Informal chats with a gaggle of Barbie enthusiasts, both young and middle-aged, yielded the information that most girls are indifferent to Ken. To these fans, “Barbie doll” connotes visions of loveliness, while “Ken doll” evokes the image of the sterile figure atop wedding cakes.
Mattel’s research indicates that there isn’t much demand among girls for more realistic hair for Ken. Lisa McKendall, manager of marketing communications for Mattel, provides an explanation:
In general, the most popular play pattern with fashion dolls among young girls is styling the hair. That is why long, combable hair is such an important feature of fashion dolls. Since the Ken doll’s hair is short, there is much less to style and play with, so having “realistic” hair has not been as important.
Needless to say, “Ken hair” is much cheaper for Mattel to produce, particularly because painted hair doesn’t have to be “rooted” to the top of the doll’s head.
The choice of hairstyles for the Barbie lines is not taken casually. Meryl Friedman, vice-president of marketing for Barbie consumer products, told Imponderables that the length and texture of dolls’ hair depends upon which “segment,” or line of Barbies, Mattel is conceptualizing. Friedman reports that the best-selling doll in the history of Mattel is the “Totally Hair Barbie” line. The Barbie in the Totally Hair line is ten and one-half inches long—and the doll is only eleven and one half inches tall. In this particular segment, even Ken has combable, if short hair, as McKendall explains:
…the Ken doll does have realistic-looking hair and actually comes with styling gel to create many different looks. A special fiber for the hair called Kankelon is produced specifically for us in Japan.
Friedman reports that in 1994, a Ken will be produced with longer hair.
Who says the men’s liberation movement hasn’t achieved anything?
Submitted by Dona Gray of Whiting, Indiana. Thanks also to Laura and Jenny Dunklee of Sutter Creek, California; Jessica Barmann of Kansas City, Missouri; Rebecca Capowski of Great Falls, Montana; and Nicole McKinley of Rochelle, Illinois.
On the U.S. Penny, Why Is the “o” in the “UNITED STATES oF AMERICA” on the Reverse Side in Lower Case?
Believe it or not, that little “o” is an artistic statement. According to Brenda F. Gatling, chief, executive secretariat of the United States Mint, the designer of the reverse side of the one-cent piece, Frank Gasparra, simply preferred the look of the little “o” alongside the big “F.” And this eccentricity is not an anomaly; the Franklin half-dollar and several commemoratives contain the same, puny “o.”
Submitted by Jennifer Godwin of Tyrone, Georgia.
What Do All the Chime Signals on Airlines Mean? Are They Uniform from Airline to Airline?
We might not be white-knuckle fliers anymore, but let’s put it this way: We’re closer to a pale pink than a full-bodied red. So we’re not too happy when we find ourselves sitting next to fearful fliers. Why is our fate in life always to be seated alongside a middle-aged passenger taking his or her first flight? Invariably, our rowmates quake when they hear the landing gear go up. And more than one has reacted to the chime signals as if they were a death knell; one skittish woman knocked our Diet Coke off our tray when she heard the chimes. She assumed that the three-chime signal must signify that our flight was doomed. Actually, all that happened of consequence was that our pristine white shirt soon resembled the coat of a dalmatian.
But we always have been curious about the meaning of these chime codes, so we contacted the three largest airlines in the United States—American, United, and Delta—to ask if they would decode the mystery. We were surprised at how forthcoming they were. Nevertheless, for the first time in the history of Imponderables, we are going to withhold some of the information our sources willingly provided, for two reasons. First, airline chime-signals vary not only from airline to airline but from plane to plane within companies, and today’s signals are subject to change in the future. Second, every airline does have a code to signify a true emergency, and the airlines aren’t particularly excited about the idea of passengers decoding such a signal before the cockpit crew has communicated with flight attendants. Airlines are justifiably concerned about readers confusing emergency signals with innocuous ones and confusing one company’s codes with another’s. We agree.
Michael Lauria, an experienced pilot at United Airlines, told Imponderables that he has never had to activate an emergency chime signal. He is much more likely to sound one chime, to indicate that the cockpit wishes to speak to the first-class cabin attendant or (two chimes) to the coach flight attendants. Even if Lauria’s passengers are enduring particularly nasty turbulence, chances are that the cry for help from the cockpit, expressed by the chimes, is more likely to be for a coffee or a soda than for draconian safety measures.
The number of chimes is not the only way of differentiating signals. Some United planes emit different tone frequencies: a lower-tone chime is heard for a passenger call than for a crew call, and a “bing bong” indicates a call from one flight attendant to another.
American Airlines uses different chime configurations to inform attendants when they should prepare for landing, remain seated with seat belts fastened, and call the cockpit crew. Although American does have a designated emergency signal, like other airlines’ it is rarely used.
Delta Airlines features an array of different chime signals, which specify events during a flight. For example, when the “fasten seat belt” signs are turned off, a double high-low chime marks the event. These chimes also tell the flight attendants what elevation the plane has attained. Even during uneventful flights, there are periods of “sterile cockpits,” when attendants are not supposed to disturb the cockpit crew except in an emergency. Sterile cockpits occur during takeoff and landing, and even though domestic airlines no longer allow smoking anywhere on the plane, some airlines still use the turning off “no smoking” sign as the marker for when the pilots can be contacted freely.
On most Delta planes, each phone station has a select tone, so that on a widebody plane, the flight attendant can recognize who is calling, and the flight crew can call any one or all of the flight attendant stations at one time. Alison Johnson, manager of aircraft interiors for Delta, told Imponderables that during an emergency, it is important for the flight crew to be able to speak to flight attendants without causing panic among passengers. Obviously, if the entire staff is briefed, a game plan can be established before informing passengers about a potential problem.
Submitted by Gabe Wiener of New York, New York. Thanks also to Dr. Richard Presnell of Augusta, Georgia.
Are Lions Really Afraid of Kitchen Chairs?
Give us a bazooka, a ten-foot pole, forty bodyguards, and excellent life insurance and hospitalization policies, and we might consider going into the ring with a lion.
Come to think of it, we think we’ll still pass on it. But how in the h@# did professional animal trainers choose such inappropriate tools as a whip and a kitchen chair? Why would a kitchen chair tame a lion? It doesn’t even scare us!
At one time, animal trainers did use more forceful weapons against big cats. In his book Here Comes the Circus, author Peter Verney reports that the foremost trainer of the 1830s and 1840s, Isaac Van Amburgh, used heavy iron bars. Other trainers employed red-hot iron, goads, and even water hoses to control unmanageable beasts.
As far as we could ascertain, the considerably calmer instrument of the kitchen chair was introduced by the most famous lion tamer of the twentieth century, Clyde Beatty, who trained lions from 1920 until the late 1960s (when, ironically, he died of a car accident). His successor at the Clyde Beatty Circus, David Hoover, has strong feelings about the psychology of lions. Hoover believes that each lion has a totally different set of fears and motivations. For example, one lion he trained had a perverse fear of bass horns, while another went crazy when the circus’s peanut roaster was operating.
Hoover believes that the only way for a human to control a lion is to gain
psychological dominance over the animal—what he calls a “mental bluff.” He also feels it important that the lion believe it couldn’t harm the trainer. When he sustained injuries in the ring. Hoover always finished the act.
because the animal is operating under the assumption that he can’t hurt you. If you leave the cage after the animal has injured you, then the animal knows he’s injured you. You can’t handle that animal anymore.
Hoover favored a blank cartridge gun over a whip. The purpose of the blanks was simply to disrupt the animal’s concentration:
They have a one-track mind. A blank cartridge goes off, and if you holler a command that the animal is familiar with, the animal will execute the command because he loses his original train of thought.
But what about the chair?
The chair works the same way. The chair has four points of interest (the four legs). The animal is charging with the idea to tear the trainer apart. You put the chair up in his face. [When he sees the four legs of the chair] he loses his chain of thought, and he takes his wrath out on the chair and forgets he’s after the trainer.
Ron Whitfield, lion tamer at Marine World Africa USA, told Imponderables that the chair is used more for theatrical reasons than for defense. If the instrument of the lion tamer is used as a tool of distraction rather than aggression, it makes sense to use flimsy props. Lions can be trained to bounce, swat at the chair—even to knock the chair out of the hands of the trainer. Ron assured us that if the lion wanted to attack, the chair would not offer any real protection.
Whitfield, who has trained lions for twenty-two years, has never used a chair. (He uses a stick and a crop whip.) The whip, he believes, is used as an extension of the hand of the trainer—to cue lions, who are lazy by nature. If they are sitting idly when they are supposed to be performing, a snap near them or a touch on their behinds will provide “motivation” to perform. And the whip provides negative reinforcement. Like a child, the lion learns that certain behaviors will induce a sting on the behind and will alter its behavior accordingly.
Even if lions have been performing in acts for years, they are still wild animals. Gary Priest, animal behavior specialist at the San Diego Zoo, reminds us that much of the behavior of even a “tamed” lion is instinctual and automatic. Like Hoover, Priest emphasizes the necessity for trainers to demonstrate a lack of fear of the animal. Without intervention of some kind, lions would revert to the appetitive cycle (crouching, eyes squinting, ears pinned back, lowering into a crouch, and springing) characteristic of lions on the hunt.
If trainers run or show fear, Priest explains, lions will think of them as prey. But if you approach the lion before it snares you, the appetitive cycle is disrupted. In the wild, no prey would approach a lion, so the cat is not genetically encoded to respond to this aggressiveness. (Indeed, Priest told us that if you ever encounter a lion in the wild, especially one that is starting to crouch, do not run away. Instead, run toward the lion, yelling “bugga bugga bugga,” or some such profundity. Says Priest: “This will probably save your life,” as the lion usually retreats when confronted.)
Priest thinks that the whip and chair are a good combination, with the noise from the whip a particularly good distraction and the chair allowing the trainer to approach the lion and still have some distance and (minimal) protection.
The one part of this Imponderable we would have loved to unravel is how and why Clyde Beatty thought of the idea of using a kitchen chair in the first place. Did he have a scare with a cat one day when the chair was the only object handy? Was he sitting on a chair when a lion attacked? Or did he just want an excuse to drag his favorite kitchen chair around the world with him?
Submitted by Steven Sorrentino of West Long Branch, New Jersey.
Why Is Pistachio Ice Cream Colored Green?
We first were asked this question in 1988 but decided not to answer it because we thought the answer was obvious: Pistachio nuts are green (sort of). Sure, you have to liberate the nutmeats from their ivory or red-colored shells (please don’t ask us why pistachios are dyed red—see Imponderables for the thrilling answer), and then detach the thin, reddish-brown husk. Underneath its wrappers, though, is a yellowish nut with an obvious green tinge.
But this question seems to be on the minds of North Americans everywhere, and we are the last to deprive our readers of the knowledge that can set them free. We first contacted Ed Marks, an ice cream expert and historian, who told us that the first reference he could find to green pistachio ice cream was in The Standard Manual for Soda and Other Beverages (1897), by A. Emil Hiss. The directions state: “Color green with a suitable delicate color.”
Why was green chosen? Marks has his ideas:
The use of color in ice cream and other food items is predicated on two things: to make the food appealing to the eye and to generally make a processed item appear more closely to its natural state. One would presume that the use of green serves either or both of these purposes. I always associated green with the color of the pistachio nutmeat, although the truth is that the term “yellow-green” is a more apt description. Perhaps the early ice cream makers made a subjective decision that green was more appropriate than yellow.
Donald Buckley, executive director of the National Ice Cream Retailers Association, echoed Marks’s sentiments and added that the color green had relatively little competition in early ice cream fountains. Yellow was already “taken” by vanilla. The average person probably associates the color green most closely with mint, not then popular as an ice cream flavor. (Now, green is a popular color in mint chocolate chip ice cream.)
Kathie Bellamy, of Baskin-Robbins, indicated that consumers are very conscious of whether the color of an ice cream simulates the “public perception of pistachio.” Note that most commercial pistachio ice creams, including Baskin-Robbins’, are invariably a pale green, and that considerable research is conducted on “color appeal.” After all, with inexpensive food colorings, pistachio could just as easily be colored chartreuse, if the public would buy it.
Submitted by Lynda Frank of Omaha, Nebraska. Thanks also to Morgan Little of Austin, Texas; Bob Muenchow of Meriden, Connecticut; and many others.
Why Are Graves Six Feet Deep and Who Determined They Should Be That Deep?
Graves haven’t always been that deep. Richard Santore, executive director of the Associated Funeral Directors International, told Imponderables that during the time of the Black Plague in Europe, bodies were not buried properly or as deep as they are today. These slovenly practices resulted in rather unpleasant side effects. As soil around the bodies eroded, body parts became exposed, which explains the origins of the slang term “bone yard” for a cemetery. Beside the grossness content, decomposing flesh on the surface of the earth did nothing to help the continent’s health problems.
England, according to Santore, was the first to mandate the six-foot-under rule, with the idea that husband and wife could be buried atop each other, leaving a safe cushion of two feet of soil above the buried body, “the assumption being that if each casket was two feet high, you would allow two feet for the husband, two feet for the wife, and two feet of soil above the last burial.” At last, there were no bones in the bone yard to be found.
The six-foot rule also puts coffins out of reach of most predators and the frost line. Of course, caskets could be buried even deeper, but that would be unlikely to be popular with gravediggers, as Dan Flory, president of the Cincinnati College of Mortuary Science, explains:
Six feet is a reasonable distance for the gravedigger [to shovel] and is usually not deep enough to get into serious water or rock trouble.
Submitted by Patricia Arnold of Sun Lakes, Arizona. Thanks also to Deone Pearcy of Tehachapi, California.
Why Doesn’t Ham Change Color When Cooked, Like Other Meats?
Let’s answer your Imponderable with a question. Why isn’t ham the same color as a pork chop, a rather pallid gray?
The answer, of course, is that ham is cured and so
metimes smoked. The curing (and the smoking, when used) changes the color of the meat. You don’t cook a ham; you reheat it. According to Anne Tantum, of the American Association of Meat Processors, without curing, ham would look much like a pork chop, with perhaps a slightly pinker hue.
Curing was used originally to preserve meat before the days of refrigerators and freezers. The earliest curing was probably done with only salt. But salt-curing alone yields a dry, hard product, with an excessively salty taste.
Today, several other ingredients are added in the curing process, with two being significant. Sugar or other sweeteners are added primarily for flavor but also to retain some of the moisture of the meat that salt would otherwise absorb. Sugar also plays a minor role in fighting bacteria.
For our purposes, the more important second ingredient is nitrites and/or nitrates. Sodium nitrate is commonly injected into the ham, where it turns into nitrite. Nitrite is important in fighting botulism and other microorganisms that spoil meat or render it rancid. Nitrites also lend the dominant taste we associate with cured meat (bacon wouldn’t taste like bacon without nitrites).
Unfortunately, for all the good nitrite does in keeping ham and other meats from spoiling, a controversy has arisen about its possible dark side. When nitrites break down, nitrous acid forms. Combined with secondary amines (an ammonia derivative combining hydrogen and carbon atoms), nitrous acid creates nitrosamines, known carcinogens. The debate about whether nitrosamines develop normally during the curing process is still swirling.
How Does Aspirin Find a Headache? Page 2
