North Dakota State

Flavorsome Delight : The North American Museum Of Natural History’s ‘Chocolate’ Show Is chock-full of Empty Calories
The “Chocolate” exhibition at the North American Museum of Natural History ( on view till Sept. Four ) isno surprisea trifle. It liquifies in your mouth, not in your grey matter. Charmingly undemanding ( if expensive at $17 a pop ), it is the dispensable summer hit of museum exhibits, an academic moneymaker directed at the sweet-toothed infant in us all.
And here I have to admit that I am that baby. After following the floor stickers ( “This way to Chocolate!” ) to a Wonka-esque gold-scripted arch, I noticed myself winding through a maze of history litejust enough info to get the idea, nothing too taxingdutifully taking notes but with one thought pulsing inside my little lizard brain : At the end of this exhibit, there’s a chocolate cafeteria. A chocolate cafeteria. A dark chocolate cafeteria. Around the time Spain was spreading the sweet stuff from the Mayans to Europe, I gave in and cheated.
I scuttled through the exhibit, past the antique candy wrappers, and purchased a big bar of organic dark chocolate. Then I snuck back to the beginning. Now, technically speaking, this is illegaland damn it, I support following the rules. Nobody wants tourists smearing Mars bars on the museum’s pristine glass cases. But as a critic, I felt it was critical that I’m employed with all my senses.
Loaded up on the sweet stuff, I discovered that the exhibit does indeed cover the basics. You have got your wrinkly cocoa pods, your Mayan pottery, your business history of the cocoa trade ( with a pleasant focus on social justice ). You have your alarming pellet of 1,500-year-old chocolate. Even better you’ve got your photograph of a gigantic Easter bunny, circa 1890. 5 feet tall, the rabbit possesses the chalky dignity of an Egyptian sarcophagus, and it stands, golemlike, beside it is its creator, Robert L. Strohecker. The label explains Strohecker is “the ‘father ‘ of the chocolate Easter bunny”pretty much the best epithet one could hope for in this life.
Some of the exhibit’s historic sections were a little on the obscure side. “Nearly one hundred years passed before other Western european nations caught the chocolate craze,” read one display’s label. “Were the Spanish trying to keep chocolate to themselves? And how did stories of chocolate spread? We’re not sure.” But there’s sufficient background to keep an intellectual candy-lover occupied. Among stuff I learned without focusing too intently : The ancient Mayans offered the god Quetzalcoatl ritual chocolate that was “a deep blood-red color.” By 1930, there were forty thousand different sorts of chocolate bars. Chocolate contains the love-chemical phenylethylamine. ( Though the placard rather primly contended that there’s “no decisive evidence it stimulates the libido.” ) And don’t feed your dog chocolateit can be lethal, and it’s a waste of good chocolate.
At one or two junctures, the facts-to-dramatics ratio dipped too low for even phenylethylamine-addled me. In one alcove, visitors find a movie screen displaying the swirly legend “Chocolate meets sugar in Spain.” This silent-movie caption is instantly followed by a video illustration : a giant brown tongue of softened chocolate pours down from the pinnacle of the screen, followed by a spinning drift of sugar. Then the solemn words appear again : “Chocolate meets sugar in Spain.” That’s the whole extent of the display.
More successful is the panoply of defunct candy wrappers, each beaming guarantees of delight. “Keep the party perkin ‘! Woman, take a bow! Serve ‘em nuggets, serve ‘em chips! Wonderful and wow!” reads one. Taken together, the wrappers form a record of cultural trends, from Brach’s Swingtime ( named after the dance craze ) to the Mr. Massive Shaq Snaq ( named after the rings player ). There’s also a telephone-shaped chocolate mold, a hand-carved coffin in the shape of a cocoa pod, and a vending machine that once dispensed Hershey bars for a penny each. There isn’t much sociological depth hereI found myself pondering oddball subjects the curators might have covered, like the way chocolate images has been used to refer to black skin or the whole Cathy cartoon notion that ladies have some special biological need for chocolate, but a number of these tchotchkes are fun to have a look at.
Still, listening to my fellow exhibit-goers was frequently more entertaining than gazing at yet another cocoa pod. Of course , this is a subject on which everybody is an expert. “I’d like to live in a chocolate house!” blurted out one thirtysomething fellow. A pair to my left started earnestly discussing the difference between hot cocoa and hot chocolate. And a bescarved French matron, gazing up at a big screen displaying a minidocumentary about the modern manufacturing process, started reminiscing in extreme detail about the famous I love Lucy chocolate-making scene.
Jerry Kill following loss to North Dakota State Bison
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