 During the Civil War, soldiers loved to eat and to sing. One of their favorite songs was about food they hated: “Hardtack, Come Again No More!” It was a parody of composer Stephen Foster’s popular 1854 tune “Hard Times Come Again No More.” Hardtack was a thick cracker that formed the men's basic ration. Nearly every soldier received nine or ten every day. Hardtack lived up to the “hard” part of its name. Soldiers often had trouble crunching the rock-like crackers and gave them nicknames such as “teeth dullers,” “sheet-iron crackers,” “jawbreakers,” and so on. According to a popular joke, a soldier bit into a piece of hardtack. “I found something soft!” he told his comrades. “What is it?” they asked. “A nail!” he replied. To make hardtack easier to eat, soldiers often bashed the crackers with the butt end of their rifles. They scooped up the crumbs and mixed them with bacon grease and salt pork to make a kind of mush called skillygalee. Hardtack had another nickname: “worm castles.” Worms frequently burrowed into the crackers. To get rid of those little wrigglers, soldiers dunked the crackers in hot coffee. The hardtack fell apart and the worms floated to the surface. Sometimes the men had contests to see whose hardtack had the most worms. Reportedly, the record was 32! Not everyone threw the little creatures away, though. One soldier explained that “They eat better than they look, and are so much clear gain in the way of fresh meat.” If hardtack had all these problems, why was it such an important part of the soldiers’ daily diet? First, it was easy and inexpensive to make. Every day 3 or 4 million crackers popped out of bakers’ ovens and were shipped to the armies in the field. Second, hardtack hardly ever spoiled. In 1898, U.S. Navy sailors in the Spanish-American War chowed down on hardtack baked more than 30 years earlier during the Civil War. Third, the crackers didn’t weigh very much. Soldiers could carry enough hardtack in their backpacks to eat for several days. Soldiers joked that they could stitch together crackers to make a bulletproof vest, though it’s doubtful that anyone actually did. Maybe they should have. In 2010, college students performed an experiment by firing pistol shots into chunks of hardtack. They were astonished to find that the crackers stopped the bullets! © Jim Whiting, 2014  Jim Whiting has written 250 nonfiction books. He's known as Washington State's most prolific children's book author.  MLA 8 Citation Whiting, Jim. "Hard Crackers in Hard Times." Nonfiction Minute, iNK Think Tank, 12 Sept. 2017, www.nonfictionminute.org/the-nonfiction-minute/hard-crackers-in-hard-times.
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In 1963, at a ceremony in Washington, D.C., President Lyndon Johnson awarded singer Marian Anderson the Presidential Medal of Freedom, the highest honor a president can give to a civilian (someone not in the military). He explained why this African American musician was being honored: “Artist and citizen, she has ennobled her race and her country, while her voice has enthralled the world.” Twenty-four years earlier, however, some in Washington weren’t interested in honoring her but instead treated her unfairly. By then, she had given wonderful concerts of classical music in Europe and the United States, including at the White House. But in 1939, when a local university tried to have her perform at Constitution Hall, Washington’s concert hall, the managers of Constitution Hall wouldn’t let her, just because of the color of her skin. Eleanor Roosevelt, President Franklin Roosevelt’s wife, was upset by this example of discrimination against African Americans and arranged for Marian Anderson to perform that spring at the Lincoln Memorial. More than 75,000 people filled the area in front of the memorial to hear Marian Anderson sing. Thousands more around the country listened on radio to a live broadcast of the performance. She started by singing “America,” then sang some classical pieces, and ended with spirituals, including “Nobody Knows the Trouble I’ve Seen.” Newspapers and magazines wrote rave reviews, which let thousands more people learn about the dignified and courageous way she had triumphed over discrimination. Four years later, in 1943, she was at last invited to perform at Constitution Hall. Did this end unfair treatment for this singer? Not exactly. In 1953, Marian Anderson was again denied permission to perform at a concert hall, this time by the Lyric Theater in Baltimore, Maryland. Luckily, this city’s music- and freedom-loving citizens came to her defense. Some wrote letters to newspapers complaining about “this insult to a great American singer.” Others threatened never to go to that concert hall again. Hundreds complained directly to the Lyric’s managers. Finally, Maryland’s commission on interracial relations persuaded the Lyric’s owners to let Marion Anderson perform there on January 8, 1954. The hall was filled to overflowing with her enthusiastic fans. Ten years later, racial discrimination in concert halls finally became illegal. The Civil Rights Act of 1964 outlawed discrimination based on race, religion, or national origin at any place that serves the public, including concert halls, theaters, stadiums, restaurants, hotels, and anywhere else. Source notes for this Minute may be found be clicking here.
 Marian Anderson performs in front of 75,000 spectators in Potomac Park, Washington, D.C. US Information Agency  Marian Anderson performing at the dedication of a mural installed in the United States Department of the Interior building in Washington, DC, commemorating the outdoor concert which she gave at the Lincoln Memorial. Library of Congress  Amy Nathan is the author of Round and Round Together: Taking a Merry-Go-Round Ride into the Civil Rights Movement, which tells about many little-known and yet important stories in civil rights history, including the story of Marian Anderson being the first African American to perform at Baltimore’s Lyric Theater in January 1954, and also the story about the merry-go-round that’s located not far from where Marian Anderson gave her famous 1939 concert at the Lincoln Memorial in Washington. For more information, click here. MLA 8 Citation Nathan, Amy. "Marian Anderson: A Singer’s Victory." Nonfiction Minute, iNK Think Tank, 27 Feb. 2018, www.nonfictionminute.org/the-nonfiction-minute/ marian-anderson-a-singers-victory.  
 St. Paul's Cathedral during the blitz of World War II. When I interview people in my work as a writer, I soak up the stories they share about their lives. This is what brings history alive. I’ve always wished for a way to interview historic buildings, because they could tell stories from such a different perspective, having seen it all and heard it all. My dream interview would be St. Paul’s Cathedral in London, a place rich with history—and therefore, with stories. I have learned that those with the most to say can be wary of interviewers. Sometimes employing a little charm can help them warm up. So I would begin by complimenting St. Paul’s on how wonderful it looks for a building that opened in 1708. I would reference its great architect, Christopher Wren, who was also an astronomer and mathematician, as is evidenced in many of its design elements. I’d mention its magnificent dome and its massive booming bells that can be heard for miles. “You’re the prize jewel in a city rich in architectural beauty,” I’d say. “No wonder so many notables have been baptized, married, and had their funerals here.” Flattered but still reserved, St. Paul’s might ask me what I like best about it. “I have two favorites,” I would reply earnestly, mentioning first the Crypt, where many of England’s war heroes are buried, along with famous painters and poets. (Writers and composers are at nearby Westminster Abbey). Other notables, like Florence Nightingale and Lawrence of Arabia, are here, too. It’s altogether quite a congenial place. Starting to thaw a bit, St. Paul’s might wonder aloud about my second favorite, and I would single out the American Memorial Chapel, located behind the High Altar and dedicated to the memory of the 28,000 Americans who died defending England in World War II. “And speaking of that war,” I would tell St. Paul’s, “I am awed by Londoners’ resolve that you, their national treasure, would not be destroyed during the Blitz when so much of the city burned. Volunteer firefighters, both men and women, were stationed at all times on your roof. When bombs exploded, starting fires, they were right there to put them out, a number of them sacrificing their lives.” St. Paul’s would nod, remembering. “The British love you very much,” I would say. St. Paul’s would pause, clear its throat, and then reply, “Let me tell you some of my stories.” © Andrea Warren, 2014
 MLA 8 Citation Warren, Andrea. "How to Interview a Historic Building." Nonfiction Minute, iNK Think Tank, 13 Sept. 2017, www.nonfictionminute.org/the-nonfiction-minute/category/warren-andrea. 
The word “mania” refers to feelings of frenzy, increased physical activity, and an especially good mood. So when four mop-haired musicians from Liverpool, England were taking the world by storm in 1963, Canadian music writer Sandy Gardiner thought it was the perfect term to describe the effect they had on audiences: “A new disease is sweeping through Britain, Europe and the Far East...and doctors are powerless to stop it. Its name is—BEATLEMANIA!” The following year, Beatlemania came to the United States when George Harrison, John Lennon, Paul McCartney, and Ringo Starr performed on the Ed Sullivan Show, a popular television program. During the show and the live concerts that followed, members of the audience—largely teenage girls—screamed and shrieked. The Beatles weren’t the first musicians to inspire a mania. That honor belongs to 19th century Hungarian pianist Franz Liszt, whom many music historians call the world’s first rock star for his scintillating performances in solo recitals. The frenzy he induced in his audiences prompted the German poet Heinrich Heine to coin the term “Lisztomania” in 1844. Liszt enjoyed many of the same perks as the Beatles: hero worship, adoring groupies, hobnobbing with royalty, widespread media coverage, and more. Liszt was very handsome and fully aware of his good looks. Everything he did on stage was calculated to produce the maximum dramatic effect. As his fingers rippled over the piano keys, he flung his head from side to side as his shoulder-length hair cascaded around his face. He was so energetic that globs of sweat sometimes sprayed the front rows. His audience—mainly women in their 20s, 30s and 40s—totally bought into his act. Like Beatles spectators, they screamed at dramatic spots in the recital. Often they went further. As the last notes of the concert rang out, many rushed the stage in their zeal to obtain a souvenir. Almost anything would do—a piece of his clothing, strands of his hair, broken piano strings, the fabric of the chair he had sat on. They especially wanted the still-damp handkerchiefs Liszt used to wipe his face. Perhaps the ultimate prizes were his discarded cigar butts. Women lucky enough to snatch one would light it and thereby gain quite literally a taste of their hero. There’s a tangible connection between the two manias. They both inspired movies--A Hard Day’s Night (1964) for the Beatles, and Ken Russell’s Lisztomania eleven years later. In the Russell film, the role of the Pope is played by…Ringo Starr!  A Liszt concert often created a sensation. Listen to Franz Liszt's music by hitting the arrow above. Can you understand why the ladies had romantic thoughts when they listened to him?  With more than 170 (and counting!) non-fiction books Jim Whiting is Washington State’s most prolific children's author. For more about Jim, read his biography and background.  MLA 8 Citation Whiting, Jim. "Musical Mania." Nonfiction Minute, iNK Think Tank, 19 Oct. 2017, www.nonfictionminute.org/the-nonfiction-minute/musical-manias.
Do you ever stop to think how your everyday life has been shaped by people from the past? Well, if you play the guitar, brush your teeth, or eat dessert after a meal, you owe a debt of gratitude to a Muslim musician who lived twelve hundred years ago. Abul-Hasan, a commoner born in Baghdad around 789 A.D., had a gift for song that so pleased the ruling caliph he gave him the name “Ziryab,” meaning “Blackbird." Ziryab’s natural musical talent made other musicians jealous, however. So, when the caliph died in 813, they exiled the "Blackbird," sending him to wander the Islamic world for a decade. He performed wherever he went and picked up customs from the people he met. Ziryab eventually found his way to Al-Andalus (today’s Andalusia, Spain). Its ruler loved music. In fact, he valued musicians above all other professionals. He welcomed the refugee. He offered him asylum. Ziryab was an instant sensation. He introduced his instrument, the Baghdadi oud, to his new neighbors. Then, adding an extra string to his oud, he ignited the evolution of the Spanish guitar. He established the first-ever music conservatory in Córdoba, which gave rise to the genre of Andalusian classical music--musiqa al-ala—that is still a popular in Morocco today. But Ziryab's influence didn't stop with music. He transformed Córdoban society as well. He taught locals how to make deodorant and toothpaste. He instructed women in how to shape eyebrows, cut their hair into bangs, remove unwanted body hair. He inspired men to shorten their hair, as well, and to shave daily. And instead of piling his food onto platters, as was then the custom, Ziryab ate his meals atop a clean tablecloth and in three distinct courses: a soup, a main dish, and a dessert. So each time you sit down to a three-course dinner, strum your six-string guitar, brush your teeth, or tidy your hair, you are following in the footsteps of a Muslim musician who lived 1,200 years ago.  While he had a talent for music, Ziryab’s innovations covered many fields, including the art of makeup and fashionable clothing. He promoted the idea that certain clothing should be reserved for certain times of the year in order to reflect the colors of the seasons.  In music, Ziryab was the first to introduce the lute (Al-U'd) to Spain and Europe in general. He is credited with the addition of the fifth bass string to it which later paved the way for the development of the guitar. He also established the first conservatory in the world that included the teaching of harmony and composition.  Sarah Towle is an award-winning digital storyteller of immersive tales for educational tourism. With her latest project for secondary school students—the History Hero BLAST—she puts the Story back in History, bringing a fictional flair to factual tales of inspirational figures from around the world and throughout time. A blog and future podcast, the HHBLAST welcomes the participation of published and aspiring authors, including young writers. Click here to find out more Ziryab and other History Heroes and about how to bring the HHBLAST—and Sarah—to your school!
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