1956 - Frank Robinson (NL) and Luis Aparicio (AL) voted Rookie of the Year 1956 - Australian women's 4 x 100m relay team of Norma Croker, Betty Cuthbert, Fleur Mellor and Shirley Strickland de la Hunty run world record 44.65 to win the gold medal at the Melbourne Olympics; Cuthbert's 3rd gold of the Games 1958 - Our Lady of Angels School fire kills 92 students and 3 nuns in Chicago, Illinois 1967 - Philadelphia center Wilt Chamberlain scores 52 points in 76ers' 133-109 win over Seattle SuperSonics; sets NBA record for 22 free throw misses 1971 - Chicago Cubs release longtime star and future Hall of Famer Ernie Banks, ending his 19-year MLB career; announce Banks will serve as a coach on manager Leo Durocher's staff; Banks finishes with 512 home runs and 1,636 RBI 1976 - Angola admitted to the UN 1984 - American tennis icon Chris Evert wins her 1,000th career professional match; beats Pascale Paradis of France 6-1, 6-7, 6-2 in the round of 16 at the Australian Open; Evert goes on to win the event 1994 - Ernesto Zedillo is inaugurated as president of Mexico More Historical Events »

Wikimedia CommonsArcheologists found the remains of a whole diamondback rattlesnake or copperhead inside ancient fecal matter. Sometimes remarkable discoveries can be found in unexpected places. That’s what happened when archeologists examined fossilized human poop and found the remains of an entire snake, including an intact fang. It’s an unusual discovery that researchers believe indicate the existence of ritualistic traditions among hunter-gatherer populations that began living in the Lower Pecos Canyonlands of southwest Texas starting more than 12,000 years ago. The human-produced coprolite—or dried poop—containing the snake’s remains came from a vast archeological collection of 1,000 samples that were gathered by researchers in the late 1960s. The Conejo Rock Shelter in California, where the excavations for the coprolites largely took place, is believed to have served as the basecamp for indigenous hunter-gatherers. The large amount of fecal matter found in one part of the shelter suggests that the space was used as a latrine. The bizarre discovery was made during a recent examination of the coprolites by archaeologist Elanor Sonderman, a researcher at Texas A&M University, and her team. As Sonderman’s team was going through the samples of dried poop, they came across one in particular which contained the scales, bones, fang, and head of a snake. Based on the size of the well-preserved snake fang, which measured one centimeter long, the snake that was eaten was likely either a diamondback rattlesnake or copperhead. Copperheads are commonly found across North America, and though their venom is relatively mild, they have a fairly aggressive temperament. But could it be possible that these snake remains were just part of natural debris that somehow got stuck on the fossilized poop? Sonderman said that it is unlikely. “Based on the archaeological context it is possible that large portions of plant materials might have adhered to the coprolite soon after deposition but these exterior materials were removed from the coprolite before analysis,” Sonderman told Gizmodo. “The fang was inside the coprolite. Not hanging around on it.” However, finding wholly-consumed animals inside old fecal matter is not particularly unusual for researchers, nor is the consumption of snakes by humans of times past. According to the researchers, the pre-Columbian hunter-gatherers in the Lower Pecos region had a largely carnivorous diet, though they foraged what they could in the harsh desert landscapes. Researchers have found evidence of rodents, fish, reptiles, and other desert-dwelling animals in coprolite samples before. These humans also ate a considerable amount of vegetation for nutritional and medicinal purposes. E. M. Sonderman et al., 2019Fossilized poop with fang. Interestingly, the culture of the Lower Pecos peoples is well-known for their elaborate rock art that frequently featured drawings of snakes. Some indigenous cultures are known to eat snakes as part of their diet. For example, the Tepehuan people of Northeastern Mexico ate rattlesnakes, while the Ute people of modern-day Utah and Colorado also ate these reptiles. But the snakes are consumed only after removing inedible parts like the rattle and skin, and cooked above a fire. By comparison, the snakes remains that were found in the fossilized feces are highly unusual. The body parts that were found in the coprolite suggest that the snake was eaten whole and raw. The researchers believe it to be the first evidence of whole-snake consumption in the fossil record. As the researchers point out in their new study that was published in the Journal of Archaeological Science: Reports, the snake was likely consumed for ceremonial or ritualistic reasons, not as a nutritional supplement. In order to come to this conclusion, researchers looked at what else they found in the ancient droppings. For one, other materials found in the same sample of human poop show a bevy of vegetation, including Agave lechuguilla and Liliaceae flowers, Dasylirion fibers, and Opuntia, all of which were plants typically consumed by the Lower Pecos peoples. They also found remains of rodents, which were also regularly eaten. Combined, these materials point to a relatively normal diet, suggesting that the individual was not desperate for food. The research paper stated that snakes were “considered to hold power to act upon certain elements of the earth,” and because “of their power and role in various mythologies, many cultures around the world include snakes as a feature of ceremonies and rituals.” While looking through piles of old fecal matter may sound gross, the discoveries within these ancient droppings can give scientists clues to societies of ancient times. Next, read about San Francisco’s “poop patrol”, a special unit tasked with cleaning up the city’s growing public feces problem. After that, learn about the weird life of poop-eating and self-mutilating rocker, GG Allin. The post The Remains Of A Whole Venomous Snake Were Discovered In 1,500-Year-Old Human Poop In California appeared first on All That's Interesting.

  Reaching back to the 6th century BCE, Greek theater continues to influence modern-day art. From the mythical legends of the god of theater, Dionysus, to modern-day interpretations of Heracles, the charm of the ancient world still affects us. Today, ruins of over 50 ancient Greek theaters remain scattered around Greece. Whether you are a recovering theater kid or simply interested in drama, this guide will explore five ancient theaters in mainland Greece worth visiting.   Why Mainland Greece? Photograph of the Acropolis in Athens, Greece, by Dawid Tkocz, 2023. Source: Unsplash   It is no secret that over-tourism is plaguing the Greek Islands. While the allure of Mykono’s golden beaches and Santorini’s iconic white houses are appealing, mainland Greece offers an authentic look into Greek history and culture. While there are a handful of Greek theaters on islands such as Milos, Delos, and Rhodes, the majority of Greek theaters are found on the mainland.   1. The Theater of Epidaurus Photograph of the theater of Epidaurus, by Genny Dimitrakopoulou, 2019. Source: Unsplash   The cream of the crop is the theater of Epidaurus. It is considered the best-preserved Greek theater in the world. It still maintains its near-perfect acoustics and structure. The theater was built in the late 4th century BCE and can fit between 13,000 and 15,000 audience members. Many academics consider the space a perfect example of a classical theater.   Visitors can test the acoustics for themselves. One person can stand in the center of the stage, which is 20 meters (65 feet) in diameter, and whisper. The other can then climb to the highest point of the theater. From here, the listener at the top of the theater can still clearly hear the person whispering from 50 meters (164 feet) below. However, it is not just the performance space that makes it so magnificent. Located in the underrated Peloponnese region, lush vegetation and mountain views surround the theater. Travelers visiting during the summer can attend the annual Athens Epidaurus Festival, formerly the Epidaurus Festival. Since 1954, audiences have enjoyed both ancient and modern plays in this historic setting.   Additionally, the theater of Epidaurus overlooks the Sanctuary of Asklepios. Ancient Greeks used this site as a place to honor the god of its namesake. As Asklepios was a god of healing, the sanctuary also served as a therapy center. Whether you are dying to recite lines from Antigone or read from your own works, the theater of Epidaurus is a must-visit for anyone interested in drama or Greek mythology.   2. Theater of Dionysus, Athens Photograph of the theater of Dionysus. Source: Wikimedia Commons   The theater of Dionysus is the easiest to visit if you are short on time. Located on the southern side of the iconic Acropolis of Athens, the theater is exceptionally accessible to tourists. The ancient Greeks constructed the space in the 6th century BCE. It held 17,000 audience members. Initially, the theater was used to make sacrifices to the Greek gods. The floor was 60 feet in diameter and contained an altar in the center.   It must be noted that there is much dispute surrounding the space regarding how it was constructed. Some experts argue the theater was originally built with wood and later changed. Toward the 5th century BCE, the theater of Dionysus was used for plays. Iconic ancient playwrights such as Sophocles and Euripides saw their works come to light here. Around 61 CE, the Romans, under Nero, made significant improvements to the space. They likely added a raised stage and replaced the wood with stone.   After the fall of the Roman Empire, the theater of Dionysus went uncared for until its rediscovery in 1765. In the late 1800s, the Greek architectural authority under Wilhelm Dörpfeld restored the theater. Today, many tourists and locals regularly enjoy live theater, concerts, and other performances in the historic theater of Dionysus. Its picturesque location under the Parthenon makes it a needed stop on any Grecian itinerary.   3. Ancient Theater of Delphi Photograph of the ancient theater of Delphi, by DiChatz, 2019. Source: Unsplash   Many people know the ancient city of Delphi for its oracles. Even the famed Alexander the Great made a trip to hear them. However, Delphi was also the setting of the Pythian Games. The Pythian Games was one of four games, including the Olympic Games, that made up the Panhellenic Games of Ancient Greece. These games were essentially a mini version of today’s Olympics.   The ancient city is home to the 5,000-seat ancient theater of Delphi. The performance space was created in the 4th century using limestone from Mount Parnassus. It is located on the side of a steep hill overlooking the Temple of Apollo and the surrounding olive groves. The theater was used for musical contests during the Pythian Games. The original form of the theater is lost to time. What travelers see today is the result of the 160-159 BCE restoration efforts by Eumenes II of Pergamon.   While visiting the theater, be sure to continue walking up the hill to the Stadium of Delphi. At the highest point of the city, it is one of the best-preserved ancient stadiums in the world. The stadium accommodated about 500 spectators to watch track events during the Pythian Games. Visitors should note that it is an intense vertical hike to the stadium from the visitor center, and they should bring plenty of water as there is little shade.   4. Ancient Theater of Dodona Photograph of the Ancient theater of Dodona, by Holger Uwe Schmitt, 2022. Source: Wikimedia Commons   While less well known than the city of Delphi, Dodona was home to the first oracles of Greece. Many believed the area to be the second home of the god Zeus.   Dating back to the late 2nd century BCE, the limestone theater of Dodona is believed to have held between 15,000 to 18,000 people. Its capacity made it one of the largest theaters in the Hellenic world. The theater was commissioned by the king of the Greek tribe Molossians, Pyrrhus of Epirus. King Pyrrhus was said to be an admirer of Alexander the Great and wanted to create a grandiose city to match his own ambitions.   As with many Grecian structures, their purposes changed with the arrival of the Romans. It is believed that Emperor Augustus turned the theater of Dodona’s orchestra area into an arena for classic Roman animal fights. Following 132 CE, both the city and theater were left essentially abandoned.   As recently as 2024, efforts by the Greek government are underway to restore the theater of Dodona. According to The Greek Reporter, Minister of Culture, Lina Mendoni, stated that these restoration efforts are “one of the most complex and difficult projects” the Greek government has ever attempted. While Dodona is farther from Athens than others on this list, the historical significance of its ancient lineage is well worth a sojourn.   5. First Ancient Theater of Larissa Photograph of the First Ancient Theater of Larissa, by Apostle Ktenas, 2015. Source: Wikimedia Commons   Antigonus II Gonatas of Macedonia constructed the first ancient theater of Larissa at the beginning of the 3rd century BCE. The theater is the largest in the region of Thessaly, as it can hold 10,000 audience members. Historians believe that the theater was created with the intention of worshipping and honoring the god of theater, Dionysus. It is thought that the theater held performances for at least six centuries. Like others on this list, the theater fell into Roman hands. Around the first century, the theater was used for animal fights, Roman celebrations, and even duals. Eventually, the citizens of Larissa created the less-impressive second theater of Larissa, simply because the first had been transformed.   An earthquake struck Larissa in the 7th century CE. The quake took out the second floor of the first theater’s orchestra and a large portion of the main stage. It sits on a slope (like the theater of Dionysus in Athens) that imitates an amphitheater shape and has been under continuous excavation efforts since 1985. Today, visitors can walk through much of the first level and see parts of what used to be a grand stage.   The second ancient theater of Larissa is easy to visit when visiting the first. However, it is far less impressive. Not much is known about the second theater, but historians have determined that it was built during the reign of Caesar Augustus in the 1st century BCE. At one point, the temple of Demeter and a Christian church stood on the site. The second ancient theater of Larissa was rediscovered in 1978, and excavations continued into the mid-1980s.   Larissa Theater. Source: Wikimedia Commons   Centuries later, the first ancient theater of Larissa “reopened” in 2024 to occasionally host cultural events and concerts. The ongoing restoration efforts have made the theater more accessible to visitors with mobility needs. With newfound life in 2024, the first ancient theater of Larissa serves as a reminder of the enduring legacy of Greek theater.

  Few weapons hold as much mystique as the katana, often said to have a spirit of its own for good or ill. It is depicted as a dueling and battlefield weapon to be wielded by those with unsurpassed might at arms. One of the most well-known tropes in fiction dealing with weapons is that of the so-called “quick draw.” Similar to how a gunslinger in a Western draws his gun and instantly fires accurately from the hip, a skilled samurai could have his sword drawn and cut through three enemies in an instant. Although exaggerated for storytelling purposes, there is a martial art devoted to cutting from the draw: iaijutsu, sometimes shortened to iai. This word means “self-harmony.” Another word used is battoujutsu, or the “sword-drawing art.”   How Did Iaijutsu Come About? Musha Burui, Broken Sword, by Tsukioka Yoshitoshi, 1886. Source: Ukiyo-e.org   Prior to the katana and wakizashi, a samurai in the late Kamakura or early Muromachi period would have worn the tanto for everyday carry, reserving the tachi for field engagements.   After the Mongol invasions of 1274 and 1281, the Japanese realized that their existing weapons were not as effective against outside enemies as they had hoped: to wit, the tachi often wound up with a broken tip and it was too large to use in mass infantry formations. Therefore, the shorter katana was developed.   The earliest recorded system of iaijutsu dates to sometime in the 15th century, when the turbulence of the Sengoku Period was in full swing but before the introduction of firearms. The katana, because of its subtle curvature and edge-up mounting, was well suited to self-defense applications on the street because it works with existing human biomechanics. The arm moves in an arc when drawing and cutting with the sword and the curve of the blade follows this arc.   Fundamentals of Iaijutsu Sugatsune Drawing Sword, by Katakana Shunsho, 18th century. Source: Ukiyo-e.org   Each waza (/technique) consists of four parts. First is nukitsuke, the drawing of the sword. From a sheathed position, the samurai brings his sword out in a draw cut usually across the eyes or the throat. Sometimes they would cut from other angles. This was to warn the enemy off or dissuade them from fighting.   Second is kirioroshi, the finishing cut. If, after nukitsuke, the enemy was still hostile, the more powerful two-handed cut would ensure a quicker death. To leave a maimed warrior to die a slow death was viewed as one of the most dishonorable acts possible. After confirming the kill (simulated in training by remaining ready) comes chiburi, the act of shaking the blood off the sword, and noto, which is sheathing the sword while maintaining readiness.   Practical Applications in Fencing Duel in the Snow, by Saito Takao, 1980. Source: Ukiyo-e.org   The common trope of a swordsman sheathing his sword mid-fight is the equivalent of a boxer dropping his guard: it is simply excess motion. Iaijutsu is not a “fighting style.” It is meant to complement existing kenjutsu. Although ideally, an encounter would play out as described above, reality often tells a different story. As a way to deploy a weapon instantly, iaijutsu played a lifesaving role: it enabled a samurai to transition from a completely relaxed state to full combat readiness in less than a second. After the sword was out, standard kenjutsu tactics would be the go-to.   Each iaijutsu waza addresses a given situation a swordsman might encounter. This is referred to as bunkai (practical application). Some examples include facing a sudden attack from any direction while in seiza, dealing with multiple enemies, or fighting from inside a low doorway or in a narrow alleyway. The samurai knew that violence does not occur in a vacuum: numerous environmental and social constraints could be in place that would require a different approach to fighting. For example, the waza Kabezoe from Eishin-ryu assumes that the swordsman is walking through an extremely narrow alleyway and thus dispenses with the standard nukitsuke to draw almost vertically before the kirioroshi.   Moving Meditation Practice With the Long-Handled Sword, by Katsushika Hokusai, 1817. Source: Ukiyo-e.org   Iaijutsu is not only a martial art, it is also a conduit for meditation. While all martial arts require correct movement for effectiveness, iai requires such for the user’s own safety. Incorrect form can cause the katana to slice through the saya and the swordsman’s thumb. Therefore, the art requires absolute focus. Coupled with deep breathing to relax the body and mind, the deliberate movements of iai lend themselves well to developing single-minded concentration, similar to cultivating Zen gardens.   Iai students must use their imagination; to learn to practice the techniques with intent, they have to picture an attacker clearly. This creates a sense of urgency and the need to act with pure focus and intent. This level of discipline can transfer into all martial arts practice. To quiet the mind prior to beginning a waza, it is customary to take several deep breaths to relax the muscles. One problem that iai beginners tend to have is too much tension in their upper body, which drains power and range of motion from the muscles.   During the Edo Period, samurai had largely become government officials rather than the soldiers they had been. It was expected that they would continue to practice with the sword but it took on a more spiritual focus.   Famous Schools Katori Shrine. Source: Wikimedia Commons   Tenshin Shoden Katori Shinto-ryu   Although not completely iai–focused, Tenshin Shoden Katori Shinto-ryu is one of the oldest and most respected sword styles. It contains 16 iai waza divided into three sets: Omote no Iai (Basics of Sword Drawing), Tachiai Battojutsu (Standing Sword Drawing Forms), and Gokui no Iai (Essentials of Sword Drawing). Only the most advanced students are taught Gokui no Iai. A notable aspect of this school is the dynamic movement. One waza involves the swordsman performing nukitsuke in midair. Also, the traditional seiza is often not used: instead, a kneeling posture called iaigoshi takes its place.   Muso Jikiden Eishin-Ryu   This is one of the most comprehensive iai styles, with over a hundred waza devoted to a variety of situations in seiza, tatehiza, and standing positions. Eishin-ryu is said to be descended from a style taught by Hayashizaki Jinzaemon. Legend has it that he witnessed his father’s murder and swore vengeance, praying to the kami to enlighten him and aid him in his revenge: these methods of drawing a sword were said to be the result of this prayer and he eventually found his father’s killer.   Tsumaki Tamiya-ryu   Tsumaki Tamiya-ryu is another iai style developed during the late 16th century, as a contemporary of Eishin-ryu. It is notable for including—in addition to its iai curriculum—kenshibu and shigin, or the arts of fan/sword kata and traditional poetry reading. This is in keeping with the expectation of samurai as being skilled swordsmen as well as being culturally literate. There is another school called Tamia-ryu known as the Kuroda branch, and it specializes in the use of swords with longer hilts for leverage.   Benefits of Iai Practice Mugai-ryu Musogaeshi. Source: Wikimedia Commons   When dealing with martial arts, the question that inevitably comes up is “Why bother with this art?” That seems especially apt at first glance, for an art concerned with such a seemingly outdated weapon as the katana. The chances of getting into a life-or-death duel with swords is, thankfully, nearly non-existent, but it doesn’t mean the art is useless.   Iai is an art of calm and relaxed focus. By training diligently in iai, one can develop a keen sense of awareness as well. Spatial awareness is important in all martial arts, but even more so when dealing with weapons because the wielder has to know where the weapon is at all times in relation to themselves and any bystanders.   In addition, iai is a low-impact form of exercise that can be practiced by people of all ages. It does not employ sparring or high-contact drills. It is suited for calm, meditative practice that poses no danger to the student; only at advanced levels of study are students allowed to use a live blade, referred to as a shinken, in the dojo.   Modern Iai: Equipment and Training Iai uniform. Source: Wikimedia Commons   To practice iaijutsu, students require the traditional dogi that is common in many martial arts. They also need the obi and the hakama. The obi is a thick sash-like belt wrapped around the waist. The hakama is a pleated pair of trousers that feature as part of Japanese traditional dress. The sword is inserted into the obi between the first and second layers; if a wakizashi is worn, it goes under all the layers of the obi.   Only advanced students are allowed to practice with live steel for the purposes of safety. Most beginner iai students start out with a bokuto and a plastic saya. Later, they can upgrade to an iaito, which is an unsharpened katana made of aluminum-zinc alloy that gives the same aerodynamic feel of a live sword without the attendant danger.   Some practice drills call for more elaborate equipment, but this varies by school. For example, some iai techniques in Yagyu Shinkage make use of the fukuro–shinai, which is a leather-bound bamboo sword that cushions the force of a blow. Padded gloves might also be used in practicing partnered forms that involve cuts to the wrist or forearms.   Blade and Mounting for a Sword (Katana), Fittings inscribed by 高本秀宗, Takamoto Hidemune, 16th century; mounting, 19th century. Source: The MET, New York   Post-war Japan intended to maintain its martial arts traditions while not making them overtly militaristic as they had been during the heyday of the samurai. Iai was one of these. This is where the Zen Nippon Iaido Renmei comes in.   The Zen Nippon Iaido Renmei, or All Japan Iai Federation, is an organization whose purpose is to unify and preserve iai study, as well as to provide a means for testing fairly across different schools. It was formed in 1948 and in 1956 compiled a list of five waza from the various styles. They come from Eishin-ryu, Mugai-ryu, Shindo Munen-ryu, Suio-ryu, and Hoki-ryu.   These techniques are said to be the most representative of their respective styles and each employs a different skill important across all of iaijutsu.