Podcasts about century britain

Rebecca, Tori, and returning guest, Louise, delve into the 2018 production of Shakespeare's King Lear, discussing our personal experiences with the play, character dynamics, and the performances of the cast. We discuss various interpretations that arise from different adaptations and how Eyre's choices of what to cut cause confusion in some of the action. We gush over the performances of (most) of the cast, particularly Thompson, Watson, and Pugh's portrayals of the three sisters.MusicApache Rock Instrumental | by Sound Atelier; licensed from JamendoRemember the Way | by Mid-Air Machine; Free Music ArchiveRecord Scratch: Sound Effect free on PixabayPrint SourceAnderson, John. 2018. 'King Lear' Review: A Timeless Tale with a Modern King; Anthony Hopkins's Lear is a Frightening, Ego-Driven Autocrat in 21st-Century Britain. New York, N.Y.: Dow Jones & Company Inc. https://www.proquest.com/blogs-podcasts-websites/king-lear-review-timeless-tale-with-modern/docview/2112753139/se-2.SourcesKing Lear: a mesmerizing Hopkins in a disappearing script | The Book HavenKing Lear review: Anthony Hopkins stars in a murky adaptation | The Independent | The IndependentKing Lear Amazon Review: Anthony Hopkins and Emma Thompson CaptivateKing Lear Amazon Review: Anthony Hopkins Is DevastatingShakespeare Oxford Fellowship | LearAnthony Hopkins' King Lear, reviewed.

In 1965 Margaret Crane was a young designer creating packaging for a pharmaceutical company. Looking at the rows of pregnancy tests she thought, “Well, women could do that at home!” and so she made it a reality for potentially pregnant people to be able to know about and take control of their own lives and bodies.  But while the design of the prototype was simple, Crane faced the issues we continue to fight when it comes to reproductive rights and the health and autonomy of people who give birth: an uphill battle to convince the pharmaceutical companies, the medical community and conservative social leaders that at-home pregnancy testing was safe and necessary. After all this, Crane is only now receiving credit for her contributions to the industry. Featuring: Margaret Crane – Graphic designer and inventor of the first home pregnancy test Wendy Kline – Dema G. Seelye Chair in the History of Medicine, History Faculty Purdue University Jesse Olszynko-Gryn – Head of the Laboratory for Oral History and Experimental Media at Max Planck Institute for the History of Science  Arthur Kover – Emeritus Professor of Marketing, Fordham University Alexandra Lord – Chair, Division of Medicine and Science at the National Museum of American History Credits: Host: Amy Gastelum Producers: Anita Johnson, Salima Hamirani, Amy Gastelum, and Lucy Kang Executive Director: Jina Chung Editor: Adwoa Gyimah-Brempong Engineer: Jeff Emtman  Digital Media Marketing: Anubhuti Kumar   Music Credits: Podington Bear, Rhythm and Strings Learn More: National Museum of American History: https://americanhistory.si.edu/collections/nmah_1803285 A Woman's Right to Know, Pregnancy Testing in 20th Century Britain: https://mitpress.mit.edu/9780262544399/a-womans-right-to-know/ Predictor by Jennifer Blackmer: https://newplayexchange.org/plays/348156/predictor   Making Contact is an award-winning, nationally syndicated radio show and podcast featuring narrative storytelling and thought-provoking interviews. We cover the most urgent issues of our time and the people on the ground building a more just world.

In 18th century Britain, the old tradition of deep bowing and curtseying as a form of greeting slowly evolved into a brief touch of the cap or head (for men), or quick bob of the body (for women). Simultaneously, a new form of urban greeting was emerging: the handshake. How and why did the handshake gain such popularity, becoming our most standard greeting today? This phenomenon is explored in a new essay published in the journal Urban History and authored by Professor Penelope Corfield of London University.

We speak to the historian Professor Penelope Corfield about the Georgians in a wide-ranging discussion that takes us from epoch-shifting changes in technology and literacy to the beginnings of handshakes and the postal system. For more information on Penelope and her essays, check out her website: https://www.penelopejcorfield.com/ For additional resources on the Georgians: https://www.thegeorgiansdeedsandmisdeeds.com/ Plus you can buy her excellent book on the subject, The Georgians: The Deeds and Misdeeds of 18th-Century Britain, online and all good bookstores. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Revd Canon Richard Bartlett is Vicar of the West Purbeck Benefice, and Rural Dean of Purbeck.  (That doesn't mean he drives a custom-Landrover with wide wheels, nor that he endorses Barbour wellies.)Key Quotes:John V Taylor"The chief actor in the historic mission of the Christian church is the Holy Spirit. This fact, so patent to Christians in the first century, is largely forgotten in our own. So we have lost our nerve and our sense of direction and have turned the divine initiative into a human enterprise.(John V Taylor, The Go-Between God p3) "AndJurgen Moltman“It is not the church that has a mission of salvation to fulfil in the world; it is the mission of the Son and the Spirit through the Father that includes the church, creating a church as it goes on its way.” Video Links:With Bishop Anne - Five Marks of Mission - Teachhttps://youtu.be/RjxPNirBAR4?si=-bE--VGFYC04cmk0With Bishop Anne - Five Marks of Mission - Tellhttps://youtu.be/aADVG3CZvZI?si=QoRXDVb7tyckKO82With Bishop Anne - Five Marks of Mission - Tendhttps://youtu.be/x29YXQm43Js?si=ou2N0kE_P_vk5__IWith Bishop Anne - Five Marks of Mission - Transformhttps://youtu.be/UcFnPhmOg50?si=kAJ1VX_ATIRjdb1yWith Bishop Anne - Five Marks of Mission - Treasurehttps://youtu.be/bjBA8jKX6a0?si=_jpbAt2eob4KzF8I

In postwar Britain, journalists and politicians predicted that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved hopelessly wrong. Ben Highmore's Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023) charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, while sociologists claimed that an entire population was suffering from 'status anxiety', but underneath it all, a new order was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous pine kitchen tables. More than just a world of symbolic goods, this was an intimate environment alive with new feelings and attitudes. Ben Highmore is Professor of Cultural Studies at the University of Sussex. His books include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (2017) and The Great Indoors: At Home in the Modern British House (2014). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In postwar Britain, journalists and politicians predicted that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved hopelessly wrong. Ben Highmore's Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023) charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, while sociologists claimed that an entire population was suffering from 'status anxiety', but underneath it all, a new order was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous pine kitchen tables. More than just a world of symbolic goods, this was an intimate environment alive with new feelings and attitudes. Ben Highmore is Professor of Cultural Studies at the University of Sussex. His books include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (2017) and The Great Indoors: At Home in the Modern British House (2014). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In postwar Britain, journalists and politicians predicted that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved hopelessly wrong. Ben Highmore's Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023) charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, while sociologists claimed that an entire population was suffering from 'status anxiety', but underneath it all, a new order was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous pine kitchen tables. More than just a world of symbolic goods, this was an intimate environment alive with new feelings and attitudes. Ben Highmore is Professor of Cultural Studies at the University of Sussex. His books include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (2017) and The Great Indoors: At Home in the Modern British House (2014). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In postwar Britain, journalists and politicians predicted that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved hopelessly wrong. Ben Highmore's Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023) charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, while sociologists claimed that an entire population was suffering from 'status anxiety', but underneath it all, a new order was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous pine kitchen tables. More than just a world of symbolic goods, this was an intimate environment alive with new feelings and attitudes. Ben Highmore is Professor of Cultural Studies at the University of Sussex. His books include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (2017) and The Great Indoors: At Home in the Modern British House (2014). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

In postwar Britain, journalists and politicians predicted that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved hopelessly wrong. Ben Highmore's Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023) charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, while sociologists claimed that an entire population was suffering from 'status anxiety', but underneath it all, a new order was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous pine kitchen tables. More than just a world of symbolic goods, this was an intimate environment alive with new feelings and attitudes. Ben Highmore is Professor of Cultural Studies at the University of Sussex. His books include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (2017) and The Great Indoors: At Home in the Modern British House (2014). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In postwar Britain, journalists and politicians predicted that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved hopelessly wrong. Ben Highmore's Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023) charts how class culture, rather than being destroyed by mass consumption, was remade from flat-pack furniture, Mediterranean cuisine and lifestyle magazines. Novelists, cartoonists and playwrights satirised the tastes of the emerging middle classes, while sociologists claimed that an entire population was suffering from 'status anxiety', but underneath it all, a new order was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous pine kitchen tables. More than just a world of symbolic goods, this was an intimate environment alive with new feelings and attitudes. Ben Highmore is Professor of Cultural Studies at the University of Sussex. His books include The Art of Brutalism: Rescuing Hope from Catastrophe in 1950s Britain (2017) and The Great Indoors: At Home in the Modern British House (2014). Morteza Hajizadeh is a Ph.D. graduate in English from the University of Auckland in New Zealand. His research interests are Cultural Studies; Critical Theory; Environmental History; Medieval (Intellectual) History; Gothic Studies; 18th and 19th Century British Literature. YouTube channel. Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

After the Covid pandemic, we've all had enough of statistics! But sometimes they can reveal amazing surprises about things we take for granted. Today Gavin Matthews learns more about the fascinating "Talking Jesus" report, which tells us so much about the nuances of faith in the UK and the untapped opportunities for sharing Jesus today. Find out more about the Talking Jesus research here and watch a summary on YouTube here. The Talking Jesus course for churches is here.Dr Rachel Jordan-Wolf is passionate about sharing the gospel of Jesus and has worked for various churches and mission agencies in places such as London and Amsterdam. She's involved in a church plant in London and is a adjunct lecturer in mission in the UK. She holds a PhD in Church History, focussing on women in mission in early 20th Century Britain. She has been an advisor for the Church of England on mission. Rachel is the Executive Director of Hope Together - a ministry which works with local churches to share the gospel of Jesus. She also loves chocolate!

Not long after I released my book, Nudism in a Cold Climate: The Visual Culture of Naturists in Mid-20th-Century Britain, a review feature appeared in the French newspaper, La Libération. Wittily subtitled ‘Tout Nus Mais Pas Bronzés' [‘Everybody is Nude, but Nobody is Tanned'], the 2022 article was accompanied by a monochrome 1948 photograph from the book, showing pale, white-skinned diners in a nudist club restaurant in the south of England.

A former bricklayer, Luke cut his teeth as lay pioneer minister in Luton serving communities affected by homelessness, violence and addiction. Luke is part-time priest-in-charge of the diverse parish of St Andrew in Luton and is studying for a doctorate in practical theology at the University of Roehampton, researching mission pneumatologies in the Church of England. Luke's teaching passions include mission, liberation theologies, and practical skills for social justice engagement. He is currently helping to develop an international network of scholars and activists engaging with theologies of labour and class struggle in partnership with the Wendland-Cook Program in Religion and Justice at Vanderbilt University Divinity School. Influenced by the radical Anglo-Catholic tradition, Luke's faith and ministry are shaped by a weaving of sacraments and social justice. A tertiary Franciscan, Luke loves to be outside cycling, kayaking, or walking with his family smiling at the birds and the trees. Confounding the Mighty: Stories of Church, Social Class and Solidarity Paperback – 28 Aug. 2023 It is long past time for the church to talk seriously about social class. Bringing together the stories of eight contemporary Christian ministers and theologians from working-class backgrounds, and putting their own life experiences into conversation with theological reflection, Confounding the Mighty explores what role class plays in the life of Churches, education establishments and social justice movements in 21st Century Britain and beyond. Written from a diverse variety of social locations, chapters explore how class relates to faith, Church, ethnicity, gender, sexuality, education, leadership, work and wider social justice issues. While lamenting injustice and personal experiences of oppression, this book suggests radical changes in how Christians, churches and theologians relate to class issues, pointing towards renewed structures and practices to bring class justice in churches and wider society. Recognizing that class is a thorny issue, the book seeks to bring a progressive theological perspective on class which pays close attention to related issues and promotes liberation for all.

More peeping Toms! Err..Peeping Godfreys in windows! While Watson is off on honeymoon, Sherlock takes up the biographer pen to show off his storytelling skills. Early 20th Century Britain is a mad world! 0:00 - intro 0:56 - Dramatic Reading of The Adventure Of The Blanched Soldier Pt. 1 29:17 - A (not so) brief discussion The Case-Book Of Sherlock Holmes by Sir Arthur Conan Doyle (1927) https://www.gutenberg.org/cache/epub/69700/pg69700-images.html#chap02 This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Credit to https://www.FesliyanStudios.com for the background music. Credit to https://www.soundjay.com/ for the sound effects Podcast Photo P/C: https://www.pexels.com/@luan-oosthuizen-823430/collections/

Arun Kundnani outlines the limits of liberal anti-racism and explains why we need a radical and materialist analysis of capitalism to understand racism. Arun Kundnani has been active in antiracist movements in Britain and the United States for three decades. He is a former editor of the journal Race & Class and was a scholar-in-residence at the Schomburg Center for Research in Black Culture at the New York Public Library. He is the author of a number of books including, The End of Tolerance: Racism in 21st Century Britain, The Muslims Are Coming! Islamophobia, Extremism, and the Domestic War on Terror and most recently What Is Antiracism? And Why It Means Anticapitalism which published with Verso Books last month. SUPPORT: www.buymeacoffee.com/redmedicineSoundtrack by Mark Pilkingtonwww.redmedicine.xyz 

How did the rise of consumerism impact Britain? In Lifestyle Revolution: How Taste Changed Class in Late 20th-Century Britain (Manchester UP, 2023), Ben Highmore, a Professor of Cultural Studies in the School of Media, Arts and Humanities at the University of Sussex, explores this question by telling the story of key British institutions and cultural habits. The book uses a wealth of different sources, including newspapers, lifestyle magazines, shopping catalogues, plays, books, and television programmes, as well as architecture and design, in order to think through key forms of social identity and the structures of feeling underpinning social change. The book is a rich, deep, and fascinating examination of how taste patterns and practices made modern Britain, and how modern Britain made tastes. It will be essential reading across the arts humanities and social sciences, as well as for anyone interested in understanding the recent history of culture in the UK. Dave O'Brien is Professor of Cultural and Creative Industries, at the University of Sheffield. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

just the sketch stuff from the start of the latest ep

Can you eat like a hunter-gatherer in 21st Century Britain? Dan Saladino meets a group of people doing exactly that to see how their bodies change during the three-month experiment. Produced and presented by Dan Saladino.

Join us at the table for this latest episode, where we will be discussing the relevance of the British monarchy. This week will see the coronation of King Charles… and as one of the oldest and most prominent monarchies in the world, the British monarchy has had a significant impact on the country's history and culture. However, in recent years, there has been a growing debate about whether the monarchy is still relevant in today's society. In this episode, we will explore the pros and cons of the monarchy and examine its current status. We will then delve into the pros and cons of having a monarchy, such as the benefits of having a figurehead for national unity and tourism, as well as the criticisms of the monarchy, such as the cost to taxpayers and the potential for abuse of power. Next, we will explore the arguments for and against abolishing the monarchy. We will look at the reasons why some people believe the monarchy is no longer relevant and should be replaced with a republic, while others argue that the monarchy is a vital part of British culture and identity. Whether you are a staunch monarchist or a republican, it is clear that the debate about the monarchy's relevance will continue for many years to come. If you have any thoughts or opinions on this topic, we would love to hear from you. Find me on social media @iamcraigstorey If you'd like to show your support for my work you can buymeacoffee.com/craigstorey

Find out about interest in twentieth-century Christian spiritual healing—what did that mean for the Church of England and the Church of Christ, Scientist?

Anna Keay is a historian who specializes in the cultural heritage of Great Britain. As the director of the Landmark Trust, she has overseen the restoration of numerous historical buildings and monuments, while also serving as a prolific author and commentator on the country's architectural and artistic traditions. Her book, The Restless Republic: Britain Without a Crown, was one of Tyler's top picks for 2022. Tyler sat down with Anna to discuss the most plausible scenario where England could've remained a republic in the 17th century, what Robert Boyle learned from Sir William Petty, why some monarchs build palaces and others don't, how renting from the Landmark Trust compares to Airbnb, how her job changes her views on wealth taxes, why neighborhood architecture has declined, how she'd handle the UK's housing shortage, why giving back the Koh-i-Noor would cause more problems than it solves, why British houses have so little storage, the hardest part about living in an 800-year-old house, her favorite John Fowles book, why we should do more to preserve the Scottish Enlightenment, and more. Read a full transcript enhanced with helpful links, or watch the full video.  Recorded February 23rd, 2023 Other ways to connect Follow us on Twitter and Instagram Follow Tyler on Twitter Follow Anna on Twitter Email us: cowenconvos@mercatus.gmu.edu Learn more about Conversations with Tyler and other Mercatus Center podcasts here.

Welcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Humans are not prepared to operate outside their moral training distribution, published by Prometheus on April 10, 2023 on LessWrong. When people think about how to treat an AI, they probably normally default to the evil AI, that frowns on humans and desires to enslave them out of hate, or the nice android-type AI. A lot of writing in AI Safety has focused on debunking the Evil Skynet-Type AI, and not as much on the Nice Android-Type AI. In the film “AI: Artificial Intelligence” (because, back then, general audiences actually didn't know what AI stood for), the AIs are of a very convenient kind. They are human-like androids, with physical bodies, and overall exhibit various human characteristics. It is designed in such a way to be very obvious and easy for its early 2000s audience to understand that it is wrong for the humans to enslave and mistreat them. People simply have to look at the androids and notice that their treatment falls into moral atrocities they've seen before: they're aware of how humans have treated marginalized groups of other humans before, have the perception that this is bad, and can easily apply the same rationale to the androids. Similarly, in the film District 9, aliens land on Earth, but are placed in a situation that conveniently makes their treatment look identical to the treatment of blacks in South Africa during apartheid. Someone might see these sorts of situations in fiction, and think that they have an open mind that proactively sees moral dilemmas of the future, but they are wrong. All they are doing is taking their own normal moral training distribution and swapping in androids/aliens/etc. It's easy to do, because it's already been intentionally made to conveniently fit into situations that many humans already view to be bad. No change in mentality required. Contrast this with Ender's Game (Spoilers). Ender executes a series of tactics in what he believes to be a simulation. He's played this kind of game before. It feels normal to him. But what he doesn't know while playing is that it isn't a simulation at all, but an actual extermination of an entire alien race. It didn't feel consequential to him. It didn't feel like the way you might imagine committing an atrocity would feel. Some will think that's not fair to say, because Ender was tricked, but I think that's missing the point. Reality doesn't grant you massively consequential, and potentially horrific, actions that feel consequential and horrific. Imagine those in 18th Century Britain, who bought sugar for their tea, despite it coming from plantation fields that killed tens of thousands of enslaved Africans. Most today would likely insist they would have refused to do such a thing if they had been alive back then. But we're looking at their actions, the consequences, and can easily draw a line between the two. We're not living in their bodies, where the tea and sugar will look so real, and the slavery on sugar plantations will look so vague and unreal. I imagine there might have been some sort of subconscious perception that they had which stated that highly consequential actions (good or bad) should feel consequential. That it should feel like a cruel man, brandishing a whip, looking down at the thousands of slaves living in torment. That it should not feel like putting a cube of sugar in your tea. We're at a point where it's going to become less and less certain in determining the consciousness or sentience of an AI. Imagine if we develop an LLM that is sentient. Would shutting it down and wiping the memory feel like murder? What if it's not the LLM itself that's conscious, but the instances that are conscious. Then you might be creating a consciousness every time you start a session, and ending it every time you terminate the session, happening millions of times all over the...

Link to original articleWelcome to The Nonlinear Library, where we use Text-to-Speech software to convert the best writing from the Rationalist and EA communities into audio. This is: Humans are not prepared to operate outside their moral training distribution, published by Prometheus on April 10, 2023 on LessWrong. When people think about how to treat an AI, they probably normally default to the evil AI, that frowns on humans and desires to enslave them out of hate, or the nice android-type AI. A lot of writing in AI Safety has focused on debunking the Evil Skynet-Type AI, and not as much on the Nice Android-Type AI. In the film “AI: Artificial Intelligence” (because, back then, general audiences actually didn't know what AI stood for), the AIs are of a very convenient kind. They are human-like androids, with physical bodies, and overall exhibit various human characteristics. It is designed in such a way to be very obvious and easy for its early 2000s audience to understand that it is wrong for the humans to enslave and mistreat them. People simply have to look at the androids and notice that their treatment falls into moral atrocities they've seen before: they're aware of how humans have treated marginalized groups of other humans before, have the perception that this is bad, and can easily apply the same rationale to the androids. Similarly, in the film District 9, aliens land on Earth, but are placed in a situation that conveniently makes their treatment look identical to the treatment of blacks in South Africa during apartheid. Someone might see these sorts of situations in fiction, and think that they have an open mind that proactively sees moral dilemmas of the future, but they are wrong. All they are doing is taking their own normal moral training distribution and swapping in androids/aliens/etc. It's easy to do, because it's already been intentionally made to conveniently fit into situations that many humans already view to be bad. No change in mentality required. Contrast this with Ender's Game (Spoilers). Ender executes a series of tactics in what he believes to be a simulation. He's played this kind of game before. It feels normal to him. But what he doesn't know while playing is that it isn't a simulation at all, but an actual extermination of an entire alien race. It didn't feel consequential to him. It didn't feel like the way you might imagine committing an atrocity would feel. Some will think that's not fair to say, because Ender was tricked, but I think that's missing the point. Reality doesn't grant you massively consequential, and potentially horrific, actions that feel consequential and horrific. Imagine those in 18th Century Britain, who bought sugar for their tea, despite it coming from plantation fields that killed tens of thousands of enslaved Africans. Most today would likely insist they would have refused to do such a thing if they had been alive back then. But we're looking at their actions, the consequences, and can easily draw a line between the two. We're not living in their bodies, where the tea and sugar will look so real, and the slavery on sugar plantations will look so vague and unreal. I imagine there might have been some sort of subconscious perception that they had which stated that highly consequential actions (good or bad) should feel consequential. That it should feel like a cruel man, brandishing a whip, looking down at the thousands of slaves living in torment. That it should not feel like putting a cube of sugar in your tea. We're at a point where it's going to become less and less certain in determining the consciousness or sentience of an AI. Imagine if we develop an LLM that is sentient. Would shutting it down and wiping the memory feel like murder? What if it's not the LLM itself that's conscious, but the instances that are conscious. Then you might be creating a consciousness every time you start a session, and ending it every time you terminate the session, happening millions of times all over the...

The Westminster Confession of Faith is a formalised theological statement of Reformed Christianity. It declares what was accepted by the Presbyterians, the Reformed Anglicans, and the Congregationalists of 17th Century Britain. Such confessions are very useful declarations of faith, and very useful teaching tools. Indeed, upon ordination, those that subscribe fully to such a confession, are to subscribe to it as a confession of their own faith. But, on a less formal level, the confession of faith, and the experience of faith are two intertwined truths of every born-again believer- --1. The Word Preached--2. The Word Confessed--3. The Word Believed--4. The Word Promised

How a conversation between Jesus and a secret follower can inspire us to be confident believers in God. A sermon by Canon David Hodgson, Rector of All Saints Wokingham, based on St John's Gospel Chapter 3.

El 29 de septiembre de 1829, Londres fue testigo de una novedad no vista antes en sus calles: secciones de hombres con uniformes azul oscuro desfilando por varias de sus manzanas. Se trataba del primer día de operaciones de la llamada “Policía Metropolitana”, cuya función sería la de evitar delitos y velar por la seguridad de los habitantes de la metrópolis. Había nacido la primera Policía Preventiva de la Historia. La mente detrás de su creación fue Sir Robert Peel, Ministro del Interior en ese entonces, y cuyo nombre serviría de base para el apodo con que se conocería desde muy pronto al personal de la institución: “Bobbies” o “Peelers”. Tal medida obedeció a la preocupación del ministro por los altos índices de delincuencia en una urbe que, fruto de la Revolución Industrial, sumaba más de un millón de habitantes y continuaba creciendo a gran rapidez. Bienvenidos historiadores, a una entrega de Historia Oscura, donde hablaremos sobre los primeros años de la policía londinense, un cuerpo que actualmente forma parte indisoluble del paisaje urbano inglés, pero que tuvo unos orígenes algo difíciles. En este video hablaremos sobre cómo fueron las vivencias de los primeros “Bobbies”, qué problemas enfrentaron y cómo fue a grandes rasgos, la recepción que tuvo la población urbana hacia ellos. Sin nada más que añadir, comencemos. Guion: Bruno de Gante Narración: Ricardo Rodríguez Fuentes consultadas Byam M. (1995). Biblioteca Visual Altea. Armas y Armaduras. Madrid: Santillana: Altea. Czerni V. (2017). Peelers. Alias: “The Blue Devils”, “The Raw Lobsters”, “The Bludgeon Men”. Ragged Victorians. https://raggedvictorians.co.uk/gallery/Peelers%20by%20Val%20Czerny.pdf Emsley, C. (1991). The English Police. A Political and Social History. Second Edition. Londres: Routledge/ Taylor & Francis. Historia y Vida (9 de enero de 2018). 10 datos curiosos sobre Scotland Yard. La Vanguardia. https://www.lavanguardia.com/historiayvida/historia-contemporanea/20180105/47313092969/10-datos-curiosos-sobre-scotland-yard.html Miller W.R. (1977). Cops and Bobbies. Police Authority in New York and London, 1830-1870. Chicago: University Chicago Press. Wilkes, J. (1984) The London Police in the Nineteenth Century. Cambridge: Cambridge University Press/Lerner Publications Company. Kocak D. (2018). “The Historical Origins of Community Policing in 19th Century Britain and Imperial Japan”. en Rethinking Community Policing in International Police Reform. Examples from Asia (pp. 17-22). London: Ubiquity Press. --- Send in a voice message: https://podcasters.spotify.com/pod/show/hc-historia-contemporanea/message

For the first time on the podcast, it's a publication that's still banned in Ireland! According to Register of Prohibited Publications, Health and Efficiency is ‘unwholesome literature'. Naturally, we want to know precisely how this magazine is corrupting and degrading its readers. With Prof Annebella Pollen.Here's today's 'blacklist'Annebella Pollen, Nudism in a Cold Climate: the Visual Culture of Naturists in Mid-20th Century Britain (2021) Annebella's article in Health and Efficiency Throughout the thirties in Britain, when Nudism was becoming more acceptable and even fashionable, there was a boom in nudist magazines and Health and Efficiency was one of the most popular. Annebella Pollen This magazine was being sold to people who were enjoying looking at other people's bodies rather than rejoicing in the perfection of their own. Aoife Bhreatnach You've given me an ambition to go to the British Library and sit in the naughty section. Aoife Bhreatnach In Health and Efficiency magazine and other kind of naturist publications from the 1920s through to about 1970, they had really restrictive laws in Britain about what body parts could be shown and how. Annebella Pollen Fancy supporting the show? Do so here https://www.patreon.com/censoredpod Or buy stickers here: https://censoredpod.bigcartel.com/ Hosted on Acast. See acast.com/privacy for more information.

Grab your cuppa and put on your slippers......It's Story Time!Theological confusion abounds amid social and political upheaval in 17th-Century Britain. Persecution, the rise and fall of kings, a maverick minister's shenanigans and long journeys combine to lead a group of churches to confess a common faith in the face of adversity. How will they fare? What will be the outcome? Will they remain faithful to the God of the Scriptures?Doc Renihan sits down with Jonny and John-Mark and tells them a story of confessional adventure and intrigue.Contact Broken Wharfe Tweet us @Brokenwharfe Find us on Facebook at BrokenWharfe Follow us on Instagram at BrokenWharfe Email us at info@brokenwharfe.com Thanks for listening!

It is striking, Victorian shadow minister Dr Matt Bach MP notes, how similar the criminal justice remedies of 200 years ago are to today's policies and processes. To that end: has Australia learned from history? On this episode of The Lawyers Weekly Show, host Jerome Doraisamy speaks with Victorian shadow minister for transport infrastructure, child protection and youth justice Dr Matthew Bach MP about his thoughts on the criminal justice system, and specifically youth justice, in the context of needed law reform — both in Victoria and across Australia. Dr Bach reflects on his career and journey in politics, his PhD in 19th century British history, the similarities between criminal justice approaches of that age and today's world, lessons to be drawn from such similarities, what might need to change in today's landscape (particularly against the backdrop of the post-pandemic world), how lawyers can contribute to such processes, and what the Victorian Liberals will do on these fronts if elected later this year. If you like this episode, show your support by rating us or leaving a review on Apple Podcasts (The Lawyers Weekly Show) and by following Lawyers Weekly on social media: Facebook, Twitter and LinkedIn. If you have any questions about what you heard today, any topics of interest you have in mind, or if you'd like to lend your voice to the show, email editor@lawyersweekly.com.au for more insights!

In Episode 24, we hear Evan's interview with Annebella Pollen, the author of Nudism in a Cold Climate. She'll talk about The Visual Culture of Naturists in Mid-20th Century Britain. Plus Evan and I catch up about our summer nudie activities, and we talk about the Christopher Meloni Peloton ad. SHOW LINKS Nudism in a Cold Climate (publisher site): https://atelier-editions.com/products/nudism-in-a-cold-climate Nudism in a Cold Climate (Strand Books): https://www.strandbooks.com/product/9781733622066?title=nudism_in_a_cold_climate_the_visual_culture_of_naturists_in_mid20th_century_britain Annebella Pollen University of Brighton university profile: https://research.brighton.ac.uk/en/persons/annebella-pollen You can reach me at NewNudistPodcast@gmail.com Check out Evan's podcast, Naked Age here: https://www.nakedage.co/ You can make a scholarship donation to Kids Kamp 2023 here: https://gofund.me/118e890e Music Credits Song: NPC Theme Artist: HoliznaCC0 Source: https://freemusicarchive.org/music/holiznacc0/chiptunes/npc-theme/ License: Creative Commons Universal 1.0 International License Song: Galvanize Artist: Viscid Source: https://freemusicarchive.org/music/viscid/unix-time/galvanize/ License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License Song: Amoeba Artist: Anemoia Source: https://freemusicarchive.org/music/anemoia/mismatch/amoeba/ License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License Song: Advertisements Artist: HoliznaCC0 Source: https://freemusicarchive.org/music/holiznacc0/only-in-the-milky-way-part-2/advertisements/ License: Creative Commons Universal 1.0 International License Song: Quiet Houses Artist: HoliznaCC0 Source: https://freemusicarchive.org/music/holiznacc0/only-in-the-milky-way-part-3/quiet-houses/ License: Creative Commons Universal 1.0 International License Song: Cyclical Artist: Anemoia Source: https://freemusicarchive.org/music/anemoia/mismatch/cyclical/ License: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License --- Send in a voice message: https://anchor.fm/newnudistpodcast/message

This is a catch-up version of James O'Brien's live, daily show on LBC Radio; to join the conversation call: 0345 60 60 97

For generations of Brits the image of the Maltese was a contested one. By the 1980s Malta had emerged as a leading tourist destination and millions of Brits flocked to an island they associated with an heroic seige during the Second World War which led to the bestowal of the George Cross to all is people. But, there was a dark side too. The Maltese in London were commonly refered to as criminals who ran a variety of illcit trades in Soho. Where did that image come from? What effect did it have on the majority of Maltese residents who had nothing to do with crime, prostituion, strip-clubs, and porn? The roots of the image go back to the 1920s and, f or our presenter, it led to a startling revelation when he went to his girlfriend's home to meet the parents!

After recently discovering the secret of her local meadow, which hides the ruins of World War Two, Rebecca Stott reflects on how we rebuild lives and landscapes, from 6th Century Britain to post-war Berlin to Beirut. She reflects on the damage currently being inflicted on Ukraine, and highlights recent discussions held by the Mayor of Kharkiv to plan the rebuilding of his city. 'It struck me as remarkable that despite the war, despite seeing his city in ruins... the mayor had the capacity to start thinking about the future.' Producer: Adele Armstrong Sound: Peter Bosher Production Coordinator: Gemma Ashman Editor: Richard Fenton-Smith.

Established artists have found mokuhanga to be an asset to their practice. It is a medium which can be very different to what an artist may currently be focused on. It builds patience, and helps creativity.  Timothy Laurin is an established artist, who has worked in several artistic mediums, such as letterpress, screen printing, glass, intaglio, and mixed media. Tim discovered mokuhanga a few years ago and has decided to pursue the art form. On this episode of The Unfinished Print I speak with artist Timothy Laurin about his discovery of mokuhanga, the rituals of process, memory and contemporary society. We also speak on the matrix of mokuhanga, gallery relationships, and how ones own environment can affect what an artist produces.  Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Tim Laurin - Print Collective, Octopus Studio Press,  Instagram , Twitter Georgian Bay - is a large bay off of Lake Huron in Southern, Ontario, Canada. It is known for cottages, fishing, hunting, and beautiful sunsets. It is a part of the Canadian Shield, and was painted by such artists as Tom Thompson (1877-1917). It is about two hours drive from Toronto.  Barrie, Ontario - is a city with a population of 145,000. It was originally populated by the Anishinaabeg People and the Wendant. It was then populated by white settlers in 1828. intaglio printmaking - is a style of printmaking, the opposite of relief printmaking, where scratches made with a burin are made on the plate (copper, zinc, aluminum) and then dipped in acid. Then ink and pigment is rubbed on with a brayer, brushes, etc. More info can be found, here.   washi - is a type of naturally fibrous Japanese paper made for many different types of artistic pursuits. Mokuhanga printmakers use washi, sized and unsized, to produce their woodblock prints. More info from the Japanese Paper Place, can be found, here.  birch plywood - is a hardwood used in various ways, such as furniture building, homes, and woodblock. There are white birch, black birch, and white birch. It can be purchased, as well as other woods, in thin veneer and pasted onto regular plywood, or purchased as birch plywood in many hardware stores.  John Milton Cage Jr. - (1912-1922) was a composer and music theorist who was influenced by Zen Buddhism and Indian philosophy. One of his beliefs was to "free the creative gesture from all intentional subjectivity." Life is chance. More info can be found, here.  representational art - is art which identifies something which exists in real life. Métis - is in reference to a group of Indigenous peoples from Canada. Recognized in 1982 by the Constitutional Act of Canada. Emerging in the Northwest of Canada during the late 18th century, they are the offspring of Indigenous women and European fur traders.  The homeland of the Métis is considered as, Saskatchewan, Alberta, Ontario, British Columbia, the Northwest Territories and parts of the Northern United States. More info can be found, here.  kitakata - is a specific type of washi made of Philippine gampi, and sulphite pulp. For bookbinding, and mokuhanga and other types of printmaking.  More info, here.  William Morris - (1834-1896) was a textile maker, poet and artist. He produced over fifty patterns of wallpaper based on the movement of nature. More info from the Victoria & Albert Museum, here.   Arts and Crafts Movement - was an artistic movement as a opposition to the industrial world. the movement originally began in mid-19th Century Britain, moving across Europe and the Atlantic to the America's. More info can be found, here.  Sheridan College - is a college located on three campuses, Brampton, Mississauga, and Oakville in Ontario. It is a practical college with various programs such as business, special effects, television, film, etc. More info can be found, here.  The Japanese Paper Place - is a Japanese paper brick and mortar store located in West Toronto. The Unfinished Print interview with owner Nancy Jacobi, can be found, here. The JPP's website can be found, here.  Early Canadian History - is fraught with colonialism and displacement. There is not enough space to speak on the subject but more information can be found, here through the lens of Indigenous history.  Ojibwe - historically from the Great Lakes Region of Canada and the United States, the Ojibwe fished, and hunted as well as harvested wild rice and participated in the fur trade. More info can be found, here.  The Group of Seven - were a group of landscape painters from Canada. The artists were, Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A.Y. Jackson  1882–1974), Frank Johnston (1888–1949), Arthur Lismer  (1885–1969), J.E.H MacDonald (1873–1932), and Frederick Varley (1881–1969). Later, A.J. Casson (1898–1992) was invited to join in 1926, Edwin Holdgate (1892–1977) became a member in 1930, and LeMoine FitzGerald (1890–1956) joined in 1932. While Tom Thomspon (1877–1917), and Emily Carr (1871–1945) were not "official" members it is generally accepted that they were a part of the group without being "officially" a part of the group because of the group relationship with the artists. More info can be found, here.  The Canadian Shield - is exposed rock located throughout North America, Mexico and Greenland.  Robert Motherwell - (1915-1991) was an artist who worked in printmaking and painting. He was a contemporary of Jackson Pollock (1912-1956), and Willen de Kooning (1904-1997). More info can be found, here.  Flextools - is a tool brand founded in 1986. The tools are for woodworking, woodcut, and other wood related carving. More information can be found, here.  Daniel Smith Pigments - is a company which makes various types of paints, pigments, and mediums. It was started by Dan Smith in 1976. More info can be found, here.  Winsor & Newton - is a British artist supply company, started in 1832,  which sells artist materials such as pigments, brushes, paper, etc. More info can be found, here.  Holbein - is a pigment company based in Japan, Canada, and the United States. Their pigments are lush and strong. More info, here. Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com opening and closing credit music - We Three by Cory Weeds, from the album Just Coolin' (2022) © Cellar Live © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

In this this episode of Conjuncture, Jordan T. Camp speaks with public intellectual Arun Kundnani about racial capitalism, counterinsurgency, Islamophobia, surveillance, and national security policies in the United States and the United Kingdom. Conjuncture is a monthly web series and podcast curated and co-produced by Jordan T. Camp and Christina Heatherton for the Trinity Social Justice Initiative. It features interviews with activists, artists, scholars, and public intellectuals. Taking its title from Antonio Gramsci and Stuart Hall's conceptualization, it highlights intellectual work engaged in struggles over the meaning and memory of particular historical moments. Amidst a global crisis of hegemony, this web series curates conversations about the burning questions of the conjuncture. Arun Kundnani is an Associate of the Transnational Institute in Amsterdam and a public intellectual. He is the author of The Muslims are Coming! Islamophobia, Extremism, and the Domestic War on Terror (2014), The End of Tolerance: Racism in 21st Century Britain (2007), and is currently completing a new book, Resistance is Not Enough: Radical Anti-Racism in a Neoliberal Age. Jordan T. Camp is an Assistant Professor of American Studies and Co-Director of the Social Justice Initiative at Trinity College.

In a week where: Dame Cressida Dick resigns as Metropolitan Police Commissioner. Russia & US evacuate diplomats from Ukraine. LA Rams win SuperBowl 56. Russian ice dancer Kamila Valieva is cleared to continue competing after failing a drug test. Andrew & Virginia Giuffre reach a settlement over sexual abuse claims. In Film/TV: (8:38) "Bel-Air", the dramatic reboot of the comedy classic "The Fresh Prince of Bel-Air" has come through after originating as a viral short. Is "Bel-Air" the future of the TV reboot?In Society: (21:26) The concept of free speech is still something that is hard to grasp at times, but like most things, you can learn from history. So let's take a trip to 17th Century Britain.In Race & Society: (31:39) The term "decolonisation" is one of those buzzwords that people love blowing up about without actually looking into it.  But was it ever part of the "culture war"?Lastly, in Music: (49:56) We've heard it before, "you look like a person that listens to...". We always see our tastes in music as an extension of ourselves. But some say your music tastes actually say nothing about you.Thank you for listening! If you want to contribute to the show, whether it be sending me questions or voicing your opinion in any way, peep the contact links below and I'll respond accordingly. Let me know "What's Good?"Rate & ReviewE-Mail: the5thelelmentpub@gmail.comTwitter & IG: @5thElement_UK5E Community DiscordWebsite: www.the5thelement.org.uk/5epnIntro Music - "Too Much" By VanillaInterlude - "Charismatic" By NappyHighChillHop MusicOther Podcasts Under The 5EPN:Diggin' In The Digits5EPN RadioBlack Women Watch...In Search of SauceThe Beauty Of Independence

Melvyn Bragg and guests discuss the momentum behind teetotalism in 19th Century Britain, when calls for moderation gave way to complete abstinence in pursuit of a better life. Although arguments for temperance had been made throughout the British Isles beforehand, the story of the organised movement in Britain is often said to have started in 1832 in Preston, when Joseph Livesey and seven others gave a pledge to abstain. The movement grew quickly, with Temperance Halls appearing as new social centres in towns in place of pubs, and political parties being drawn into taking sides either to support abstinence or impose it or reject it. The image above, which appeared in The Teetotal Progressionist in 1852, is an example of the way in which images contained many points of temperance teaching, and is © Copyright Livesey Collection at the University of Central Lancashire. With Annemarie McAllister Senior Research Fellow in History at the University of Central Lancashire James Kneale Associate Professor in Geography at University College London And David Beckingham Associate Professor in Cultural and Historical Geography at the University of Nottingham Producer: Simon Tillotson

Melvyn Bragg and guests discuss the momentum behind teetotalism in 19th Century Britain, when calls for moderation gave way to complete abstinence in pursuit of a better life. Although arguments for temperance had been made throughout the British Isles beforehand, the story of the organised movement in Britain is often said to have started in 1832 in Preston, when Joseph Livesey and seven others gave a pledge to abstain. The movement grew quickly, with Temperance Halls appearing as new social centres in towns in place of pubs, and political parties being drawn into taking sides either to support abstinence or impose it or reject it. The image above, which appeared in The Teetotal Progressionist in 1852, is an example of the way in which images contained many points of temperance teaching, and is © Copyright Livesey Collection at the University of Central Lancashire. With Annemarie McAllister Senior Research Fellow in History at the University of Central Lancashire James Kneale Associate Professor in Geography at University College London And David Beckingham Associate Professor in Cultural and Historical Geography at the University of Nottingham Producer: Simon Tillotson

The REP looks back at rugby's beginning amongst the aristocracy in 19th Century Britain; following the story from William Webb-Ellis to the great split and the birth of Rugby League. The Skip Pass segment takes a look at the birth of the weekend and its role in growing rubgy amongst the new middle classes.

I explain how the freak show became a popular form of entertainment during the Victorian Era, and discuss ways in which the freak show can be seen as problematic from a modern-day perspective. ***************** Email: thevictorianvarietyshow@gmail.com Twitter: https://twitter.com/victorianvarie1 Buy Me a Coffee: https://www.buymeacoffee.com/marisadf13 I'd also really appreciate it if you could take a moment to rate and review this podcast on Apple Podcasts, as that will help this podcast reach more listeners! ****************** References Cameron, Stuart. “19th Century Britain and the Rise of the ‘Freak Show' Industry.” http://www.historyisnowmagazine.com/blog/2019/5/6/19th-century-britain-and-the-rise-of-the-freak-show-industry#.YTPCdy33b4A= Cleall, Esme. “Missing Links: The Victorian Freak Show.” https://www.historytoday.com/archive/feature/missing-links-victorian-freak-show Dimensions. “The history of the Freak Show and the legendary freaks who promoted the popular attractions.” https://www.altereddimensions.net/2014/history-freak-show Durbach, Nadja. “On the Emergence of the Freak Show in Britain.” https://www.branchcollective.org/?ps_articles=art_emergence_of_the_freak Fox, Essie. “The Victorians Loved a Freak Show…” https://virtualvictorian.blogspot.com/2010/07/victorians-did-love-good-freak-show.html “Freak Show.” https://en.wikipedia.org/wiki/Freak_show Haverton, Patricia. “The Controversial Victorian Freak Shows.” https://cobaltfairy.com/controversial-victorian-freak-shows/ “Joseph Merrick.” https://en.wikipedia.org/wiki/Joseph_Merrick Rosehill, Harry. “The Freak Show Empire Across Victorian London.” https://londonist.com/london/history/the-freak-show-shops-that-once-ruled-london --- Send in a voice message: https://anchor.fm/marisa-d96/message

Hello dear friends,If you've watched the wildly-popular Netflix series Bridgerton or the wonderful film The Personal History of David Copperfield starring Dev Patel, you might have experienced and appreciated what today's podcast guest saw: People of color in a fictionalized dramatization of 18th and 19th Century Britain. But in Gretchen Gerzina's case - and unlike most of us - she knows the back stories of the real lives of Black residents of Britain in those eras. Professor Gerzina says she is drawn to “biographies and lives of those who cross boundaries of history, time, place or race” - that's on her website - and her work is all about this. In books like Black London, Black Victorians, and Britain's Black Past, Gerzina bridges all of those boundaries for us - connecting us to people across time, place, and history - and introducing us to some of the Black performers, memoirists, activists and everyday people in Britain in the 18th and 19th centuries. Professor Gerzina joined me a few weeks ago, by Zoom, for today's Austen Connection podcast, and we talked about the lives of some of these Black residents of Britain historically, how she is helping to tell the stories about their lives, and how contemporary fictionalizations of Regency England capture these stories, or not. Enjoy the podcast - and if you prefer to read, here's an excerpt from our conversation. Plain JaneSo, I have been poring through your books, and I really enjoyed Black London [among others]. And … it's just really beautiful the way that you write about what you're doing - reconstructing, repainting history. In a way, you say, to illuminate the unseen vistas of people and places that are part of British history and part of our world history. Really illuminating the stories of the people and the community of Black women and men in [the] Regency era in 18th and 19th century Britain. So would you just talk first, Professor Gerzina, about that, illuminating the unseen? In what ways has this history been erased? And in what ways are you still trying to uncover that history?Gretchen Gerzina So that book was published 25 years ago or so and it's still being read all the time. And in fact, it's available as a free download through the Dartmouth College Library. And it stays in people's minds. The reason I wrote it was that I was actually working on a very different book. And … I went into a bookshop, a very well known bookstore in London, looking for … Peter Fryer's book called Staying Power, the history of Black people in Britain - massive book. And it had just come out in paperback. So I said, “Oh, let me go buy that.” And I went into the bookshop, and I couldn't find it. And I finally went up to a clerk. And I said, “I'm looking for this new this book. It's just been released in paperback.” And she looked at me and said, “Madam, there were no Black people in Britain before the Second World War.” And I said, “Well, no, that's not true.” .. .So I got so angry. I never found the book. I mean, I went to another bookshop, and it was right there. But I got so angry that I went home and put aside the book I was working on and wrote Black London. Now, I wasn't the first to write about this. Other people have written about it. And I wanted to both consolidate some of their research, go back to their research, and really look at everything that I could find. And then try to tell the story of Black people living in England. It was supposed to be called Black London. It was called Black London here but in England it was published as Black England. And of course, the reviewers all said, “Well, this is all about London. Why are you not calling it Black London?” which was amusing. … But I wanted to make people see … that these people are walking the same streets, we're living in the same neighborhoods. And I wanted to make it a living, breathing history. Now a lot of other people are working on this now and have done for a long time. But when I first started working on it, there weren't as many. And it wasn't known. And even now, it's not so much that it's been erased, as has been forgotten. People didn't quite realize that there had been a Black British history that goes back as far as the Romans. And they're still finding, they're excavating, you know, old Roman encampments and finding Black African nobility women. And they are doing documentaries on it. I've been in a few. So it's become quite a well-known issue now. Although there's still a great sense of many British people wanting not to understand or believe that past. I wanted to make people see … that these people are walking the same streets, we're living in the same neighborhoods. And I wanted to make it a living, breathing history.Plain JaneSo I suppose, as you say, this was almost 25 years ago, that Black London came out. You've mentioned in the BBC series that you did, Britain's Black Past, you mentioned that it's a detective job … finding these stories. How have you managed to find the stories that you found? And what was it like putting that into an audio series?Gretchen GerzinaThat was wonderful. And of course, it became a book, which was published when all the new research came out last year. So I was able to update a lot of the things … I've got to say - you're in radio - these producers … who have these independent companies and do the productions for BBC, they're incredible researchers. They sometimes find people that I hadn't been able to find, because we academics think in a very different kind of way than radio and television producers, who are out there finding people. So … I knew a lot of the people and we went to some of the places - but they were able to find some people I didn't know about. And then there were incredible stories … I think I was supposed to originally spend six months doing it. And then I was about to change jobs. And I only had one month. So I think I traveled all over Britain in one month doing the entire series. I would wake up in London and get on the train to Glasgow, spend the afternoon in Glasgow, come back to London. The next day, I go to Bristol, you know, kind of went on and on like that.Plain Jane That [sounds like] a really fun part of it. Gretchen GerzinaYeah, it was very tough. … Going to some of these places to really stand in the houses or on the shore. … But it was quite an adventure, to unearth some of these stories. And to just see how, for many people, these stories still last. People still really care.Plain JaneWhat stories have fascinated you? What have [written about] so many individual stories that are wonderful to hear. But what have you found most surprising and exciting to discover?Gretchen GerzinaThere's one - maybe it's one of the ones you're gonna ask about - which is Nathaniel Wells. And I resisted using that story. But they really pushed me because I hadn't really known it before. Nathaniel Wells was the son of a slave owner. He was mixed race. So he was the son of a [enslaved woman] and a slave owner. The owner … had daughters, but no legitimate sons. … He left this money to this mixed-race son ... He sent him off to England to be educated, as many slave owners did with their mixed-race children. And he went to boarding school and he studied. And then he died when Nathaniel was only 20 or 21, when he became the heir. He spent a lot of money. He was a young guy, and he moved to Wales to Chepstow. And he used the money to buy this enormous place. He built this incredible house. He had acres upon acres of this scenic land that was so gorgeous, that it became a kind of pleasure ground. And people would come - there was an open day - and they could come and walk through the parks and all of the mountains, and it was quite something. But he made his money. His money came from the slave plantation. And in fact, his mother owned slaves, his mother, who had been herself enslaved, and I was very reluctant to tell the story of a - essentially a Black or mixed-race - slave owner living in Britain. He married a succession of wealth, to white women … and his house is a ruin now. But he became the first Black sheriff in Britain. He had this enormous wealth. He didn't die with a lot of money. But his story was one I never expected to find. The one in my heart is always Ignatius Sancho, who's now been a play and everything.Plain JaneWhy is he the one in your heart?Gretchen GerzinaWell, because he was so amusing and so serious at the same time. He was brought as an enslaved child. He managed to get away, he was taken in by the Montague family, finally, away from these “three witches,” I think people call them now, who had owned him, didn't want him to read. So they took him in, he was educated. And he became a butler in their house for many, many years. And then he was a little on the heavy side, and then finally couldn't continue to do all his work. So they gave him a pension, and some money. And he moved to London. And he … set up a shop in Westminster, right near the heart of everything of the movers and shakers of British aristocracy and politics. And people would come into his shop. He married a Black woman, which was unusual at the time. And he wrote these letters, and he knew everybody. I mean, they would come in and talk to him. Laurence Sterne. He wrote to Laurence Sterne and [said], “If you're writing Tristram Shandy, please say something about slavery in there.” And he did. He had his portrait painted by Gainsborough. And it's quite a beautiful portrait. It's unfortunately in Canada - the British realize they made a mistake and are trying to get it back. I don't think they're going to get it. … And he was just somebody that people were so fascinated with - all of his letters have been published, his son arranged that they got published after he died. And he's still considered just a huge character. I mean, he … saw the Gordon riots and wrote about them in his letters. He knew people. And he was kind of the face of 18th century Britain in some ways, even though he's a Black man. He was also the first Black man ever to vote in England.Plain JaneSo many of these people were close to influential people and so therefore having an influence. As you point out, they're the easier ones [to discover], and the people who are able to write their own lives are easier to unearth and to find. But so many of the experiences of Black residents in London during this time were below stairs or quietly or really by necessity a lot of the time having to be under the radar. ...Gretchen Gerzina It's hard because … for instance, the British census doesn't list race. When I first published Black London, some reviewers said that I should have gone to all the rent rolls and seen who was Black. But the rent rolls don't necessarily indicate race. It's really hard to find. But the same thing happens in America. … When my book Mr. And Mrs. Prince came out about 10 years ago - it was about two formerly enslaved people who lived in New England in the 18th century. It was a long time ago. And all the stories that had been written about them were written about other people, most of whom got the facts wrong. They claimed that their ancestor had freed them or things like that, that proved not to be true. I had a publisher ask me if I had a photograph of them. And I said, “There was no photography in the 18th century, you know, what do you expect?” And… in general, you don't have your portrait painted, you don't have a journal, you're too busy getting on in life … If you're literate, you don't necessarily sit down and pen your memoirs, you know. You're just trying to get going. But on the other hand, there were people like Francis Barber, who was the servant of Samuel Johnson, and became his literary executor and heir at the end. And that was much disputed. And people were not very happy about that. So those kinds of people who were educated and were lucky enough to be known [we can learn about]. I actually think that the people who are finding out the most now are people you don't expect - genealogists who are starting to trace back family histories. A lot of white genealogists in Britain, they're finding that they have Black ancestors, and they didn't realize it.Plain Jane I'm a big fan of “Finding Your Roots” with Henry Louis Gates, Jr. It seems like he ends every episode saying, “See how we're all connected? More than we thought we were?” … So yes, I hear you, that's really fascinating - that so many disciplines are sort of reevaluating and re-seeing, looking again, revisioning, all of this history. You're reminding me, when you talk about no photography from 18th century Britain, you're reminding me that not only are you and scholars like you having to honor these unseen histories, but you're actually having to re-tell stories where there's been a campaign of basically very racist imagery. You write about the constant, reinforcing sexualization of Black women from these times; but then also the pro-slavery imagery and campaigns that were put out there. Even the sentimentality. You say that there's sort of two versions that even those that were anti-slavery at the time, were sort of overly sentimentalized versions, like we think of Harriet Beecher Stowe. And, you know, doing a lot of good work, I suppose, and having an influence; but yet, we need to revision those stories as well. And you mentioned that you're just looking for the real people. They're real people in real places. So [you are] … having to, as you say, repaint these people?Gretchen GerzinaWell, I mean, just remember it's all worked very differently in America, and in Paris. And the way that it's memorialized or remembered is very, very different. There were certainly Black people in Britain from hundreds and hundreds of years. But there was not slavery on their soil in the same way that it was here. So they were able to sexualize women by looking at the Jamaican plantations and what happens there with a lot of rape and a lot of punishments. But this is the country, Britain is the countries, I should say, where Black minstrelsy was a television show until the 1970s. Blackface minstrelsy was not only on television, but it was in all the private homes. But at the same time, in the 19th century Uncle Tom's Cabin was the biggest thing going. People loved it, it really spoke to them. So there was Uncle Tom wallpaper. There [were] Topsy dolls. So you would go into a child's nursery and there could be wallpaper and dolls. So that sense that America was terrible, and “Look at us, we're so great. We abolished slavery before you did,” takes away the fact that for the most part, the British actually supported the American South in the Civil War. Because their cotton came from there that fueled their textile mills in the north of Britain. They didn't have the same kind of racism, it worked a little differently, but it certainly existed. But there were lots of people who were just living among them who were not necessarily known. They weren't necessarily in a book, and they were just sort of living their lives. And that's what I'm trying to write about now. But also I just really want to have a shout out to some people who are working on these things now. Miranda Kaufmann's book, Black Tutors, really sparked a huge response. … It became a huge bestseller in England. And there was a lot of pushback when people said there were no Black tutors. And she would show them the images of the people, and then all the documentation, and they didn't want to believe it. I belong within a group that she started, that is looking into Black people in British portraiture, and trying to identify who those people were. And so far, the list has over 300 British paintings that have Black people in them - they're most often a small boy servant or something, but not always. And they're scattered all over. They're in private homes. They're in museums. But there were lots of people who were just living among them who were not necessarily known. They weren't necessarily in a book, and they were just sort of living their lives. And that's what I'm trying to write about now.So there is a kind of visual reality to all of this, where you can see the people and you can understand a bit about their lives. And so people are going into the records trying to find out, who were these people? Were they borrowed sometimes, some painter would say, “Oh, you know, he's got a Black servant, let's put him in the picture and bring him over to a bigger house for a while.” So you know, trying to track them down is difficult. But there's just more and more evidence of this ongoing presence.Plain Jane You point out now in in your works the way these stories have been played, have been part of popular culture through the ages. And I guess our culture - various cultures - have worked out the stories, have worked out some of these things, either effectively or ineffectively, on the stage. And so that brings me to where much of your research deals with - the Regency era, which happens to be where so many contemporary cultural retellings, fan fiction, and romance is taking place. And then of course, we've got Bridgerton. So let me just start with a general question. We're talking about what people typically miss, but how are you experiencing some of these cultural inventions? Gretchen Gerzina Yeah, you know, I'm enjoying the heck out of this stuff. Just like a lot of [us].Sanditon, I can let go. It was, I felt, a travesty. It kept some of the book, but it actually just took things in a direction that I found very difficult. So, for example, in Sanditon, the Jane Austen novel - the fragment because it's incomplete - the heiress from the West Indies is Miss Lambe … She is not necessarily identifiably Black. They know she's mixed race. In the series, they made her a very dark-skinned woman to point out that she in fact was a Black woman. They wanted to make that visual sense very strong for people like “Oh, we're dealing with a Black woman here.” Whereas I think in Austen it was more subtle and probably more accurate about how somebody like her would have been seen. But Bridgerton just went over the top, and I just thought it was fabulous. Because we do know that Queen Charlotte probably had some mixed-race background. She was the wife of King George III. So she's presented as a mixed-race or dark woman … But then by just making everybody in it, you know, it was like saying, “Okay, what if we recognize that all these people were there? And assuming that they could have made their way into the aristocracy, how would this world have looked?” And I think the visual treat of it all is just really great. And we all know that that is not how Regency England looked. But we can say, “You know what? I would like to see what this looks like. If this could have been true, what would it have looked like?” And of course, it's just like a visual feast anyway. It's not just the racial stuff. It's the clothes and the sets.Plain JaneTell us more, Professor Gerzina, about Queen Charlotte. You did an entire Zoom talk event with JASNA, the Jane Austen Society of North America, about these questions, and this sort of casting and Black Britain and its history. And there were hundreds of people on the Zoom. But you talked about Queen Charlotte, and the chat room just went crazy. … So it was very, very lively. So anyway, all of that to say - tell us about Queen Charlotte?Gretchen GerzinaShe had … Portuguese family so that there were a lot of that movement between North Africa, the kind of what we would think of as North Africa today. But she probably had some ancestry through her Portuguese ancestors who might have been Black. When I was doing some research on Black people who left America and moved to Canada after the Revolutionary War, those who had become the British patriots, the Black ones, a lot of them went to Canada. So I was in Nova Scotia at a center there on Black history in the province. And I noticed they had - I think it was a picture of Queen Charlotte on the wall - and I said, “Oh, what do you think of that? Do you think she was part Black?” And he said that Princess Anne had come to visit many years before and had seen the portrait and was asked about it. And she said, “Well, everybody in the royal family knows she was Black.” So that means to me Meghan Markle wasn't the first. So there's some history there. It can't be necessarily proven, but it's pretty well seen as probably true that she had some Black ancestry, and her portraits do seem to indicate that as well. But you know, the other one I really like is David Copperfield. And what you have to do in this - the same as in fiction - is you have to create a world that you will believe. You may not like all the characters, but you have to create a vision of a world that you are saying, “Okay, I'm, I'm willing to go into this world with you.” And see and believe. It's the willing suspension of disbelief, and I'm willing to do that. Do they create a world that I can believe in Bridgerton? We know it's fantasy, and fun, with some historical elements. And yes, I'm willing to throw myself into that world.Plain JaneI was a graduate student at UCL in London, during 1994 and 1995, and everybody was reading Cultural Imperialism. I literally saw people reading it on the tube in London. And I was falling in love with someone who was an Arab-English person with the name Saidi - close to Edward Said's name. So I was as a grad student in literature and also wanting to dive into our views and our histories and how race plays into that. These conversations are still going. Edward Said even writes about Jane Austen. And he writes about Mansfield Park, and he writes - really similar to you writing at the same time - we need to investigate the unseen in these stories, tell the unseen stories, which is so much what you're doing, as well. So my question is - almost going on 25 years, are we getting any better at this? Gretchen Gerzina  Well, you know, there's more being written and more being published all the time. David Olusoga's books. And all of his television programs in England are very well known. He's quite the face of Black British history and studies now. Others have been writing about it for decades. But I think what's interesting is that there's still a kind of resistance to it, to believing it. There are several things going on. One is ... the report the National Trust put out recently, which ... hired some academics and some others to take a look at the colonial and imperial and slave connections between some of the National Trust houses. And I think they listed 93 houses in the National Trust that have some kind of connection. That wasn't to say that they were houses where there was plantation slavery or anything, but a lot of it had to do with the fact that the money that was earned either out of the slave trade, or out of imperialism, or out of colonialism. [It] funded and help build, and perpetuate those houses. A lot of the money that was earned came from, originally, from the slave trade and slavery, and all of those absentee slave owners who had plantations in the West Indies. But also, from the fact that when they, when slavery ended in the West Indies in 1807, that they decided to compensate the slave owners for the loss of the enslaved people who had lived on those plantations. The enslaved people were not compensated, while the slave owners were. And a wonderful book and study done by Nicholas Draper, about the legacy of all of this showed how all of that money that was made from that compensation - built these houses. It funded the philanthropy; huge swaths of London were built based on that money. And all around the country. So they wanted to just say, “Hey, if you're going to come to one of these houses, this is great. You can look at it, you can see it, you can appreciate the beauty of it. You can see how the generations of owners contributed to the culture and the landscape and all of that. But in fact, you should recognize that the money came from colonialism. And also from imperialism.” You know, the houses were filled with porcelain from China. They were built on land that used to be tenanted, but pushed the tenants off and made a beautiful landscape that made it look like it had always been there. And they had built these houses based on that money. When that report came out, the backlash was quite strong. People did not want to hear about this. They thought, “Why do we fund a National Trust, and it spends its money on being woke?” Plain JaneInteresting. They don't see it as factual. They don't see it as history. They see it as politics happening.Gretchen GerzinaYes, they do. And there's also some work being done now on updating the curriculum in schools. So some more of this is being learned at a younger age.Plain JaneSo when you say in 1993, and you've been doing this ever since, among many other things that you're reconstructing, you don't even just mean that figuratively. I mean, your writing takes us down the streets. And really paints a visual picture ...and I would add to that the landscapes of the houses. Also sugar and so much of the economic foundations are part of what I think Edward Said was calling the interplay. … You you paint a picture of, you know, Elizabethan England and … Regency England then as well, and then even Victorian Britain as being a very cruel and violent place. And I think that in many ways, our PBS adaptations [etc] really do [whitewash] these histories in so many ways. You also point out the cruelty, the disease. But what I want to say, besides the cruelty, the disease, and just the ignorance that was rampant in these times, that we tend to forget about - probably, thanks to our screen adaptations - it was there. You found a community of Black residents in London during these times - not just individual people who were famous; they were portrayed on the stage; they were recounted in stories; and many of them were musicians, writers, very fascinating individuals - but also a community. And that was you've talked about how difficult that was to unearth. Can you talk about how you uncovered this community and the difficulty of doing that?Gretchen Gerzina A lot of that came from people who had been researching this for quite a long time. In terms of community, there are people who've been doing tons of research since my book came out. And they have been finding people and they've been finding communities. We can't be sure how much of a community there was. But we do know that there were communities - people lived in certain places and certain areas, they were part of the fabric of the kind of working class. There were people that we call the Sons of Africa. Some people have questioned whether there were as many and met as frequently as was thought … But we do know that they were there. “Hey, if you're going to come to one of these houses, this is great. You can look at it, you can see it, you can appreciate the beauty of it. You can see how the generations of owners contributed to the culture and the landscape and all of that. But in fact, you should recognize that the money came from colonialism. And also from imperialism.” And it was interesting to just think of the fact that in all of these grand houses that had Black servants, that those servants in the households, they socialized with each other. Those servants were meeting in the kitchen. Those servants were talking. And those servants were marrying the white servants, because they were mostly Black men. And then you get a sense of just this kind of other world where if Samuel Johnson is having dinner with Sir Joshua Reynolds, or with the great actors of the period, that their Black servants are probably hanging out, talking to each other. So there was a kind of network of people, definitely, who were living [among] them. And then, of course, after the Revolutionary War in America, when so many Black people had been convinced to fight for the British in exchange for their freedom. A lot of them ended up in Britain, that had been part of the promise. And so they came over in their hundreds. Plain JaneThat's fascinating - I think that you pointed out that something like 20 percent, of the soldiers fighting on both sides in the Revolutionary War with America were Black soldiers. They came back to England. And then you also pointed out they were not allowed, they were actually banned from learning crafts, learning trades ....?Gretchen GerzinaI'm not sure that they so much were banned from learning trades; they just found it difficult to find work. And also if, if they were poor, it's not so easy to move around in England at that time. I mean, physically, it's difficult. But also, it's often difficult to find work. And if you, Heaven forbid, get sick and die, you can't necessarily be buried where you're living because you're not officially part of that parish. So it's a very different kind of system than we might [envision]. And so a lot of people who worked on the British side, and obviously on the American side, in the Revolutionary War, were not just soldiers but they were doing other things: They were guides, they were helping to lead them through different terrain; they were washing clothes, they were cooking. They were following them and giving them advice.And then they also did fight. So, yes, they worked in a variety of ways and the British said, “Hey, come on our side and we'll give you your freedom and we'll give you a pension.” And then, lo and behold, the British lost then, and they came.Plain JaneOkay. So: Dido Belle and Mansfield Park - basically thoughts on that? There's also the book The Woman of Colour and there's this experience of Francis Barber and some of the others that you've mentioned. But  … what are your thoughts on Mansfield Park and is it possible that Jane Austen knew the story of Dido Belle?Gretchen GerzinaIt's possible. I have to think about the timing of it all. So Dido Elizabeth Belle of course, has nothing to do with Mansfield Park, although her great uncle who raised her was Lord Mansfield, who made a famous court decision that a Black person could not be returned to slavery in Jamaica. And that was taken by many people to say that slavery was no longer legal in England, and people ran away and said, “Hallelujah.” But in fact, that's not what the decision was.He also presided over the case of the Zhong [ship], where a slave ship had thrown over a huge number of people ... in order to collect the insurance. And he came down hard on that case. So Dido Elizabeth Belle was raised by him .. but a lot of research has been done since the film Belle was made. And a lot of that film took a lot of liberties with it. So Dido was mixed-race, and her mother was - [but] Dido was not - born into slavery. And that was a misconception. Her mother actually came and lived in England, near her, with her, for some time. And then went back to Pensacola, where she had been living in [an] old property. Dido was given some money, and so she was able to marry. But she didn't marry an abolitionist, like in the film. She married a man who'd been a steward to an important French family. And so that was still a high-up position, but it was not the big raging lawyer abolitionist [as in the film].… And I think the biggest thing about it was that her portrait was just a double portrait of herself, and of their cousin. It became the cover of my Black London book - and was later re-used by The Woman of Colour. So there's a lot of interpreting this portrait that people try to do.So I've spent a lot of time trying to track down the true story, to use the research of these other people who have done such a good job. Plain JaneWhat would you like people to keep in mind as they're watching and reading Regency era histories and romance? Just realize there are real people behind some of this. We know now that Jane Austen was likely an abolitionist, although she didn't write political things in her novels. We know that in Mansfield Park there are mentions of - and we know that the money came from - slavery. And so there was some reference to sugar and some other things in there. So we know that she's aware of it. But she doesn't make it front and center, because that's not what she does as a novelist. But I think it's really good for people who want to read these books - [to know] that there was a more racially diverse society than people realized. And that there were Black people there. And that in the places where she went and lived - because she lived in a number of places, she had to move around a lot - that she would have seen people like this.And so it's really good to remember that this was a very different world and people have now accepted it. And I think to understand and accept that, it makes it more interesting. It doesn't diminish it at all.——-Thank you for listening, reading and being with us, friends.Let us know your thoughts! Have you watched the increasingly diverse casts making up Regency and 19th century British stories like Bridgerton, A Personal History of David Copperfield, and Sanditon? What would you like to see more of in these retellings and screen adaptations? Want to know more about Queen Charlotte? Write us at AustenConnection@gmail.com.If you like this conversation, feel free to share it!And if you'd like to read more about Black life in Britain in the 18th and 19th centuries, here are some of the people and projects that Gretchen Gerzina mentioned during this conversation - enjoy!Gretchen Gerzina's website: https://gretchengerzina.com//BBC program on Britain's Black Past:- https://www.bbc.co.uk/programmes/b07wpf5vSee: National Trust research into the connection to the slave trade in its great houses: https://www.nationaltrust.org.uk/features/addressing-the-histories-of-slavery-and-colonialism-at-the-national-trustThe report: https://nt.global.ssl.fastly.net/documents/colionialism-and-historic-slavery-report.pdfAll things Georgian - Gretchen recommends in interview: https://georgianera.wordpress.com/David Olusoga:  https://www.manchester.ac.uk/discover/magazine/features/david-olusoga/Dido Belle as Fanny Price: http://jasna.org/publications-2/essay-contest-winning-entries/2017/a-biracial-fanny-price/Peter Fryer's Staying Power: https://www.plutobooks.com/9780745338309/staying-power/Mirands Kaufmann's Black Tudors: http://www.mirandakaufmann.com/black-tudors.htmlGet these and all our Austen Connection conversations delivered to your inbox, when you subscribe - it's free! Get full access to The Austen Connection at austenconnection.substack.com/subscribe

Strap in for an episode of cock-filled nonsense. On a quest to find something that actually gets the blood flowing, Sam brings ‘The Collection' by Nina Leger to the studio for an in depth discussion of Nymphomania while Abby becomes side-tracked by the politics of the Diagnostic and Statistical Manual of Mental Disorders (DSM). We meet in the middle to look at the history of pathologising women and why so many debunked ideas of women's sexuality are still used in popular culture. *Content warning* this episode includes references to female genital mutilation References for nerdy sluts Ussher, Jane. “What Makes a Woman a Nymphomaniac?” The Conversation, 25 December, 2013. Available at: https://theconversation.com/what-makes-a-woman-a-nymphomaniac-20306Luta, Isabella. "Nymphs and nymphomania: mythological medicine and classical nudity in nineteenth Century Britain." Journal of International Women's Studies 18, no. 3 (2017): 35-50. Retrieved 15 March, 2020 from: http://vc.bridgew.edu/jiws/vol18/iss3/4Piquet-Pessôa, Marcelo, Gabriela M. Ferreira, Isabela A. Melca, and Leonardo F. Fontenelle. "DSM-5 and the decision not to include sex, shopping or stealing as addictions." Current Addiction Reports 1, no. 3 (2014): 172-176. Retrieved 15 March, 2020 from: https://doi.org/10.1007/s40429-014-0027-6Groneman, Carol. "Nymphomania: The historical construction of female sexuality." Signs: Journal of Women in Culture and Society 19, no. 2 (1994): 337-367. Retrieved 15 March, 2020, from: www.jstor.org/stable/3174802Original outro music: by Ankle Injuries featuring the sexy voice of Tace Kelly https://soundcloud.com/ankleinjuriesIntro Music: Yesterday's Secret by texasradiofish (c) copyright 2018 Licensed under a Creative Commons Attribution Noncommercial (3.0) license. http://dig.ccmixter.org/files/texasradiofish/57365 Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Hello [REDACTED]! Welcome to Episode 26 of A History of Comedy in Several Objects, the best mother[REDACTED] historically focused comedy analysis podcast around! In this episode Elspeth and Olly talk about the Lord Chamberlain's blue pencil, which would edit the material that variety comedians used, thus making it legal to perform. They couldn't say words like [REDACTED] or [REDACTED]. Especially not [REDACTED] [REDACTED] into his [REDACTED]. It's a great episode about the culture, society and the comedy of mid-20th Century Britain, as well as looking at legendary acts like Max Miller and Tommy Trinder and their approaches to censorship. You [REDACTED]ers can follow us on @HistComPod and send us an email to standup@kent.ac.uk. Remember to give us 5 [REDACTED] stars on iTunes as well. Don't be a [REDACTED], do it today. Share the podcast around too! Apologies for our [REDACTED] potty-mouth.

It's the turn of Andy and Rob to take the helm of our flagship podcast and trawl the waters of science, technology and general geekery to find some interesting (if a little "fishy"), pieces of news. This week our two erstwhile "captains" discover a disturbing Chinese bootleg poster for the new DCEU film Justice League - which also features some Marvel heroes, the prominence of dowsing in 21st Century Britain. DARPA's plans for plants and Boston Dynamics' latest impressive-yet-terrifying addition to The Robot Revolution. It's a series of seemingly tall tales that segue's nicely into this week's discussion about the future of robot-kind (which also follows-on quite nicely from last week's chat about artificial intelligence). Enjoy the show? Support it by heading over to patreon.com/thegeekshow or share it with your friends. #4Panel #TheGeekShow #Podcast #Keyframe #LiteraryLoitering #CinemaEclectica #Animation #Anime #Cartoons #Comics #Manga #Books #Novels #Movies #News #Science #Robots #Technology #VideoGames #DARPA #BostonDynamics #SciFi #ScienceFiction #Weird #Comedy #Terminator #RobotButler #VioletEvergarden #Mahoromatic

Throughout the 19th Century Britain felt constantly threatened by and suspicious of Russia. Russian expansionism in the Balkans threatened Britain's ability to access the routes to her Indian Empire and the British were committed to supporting the weakening Ottoman Empire against Russian expansionism. See acast.com/privacy for privacy and opt-out information. Become a member at https://plus.acast.com/s/explaininghistory.

James Fenton joins Rana Mitter to talk about his latest poetry collection, Yellow Tulips, and the themes of inspiration, politics and love. Tommie Smith, who made the iconic Black Power Salute with John Carlos at the 1968 Olympic Games, discusses the enduring struggle of black politics. As a rare production of Ibsen's first play, St John's Night, opens, theatre critic Susannah Clapp considers the gloomy Scandinavian's under-appreciated comic side. And New Generation Thinker Jonathan Healey explores how 17th Century Britain finally beat the spectre of famine.