10,000 reconnaissance photos of inland Soviet Union and China, including first peeks at nuclear and radar facilities.
The Soviets recovered a number of the gondolas themselves, and engineers began to dissect them, seeking useful information. To their surprise, they found something inside that happened to solve a little problem they had been having with one of their upcoming space missions: temperature-resistant and radiation-hardened photographic film.
As night fell over the East German town of Pössneck on the evening of 14 September 1979, most of the town’s citizens were busy getting ready for bed. But not Günter Wetzel. The mason was in his attic, hunched over an old motor-driven sewing machine, desperately working to complete his secret project.
Wetzel and his friend H. Peter Strelzyk and their families had been working on their plan for more than a year and a half, and by now the authorities were looking for them. They were nearly out of time. Wetzel had feigned illness in order to procure five weeks off from work, and during that time he and his friend had collected the materials and laboured over the construction together. This would be their last chance.
Earlier in the day, a strong wind had arisen from the north. These were exactly the conditions that the two families had been waiting for. Around 10:00pm, Wetzel put the finishing touches on the massive patchwork project, then rounded up Strelzyk and prepared to leave. Two hours later the families were en route to a predetermined clearing on a hill by way of automobile and moped. The other components of their project—a steel platform, a homemade gas burner, and a powerful fan—were already packed and ready to go. It was time to attempt the escape.
Near the heart of Scotland lies a large morass known as Dullatur Bog. Water seeps from these moistened acres and coalesces into the headwaters of a river which meanders through the countryside for nearly 22 miles until its terminus in Glasgow. In the late 19th century this river adorned the landscape just outside of the laboratory of Sir William Thompson, renowned scientist and president of the Royal Society. The river must have made an impression on Thompson—when Queen Victoria granted him the title of Baron in 1892, he opted to adopt the river’s name as his own. Sir William Thompson was thenceforth known as Lord Kelvin.
Kelvin’s contributions to science were vast, but he is perhaps best known today for the temperature scale that bears his name. It is so named in honor of his discovery of the coldest possible temperature in our universe. Thompson had played a major role in developing the Laws of Thermodynamics, and in 1848 he used them to extrapolate that the coldest temperature any matter can become, regardless of the substance, is -273.15°C (-459.67°F). We now know this boundary as zero Kelvin.
Once this absolute zero temperature was decisively identified, prominent Victorian scientists commenced multiple independent efforts to build machines to explore this physical frontier. Their equipment was primitive, and the trappings were treacherous, but they pressed on nonetheless, dangers be damned. There was science to be done.
On the 11th of July 1897, the world breathlessly awaited word from the small Norwegian island of Danskøya in the Arctic Sea. Three gallant Swedish scientists stationed there were about to embark on an enterprise of history-making proportions, and newspapers around the globe had allotted considerable ink to the anticipated adventure. The undertaking was led by renowned engineer Salomon August Andrée, and he was accompanied by his research companions Nils Strindberg and Knut Fraenkel.
In the shadow of a 67-foot-wide spherical hydrogen balloon—one of the largest to have been built at that time—toasts were drunk, telegrams to the Swedish king were dictated, hands were shook, and notes to loved ones were pressed into palms. “Strindberg and Fraenkel!” Andrée cried, “Are you ready to get into the car?” They were, and they dutifully ducked into the four-and-a-half-foot tall, six-foot-wide carriage suspended from the balloon. The whole flying apparatus had been christened the “Örnen,” the Swedish word for “Eagle.”
“Cut away everywhere!” Andrée commanded after clambering into the Eagle himself, and the ground crew slashed at the lines binding the balloon to the Earth. Hurrahs were offered as the immense, primitive airship pulled away from the wood-plank hangar and bobbed ponderously into the atmosphere. Their mission was to be the first humans to reach the North Pole, taking aerial photographs and scientific measurements along the way for future explorers. If all went according to plan they would then touch down in Siberia or Alaska after a few weeks’ flight, laden with information about the top of the world.
Onlookers watched for about an hour as the voluminous sphere shrank into the distance and disappeared into northerly mists. Andrée, Strindberg, and Fraenkel would not arrive on the other side of the planet as planned. But their journey was far from over.