The Tanabe Mitsubishi Pharma Historical Museum (Kusuri no Doshōmachi Shiryōkan) is located in Osaka, a half-hour ramble from the main train station. It lies in the heart of the city’s traditional merchant quarter (still dotted with preserved architecture dating to the late nineteenth century). The museum occupies the second floor of the Tanabe Mitsubishi Pharma Company headquarters. It is open from 10:00 a.m. to 5 p.m. on all weekdays excluding holidays. Advance online reservations are required for entry. Admission is free, the staff is welcoming and helpful, and all films, exhibits, and interactive materials are bilingual. At the time of my visit (around 2 p.m. on a Wednesday in early January), I was the only guest.
As the museum narrates, Tanabe Mitsubishi Pharma is both a new and an old entity. The company acquired its current form in 2007 as the result of a merger. However, its origins date back to 1604, when Osaka-based merchant Tanabe Gohei received a permit from the Tokugawa shogun (then ruler of Japan) to peddle medicines. In 1678, his grandson opened the family’s first shop (Tanabeya) and began selling medicinal products imported from the Philippines. At the time, Japan was under a strict policy of seclusion, and Tanabe’s foray into international commerce must have required considerable negotiations. (Unfortunately, the process by which he obtained his permit is not elucidated.) Tanabeya truly thrived during the Meiji period (1868-1912), when, in advance of most competitors, it began providing Western medicines in addition to traditional Sinic treatments. Within a short while, the former dominated sales. Another major period of growth took place during World War I, when Germany, then the global leader in developing and manufacturing pharmaceuticals, became unable to export its products. Local concerns including Tanabeya stepped into the breach and greatly expanded their market share.
Editor’s Note: Today’s post comes from contributing editor Dr. Miriam Kingsberg Kadia , professor of history at the University of Colorado, Boulder. In it, she continues her series of museum reviews, all of which you can see here.
The Fraunces Tavern Museum is located in lower Manhattan, New York. Conveniently, given the difficulty of driving in the area, it is less than five minutes’ walk from numerous subway stops, including Staten Island Ferry (the 1 line), Wall St. (2 and 3), Bowling Green (4 and 5), Whitehall St. (R and W), and Broad St. (J and Z). Adult admission is $7, but holders of a New York City library card are entitled to two free tickets per month. A visit can be expected to take about one hour. At 3 p.m. on a Monday, I had most of the galleries to myself, but 25,000 patrons are said to pass through annually. The museum is open weekdays from noon to 5 p.m. and weekends from 11 a.m. to 5 p.m.
Editor’s Note: Today’s post comes from contributing editor Dr. Miriam Kingsberg Kadia. In it, she continues her series of museum reviews with a visit to the Mob Museum in Las Vegas. Photos by Dr. Kadia.
Although most tourists probably don’t associate Las Vegas with museums, the city is in fact home to some noteworthy institutions. One interesting example is the Mob Museum, located downtown in a former courthouse. At $26.95 for out-of-state adult admission ($16.95 for Nevada residents with ID) entry is not cheap, but perhaps a bargain compared with the casinos up the street. One might easily spend as much as three hours perusing the three stories of exhibits and basement reconstructions of a speakeasy and distillery.
The Mob Museum of Las Vegas
The exhibition begins on the third floor with a discussion of the origins of the Mob in the late nineteenth century. Curators narrate: whereas most immigrants to the U.S. were “good,” “a few thought they would choose a shortcut to the American dream.” Evoking Donald Trump’s 2016 presidential campaign comments about “bad hombres,” the museum’s casual scapegoating of Irish, Italian, and Jewish foreigners for mobsterism feels not only misleading but dangerous.
Editor’s Note: This post is brought to you by Miriam Kingsberg, an assistant professor in the department of history at the University of Colorado, Boulder. This summer she visited the Deutsches Apotheken-Museum in Munich and has provided us with a review of its collections. All photos are courtesy of her as well. Enjoy!
During a two-month sojourn in Germany this summer, I eagerly anticipated a visit to Munich’s famed Beer and Octoberfest Museum—in the name of “research,” naturally. Less renowned than this hotspot and its many sister institutions, but equally relevant to historians of intoxicants, is the country’s sole attempt to reconstruct its pharmaceutical history: the Deutsches Apotheken-Museum (hereafter referred to as DAM), located since 1958 in the breathtaking Heidelberg Castle.
Editor’s Note: This post is brought to you by Miriam Kingsberg, an assistant professor in the department of history at the University of Colorado, Boulder. She visited the Jewish Museum Munich in July 2016 and has provided this review of their recent show, “Beer is the Wine of This Land: Jewish Brewery Tales.” Enjoy!
Friends of ADHS may be interested to learn of a new bilingual (German and English) exhibit: “Beer is the Wine of this Land: Jewish Brewery Tales” at the Jewish Museum Munich (Jüdisches Museum München). This event is part of a city-wide celebration of the five hundredth anniversary of the “Purity Law” that restricted German beer ingredients to barley, hops, and water (yeast was added later). The exhibit was inaugurated in April 2016 and will run through August 1, 2017. Admission is included in the museum’s general ticket price (6 euros for adults, 3 euros for students and the elderly, free for children under age eighteen).
Jewish Museum Munich exterior and beer garden, summer 2016 (author photo)
The Jewish Museum Munich opened in 2007 in the heart of the old city, next to a new synagogue completed a year earlier (the historic synagogue was destroyed by the Nazis on Kristallnacht). Observers may notice a (deliberate) contrast to the iconic Jewish Museum of Berlin, which was established in 2001 and is often regarded as a model for similar institutions around the country. Berlin traces the full sweep of Jewish history in Germany and northern Europe, with special attention to the Third Reich (1933-1945) and the Holocaust. The Munich museum, by contrast, does not find it possible to reconstruct Jewish life under the Nazis, citing the lack of surviving artifacts as the primary reason. Instead, the institution seeks to educate the local public and visitors about Jewish culture and experiences—an especially important mission given today’s relatively small local community. On the basement floor, ritual objects from the permanent collection highlight the observances, celebrations, and rhythms of Jewish life.
Editor’s Note: This post is brought to you by Miriam Kingsberg, an assistant professor in the department of history at the University of Colorado, Boulder. She visited the New Museum of Agave Intoxicants in December 2015. Enjoy!
In December 2015 I found myself in Mexico for a new research project. Although my work had nothing to do with intoxicants (the subject of my first book), I couldn’t resist stopping by the Museo del Mezcal y Tequila (Museum of Mescal and Tequila) one free afternoon.
In years of travel, I’ve visited many intoxicants museums. The Drug Elimination Museum of Yangon, Myanmar attempts to scare schoolchildren away from methamphetamine with graphic images of dying addicts and bloody battles between traffickers and government forces. In Thailand’s Golden Triangle, not one but two Opium Museums recount the history of the drug in Southeast Asia and China as a tale of Western oppression and spur to state-building. The Coca Museum in Cuzco, Peru seeks to replace the legal, mildly stimulating plant’s fatally tarnished image as the raw form of cocaine, with a more positive association with national culture. Free coca-filled chocolates round out the experience. (They taste terrible.)
The Museo del Mezcal y Tequila, which opened in 2010, is a different experience altogether. Like Mexico’s other famed agave museums in Cancún and Guadalajara, this institution might best be characterized as a promotional opportunity for the alcohol with the fastest-rising sales in the United States. Although tequila has long suffered from its association with shots, drunk college students, and intense hangovers, in the past decade it has followed vodka, whiskey and bourbon into the luxury sector. Reflecting increasing demand among consumers for artisanal comestibles, most growth has occurred in super-premium sales (that is, tequilas that cost more than $30 per bottle and consist of pure agave). Meanwhile, mescal, associated even more firmly with “authentic” local production, is also experiencing booming growth—in fact, many tequila brands today have begun to fear its competition.
The facade of the Museo del Mezcal y Tequila in Mexico City