Latest / Smithsonian Magazine / 11.20.25

Transcript

11.20.25 · Smithsonian Magazine

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  Speaker 1: Welcome. This is Rebeccashore for Radio Eye, and today I
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  will be reading the Smithsonian magazine dated November twenty twenty five.
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  As a reminder, RADIOI is a reading service intended for
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  people who are blind or have other disabilities that make
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  it difficult to read printed material. Please join me now
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  for the first article, which is part two of why
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  Paris designed its peculiarly popular grand graveyards to evoke a
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  celebration of life amid all the death by Peter Ross.
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  In the first part of our story, we learned that
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  Paris's cemeteries, especially pere Lechise, montmart and Montparnasse, are celebrated
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  not just as resting places for the dead, but as
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  vibrant spaces that evoke a celebration of life. These grand
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  graveyards were designed to be more than somber memorials. They
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  are landscaped, guard burdens, and cultural landmarks that attract millions
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  of visitors each year. Their influence extends beyond Paris, inspiring
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  the rural cemetery movement in the United States and even
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  the creation of urban parks like Central Park in New York.
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  The cemetery's unique blend of history artistry and natural beauty
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  has made them unlikely tourist attractions, where the stories of
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  the famous and the ordinary intertwine. Part one highlighted how
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  these cemeteries serve as living museums, with graves of renowned
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  figures such as Oscar Wilde, Edith Piaff, Jim Morrison, and
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  Simone de Beauvoirs, drawing visitors from around the world. Traditions
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  and rituals have developed around these sites, from offerings left
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  at graves to annual gatherings commemorating the dead. The presence
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  of animals like the cats cared for by volunteers adds
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  warmth and las life to the cemeteries, further blurring the
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  line between spaces of mourning and celebration. The cemeteries also
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  reflect evolving social values, as seen in the feminist tours
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  and commemorations that seek to honor overlooked women and reshape
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  public memory. Here now is Part two. The streets of
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  the Catacombs. This subterranean city cover more than one hundred
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  and eighty miles, of which the ossuaries form a tiny part.
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  In eighteen o nine, city authorities decided to allow the
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  public to visit this strange land of the dead, and
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  the catacombs, much as we see them now, were laid out.
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  Aurette seti si Lampierre de la mour. Helene Fermineaux, head
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  of communications for the Catacombs, read aloud the words carved
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  into the litel above the entrance. There was nothing actorly
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  in her intonation. The instruction was dramatic enough. Stop here
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  is the empire of death. We did stop, just for
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  a moment, then went on right away. We were among
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  the bones. They were stacked about five feet high. On
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  either side of us. Three layers of skulls divided walls
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  of femurs and tibias, their joint ends facing into the passage,
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  suggesting flowers or butterflies. The skulls were biscuit brown eye
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  sockets dark in the dim light. You can get right
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  up to them face to face, but touching is not allowed.
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  Stealing a sign, explains, carries a fine of fifteen thousand
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  euros and up to one year in prison. There were
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  lots of gaps where skulls over the past couple of
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  centuries had been stolen. Staff checked bags at the exit.
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  The corridors go on and on behind the walls called hags,
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  stretching more than a dozen yards into the darkness, is
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  a chaos of smaller bones. These are believed to represent
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  most of the population of Paris between the twelfth and
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  eighteenth centuries. The catacombs are a shadow version of Parlichise.
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  In the Great Cemetery you see no human remains, but
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  from the graves you learn something of the people buried there.
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  The ossuary presents the opposite, all the bodies, none of
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  the stories. The first impression is that all skulls look
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  the same, Fermeneus said, But when you are in the deep,
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  calm silence of the catacombs and you take the time
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  to look at them individually, you really see and feel
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  the differences. I find it full of emotion, because you
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  realize that each person has some joy and sadness in life.
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  We paused by a stretch of wall in which fourteen
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  heads had been arranged in the pattern of a heart.
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  Don't you think this one looks a little angry, she asked,
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  pointing to a skull with a distinctive frown. Perhaps it
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  is Robespierre, I said, the revolutionary leader was put to
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  death in seventeen ninety four. A lot of the people
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  who were guillantined during the terror are here from mineus,
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  said nodding, And the people who ordered their execution are
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  also here, so they are reunited in death, not as lovers,
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  but as people who hated each other. We came at
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  last to an area known as the Crypt of the
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  Passion of the Christ, the central feature of which is
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  a large barrel shaped pillar of bones. It was here
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  one midnight in April eighteen ninety seven that a secret
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  concert was attended by around one hundred patrons. An engraving
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  published in a newspaper at the time shows men and
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  toppers and women in floral hats seated among the skulls.
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  As a conductor leeds musicians. The program included Chopin's Funeral
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  March and Sonsane's Dons Macabre. The recital was echoed in
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  twenty twenty four when the American rock band Queens of
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  the Stone Age was granted permission to perform. They played
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  a short set of acoustic versions of their songs, recording
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  it for an ep Alive in the Catacombs and an
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  accompanying film. No fans were present, just the band and crew,
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  but the singer Josh Holm had a strong sense of
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  the dead. As an audience, it felt like trying to
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  entertain people who don't get much entertainment, to show love
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  to a group who are almost forgotten. He told me.
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  When we spoke by video call, people witnessed them with
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  fear and amazement, but no one's given them anything. That's
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  why our song choices were about family and acceptance and
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  overcoming difficulty. If he were dead in the dark, he
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  would find those themes comforting, so he offered his music
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  as a kind of consolation. When I was alone, I
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  got on my knees, shut my eyes, bowed my head
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  and made a vow, I'll do the very best that
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  I can possibly do to day. Holme was seriously ill
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  during the shoot. He has not disclosed the nature of
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  his condition, but he was treated for cancer in twenty
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  twenty two. While filming in the Catacombs, he was in
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  pain and had a dangerously high temperature at the end
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  of the chute. He took an emergency flight home and
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  within two hours of landing in Los Angeles was prept
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  for surgery. What was it like, I asked him, to
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  be inside a living and suffering body, when you were
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  surrounded by people beyond suffering. It was a luxury I
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  was thankful for. In the end, he replied, he felt
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  that it put him on the same frequency somehow as
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  the place and those buried there. I was witnessing people
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  whose struggle had ended, so my struggle, my pain, seemed less.
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  He found the catacomb's heartening rather than frightening. I never
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  focused on the dark side, home went on. The skulls
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  are almost like a light bulb. You don't stare at
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  a light bulb, you look at what it's illuminating. So
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  I didn't think about death. I thought about life illuminated.
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  The bell had tolled in Perlichaise, as it always does.
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  Before closing Benoir, Gallot unlocked the side door on Rue
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  de Rapot and invited me in. The last visitors had left,
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  The hour of the fox had arrived. Gallo, in his
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  early forties, is conservatory of pearlichse the man in charge.
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  He also shapes the way it is seen through his
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  popular Instagram account at L Underscore v I E Underscore
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  A U Underscore c I M E T I E
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  R E, and a recent book, The Secret Life of
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  a Cemetery. I love this place, he told me, and
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  I want to do my best for it. He lives
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  on the grounds with his wife, Colombe and their four children.
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  He has run perliches since twenty eighteen, but his relationship
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  with the place became truly profound on April twenty third,
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  twenty twenty, during the COVID nineteen lockdown, when he was
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  walking through the deserted cemetery and encountered a fox cub.
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  It looked at him. He looked at it. Galot found
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  himself experiencing an emotion that had been in short supply. Joy.
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  It was a key moment in my life, he recalled.
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  That was a very dark time, lots of stress. Burials
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  were up by forty percent, but we only had half
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  the usual number of people working here, and we did
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  not know what the full impact of the virus was
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  going to be. The cub somehow offered hope. Until then,
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  Gallot had never seen a fox in bear Lachise and
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  never expected to yet here it was bright of eye,
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  and when the cemetery keeper returned later with his camera
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  there were four cubs playing among the graves. A photograph
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  he took that evening ended up on the front page
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  of the daily paper La Parisienne. For me, it was
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  a symbol of recovery. He said. The return of the
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  foxes during lockdown was such a strong contrast. People at
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  that time were talking only of death, death, death, But
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  here were these baby foxes, and now people talked of
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  perlichise for a different reason. It completely changed the feeling
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  of working here. I felt that life would overcome around
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  ten foxes live in the cemetery. He believes the population varies.
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  Not all cubs survive, and the adults live only so long.
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  Gallott is more attached than he would like. He worries
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  for them and is sad when they die. He can
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  identify individuals and wonders whether they recognize him. Yet he
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  is careful to respect their nature. I never give them
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  food and am always discreet. I see a fox sleeping
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  on a tomb I take two pictures and sneak away.
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  I want them to keep their wildness. Between six in
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  the evening and eight in the morning, there are no
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  human interactions, and that's good. Let them live their lives.
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  We would walk together, he said, and try to seize
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  some foxes. No promises. Pere laches. After hours was transformed,
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  The staff had gone, the gates were locked, Paris lay
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  unseen beyond the trees and walls, its presence indicated by
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  sirens and church bells. The painstaking tap of stone cutter's
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  chisels had given way to the ratitat tat of a
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  woodpecker's beak. We kept to the curb, moving in single file,
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  placing our feet so as not to kick stones or
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  crunch leaves. Very beautiful, Galo murmured about the evening light
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  on the statues. For him, pear Laches is a living place. Certainly,
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  it is full of life, the foxes, the wild flowers,
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  the necrophagus trees that grow around headstones and devour them.
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  Before working here, Galot had little appreciation of such. Now
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  he is familiar with the different species of flora and fauna,
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  and has learned to cope with his phobia of birds,
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  to the extent that he seemed thrilled by a j
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  flashing blue from branch to branch. But pere Lechise is
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  also living in the sense that people continue to be
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  laid to rest there. Around one thousand coffins are buried
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  each year. Grief is the pulse of a cemetery, the
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  beat beneath one's feet. Gallot and I had been out
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  for forty minutes and see no sign of a fox.
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  Then he whispered, ahhui, see la veeu briscard. He knew
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  this animal, leveeu Briscard, the old veteran. The name suggests
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  a grizzled soldier who was seen it all, perhaps five
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  years old, a little dark around the eyes and snout.
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  It walked with the parade ground swagger as if it
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  owned the place, and climbed up on a grave. Gaillot
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  likes the idea that this may have been the first
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  cub he encountered during lockdown. He raised his camera. The
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  fox seemed to pose for a moment, mouth open, and
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  then eased himself down from the stone slab and trotted off.
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  The conservatur admires these fleet creatures, the quick among the dead,
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  raising their families in parlichaise as he is. Our safari concluded.
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  We walked to higher ground and sat on a bench
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  overlooking Paris. Dusk was settling on the rooftops and spires.
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  We could see him on Parnas's Tower, near Simone de
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  Bevoir's lipsticked grave and the dome of the Pantheon, where
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  Voltaire and Rousseau are entombed during the pandemic, when the
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  gates closed to everyone but those attending funeral processions. Galeau
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  came to this spot with his wife and kids, and
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  he holds those moments of castaway intimacy as a fond memory.
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  The city before them, the sky above and below their
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  feet in the ossuary, the bones of thousands of Parisians.
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  You have a good job, I said, yes, he replied,
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  it is a privilege. Galeot does not believe in destiny
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  and cannot say how long he will be at perliches
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  but he feels he is in the right place. The
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  man who helps the world see the cemetery, the cemetery
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  that helps the man truly see the world. Accompanying this
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  article fun fact a heartless burial. The Polish composer Frederic
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  Chopin is among the one hundred and fourteen famous people
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  buried at Perlichees Cemetery, but his heart, at his request,
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  was removed before he was laid to rest and installed
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  at a church in his hometown of Warsaw. Next. Audi
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  Murphy was an idol of the silver screen that came
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  after he was the most decorated American hero of World
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  War two, he single handedly held off two hundred and
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  fifty German troops and six tanks, saving an entire company.
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  And that was just the start of what he accomplished
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  in his too short life. By Jeff MacGregor. Every story
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  about Audi Murphy is a story about America. On January
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  twenty sixth, nineteen forty five, just outside Holtzwege in northeastern France,
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  Army second Lieutenant Audi Murphy climbed onto a burning tank
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  destroyer and single handedly held off six tanks and two
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  hundred and fifty attacking Germans. Wounded and bleeding, he he
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  stood at a fifty caliber machine gun for more than
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  an hour defending his unit. His actions saved the entire
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  company and stopped the German advance. By the end of
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  the war, Murphy had won around thirty decorations, including the
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  Medal of Honour, two Silver Stars, two Bronze Stars, three
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  Purple Hearts, the Distinguished Service Cross, and the French Cua
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  de Guerre. Rising from buck private to first lieutenant, he
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  became the most decorated and arguably most famous soldier of
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  World War II. An estimated three hundred thousand Texans turned
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  out for his homecoming parade. Audi Leon Murphy was born
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  into a dirt poor family near Kingston, Texas, around nineteen
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  twenty five. His parents had twelve children, and he dropped
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  out of school to support the family after his sharecropper
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  father abandoned them. As a boy, he often hunted for
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  their food. He became a marksman early out of hunger
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  and necessity. When the United States entered World War II,
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  he wanted to enlist in the Marines, but was too young,
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  about to turn seventeen. Even after his sister helped falsify
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  a birth certificate, the Army and Marines rejected him as
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  under weight, a mere one hundred and ten pounds and
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  too short around five foot five. In nineteen forty two,
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  he was mustered into the Army. He served with the
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  third Infantry Division, which was mainly attached to the seventh Army.
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  So Murphy started in North Africa and fought his way
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  through Sicily, Italy, France, and finally Germany. An accompanying photograph
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  depict an olive drab wool Eisenhower jacket size thirty six
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  that clothed Murphy during the European campaign. The irregular stitching
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  around the blue and white striped third Infantry Division service
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  patch proves the jacket was his. He would have sown
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  it on himself, says Frank A. Blaizig, Junior Curator of
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  Modern Military History at the Smithsonian's National Museum of American History,
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  and the jacket appears to be identical to the one
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  he wears in photographs taken during the war. Murphy's stitching
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  is crude, Blaizich says, but he has his insignia properly
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  aligned and properly spaced. He certainly wants to present a
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  proper appearance in uniform. Along with his fame, Murphy also
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  came home from the war with post traumatic stress disorder,
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  or combat fatigue as it was known. He became an
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  insomniac and said he could only sleep with a loaded
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  pistol under his pillow. He would advocate on behalf of
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  veterans mental health for the rest of his life. He
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  also embarked on a new pursuit after the war. James
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  Cagney saw Murphy on the cover of Life magazine and
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  invited him to Hollywood, signed him to a performance contract,
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  got him acting lessons, and helped launch a prolific career
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  that landed Murphy in more than forty feature films and
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  TV series. The best of these is arguably The Red
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  Badge of Courage, adapted from the novel by Stephen Crane.
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  But Murphy's most indelible performance was as himself Into Hell
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  and Back nineteen fifty five, which is based on his
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  best selling autobiography and stood for almost twenty years as
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  Universal Pictures biggest box office hit. Over those years, Murphy
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  played many roles, a reluctant gun run, a pilot, a spy,
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  a boxer, but the classic western was his most natural theater.
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  Few things in this world feel as reassuring as an
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  Audie Murphy horse opera, with his clean shaven probity, the
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  harmless choreography of stunt violence, the simple triumph of good
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  over evil, the chaste school marm kiss as the credits roll.
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  He's a better actor than you'd think. His drawl is soft,
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  his face pale and smooth and imperturbable as a pre
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  Raphaelite saint. He can handle a gun or a punch line,
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  low key, handsome, polite and composed. He can play the
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  hero or the heel. But you'll notice his smile never
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  quite reaches his eyes. There's something a little hurt and
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  haunted in every expression. Murphy wrote poems and popular songs too,
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  even charting a hit in nineteen sixty two with Shutters
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  and Boards. His star on the Hollywood Walk of Fame
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  is at sixteen o one Vine Street. Every story about
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  Audie Murphy is a meditation on American fame and bravery
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  in nearly every mythology. As Joseph Campbell, the famous scholar
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  of myth reminds us, the hero saves what is almost
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  lost and then becomes lost himself, forever changed, never quite
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  returning home, he remains outside the society he defends. Audi
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  Murphy was a war hero and a movie star, and
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  a veteran with PTSD and a prescription sleeping pill habit,
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  who couldn't sleep, who raised and raced quarter horses, who
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  gambled and lost and spent too much, who did his best,
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  and was as human as you or me. He was
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  killed in a plain crash in nineteen seventy one. By then,
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  Audie Murphy was much too old to die so young.
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  He was forty five. His grave at Arlington National Cemetery
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  remains one of its most visited. Millions did their duty
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  in the Second World War, but Murphy's kind of courage
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  was singular even then. The jacket reminds us of this
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  that he was an ordinary man who rose to the
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  most extraordinary challenge of his time. Fun fact Addie Murphy's
• 23:34
  humble Hollywood beginning before to Hell and Back became a hit.
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  Murphy lived like a struggling actor in Hollywood, at one point,
• 23:44
  residing in a tiny converted garage that he affectionately called
• 23:49
  my cigar box. Next, after motorcycle daredevil Evil Knieval failed
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  to clear thirteen buses on a jump attempt, there was
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  only one thing to do, try fourteen. A wreck at
• 24:05
  London broke his bones but not his spirit, so he
• 24:08
  got back on his two wheeled horse and sailed through
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  the Ohio sky with half the country watching by Ilana's Share.
• 24:18
  By the mid nineteen seventies, after a decade of stunt's
• 24:21
  professional daredevil, Evil Knieval was more famous for crashing than landing.
• 24:27
  Many of his exploits put him in the hospital for weeks,
• 24:31
  and when he limped out, every kid in America and
• 24:34
  their worried parents would be waiting to see what he
• 24:37
  did next. A bid to expand his fame, in May
• 24:41
  nineteen seventy five brought Knieval across the Atlantic, where he
• 24:46
  tried and failed to clear his stars and stripes painted
• 24:50
  Harley Davidson XAR seven fifty over thirteen buses in London's
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  Wembley Stadium. Just five months later, on October twenty fifth,
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  was with his semi heeled bones barely knitted together beneath
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  his star spangled leathers, Knieval mounted again to conquer an
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  even bigger jump. It was a day of cold drizzle
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  at King's Island Amusement Park in Ohio, but the crowds came,
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  not none the less twenty five thousand people or more.
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  The cameras were fixed on Knieval as he revved his
• 25:23
  engine and squinted at the steep ramp that would send
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  him skyward over a row of fourteen buses. As he
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  made his ramp warm ups, he seemed to hesitate, but
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  after his fourth approach to the ramp, just when Knieval
• 25:38
  appeared to have lost his nerve, he gave a thumbs up.
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  Then he reset his bike and pinned the throttle, and
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  was traveling at roughly ninety five miles per hour by
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  the time he hit the air as Knievl began his
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  latest dispute with gravity. He said afterward his bike's front
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  wheel came up in the air so high that if
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  the jump had been any longer, he would have flipped
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  over backward at the far end. With his bike losing
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  altitude and the crowd breathless, Knieval touched the rear wheel
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  down safely and rode along the landing ramp to abulian applause.
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  He had cleared one hundred and thirty three feet, a
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  world record, and landed so hard he'd broken the bike's frame. Knieval,
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  for a change, was uninjured. The jump would stand as
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  the longest and most successful of his career. The King's
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  Island Jump also took place in front of Knieval's biggest audience,
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  thanks to the crew from a b c's Wide World
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  of Sports, which beamed it into waiting households all over
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  the country. The episode remains the most fewed in the
• 26:48
  show's history. With his epic rides, Knieval, who survived his
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  stunts and died in two thousand seven at age sixty nine,
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  inspired to day's high flying mortar cross tricks and sporting
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  events like the X Games. His showmanship paved the way
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  for stunt led productions such as Johnny Knoxville's Jackass. His
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  approach to life resembled his jumps. Wild, risky, bold, and thrilling.
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  Knieval left us with the reminder that sometimes you simply
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  have to rev up and take the leap. Fun fact
• 27:26
  was he actually named Evil Knieval Robert Kanievl got his
• 27:31
  devilish nickname in nineteen fifty six after he stole a
• 27:36
  motorcycle and ended up in jail. Knieval met another inmate
• 27:40
  named William Knofel, known in the jail as Awful Canoeful.
• 27:46
  In some versions of the story, a jailer gave Knieval
• 27:50
  his moniker. In other versions, Knieval bestowed it on himself.
• 27:57
  This concludes readings from the Smithsonian Man magazine for to day.
• 28:01
  Your reader has been Rebecca Shore. Thank you for listening,
• 28:05
  and have a great day.