Podcasts about first indochina war

After the Second World War, France decided to reassert control over French Indochina. This policy met strong resistance from both Communist and right-wing political and military organizations in Vietnam, Laos, and Cambodia. Resistance grew, leading to the First Indochina War (1946-1954). This conflict ended with the Geneva Agreements, in which the French agreed to depart, the country would be temporarily divided between a Communist North and a non-Commuist south, and elections would be held in 1956…or would they? Join Sean and James as they discuss this “war before the war” that is little known to westerners but is a crucial prelude to the more well-known Vietnam War.See omnystudio.com/listener for privacy information.

We are privileged to welcome Le Ly Hayslip, whose memoir, When Heaven and Earth Changed Places, was the first to bring the story of a former Viet Cong and Vietnam refugee to American readers. Oliver Stone later made the book into a major motion picture starring Tommy Lee Jones. Ms. Hayslip is the founder of the East Meets West Foundation, now known as Thrive Networks. Her story is one of unimaginable trauma somehow matched by powerful resilience and a will to thrive. She was born in poverty in a village near Da Nang as the First Indochina War neared it height. What Americans call the Vietnam War followed, and her village became a frontline for the conflict between the Viet Cong and South Vietnamese government forces, backed by the United States. As a teenager, Le Ly joined the Viet Cong, primarily as a result of her village's political leanings and the influence they held over the area. Her role involved basic support tasks such as cooking and transporting supplies, but she also set booby traps and planted mines. She was arrested and tortured by South Vietnamese forces, who suspected her of espionage for the Viet Cong. This experience was traumatizing, and after her release, she faced suspicion from the Viet Cong as well, who questioned her loyalty. The double scrutiny and resulting abuses left her isolated and vulnerable. To escape the violence and constant threat of harm, Le Ly left her village and found work in Da Nang, where she encountered new struggles. She took on various jobs to survive–many of them illegal–and became involved with American soldiers, which brought a degree of financial stability but exposed her to new risks. In the early 1970s, Le Ly met Ed Munro, an American civilian contractor who eventually became her husband. Their relationship offered her a way out of Vietnam, and she emigrated to the United States with him. Upon arrival, Le Ly faced a new set of challenges: culture shock, language barriers, and the struggle to adapt to an entirely different way of life. Although safe from the violence of war, she was haunted by the trauma of her past and had to navigate the demands of her new life as a mother and immigrant. After settling in the United States, Le Ly worked a variety of jobs to support herself and her children. Though she and Munro eventually divorced, Le Ly persevered, working to provide for her family and find stability. Her journey gave her a unique perspective on both Vietnamese and American cultures, and over time, she began to process her experiences by writing her memoir, When Heaven and Earth Changed Places, published in 1989. In it, she shared her personal account of life during the Vietnam War, her family's struggles, and her journey to America. Her story offered an intimate view of the human cost of war, aiming to bridge understanding between Americans and Vietnamese. Le Ly's memoir caught the attention of American film director Oliver Stone, who was moved by her story and its focus on the impact of war on civilians, especially women. Stone had already explored the Vietnam War from an American perspective in Platoon and Born on the Fourth of July. With Heaven and Earth, released in 1993, he completed his Vietnam War trilogy, this time focusing on the Vietnamese experience. The film, adapted from Le Ly's memoirs When Heaven and Earth Changed Places and Child of War, Woman of Peace, follows her journey from Vietnam to America, highlighting her experiences with violence, survival, and resilience. Beyond her writing, Le Ly became a humanitarian and advocate for peace and reconciliation. In 1988, she founded the East Meets West Foundation, an organization dedicated to improving relations between Vietnam and the United States and aiding Vietnamese communities in need. The foundation has supported various projects, including medical assistance, educational programs, and infrastructure development, helping Vietnamese people affected by the war rebuild their lives. Through her humanitarian work, Le Ly sought to bridge the gap between her two worlds, fostering understanding and healing across cultures. Le Ly Hayslip's life story reflects the complexities of war, survival, and adaptation. Her work as an author, film collaborator, and humanitarian has contributed to greater awareness of the Vietnam War's impact on civilians and helped foster cross-cultural understanding. Through her story and her efforts, she has become a powerful advocate for peace and a testament to resilience amid the devastation of war. We're grateful to UPMC for Life and Tobacco Free Adagio Health for sponsoring this event!

Ronald H. Spector sits down with John Sherwood and guest host Randy Papadopoulos to discuss his book, A Continent Erupts: Decolonization, Civil War, and Massacre in Postwar Asia, 1945-1955

On November 20th, 1953 thousands of French paratroopers dropped into a place called Dien Bien Phu.  Dien Bien Phu is a small valley in the northern part of Vietnam close to Laos.  The French plan was to establish a base at Dien Bien Phu, keep it resupplied by air, and then use it as a place to launch operations against the Viet Minh.  The French underestimated the scale of the force the Viet Minh would concentrate around Dien Bien Phu.  Before long, the French were besieged and doomed to defeat.  This battle ended French rule in Indochina.  Bernard Fall explains what happened at Dien Bien Phu and why in “Hell in a Very Small Place”.  

It has been nearly 70 years since the Battle of Dien Bien Phu, which lasted from March to May 1954 and ended in victory for Vietnam against the French forces. France is still trying to find the bodies of soldiers who went missing during the First Indochina War. Two men have spent decades searching for clues about the death of their uncle, who served in the French air force. We join them during their quest in northern Vietnam. Long Tran and Rosa Le Gall report.

A talk about France's first female helicopter pilot, her many dangerous missions in the First Indochina War and the legacy she created. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mother, Métis, Memory is a documentary film by Tuấn Andrew Nguyễn, whose practice is fueled by research and a commitment to communities that have faced traumas caused by colonialism, war, and displacement. Through his continuous attempts to engage with vanishing or vanquished historical memory, Tuấn investigates the erasures that the colonial project has brought to bear on certain parts of the world. Mother, Métis, Memory is a documentary that captures interviews conducted in 2018 with the Senegalese-Vietnamese communities in Dakar and Malika Senegal. Throughout the First Indochina War, between 1945-1954, France had mobilized an estimated 60,000 tirailleurs in Vietnam. Tirailleurs, or Senegalese soldiers, were a corps of colonial infantry in the French Army and among the forces deployed to Indochina to combat the Vietnamese uprising against French rule. After the beginning of the end of the French Empire, hundreds of Vietnamese women and their children migrated to West Africa with Senegalese husbands, some voluntarily but others against their will. Some soldiers left their wives and took only their children, while others took children not their own and raised them in Senegal without connection to their Vietnamese origins.  This interview was part of a film screening event hosted by Vietnamese Boat People and Co-sponsored by Asian/Pacific/American Institute at New York University during Tuấn's first USA solo exhibition Radiant Remembrance opened on June 29, 2023 at the New Museum 235 Bowery in New York City.  Photo: Taken from Mother, Métis, Memory Episode Credits: Executive Producer: Tracey Nguyễn Mang Associate Producer: Saoli Nguyen VBP Theme Music: Clarity, Paulina Vo Other Music: Na, SILLABA; Lysithea, CANDELION

The siege of Dien Bien Phu took place in 1954 and was a definitive victory for Vietnam. Although the battle brought an end to French colonial rule, the separation of the country's north and south created a volatile political environment between capitalism and communism, eventually leading to American involvement.But how did the long time leader of Vietnam - Ho Chi Minh, take his guerilla army and turn it into a modern fighting force that was capable of overthrowing an empire?In this episode, James is joined by author and Professor Christopher Goscha from the University of Quebec to help us understand just how the French lost their way in Vietnam.For more Warfare content, subscribe to our Warfare Wednesday newsletter here.If you'd like to learn even more, we have hundreds of history documentaries, ad free podcasts and audiobooks at History Hit - enter promo code WARFARE for 7 days free + 50% off your first three months' subscription. To download, go to Android or Apple store. Hosted on Acast. See acast.com/privacy for more information.

Jazz in Socialist Hà Nội: Improvisations between Worlds (Routledge, 2022) examines the germination and growth of jazz under communist rule—perceived as the "music of the enemy" and "ideologically decadent"—in the Vietnamese capital of Hà Nội. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Nội has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà Nội sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"—between music and politics—not as an act of resistance, but as realisation of artistic expression. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. 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

Jazz in Socialist Hà Nội: Improvisations between Worlds (Routledge, 2022) examines the germination and growth of jazz under communist rule—perceived as the "music of the enemy" and "ideologically decadent"—in the Vietnamese capital of Hà Nội. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Nội has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà Nội sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"—between music and politics—not as an act of resistance, but as realisation of artistic expression. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

Jazz in Socialist Hà Nội: Improvisations between Worlds (Routledge, 2022) examines the germination and growth of jazz under communist rule—perceived as the "music of the enemy" and "ideologically decadent"—in the Vietnamese capital of Hà Nội. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Nội has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà Nội sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"—between music and politics—not as an act of resistance, but as realisation of artistic expression. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Jazz in Socialist Hà Nội: Improvisations between Worlds (Routledge, 2022) examines the germination and growth of jazz under communist rule—perceived as the "music of the enemy" and "ideologically decadent"—in the Vietnamese capital of Hà Nội. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Nội has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà Nội sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"—between music and politics—not as an act of resistance, but as realisation of artistic expression. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Jazz in Socialist Hà Nội: Improvisations between Worlds (Routledge, 2022) examines the germination and growth of jazz under communist rule—perceived as the "music of the enemy" and "ideologically decadent"—in the Vietnamese capital of Hà Nội. After disappearing from the scene in 1954 following the end of the First Indochina War, jazz reemerged in the public sphere decades later at the end of the Cold War. Since then, Hà Nội has established itself as a vital and vibrant jazz center, complete with a full jazz program in the national conservatoire. Featuring interviews with principal players involved in cultivating the scene from past to present, this book presents the sociocultural encounters between musicians and the larger powers enmeshed in the broader political economy, detailing jazz's journey to garner respect comparable to classical music as an art form possessing high artistic value. Ethnographical sketches explore how Vietnamese musicians learn and play jazz while sustaining and nurturing the scene, providing insight as to how jazz managed to grow in such an environment. Jazz in Socialist Hà Nội sheds light on those underlying caveats that allow Vietnamese jazz musicians to navigate the middle grounds between "worlds"—between music and politics—not as an act of resistance, but as realisation of artistic expression. Adam Bobeck is a PhD candidate in Cultural Anthropology at the University of Leipzig. His PhD is entitled “Object-Oriented Azadari: Shi'i Muslim Rituals and Ontology”. For more about his work, see www.adambobeck.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Episode 144 of A History of Rock Music in Five Hundred Songs looks at “Last Train to Clarksville" and the beginnings of the career of the Monkees, along with a short primer on the origins of the Vietnam War.  Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a seventeen-minute bonus episode available, on "These Boots Are Made For Walking" by Nancy Sinatra, which I mispronounce at the end of this episode as "These Boots Were Made For Walking", so no need to correct me here. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources As usual, all the songs excerpted in the podcast can be heard in full at Mixcloud. The best versions of the Monkees albums are the triple-CD super-deluxe versions that used to be available from monkees.com , and I've used Andrew Sandoval's liner notes for them extensively in this episode. Sadly, though, the only one of those that is still in print is More of the Monkees. For those just getting into the group, my advice is to start with this five-CD set, which contains their first five albums along with bonus tracks. The single biggest source of information I used in this episode is the first edition of Andrew Sandoval's The Monkees; The Day-By-Day Story. Sadly that is now out of print and goes for hundreds of pounds. Sandoval released a second edition of the book last year, which I was unfortunately unable to obtain, but that too is now out of print. If you can find a copy of either, do get one. Other sources used were Monkee Business by Eric Lefcowitz, and the autobiographies of three of the band members and one of the songwriters -- Infinite Tuesday by Michael Nesmith, They Made a Monkee Out of Me by Davy Jones, I'm a Believer by Micky Dolenz, and Psychedelic Bubble-Gum by Bobby Hart. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript We've obviously talked in this podcast about several of the biggest hits of 1966 already, but we haven't mentioned the biggest hit of the year, one of the strangest records ever to make number one in the US -- "The Ballad of the Green Berets" by Sgt Barry Sadler: [Excerpt: Barry Sadler, "The Ballad of the Green Berets"] Barry Sadler was an altogether odd man, and just as a brief warning his story, which will last a minute or so, involves gun violence. At the time he wrote and recorded that song, he was on active duty in the military -- he was a combat medic who'd been fighting in the Vietnam War when he'd got a wound that had meant he had to be shipped back to the USA, and while at Fort Bragg he decided to write and record a song about his experiences, with the help of Robin Moore, a right-wing author of military books, both fiction and nonfiction, who wrote the books on which the films The Green Berets and The French Connection were based. Sadler's record became one of those massive fluke hits, selling over nine million copies and getting him appearances on the Ed Sullivan Show, but other than one top thirty hit, he never had another hit single. Instead, he tried and failed to have a TV career, then became a writer of pulp fiction himself, writing a series of twenty-one novels about the centurion who thrust his spear into Jesus' side when Jesus was being crucified, and is thus cursed to be a soldier until the second coming. He moved to Nashville, Tennessee, where he lived until he shot Lee Emerson, a country songwriter who had written songs for Marty Robbins, in the head, killing him, in an argument over a woman. He was sentenced to thirty days in jail for this misdemeanour, of which he served twenty-eight. Later he moved to Guatemala City, where he was himself shot in the head. The nearest Army base to Nashville, where Sadler lived after his discharge, is Fort Campbell, in Clarksville: [Excerpt: The Monkees, "Last Train to Clarksville"] The Vietnam War was a long and complicated war, one which affected nearly everything we're going to see in the next year or so of this podcast, and we're going to talk about it a lot, so it's worth giving a little bit of background here. In doing so, I'm going to use quite a flippant tone, but I want to make it clear that I'm not mocking the very real horrors that people suffered in the wars I'm talking about -- it's just that to sum up multiple decades of unimaginable horrors in a few sentences requires glossing over so much that you have to either laugh or cry. The origin of the Vietnam War, as in so many things in twentieth century history, can be found in European colonialism. France had invaded much of Southeast Asia in the mid-to-late nineteenth century, and created a territory known as French Indo-China, which became part of the French colonial Empire. But in 1940 France was taken over by Germany, and Japan was at war with China. Germany and Japan were allies, and the Japanese were worried that French Indo-China would be used to import fuel and arms to China -- plus, they quite fancied the idea of having a Japanese empire. So Vichy France let Japan take control of French Indo-China. But of course the *reason* that France had been taken over by Germany was that pretty much the whole world was at war in 1940, and obviously the countries that were fighting Germany and Japan -- the bloc led by Britain, soon to be joined by America and Russia -- weren't very keen on the idea of Japan getting more territory. But they were also busy with the whole "fighting a world war" thing, so they did what governments in this situation always do -- they funded local guerilla insurgent fighters on the basis that "my enemy's enemy is my friend", something that has luckily never had any negative consequences whatsoever, except for occasionally. Those local guerilla fighters were an anti-imperialist popular front, the Việt Minh, led by Hồ Chí Minh, a revolutionary Communist. They were dedicated to overthrowing foreign imperialist occupiers and gaining independence for Vietnam, and Hồ Chí Minh further wanted to establish a Soviet-style Communist government in the newly-independent country. The Allies funded the Việt Minh in their fight against the Japanese occupiers until the end of the Second World War, at which point France was liberated from German occupation, Vietnam was liberated from Japanese occupation, and the French basically said "Hooray! We get our Empire back!", to which Hồ Chí Minh's response was, more or less, "what part of anti-imperialist Marxist dedicated to overthrowing foreign occupation of Vietnam did you not understand, exactly?" Obviously, the French weren't best pleased with this, and so began what was the first of a series of wars in the region. The First Indochina War lasted for years and ended in a negotiated peace of a sort. Of course, this led to the favoured tactic of the time, partition -- splitting a formerly-occupied country into two, at an arbitrary dividing line, a tactic which was notably successful in securing peace everywhere it was tried. Apart from Ireland, India, Korea, and a few other places, but surely it wouldn't be a problem in Vietnam, right? North Vietnam was controlled by the Communists, led by Hồ Chí Minh, and recognised by China and the USSR but not by the Western states. South Vietnam was nominally independent but led by the former puppet emperor who owed his position to France, soon replaced by a right-wing dictatorship. And both the right-wing dictatorship and the left-wing dictatorship were soon busily oppressing their own citizens and funding military opposition groups in the other country. This soon escalated into full-blown war, with the North backed by China and Russia and the South backed by America. This was one of a whole series of wars in small countries which were really proxy wars between the two major powers, the USA and the USSR, both of which were vying for control, but which couldn't confront each other directly because either country had enough nuclear weapons to destroy the whole world multiple times over. But the Vietnam War quickly became more than a small proxy war. The US started sending its own troops over, and more and more of them. The US had never ended the draft after World War II, and by the mid sixties significant numbers of young men were being called up and sent over to fight in a war that had by that point lasted a decade (depending on exactly when you count the war as starting from) between two countries they didn't care about, over things few of them understood, and at an exorbitant cost in lives. As you might imagine, this started to become unpopular among those likely to be drafted, and as the people most affected (other, of course, than the Vietnamese people, whose opinions on being bombed and shot at by foreigners supporting one of other of the dictators vying to rule over them nobody else was much interested in) were also of the generation who were the main audience for popular music, slowly this started to seep into the lyrics of songs -- a seepage which had already been prompted by the appearance in the folk and soul worlds of many songs against other horrors, like segregation. This started to hit the pop charts with songs like "The Universal Soldier" by Buffy Saint-Marie, which made the UK top five in a version by Donovan: [Excerpt: Donovan, "The Universal Soldier"] That charted in the lower regions of the US charts, and a cover version by Glen Campbell did slightly better: [Excerpt: Glen Campbell, "The Universal Soldier"] That was even though Campbell himself was a supporter of the war in Vietnam, and rather pro-military. Meanwhile, as we've seen a couple of times, Jan Berry of Jan and Dean recorded a pro-war answer song to that, "The Universal Coward": [Excerpt: Jan Berry, "The Universal Coward"] This, of course, was even though Berry was himself avoiding the draft. And I've not been able to find the credits for that track, but Glen Campbell regularly played guitar on Berry's sessions, so it's entirely possible that he played guitar on that record made by a coward, attacking his own record, which he disagreed with, for its cowardice. This is, of course, what happens when popular culture tries to engage with social and political issues -- pop culture is motivated by money, not ideological consistency, and so if there's money to be made from anti-war songs or from pro-war songs, someone will take that money. And so on October the ninth 1965, Billboard magazine ran a report: "Colpix Enters Protest Field HOLLYWOOD -Colpix has secured its first protest lyric disk, "The Willing Conscript,"as General Manager Bud Katzel initiates relationships with independent producers. The single features Lauren St. Davis. Katzel says the song was written during the Civil War, rewritten during World War I and most recently updated by Bob Krasnow and Sam Ashe. Screen Gems Music, the company's publishing wing, is tracing the song's history, Katzel said. Katzel's second single is "(You Got the Gamma Goochee" by an artist with that unusual stage name. The record is a Screen Gems production and was in the house when Katzel arrived one month ago. The executive said he was expressly looking for material for two contract artists, David Jones and Hoyt Axton. The company is also working on getting Axton a role in a television series, "Camp Runamuck." " To unpack this a little, Colpix was a record label, owned by Columbia Pictures, and we talked about that a little bit in the episode on "The Loco-Motion" -- the film and TV companies were getting into music, and Columbia had recently bought up Don Kirshner's Aldon publishing and Dimension Records as part of their strategy of tying in music with their TV shows. This is a company trying desperately to jump on a bandwagon -- Colpix at this time was not exactly having huge amounts of success with its records. Hoyt Axton, meanwhile, was a successful country singer and songwriter. We met his mother many episodes back -- Mae Axton was the writer of "Heartbreak Hotel". Axton himself is now best known as the dad in the 80s film Gremlins. David Jones will be coming up shortly. Bob Krasnow and Sam Ashe were record executives then at Kama Sutra records, but soon to move on -- we'll be hearing about Krasnow more in future episodes. Neither of them were songwriters, and while I have no real reason to disbelieve the claim that "The Willing Conscript" dates back to the Civil War, the earliest version *I* have been able to track down was its publication in issue 28 of Broadside Magazine in June 1963 -- nearly a hundred years after the American Civil War -- with the credit "by Tom Paxton" -- Paxton was a popular singer-songwriter of the time, and it certainly sounds like his writing. The first recording of it I know of was by Pete Seeger: [Excerpt: Pete Seeger, "The Willing Conscript"] But the odd thing is that by the time this was printed, the single had already been released the previous month, and it was not released under the name Lauren St Davis, or under the title "The Willing Conscript" -- there are precisely two differences between the song copyrighted as by Krasnow and Ashe and the one copyrighted two years earlier as by Paxton. One is that verses three and four are swapped round, the other is that it's now titled "The New Recruit". And presumably because they realised that the pseudonym "Lauren St. Davis" was trying just a bit too hard to sound cool and drug culture, they reverted to another stage name the performer had been using, Michael Blessing: [Excerpt: Michael Blessing, "The New Recruit"] Blessing's name was actually Michael Nesmith, and before we go any further, yes his mother, Bette Nesmith Graham, did invent the product that later became marketed in the US as Liquid Paper. At this time, though, that company wasn't anywhere near as successful as it later became, and was still a tiny company. I only mention it to forestall the ten thousand comments and tweets I would otherwise get asking why I didn't mention it. In Nesmith's autobiography, while he talks a lot about his mother, he barely mentions her business and says he was uninterested in it -- he talks far more about the love of art she instilled in him, as well as her interest in the deep questions of philosophy and religion, to which in her case and his they found answers in Christian Science, but both were interested in conversations about ideas, in a way that few other people in Nesmith's early environment were. Nesmith's mother was also responsible for his music career. He had spent two years in the Air Force in his late teens, and the year he got out, his mother and stepfather bought him a guitar for Christmas, after he was inspired by seeing Hoyt Axton performing live and thinking he could do that himself: [Excerpt: Hoyt Axton, "Greenback Dollar"] As he put it in his autobiography, "What did it matter that I couldn't play the guitar, couldn't sing very well, and didn't know any folk songs? I would be going to college and hanging out at the student union with pretty girls and singing folk songs. They would like me. I might even figure out a way to get a cool car." This is, of course, the thought process that pretty much every young man to pick up a guitar goes through, but Nesmith was more dedicated than most. He gave his first performance as a folk singer ten days after he first got a guitar, after practising the few chords in most folk songs for twelve hours a day every day in that time. He soon started performing as a folk singer, performing around Dallas both on his own and with his friend John London, performing the standard folk repertoire of Woody Guthrie and Lead Belly songs, things like "Pick a Bale of Cotton": [Excerpt: Michael Nesmith, "Pick a Bale of Cotton"] He also started writing his own songs, and put out a vanity record of one of them in 1963: [Excerpt: Mike Nesmith, "Wanderin'"] London moved to California, and Nesmith soon followed, with his first wife Phyllis and their son Christian. There Nesmith and London had the good fortune to be neighbours with someone who was a business associate of Frankie Laine, and they were signed to Laine's management company as a folk duo. However, Nesmith's real love was rock and roll, especially the heavier R&B end of the genre -- he was particularly inspired by Bo Diddley, and would always credit seeing Diddley live as a teenager as being his biggest musical influence. Soon Nesmith and London had formed a folk-rock trio with their friend Bill Sleeper. As Mike & John & Bill, they put out a single, "How Can You Kiss Me?", written by Nesmith: [Excerpt: Mike & John & Bill, "How Can You Kiss Me?"] They also recorded more of Nesmith's songs, like "All the King's Horses": [Excerpt: Mike & John & Bill, "All the King's Horses"] But that was left unreleased, as Bill was drafted, and Nesmith and London soon found themselves in The Survivors, one of several big folk groups run by Randy Sparks, the founder of the New Christie Minstrels. Nesmith was also writing songs throughout 1964 and 1965, and a few of those songs would be recorded by other people in 1966, like "Different Drum", which was recorded by the bluegrass band The Greenbriar Boys: [Excerpt: The Greenbriar Boys, "Different Drum"] That would more successfully be recorded by the Stone Poneys later of course. And Nesmith's "Mary Mary" was also picked up by the Paul Butterfield Blues Band: [Excerpt: The Paul Butterfield Blues Band, "Mary Mary"] But while Nesmith had written these songs by late 1965, he wasn't able to record them himself. He was signed by Bob Krasnow, who insisted he change his name to Michael Blessing, and recorded two singles for Colpix -- "The New Recruit", which we heard earlier, and a version of Buffy Saint-Marie's "Until It's Time For You To Go", sung in a high tenor range very far from Nesmith's normal singing voice: [Excerpt: Michael Blessing, "Until It's Time For You To Go"] But to my mind by far the best thing Nesmith recorded in this period is the unissued third Michael Blessing single, where Nesmith seems to have been given a chance to make the record he really wanted to make. The B-side, a version of Allen Toussaint's swamp-rocker "Get Out of My Life, Woman", is merely a quite good version of the song, but the A-side, a version of his idol Bo Diddley's classic "Who Do You Love?" is utterly extraordinary, and it's astonishing that it was never released at the time: [Excerpt: Michael Blessing, "Who Do You Love?"] But the Michael Blessing records did no better than anything else Colpix were putting out. Indeed, the only record they got onto the hot one hundred at all in a three and a half year period was a single by one David Jones, which reached the heady heights of number ninety-eight: [Excerpt: David Jones, "What Are We Going to Do?"] Jones had been brought up in extreme poverty in Openshaw in Manchester, but had been encouraged by his mother, who died when he was fourteen, to go into acting. He'd had a few parts on local radio, and had appeared as a child actor on TV shows made in Manchester, like appearing in the long-running soap opera Coronation Street (still on today) as Ena Sharples' grandson Colin: [Excerpt: Coronation St https://www.youtube.com/watch?v=5FDEvOs1imc , 13:30] He also had small roles in Z-Cars and Bill Naughton's TV play "June Evening", and a larger role in Keith Waterhouse's radio play "There is a Happy Land". But when he left school, he decided he was going to become a jockey rather than an actor -- he was always athletic, he loved horses, and he was short -- I've seen his height variously cited as five foot three and five foot four. But it turned out that the owner of the stables in which he was training had showbusiness connections, and got him the audition that changed his life, for the part of the Artful Dodger in Lionel Bart's West End musical Oliver! We've encountered Lionel Bart before a couple of times, but if you don't remember him, he was the songwriter who co-wrote Tommy Steele's hits, and who wrote "Living Doll" for Cliff Richard. He also discovered both Steele and Marty Wilde, and was one of the major figures in early British rock and roll. But after the Tommy Steele records, he'd turned his attention to stage musicals, writing book, music, and lyrics for a string of hits, and more-or-less singlehandedly inventing the modern British stage musical form -- something Andrew Lloyd Webber, for example, always credits him with. Oliver!, based on Oliver Twist, was his biggest success, and they were looking for a new Artful Dodger. This was *the* best role for a teenage boy in the UK at the time -- later performers to take the role on the London stage include Steve Marriott and Phil Collins, both of whom we'll no doubt encounter in future episodes -- and Jones got the job, although they were a bit worried at first about his Manchester vowels. He assured them though that he could learn to do a Cockney accent, and they took him on. Jones not having a natural Cockney accent ended up doing him the biggest favour of his career. While he could put on a relatively convincing one, he articulated quite carefully because it wasn't his natural accent. And so when the North American version found  in previews that their real Cockney Dodger wasn't being understood perfectly, the fake Cockney Jones was brought over to join the show on Broadway, and was there from opening night on. On February the ninth, 1964, Jones found himself, as part of the Broadway cast of Oliver!, on the Ed Sullivan Show: [Excerpt: Davy Jones and Georgia Brown, "I'd Do Anything"] That same night, there were some other British people, who got a little bit more attention than Jones did: [Excerpt: The Beatles, "I Want to Hold Your Hand (live on Ed Sullivan)"] Davy Jones wasn't a particular fan of pop music at that point, but he knew he liked what he saw, and he wanted some of the same reaction. Shortly after this, Jones was picked up for management by Ward Sylvester, of Columbia Pictures, who was going to groom Jones for stardom. Jones continued in Oliver! for a while, and also had a brief run in a touring version of Pickwick, another musical based on a Dickens novel, this time starring Harry Secombe, the British comedian and singer who had made his name with the Goon Show. Jones' first single, "Dream Girl", came out in early 1965: [Excerpt: Davy Jones, "Dream Girl"] It was unsuccessful, as was his one album, David Jones, which seemed to be aiming at the teen idol market, but failing miserably. The second single, "What Are  We Going to Do?" did make the very lowest regions of the Hot One Hundred, but the rest of the album was mostly attempts to sound a bit like Herman's Hermits -- a band whose lead singer, coincidentally, also came from Manchester, had appeared in Coronation Street, and was performing with a fake Cockney accent. Herman's Hermits had had a massive US hit with the old music hall song "I'm Henry VIII I Am": [Excerpt: Herman's Hermits, "I'm Henry VIII I Am"] So of course Davy had his own old music-hall song, "Any Old Iron": [Excerpt: Davy Jones, "Any Old Iron"] Also, the Turtles had recently had a hit with a folk-rock version of Dylan's "It Ain't Me Babe", and Davy cut his own version of their arrangement, in the one concession to rock music on the album: [Excerpt: Davy Jones, "It Ain't Me Babe"] The album was, unsurprisingly, completely unsuccessful, but Ward Sylvester was not disheartened. He had the perfect job for a young British teen idol who could sing and act. The Monkees was the brainchild of two young TV producers, Bob Rafelson and Bert Schneider, who had come up with the idea of doing a TV show very loosely based on the Beatles' film A Hard Day's Night (though Rafelson would later claim that he'd had the idea many years before A Hard Day's Night and was inspired by his youth touring with folk bands -- Schneider always admitted the true inspiration though). This was not a particularly original idea -- there were a whole bunch of people trying to make TV shows based in some way around bands. Jan and Dean were working on a possible TV series, there was talk of a TV series starring The Who, there was a Beatles cartoon series, Hanna-Barbera were working on a cartoon series about a band called The Bats, and there was even another show proposed to Screen Gems, Columbia's TV department, titled Liverpool USA, which was meant to star Davy Jones, another British performer, and two American musicians, and to have songs provided by Don Kirshner's songwriters. That The Monkees, rather than these other series, was the one that made it to the TV (though obviously the Beatles cartoon series did too) is largely because Rafelson and Schneider's independent production company, Raybert, which they had started after leaving Screen Gems, was given two hundred and twenty-five thousand dollars to develop the series by their former colleague, Screen Gems' vice president in charge of programme development, the former child star Jackie Cooper. Of course, as well as being their former colleague, Cooper may have had some more incentive to give Bob Rafelson and Bert Schneider that money in that the head of Columbia Pictures, and thus Cooper's boss' boss, was one Abe Schneider. The original idea for the show was to use the Lovin' Spoonful, but as we heard last week they weren't too keen, and it was quickly decided instead that the production team would put together a group of performers. Davy Jones was immediately attached to the project, although Rafelson was uncomfortable with Jones, thinking he wasn't as rock and roll as Rafelson was hoping for -- he later conceded, though, that Jones was absolutely right for the group. As for everyone else, to start with Rafelson and Schneider placed an ad in a couple of the trade papers which read "Madness!! Auditions Folk and Roll Musicians-Singers for acting roles in new TV series. Running parts for 4 insane boys ages 17-21. Want spirited Ben Frank's types. Have courage to work. Must come down for interview" There were a couple of dogwhistles in there, to appeal to the hip crowd -- Ben Frank's was a twenty-four-hour restaurant on the Sunset Strip, where people including Frank Zappa and Jim Morrison used to hang out, and which was very much associated with the freak scene we've looked at in episodes on Zappa and the Byrds. Meanwhile "Must come down for interview" was meant to emphasise that you couldn't actually be high when you turned up -- but you were expected to be the kind of person who would at least at some points have been high. A lot of people answered that ad -- including Paul Williams, Harry Nilsson, Van Dyke Parks, and many more we'll be seeing along the way. But oddly, the only person actually signed up for the show because of that ad was Michael Nesmith -- who was already signed to Colpix Records anyway. According to Davy Jones, who was sitting in at the auditions, Schneider and Rafelson were deliberately trying to disorient the auditioners with provocative behaviour like just ignoring them, to see how they'd react. Nesmith was completely unfazed by this, and apparently walked in wearing a  green wool hat and carrying a bag of laundry, saying that he needed to get this over with quickly so he could go and do his washing. John London, who came along to the audition as well, talked later about seeing Nesmith fill in a questionnaire that everyone had to fill in -- in a space asking about previous experience Nesmith just wrote "Life" and drew a big diagonal line across the rest of the page. That attitude certainly comes across in Nesmith's screen test: [Excerpt: Michael Nesmith screen test] Meanwhile, Rafelson and Schneider were also scouring the clubs for performers who might be useful, and put together a shortlist of people including Jerry Yester and Chip Douglas of the Modern Folk Quartet, Bill Chadwick, who was in the Survivors with Nesmith and London, and one Micky Braddock, whose agent they got in touch with and who was soon signed up. Braddock was the stage name of Micky Dolenz, who soon reverted to his birth surname, and it's the name by which he went in his first bout of fame. Dolenz was the son of two moderately successful Hollywood actors, George Dolenz and Janelle Johnson, and their connections had led to Dolenz, as Braddock, getting the lead role in the 1958 TV series Circus Boy, about a child named Corky who works in a circus looking after an elephant after his parents, the Flying Falcons, were killed in a trapeze accident. [Excerpt: Circus Boy, "I can't play a drum"] Oddly, one of the other people who had been considered for that role was Paul Williams, who was also considered for the Monkees but ultimately turned down, and would later write one of the Monkees' last singles. Dolenz had had a few minor TV appearances after that series had ended, including a recurring role on Peyton Place, but he had also started to get interested in music. He'd performed a bit as a folk duo with his sister Coco, and had also been the lead singer of a band called Micky and the One-Nighters, who later changed their name to the Missing Links, who'd played mostly covers of Little Richard and Chuck Berry songs and later British Invasion hits. He'd also recorded two tracks with Wrecking Crew backing, although neither track got released until after his later fame -- "Don't Do It": [Excerpt: Micky Dolenz, "Don't Do It"] and "Huff Puff": [Excerpt: Micky Dolenz, "Huff Puff"] Dolenz had a great singing voice, an irrepressible personality, and plenty of TV experience. He was obviously in. Rafelson and Schneider took quite a while whittling down the shortlist to the final four, and they *were* still considering people who'd applied through the ads. One they actually offered the role to was Stephen Stills, but he decided not to take the role. When he turned the role down, they asked if he knew anyone else who had a similar appearance to him, and as it happened he did. Steve Stills and Peter Tork had known of each other before they actually met on the streets of Greenwich Village -- the way they both told the story, on their first meeting they'd each approached the other and said "You must be the guy everyone says looks like me!" The two had become fast friends, and had played around the Greenwich Village folk scene together for a while, before going their separate ways -- Stills moving to California while Tork joined another of those big folk ensembles of the New Christie Minstrels type, this one called the Phoenix Singers. Tork had later moved to California himself, and reconnected with his old friend, and they had performed together for a while in a trio called the Buffalo Fish, with Tork playing various instruments, singing, and doing comedy bits. Oddly, while Tork was the member of the Monkees with the most experience as a musician, he was the only one who hadn't made a record when the TV show was put together. But he was by far the most skilled instrumentalist of the group -- as distinct from best musician, a distinction Tork was always scrupulous about making -- and could play guitar, bass, and keyboards, all to a high standard -- and I've also seen him in more recent years play French horn live. His great love, though, was the banjo, and you can hear how he must have sounded on the Greenwich Village folk scene in his solo spots on Monkees shows, where he would show off his banjo skills: [Excerpt: Peter Tork, "Cripple Creek"] Tork wouldn't get to use his instrumental skills much at first though, as most of the backing tracks for the group's records were going to be performed by other people. More impressive for the TV series producers was his gift for comedy, especially physical comedy -- having seen Tork perform live a few times, the only comparison I can make to his physical presence is to Harpo Marx, which is about as high a compliment as one can give. Indeed, Micky Dolenz has often pointed out that while there were intentional parallels to the Beatles in the casting of the group, the Marx Brothers are a far better parallel, and it's certainly easy to see Tork as Harpo, Dolenz as Chico, Nesmith as Groucho, and Jones as Zeppo. (This sounds like an insult to Jones, unless you're aware of how much the Marx Brothers films actually depended on Zeppo as the connective tissue between the more outrageous brothers and the more normal environment they were operating in, and how much the later films suffered for the lack of Zeppo). The new cast worked well together, even though there were obvious disagreements between them right from the start. Dolenz, at least at this point, seems to have been the gel that held the four together -- he had the experience of being a child star in common with Jones, he was a habitue of the Sunset Strip clubs where Nesmith and Tork had been hanging out, and he had personality traits in common with all of them. Notably, in later years, Dolenz would do duo tours with each of his three bandmates without the participation of the others. The others, though, didn't get on so well with each other. Jones and Tork seem to have got on OK, but they were very different people -- Jones was a showbiz entertainer, whose primary concern was that none of the other stars of the show be better looking than him, while Tork was later self-diagnosed as neurodivergent, a folkie proto-hippie who wanted to drift from town to town playing his banjo. Tork and Nesmith had similar backgrounds and attitudes in some respects -- and were united in their desire to have more musical input into the show than was originally intended -- but they were such different personalities in every aspect of their lives from their religious views to their politics to their taste in music they came into conflict. Nesmith would later say of Tork "I never liked Peter, he never liked me. So we had an uneasy truce between the two of us. As clear as I could tell, among his peers he was very well liked. But we rarely had a civil word to say to each other". Nesmith also didn't get on well with Jones, both of them seeming to view themselves as the natural leader of the group, with all the clashes that entails. The four Monkees were assigned instruments for their characters based not on instrumental skill, but on what suited their roles better. Jones was the teen idol character, so he was made the maraca-playing frontman who could dance without having to play an instrument, though Dolenz took far more of the lead vocals. Nesmith was made the guitarist, while Tork was put on bass, though Tork was by far the better guitarist of the two. And Dolenz was put on drums, even though he didn't play the drums -- Tork would always say later that if the roles had been allocated by actual playing ability, Jones would have been the drummer. Dolenz did, though, become a good drummer, if a rather idiosyncratic one. Tork would later say "Micky played the drums but Mike kept time, on that one record we all made, Headquarters. Mike was the timekeeper. I don't know that Micky relied on him but Mike had a much stronger sense of time. And Davy too, Davy has a much stronger sense of time. Micky played the drums like they were a musical instrument, as a colour. He played the drum colour.... as a band, there was a drummer and there was a timekeeper and they were different people." But at first, while the group were practising their instruments so they could mime convincingly on the TV and make personal appearances, they didn't need to play on their records. Indeed, on the initial pilot, they didn't even sing -- the recordings had been made before the cast had been finalised: [Excerpt: Boyce & Hart, "Monkees Theme (pilot version)"] The music was instead performed by two songwriters, Tommy Boyce and Bobby Hart, who would become hugely important in the Monkees project. Boyce and Hart were not the first choice for the project. Don Kirshner, the head of Screen Gems Music, had initially suggested Roger Atkins, a Brill Building songwriter working for his company, as the main songwriter for The Monkees. Atkins is best known for writing "It's My Life", a hit for the Animals: [Excerpt: The Animals, "It's My Life"] But Atkins didn't work out, though he would collaborate later on one song with Nesmith, and reading between the lines, it seems that there was some corporate infighting going on, though I've not seen it stated in so many words. There seems to have been a turf war between Don Kirshner, the head of Screen Gems' music publishing, who was based in the Brill Building, and Lester Sill, the West Coast executive we've seen so many times before, the mentor to Leiber and Stoller, Duane Eddy, and Phil Spector, who was now the head of Screen Gems music on the West Coast. It also seems to be the case that none of the top Brill Building songwriters were all that keen on being involved at this point -- writing songs for an unsold TV pilot wasn't exactly a plum gig. Sill ended up working closely with the TV people, and it seems to have been him who put forward Boyce and Hart, a songwriting team he was mentoring. Boyce and Hart had been working in the music industry for years, both together and separately, and had had some success, though they weren't one of the top-tier songwriting teams like Goffin and King. They'd both started as performers -- Boyce's first single, "Betty Jean", had come out in 1958: [Excerpt: Tommy Boyce, "Betty Jean"] And Hart's, "Love Whatcha Doin' to Me", under his birth name Robert Harshman, a year later: [Excerpt: Robert Harshman, "Love Whatcha Doin' to Me"] Boyce had been the first one to have real songwriting success, writing Fats Domino's top ten hit "Be My Guest" in 1959: [Excerpt: Fats Domino, "Be My Guest"] and cowriting two songs with singer Curtis Lee, both of which became singles produced by Phil Spector -- "Under the Moon of Love" and the top ten hit "Pretty Little Angel Eyes": [Excerpt: Curtis Lee, "Pretty Little Angel Eyes"] Boyce and Hart together, along with Wes Farrell, who had co-written "Twist and Shout" with Bert Berns, wrote "Lazy Elsie Molly" for Chubby Checker, and the number three hit "Come a Little Bit Closer" for Jay and the Americans: [Excerpt: Jay and the Americans, "Come a Little Bit Closer"] At this point they were both working in the Brill Building, but then Boyce moved to the West Coast, where he was paired with Steve Venet, the brother of Nik Venet, and they co-wrote and produced "Peaches and Cream" for the Ikettes: [Excerpt: The Ikettes, "Peaches and Cream"] Hart, meanwhile, was playing in the band of Teddy Randazzo, the accordion-playing singer who had appeared in The Girl Can't Help It, and with Randazzo and Bobby Weinstein he wrote "Hurts So Bad", which became a big hit for Little Anthony and the Imperials: [Excerpt: Little Anthony and the Imperials, "Hurts So Bad"] But Hart soon moved over to the West Coast, where he joined his old partner Boyce, who had been busy writing TV themes with Venet for shows like "Where the Action Is". Hart soon replaced Venet in the team, and the two soon wrote what would become undoubtedly their most famous piece of music ever, a theme tune that generations of TV viewers would grow to remember: [Excerpt: "Theme from Days of Our Lives"] Well, what did you *think* I meant? Yes, just as Davy Jones had starred in an early episode of Britain's longest-running soap opera, one that's still running today, so Boyce and Hart wrote the theme music for *America's* longest-running soap opera, which has been running every weekday since 1965, and has so far aired well in excess of fourteen thousand episodes. Meanwhile, Hart had started performing in a band called the Candy Store Prophets, with Larry Taylor  -- who we last saw with the Gamblers, playing on "LSD-25" and "Moon Dawg" -- on bass, Gerry McGee on guitar, and Billy Lewis on drums. It was this band that Boyce and Hart used -- augmented by session guitarists Wayne Erwin and Louie Shelton and Wrecking Crew percussionist Gene Estes on tambourine, plus Boyce and session singer Ron Hicklin on backing vocals, to record first the demos and then the actual tracks that would become the Monkees hits. They had a couple of songs already that would be suitable for the pilot episode, but they needed something that would be usable as a theme song for the TV show. Boyce and Hart's usual working method was to write off another hit -- they'd try to replicate the hook or the feel or the basic sound of something that was already popular. In this case, they took inspiration from the song "Catch Us If You Can", the theme from the film that was the Dave Clark Five's attempt at their own A Hard Day's Night: [Excerpt: The Dave Clark Five, "Catch Us If You Can"] Boyce and Hart turned that idea into what would become the Monkees theme. We heard their performance of it earlier of course, but when the TV show finally came out, it was rerecorded with Dolenz singing: [Excerpt: The Monkees, "Monkees Theme"] For a while, Boyce and Hart hoped that they would get to perform all the music for the TV show, and there was even apparently some vague talk of them being cast in it, but it was quickly decided that they would just be songwriters. Originally, the intent was that they wouldn't even produce the records, that instead the production would be done by a name producer. Micky Most, the Animals' producer, was sounded out for the role but wasn't interested. Snuff Garrett was brought in, but quickly discovered he didn't get on with the group at all -- in particular, they were all annoyed at the idea that Davy would be the sole lead vocalist, and the tracks Garrett cut with Davy on lead and the Wrecking Crew backing were scrapped. Instead, it was decided that Boyce and Hart would produce most of the tracks, initially with the help of the more experienced Jack Keller, and that they would only work with one Monkee at a time to minimise disruption -- usually Micky and sometimes Davy. These records would be made the same way as the demos had been, by the same set of musicians, just with one of the Monkees taking the lead. Meanwhile, as Nesmith was seriously interested in writing and production, and Rafelson and Schneider wanted to encourage the cast members, he was also assigned to write and produce songs for the show. Unlike Boyce and Hart, Nesmith wanted to use his bandmates' talents -- partly as a way of winning them over, as it was already becoming clear that the show would involve several competing factions. Nesmith's songs were mostly country-rock tracks that weren't considered suitable as singles, but they would be used on the TV show and as album tracks, and on Nesmith's songs Dolenz and Tork would sing backing vocals, and Tork would join the Wrecking Crew as an extra guitarist -- though he was well aware that his part on records like "Sweet Young Thing" wasn't strictly necessary when Glen Campbell, James Burton, Al Casey and Mike Deasy were also playing guitar: [Excerpt: The Monkees, "Sweet Young Thing"] That track was written by Nesmith with Goffin and King, and there seems to have been some effort to pair Nesmith, early on, with more commercial songwriters, though this soon fell by the wayside and Nesmith was allowed to keep making his own idiosyncratic records off to the side while Boyce and Hart got on with making the more commercial records. This was not, incidentally, something that most of the stars of the show objected to or even thought was a problem at the time. Tork was rather upset that he wasn't getting to have much involvement with the direction of the music, as he'd thought he was being employed as a musician, but Dolenz and Jones were actors first and foremost, while Nesmith was happily making his own tracks. They'd all known going in that most of the music for the show would be created by other people -- there were going to be two songs every episode, and there was no way that four people could write and record that much material themselves while also performing in a half-hour comedy show every week. Assuming, of course, that the show even aired. Initial audience response to the pilot was tepid at best, and it looked for a while like the show wasn't going to be green-lit. But Rafelson and Schneider -- and director James Frawley who played a crucial role in developing the show -- recut the pilot, cutting out one character altogether -- a manager who acted as an adult supervisor -- and adding in excerpts of the audition tapes, showing the real characters of some of the actors. As three of the four were playing characters loosely based on themselves -- Peter's "dummy" character wasn't anything like he was in real life, but was like the comedy character he'd developed in his folk-club performances -- this helped draw the audience in. It also, though, contributed to some line-blurring that became a problem. The re-edited pilot was a success, and the series sold. Indeed, the new format for the series was a unique one that had never been done on TV before -- it was a sitcom about four young men living together, without any older adult supervision, getting into improbable adventures, and with one or two semi-improvised "romps", inspired by silent slapstick, over which played original songs. This became strangely influential in British sitcom when the series came out over here  -- two of the most important sitcoms of the next couple of decades, The Goodies and The Young Ones, are very clearly influenced by the Monkees. And before the broadcast of the first episode, they were going to release a single to promote it. The song chosen as the first single was one Boyce and Hart had written, inspired by the Beatles. Specifically inspired by this: [Excerpt: The Beatles, "Paperback Writer"] Hart heard that tag on the radio, and thought that the Beatles were singing "take the last train". When he heard the song again the next day and realised that the song had nothing to do with trains, he and Boyce sat down and wrote their own song inspired by his mishearing. "Last Train to Clarksville" is structured very, very, similarly to "Paperback Writer" -- both of them stay on one chord, a G7, for an eight-bar verse before changing to C7 for a chorus line -- the word "writer" for the Beatles, the "no no no" (inspired by the Beatles "yeah yeah yeah") for the Monkees. To show how close the parallels are, I've sped up the vocals from the Beatles track slightly to match the tempo with a karaoke backing track version of "Last Train to Clarksville" I found, and put the two together: [Excerpt: "Paperback Clarksville"] Lyrically, there was one inspiration I will talk about in a minute, but I think I've identified another inspiration that nobody has ever mentioned. The classic country song "Night Train to Memphis", co-written by Owen Bradley, and made famous by Roy Acuff, has some slight melodic similarity to "Last Train to Clarksville", and parallels the lyrics fairly closely -- "take the night train to Memphis" against "take the last train to Clarksville", both towns in Tennessee, and "when you arrive at the station, I'll be right there to meet you I'll be right there to greet you, So don't turn down my invitation" is clearly close to "and I'll meet you at the station, you can be here by 4:30 'cos I've made your reservation": [Excerpt: Roy Acuff, "Night Train to Memphis"] Interestingly, in May 1966, the same month that "Paperback Writer" was released, and so presumably the time that Hart heard the song on the radio for the first time, Rick Nelson, the teen idol formerly known as Ricky Nelson, who had started his own career as a performer in a sitcom, had released an album called Bright Lights and Country Music. He'd had a bit of a career downslump and was changing musical direction, and recording country songs. The last track on that album was a version of "Night Train to Memphis": [Excerpt: Rick Nelson, "Night Train to Memphis"] Now, I've never seen either Boyce or Hart ever mention even hearing that song, it's pure speculation on my part that there's any connection there at all, but I thought the similarity worth mentioning. The idea of the lyric, though, was to make a very mild statement about the Vietnam War. Clarksville was, as mentioned earlier, the site of Fort Campbell, a military training base, and they crafted a story about a young soldier being shipped off to war, calling his girlfriend to come and see him for one last night. This is left more-or-less ambiguous -- this was a song being written for a TV show intended for children, after all -- but it's still very clear on the line "and I don't know if I'm ever coming home". Now, Boyce and Hart were songwriters first and foremost, and as producers they were quite hands-off and would let the musicians shape the arrangements. They knew they wanted a guitar riff in the style of the Beatles' recent singles, and Louie Shelton came up with one based around the G7 chord that forms the basis of the song, starting with an octave leap: Shelton's riff became the hook that drove the record, and engineer Dave Hassinger added the final touch, manually raising the volume on the hi-hat mic for a fraction of a second every bar, creating a drum sound like a hissing steam brake: [Excerpt: The Monkees, "Last Train to Clarksville"] Now all that was needed was to get the lead vocals down. But Micky Dolenz was tired, and hungry, and overworked -- both Dolenz and Jones in their separate autobiographies talk about how it was normal for them to only get three hours' sleep a night between working twelve hour days filming the series, three-hour recording sessions, and publicity commitments. He got the verses down fine, but he just couldn't sing the middle eight. Boyce and Hart had written a complicated, multisyllabic, patter bridge, and he just couldn't get his tongue around that many syllables when he was that tired. He eventually asked if he could just sing "do do do" instead of the words, and the producers agreed. Surprisingly, it worked: [Excerpt: The Monkees, "Last Train to Clarksville"] "Last Train to Clarksville" was released in advance of the TV series, on a new label, Colgems, set up especially for the Monkees to replace Colpix, with a better distribution deal, and it went to number one. The TV show started out with mediocre ratings, but soon that too became a hit. And so did the first album released from the TV series. And that album was where some of the problems really started. The album itself was fine -- ten tracks produced by Boyce and Hart with the Candy Store Prophets playing and either Micky or Davy singing, mostly songs Boyce and Hart wrote, with a couple of numbers by Goffin and King and other Kirshner staff songwriters, plus two songs produced by Nesmith with the Wrecking Crew, and with token participation from Tork and Dolenz. The problem was the back cover, which gave little potted descriptions of each of them, with their height, eye colour, and so on. And under three of them it said "plays guitar and sings", while under Dolenz it said "plays drums and sings". Now this was technically accurate -- they all did play those instruments. They just didn't play them on the record, which was clearly the impression the cover was intended to give. Nesmith in particular was incandescent. He believed that people watching the TV show understood that the group weren't really performing that music, any more than Adam West was really fighting crime or William Shatner travelling through space. But crediting them on the record was, he felt, crossing a line into something close to con artistry. To make matters worse, success was bringing more people trying to have a say. Where before, the Monkees had been an irrelevance, left to a couple of B-list producer-songwriters on the West Coast, now they were a guaranteed hit factory, and every songwriter working for Kirshner wanted to write and produce for them -- which made sense because of the sheer quantity of material they needed for the TV show, but it made for a bigger, less democratic, organisation -- one in which Kirshner was suddenly in far more control. Suddenly as well as Boyce and Hart with the Candy Store Prophets and Nesmith with the Wrecking Crew, both of whom had been operating without much oversight from Kirshner, there were a bunch of tracks being cut on the East Coast by songwriting and production teams like Goffin and King, and Neil Sedaka and Carole Bayer. On the second Monkees album, released only a few months after the first, there were nine producers credited -- as well as Boyce, Hart, Jack Keller, and Nesmith, there were now also Goffin, King, Sedaka, Bayer, and Jeff Barry, who as well as cutting tracks on the east coast was also flying over to the West Coast, cutting more tracks with the Wrecking Crew, and producing vocal sessions while there. As well as producing songs he'd written himself, Barry was also supervising songs written by other people. One of those was a new songwriter he'd recently discovered and been co-producing for Bang Records, Neil Diamond, who had just had a big hit of his own with "Cherry Cherry": [Excerpt: Neil Diamond, "Cherry Cherry"] Diamond was signed with Screen Gems, and had written a song which Barry thought would be perfect for the Monkees, an uptempo song called "I'm a Believer", which he'd demoed with the regular Bang musicians -- top East Coast session players like Al Gorgoni, the guitarist who'd played on "The Sound of Silence": [Excerpt: Neil Diamond, "I'm a Believer"] Barry had cut a backing track for the Monkees using those same musicians, including Diamond on acoustic guitar, and brought it over to LA. And that track would indirectly lead to the first big crisis for the group. Barry, unlike Boyce and Hart, was interested in working with the whole group, and played all of them the backing track. Nesmith's reaction was a blunt "I'm a producer too, and that ain't no hit". He liked the song -- he wanted to have a go at producing a track on it himself, as it happened -- but he didn't think the backing track worked. Barry, trying to lighten the mood, joked that it wasn't finished and you needed to imagine it with strings and horns. Unfortunately, Nesmith didn't get that he was joking, and started talking about how that might indeed make a difference -- at which point everyone laughed and Nesmith took it badly -- his relationship with Barry quickly soured. Nesmith was getting increasingly dissatisfied with the way his songs and his productions were being sidelined, and was generally getting unhappy, and Tork was wanting more musical input too. They'd been talking with Rafelson and Schneider, who'd agreed that the group were now good enough on their instruments that they could start recording some tracks by themselves, an idea which Kirshner loathed. But for now they were recording Neil Diamond's song to Jeff Barry's backing track. Given that Nesmith liked the song, and given that he had some slight vocal resemblance to Diamond, the group suggested that Nesmith be given the lead vocal, and Kirshner and Barry agreed, although Kirshner at least apparently always intended for Dolenz to sing lead, and was just trying to pacify Nesmith. In the studio, Kirshner kept criticising Nesmith's vocal, and telling him he was doing it wrong, until eventually he stormed out, and Kirshner got what he wanted -- another Monkees hit with Micky Dolenz on lead, though this time it did at least have Jones and Tork on backing vocals: [Excerpt: The Monkees, "I'm a Believer"] That was released on November 23rd, 1966, as their second single, and became their second number one. And in January 1967, the group's second album, More of the Monkees, was released. That too went to number one. There was only one problem. The group weren't even told about the album coming out beforehand -- they had to buy their own copies from a record shop to even see what tracks were on it. Nesmith had his two tracks, but even Boyce and Hart were only given two, with the rest of the album being made up of tracks from the Brill Building songwriters Kirshner preferred. Lots of great Nesmith and Boyce and Hart tracks were left off the album in favour of some astonishingly weak material, including the two worst tracks the group ever recorded, "The Day We Fall in Love" and "Laugh", and a novelty song they found embarrassing, "Your Auntie Grizelda", included to give Tork a vocal spot. Nesmith called it "probably the worst album in the history of the world", though in truth seven of the twelve tracks are really very strong, though some of the other material is pretty poor. The group were also annoyed by the packaging. The liner notes were by Don Kirshner, and read to the group at least like a celebration of Kirshner himself as the one person responsible for everything on the record. Even the photo was an embarrassment -- the group had taken a series of photos in clothes from the department store J. C. Penney as part of an advertising campaign, and the group thought the clothes were ridiculous, but one of those photos was the one chosen for the cover. Nesmith and Tork made a decision, which the other two agreed to with varying degrees of willingness. They'd been fine miming to other people's records when it was clearly just for a TV show. But if they were being promoted as a real band, and having to go on tour promoting albums credited to them, they were going to *be* a real band, and take some responsibility for the music that was being put out in their name.  With the support of Rafelson and Schneider, they started making preparations to do just that. But Don Kirshner had other ideas, and told them so in no uncertain terms. As far as he was concerned, they were a bunch of ungrateful, spoiled, kids who were very happy cashing the ridiculously large cheques they were getting, but now wanted to kill the goose that laid the golden egg. They were going to keep doing what they were told. Things came to a head in a business meeting in January 1967, when Nesmith gave an ultimatum. Either the group got to start playing on their own records, or he was quitting. Herb Moelis, Kirshner's lawyer, told Nesmith that he should read his contract more carefully, at which point Nesmith got up, punched a hole in the wall of the hotel suite they were in, and told Moelis "That could have been your face". So as 1967 began, the group were at a turning point. Would they be able to cut the puppet strings, or would they have to keep living a lie? We'll find out in a few weeks' time...

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/world-affairs

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. 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 Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/national-security

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

In Number One Realist: Bernard Fall and Vietnamese Revolutionary Warfare (Oxford UP, 2021), Dr. Nathaniel L. Moir studies the thought of this overlooked figure, one of the most important experts on counterinsurgency warfare in Indochina. Dr. Moir's intellectual history analyses Fall's formative experiences: his service in the French underground and army during the Second World War; his father's execution by the Germans and his mother's murder in Auschwitz; and his work as a research analyst at the Nuremberg Trials. Moir demonstrates how these critical events made Fall “an insightful analyst of war because of the experience and knowledge he brought to his study and his early recognition of the Viet Minh's approach to warfare, which they used to defeat the French in 1954 during the First Indochina War.” Dr. Moir investigates how Bernard Fall understood and described Vietnamese revolutionary warfare in Indochina after World War II.The book tells a history indelibly tied to Bernard Fall, but also centers on the unique circumstances through which Fall came to identify, study, and describe revolutionary warfare in Indochina. In the years before conventional American intervention in 1965, Fall argued that—far more than anything in the United States' military arsenal—resolving conflict in Vietnam would require political strength, willpower, integrity and skill. Number One Realist illuminates Fall's study of political reconciliation in Indochina, while showing how his profound, humanitarian critique of war continues to echo in the endless conflicts of the present. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

By the mid 1950s, smog was becoming a serious problem in American cities, especially Los Angeles. On January 15th, 1954 KNX broadcast a special called “The Troubled Air.” ___________ Residents of Los Angeles suffered from burning eyes, runny noses, persistent cough and shortness of breath. It came from pollutants caused by automobiles, factories, and garbage incinerators. This documentary aired in an effort to drive awareness, and speed-up City Hall's solution to the problem. ___________ Five days later, The National Negro Network was formed by Chicago ad executive W. Leonard Evans. Evans was the first African-American radio network owner in the country. ___________ Other partners were Ms. Reggie Schuebel, VP and Treasurer, and John M. Wyatt, Executive VP. The duo owned a New York-based radio and TV consulting company. Among those on the board was Cab Calloway. The network launched with forty-six affiliates. Broadcasting Magazine reported that twelve to fifteen million African-Americans were expected to be reached. ___________ In other news, on January 21st, The first nuclear-powered submarine, the USS Nautilus, was launched. Four days later The Berlin Conference launched with ministers from The U.S., U.K., France, and The Soviet Union. Its purpose was to discuss a settlement to the recent Korean War and the ongoing First Indochina War. ___________ The conference would last until February 18th.

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au.

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

When people think of the “Vietnam War” they usually think of the hugely devastating and divisive conflict between North Vietnam and a United States-backed South Vietnam that finally ended in 1975. We know much less about the earlier conflict, often referred to as the “First Indochina War”, from 1946 to 1954, which ended almost a century of French colonial rule and brought about the division of the country into North and South Vietnam. In his new book, The First Vietnam War: Sovereignty and the Fracture of the South, 1945-1956 (Cambridge UP, 2021), Shawn McHale examines this earlier conflict, focussing on the complex and diverse society of south Vietnam. The book begins with a provocative question: why did the communist-led resistance against French colonial rule in Vietnam fail in the south? This is an exhaustively researched book which does a lot to change our understanding of how south Vietnam became independent, and helps explain what came after the end of the “first Vietnam War”. Patrick Jory teaches Southeast Asian History in the School of Historical and Philosophical Inquiry at the University of Queensland. He can be reached at: p.jory@uq.edu.au. 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

The Battle of Dien Bien Phu was supposed to be France's decisive end to Vietnam's war for independence, the First Indochina War. But instead, it effectively marks the end of European Empire. But how does it go so wrong for France? How are nuclear weapons involved? And why were the same mistakes repeated by the Americans? Historian and podcaster, Dan Snow, is here to help us find out... See acast.com/privacy for privacy and opt-out information.

Season six of this podcast season begin on Saturday September 4th.  It will deal with the military and political events in Vietnam and Laos between 1955 and 1965.  From the end of the First Indochina War to intervention of American ground in 1965.

How does the Communist Party of Kampuchea form? How does Saloth Sar become a married man and teacher? What are the consequences of Sihanouk's neutral foreign policy? Time Period Covered 1955-1960 As peace broke out over Cambodia in the wake of the First Indochina War, the fledgling communist movement had to learn to survive in a newly independent country under the rule of Prince Norodom Sihanouk. Numbers dwindling and unable to openly resist the government, the ‘revolutionary organisation', as they began calling themselves, found an avenue for recruits in the schools of Phnom Penh. The man who would become Pol Pot became a teacher. Meanwhile, in an attempt to navigate a neutral path for Cambodia in the Cold War era, Sihanouk opens relations with China as well as the United States. This agenda will have consequences, as the CIA begins trying to undermine his government and even seek his removal. The resulting “Bangkok Plot”, a series of conspiracies against him, will be explained. The Khmer Rouge, as Sihanouk had begun calling the communists in his country, will also meet to discuss a new kind of organisation - the Communist Party of Kampuchea. Saloth Sar, Nuon Chea and Ieng Sary will all find themselves in high-ranking positions as the seeds of their revolution are sewn. Sources Philip Short Pol Pot: History of a Nightmare David Chandler The Tragedy of Cambodian History, Brother Number One Ben Kiernan How Pol Pot Came to Power Milton Osbourne Sihanouk Elizabeth Becker When the War was Over Norodom Sihanouk My War with the CIA Peter Froberg Idling Song for an Approaching Storm Craig Etcheson Overview of Hierarchy of Democratic Kampuchea Show Content https://www.shadowsofutopia.com/dramatis-personae.html

On this week's episode of NAM-TV, we continue our story with a look at the First Indochina War (1946-1954), in which France attempted to reconquer Vietnam by fighting the Viet Minh, Ho Chi Minh's increasingly powerful revolutionary movement. With the United States secretly funding the French side, and the rest of the world more or less staying out of it, the war culminates (spoiler alert!) in a stunning victory for the Viet Minh at the Battle of Dien Bien Phu. How did the Viet Minh achieve this "impossible" feat? And what will be the terms of their victory? For full episode subscribe at patreon.com/nostalgiatrap. 

How does the First Indochina War end? What do the Geneva Accords mean for Cambodia? Who wins the 1955 Cambodian general election? Time Period Covered December 1953 – July 1955 Cambodia faces Viet Minh assaults around the country as the First Indochina War comes to its climax, but the French will suffer their most stunning defeat at Dien Bien Phu. World powers will convene to find a solution to the conflict. The resulting ‘peace’ will marginalise the Cambodian communist movement at the expense of the Vietnamese one, and Sihanouk will create a new political movement.   Google Maps View of Dien Bien PhuSupport the show Sources Philip Short Pol Pot: History of a Nightmare David Chandler The Tragedy of Cambodian HistoryBen Kiernan How Pol Pot Came to Power Milton Osbourne Sihanouk Christopher Goscha Vietnam: A New History

How does Cambodia become independent in November 1953? What lessons does a young Pol Pot learn in the jungle with the Viet Minh? Time Period Covered January – December 1953 This episode explains the actions of King Sihanouk that one French General declared was ‘that of a madman, but a madman of genius’. Almost out of the blue the Cambodian king will claim independence for his country and end almost a century of French colonial rule. Meanwhile, the First Indochina War will bring its ruin [...]

Charles Dickens' "A Christmas Carol" was published for the first time on this day in 1843. / On this day in 1946, the First Indochina War began. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

How did the First Indochina War become part of the Cold War? When did the Khmer students studying in Paris become communists? What influenced Saloth Sar to become a revolutionary? Time Period Covered 1947-1953 This episode explains the way that the first ‘Vietnam War’ began developing into something recognisably part of the Cold War. We also trace the path of the young Pol Pot as his studies in Paris become influenced by a rising influence of communism. Cambodian politics and the return [...]

On this day in 1946, the First Indochina War began. Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

1809 Famous explorer Meriwether Lewis dies under mysterious circumstances in the early hours of the morning after stopping for the night at Grinder's Tavern along the Natchez Trace in Tennessee. Bankrupt and in debt, unmarried, his journals of the expedition unpublished, Lewis's life was a shambles. It was all quite a comedown from the heroic expedition. Most recent historians have concluded that Lewis' death was a suicide brought on by deep depression and the heavy weight of worries he bore. 1899 Second Boer War Begins. The almost 3-year long conflict was fought between British troops and the Boers from the Transvaal and Orange Free State. The war began as a result of disagreements between the two sides over the ownership of gold and diamond mines in the region. The two countries were annexed by the British at the end of the war in May 1902. The word Boer is the Afrikaans word for farmer and it was used at that time to refer to Afrikaans-speaking settlers in the region. By mid June 1900, British forces had captured most major Boer cities and formally annexed their territories, but the Boers launched a guerrilla war that frustrated the British occupiers. Beginning in 1901, the British began a strategy of systematically searching out and destroying these guerrilla units, while herding the families of the Boer soldiers into concentration camps. By 1902, the British had crushed the Boer resistance. 1954 The Viet Minh formally take over Hanoi and control of North Vietnam. The Viet Minh was a Communist front organization founded by Ho Chi Minh in 1941 to organize resistance against French colonial rule and occupying Japanese forces. With the end of the Japanese occupation in 1945, the French attempted to reimpose colonial rule. The Viet Minh launched a long and bloody guerrilla war against French colonial forces in what came to be known as the First Indochina War. Ultimately, the Viet Minh, decisively defeated the French at the Battle of Dien Bien Phu in May 1954, with an armistice ending the war on August 1 later that year. Under the provisions of the agreement signed, Vietnam was to be separated by a Demilitarized Zone (DMZ) running along the 17th parallel. The northern half was to be governed by the Democratic Republic of Vietnam, which had been proclaimed by Ho Chi Minh, and the southern half would be governed by the non-communist State of Vietnam until 1956, at which time the two zones were to be reunified following internationally supervised elections. Ngo Dinh Diem, who had become premier of the State of Vietnam in June, was a Catholic and staunchly anticommunist. Diem disliked the Geneva Accords and set about to consolidate his power in the south. By the middle of 1955, Diem had effectively gained control of most of South Vietnam, and in July of that year, he declared his refusal to permit the elections called for at Geneva. This announcement led to a stepped-up insurgency in the south and ultimately to the Second Indochina War, more commonly known as the Vietnam War.

Today we will wrap up the First Indochina War by covering the showdown which proved to the French that they couldn't stay in Vietnam anymore -- the battle of Dien Bien Phu! Over the course of the war, the French had seven generals commanding their forces. The last of those generals was Henri Navarre, who led from May 1953 to the end of the war in mid-1954. Here he is, from a Time Magazine cover dated December 28, 1953. His job was to stabilize the situation so that France could negotiate from a position of strength (by this time, the French no longer expected to win the war), but instead his strategy led to the disastrous battle of Dienbienphu. When the French established their base at Dien Bien Phu, they put a dashing tank commander, Colonel Christian de Castries, in charge of it. Rumor has it that de Castries left gambling debts and heartbroken mistresses back in France. Actually he proved to be a poor choice, because he was experienced in mobile warfare, and here his job was to defend a fixed position. During the battle he spent most of his time in his bunker, and was rarely seen by the troops. The Viet Minh captured de Castries on the last day of the siege, and held him prisoner for four months. Now from the other side, here are the Viet Minh leaders planning their strategy for Dien Bien Phu. From left to right: Pham Van Dong, Ho Chi Minh, Truong Chinh, Vo Nguyen Giap. Finally, here is a map showing Indochina at the end of the First Indochina War, in July 1954. The orange lines mark the limits of the areas that were under communist control, or at least where the communists had more influence than the French and the pro-French governments that had been set up in each country. By "communists," we mean not only the Viet Minh in Vietnam, but also the Pathet Lao in Laos, and the United Issarak Front in Cambodia. The dark pink areas in Laos mark the two provinces the Pathet Lao gained control over in 1953. According to the terms of the Geneva Accords, the communists got all of North Vietnam (called Nordvietnam on this German language map), but they had to give back everything they had taken in South Vietnam, Laos and Cambodia. The areas marked blue and brown near Saigon are local uprisings that happened after 1954; they will be discussed in a future podcast episode. Do you think you would like to become a podcaster on Blubrry? Click here for the details on joining. Enter my promo code, HSEASIA, to let them know I sent you, and you will get the first month's hosting for free! Support this podcast!  

For Part 4 in our series on the First Indochina War, this episode covers the events of 1952 and most of 1953. We will look at the battles in northwest Vietnam, as the Viet Minh invade this area. Then we will see the opening of a second front in Laos, which will start an on-and-off civil war that will last for the next 22 years. Finally, we will learn how Laos and Cambodia achieved full independence from France. Today's map shows the campaigns in northern Vietnam (then called Tonkin) in 1952. The Viet Minh (pink arrows) advanced from the Red River valley to the Black River valley. By the end of 1952 they had also reached the western border, making it possible for them to invade Laos in 1953. The blue arrow marks the French counterattack, Operation Lorraine; it turned back before it captured its main objective, the Viet Minh supply base at Yen Binh. However, the French garrison surrounded at Na San was able to resist all attacks after the enemy surrounded it, until it was evacuated in August 1953. Source: offbeathistory.files.wordpress.com And for those who missed it last time, here is the link to the story about homo luzonensis, the cave man found in the Philippines. A new hominid species has been found in a Philippine cave, fossils suggest Do you think you would like to become a podcaster on Blubrry? Click here for the details on joining. Enter my promo code, HSEASIA, to let them know I sent you, and you will get the first month's hosting for free! Support this podcast!  

Today's episode is the third in our series about the Indochina Wars. Here we will look at the campaigns of 1951. In response to the successful Viet Minh (Vietnamese Communist) offensive of 1950, the French send in their best general, Jean de Lattre de Tassigny. It was only during the eleven months when de Lattre was in command (December 1950 - November 1951) that the French felt they had a good chance of winning. Jean de Lattre de Tassigny. The Americans called him "D.D.T.," and the French called him Roi Jean (King John). This map shows a close-up of the Red River delta, in northern Vietnam, 1951. The orange dots mark spots where the Viet Minh made unsuccessful invasions of the delta. Another invasion, which isn't marked, took place at Vinh Yen, northwest of Hanoi. To stop these incursions, General Jean de Lattre de Tassigny built a massive defensive barrier, shown by the red line. This barrier was called the "De Lattre Line"; it kept Hanoi, Haiphong and the delta in French hands for the rest of the First Indochina War, but it also tied down more than half of the French army in Vietnam, because they were needed to man the line. Source: Globalsecurity.org And here is the story about homo luzonensis, the cave man found in the Philippines. A new hominid species has been found in a Philippine cave, fossils suggest Do you think you would like to become a podcaster on Blubrry? Click here for the details on joining. Enter my promo code, HSEASIA, to let them know I sent you, and you will get the first month's hosting for free! Support this podcast!  

In this episode we begin covering the events of the First Indochina War, waged between the French and the Vietnamese communists, then called the Viet Minh. Here we go from 1946 to 1950. For most of this time the struggle was a stalemate, with the French controlling all cities in Vietnam, while the Viet Minh roamed the countryside. Then in 1950 the Viet Minh won a key battle in the area northeast of Hanoi; this is now considered the turning point of the war. Here is a map of the First Indochina War, not long after it started, in 1947. The French controlled the violet areas, while the Viet Minh controlled the areas colored reddish-orange. For nearly three years after this -- in 1948, 1949 and early 1950 -- the front lines between the two sides barely moved at all. For that reason, one of the names given for this conflict is "the Quicksand War." Here is another map of the First Indochina War, showing the situation at the end of 1950. As with the 1947 map, the French control the violet areas, and the Communists (mostly Viet Minh) control the reddish-orange areas. The biggest change from last time is that the Viet Minh have captured northeast Vietnam, and are now putting the squeeze on the Red River delta. Do you think you would like to become a podcaster on Blubrry? Click here for the details on joining. Enter my promo code, HSEASIA, to let them know I sent you, and you will get the first month's hosting for free! Support this podcast!

This is the first in what will be a series of episodes about the Indochina Wars, which afflicted Vietnam, Cambodia and Laos for more than forty years (1945-1989). Today we introduce the scene and the characters in 1945-46, between the end of World War II and the beginning of what is officially called the First Indochina War. During World War II, The United States gave aid to anyone fighting the Axis powers (Germany, Italy and Japan), and that included communists. As a result, the US Army's intelligence agency, the Office of Strategic Services (OSS), sent a team into Vietnam in July 1945, and they gave the Viet Minh equipment and guerrilla training. Among those standing in this picture, Ho Chi Minh is the third from the left. The individual wearing a tie is Vo Nguyen Giap, the Viet Minh military commander. Between Ho and Giap is the OSS team leader, Major Allison Thomas. Indochina was temporarily partitioned in late 1945 and early 1946, until the French returned to re-occupy their colony. Judging from the western border's location, this must have happened before Thailand gave back the Laotian and Cambodian provinces it took in 1941. Do you think you would like to become a podcaster on Blubrry? Click here for the details on joining. Enter my promo code, HSEASIA, to let them know I sent you, and you will get the first month's hosting for free! Support this podcast!  

Ho Chi Minh agrees to go to Paris for a second round of talks with the French about the independence of Vietnam. But just before he is due to leave, the French High Commissioner in Vietnam screws him over. And then, the next day, the French government collapses. Ho goes anyway, but has to spend […]

In Hanoi, a new provisional coalition government was established on January 1, 1946. Ho Chi Minh was to be named president and Nguyen Hai Than from the nationalist VNQDD party as vice president. The Vietminh and the Chinese controlled the north. The French controlled the South, with the full support of the Americans and British, […]

Peter Dewey was the first of nearly 60,000 Americans to be killed in Vietnam. Truman sells out the Vietnamese to keep De Gaulle happy. And the French arrive back in their old colony. Here’s a picture of the seahorse for reference.               HOW TO LISTEN If you’re already a […]

After Ho Chi Minh declared the independence of Vietnam in September 1945, the British and Chinese troops arrived in Saigon and Hanoi to disarm the Japanese and prepare the return of the French – and the shooting begins. Some scholars thing that *this* was the beginning of the First Indochina War. Meanwhile, Ho continues to […]

Today’s interview is with Chau Smith, a 71 year old wife, mother and grandmother who has run more than 70 marathons and countless shorter races since she took up running in 1995.  In 2017, for her 70th birthday she ran the Triple7Quest, 7 marathons, on 7 continents in 7 days.  And if that wasn’t enough, a few weeks after she did so, an 8th continent, Zealandia, was declared.  So, what does Chau do, she runs the 2018 the Triple8Quest, 8 marathons, on 8 continents in 8 days. Chau discusses how she got bored just walking started to run and then kept at it as the more she ran she more she enjoyed it and the better she felt.  She began running by biking with her husband while he ran, and then progressed to running.  She did a 5k and was, as she says, “clueless” so ended up in the medical tent dehydrated and suffering from lack of oxygen.   It only took her an hour though to decide to do her dream race which was a 10k.  And then since then she has run marathons on all the continents, several times over. During the interview we will learn what it was like for Chau as a child during the Vietnam war (which was known in Vietnam as the American War).  Chau says she has always been determined to do her own thing, and views herself as stubborn and not allowing things to stop her.  She runs with pieces of shrapnel in her arm and leg but despite the pain of it moving in her body, she just has embraced the pain and telling herself you have lived though it for so many years, it is just nothing. We talk about Chau finishing the Triple7Quest for her 70th birthday.  7 marathons, 7 continents, in 7 days.  But that wasn’t her first time running all the continents, she and her husband had already run them all over many years.  She heard about the challenge and decided to do them, with her husband’s support. Today’s Guest Chau Smith was born in Vietnam in 1947, during the First Indochina War, a few months after her father, a teacher and resistance fighter, was captured and killed.  Her mother waited 3 years to get a birth certificate because of the war so she is officially younger than her real age.   At age 13 she was hit by shrapnel and still carries pieces in her arm and leg.  She came to the US as the wife of a US Soldier.  They divorced, leaving her the single mother of two girls and working several jobs to support herself and her girls. For many years she ran her own alternations business and started running to offset the stress and back issues from running a business and household.  It helped that her husband Michael is also a runner.  She ran her first race, a 5k, in 1995, at age 48. She qualified for and ran in the 2013 Boston Marathon but was stopped 1/4 mile short of the finish due to the bombings, but returned to run the full race in 2014.  Chau is  a wife, mother and grandmother and lives and runs in Kansas City. What you will learn about: How Chau deals with running with shrapnel in her body and the mental toughness it takes. Chau’s running of the Triple7Quest.  The race director tried to register her for the half marathons but she said No, I paid for the full and I will do the full marathons. How Chau fell before the Triple8 Amsterdam race getting on the van and didn’t tell anyone despite a severe cut in her mouth and a laceration on her leg.  And how she ran with severe sunburns because security confiscated her sunscreen. Why Chau ran in a pink pussyhat during the Triple7 races to support all women. How Chau loves being in nature and at the starting line of races where you meet people from all over.  Get out and enjoy that, keep moving. How Chau is now going to set her sights on the 6 Majors.  And a marathon in all 50 states.  But she isn’t in a hurry!   Inspirational Quotes: Tomorrow is today, jump in and do it.  Don’t wait for tomorrow. I never let anyone else dictate my dream or desires. When I hit the wall or I feel I have given everything, I still have more to give.   If we look within our family, friends, community, our country and the whole world, we see how lucky we are.  Our pain is temporary, not permanent. Age is just a number.  Do it today, put on your shoes, do just one block.  Pat yourself on your back, you did it, congratulate yourself.  You owe it to yourself to keep moving. It doesn’t matter how slow you are, you are a runner! Resources: Last week's episode with Manal Rostom Tina4Real Podcast  Buy a Running for Real T-shirt, Tank, or Hat Article on Chau and what she accomplished Chau on Instagram Thank you to BodyHealth for sponsoring this episode of Running for Real. Now I am back to training, guess what was the first thing I did to start making sure I recover quicker (as coming back to fitness really beats your body up!), yep, you guessed it, BodyHealth Perfect Amino! Get 10% off at Bodyhealth.com using coupon code TINA10   Thanks for Listening! I hope you enjoyed today's episode. To share your thoughts: Leave a note in the comment section below. Join the Running for Real Facebook Group and share your thoughts on the episode (or future guests you would like to hear from) Share this show on Twitter, Facebook, Instagram, or Pinterest. To help out the show: Leave an honest review on iTunes. Your ratings and reviews will really help me climb up the iTunes rankings and I promise, I read every single one. Subscribe on iTunes or your favorite podcast player. Not sure how to leave a review or subscribe, you can find out here. Thank you to Chau, I look forward to hearing your thoughts on the show.

We’re getting into the French War proper now, and we’ll make it almost all the way to the outbreak of the war in Korea by the end of this one. I’ve got some videos whose audio I couldn’t use, for various reasons, in the show itself, but that might serve to give all of us … Continue reading Vietnam IV: The First Indochina War →

How USA got into Vietnam, the buildup to the war, the First Indochina War, what the major figures of the time thought of it (Nixon, LBJ, Truman, Eisenhower, Kennedy)

Battle of Dien Bien Phu was the climactic confrontation of the First Indochina War between the French Union's French Far East Expeditionary Corps and Viet Minh communist-nationalist revolutionaries. It was, from the French view before the event, a set piece battle to draw out the Vietnamese and destroy them with superior firepower. The battle occurred between March and May 1954 and culminated in a comprehensive French defeat that influenced negotiations underway at Geneva among several nations over the future of Indochina. The Viet Minh opened fire with a massive artillery bombardment in March. After several days the French artillery commander, Charles Piroth, unable to respond with any effective counterbattery fire, committed suicide. The Viet Minh occupied the highlands around Điện Biên Phủ and bombarded the French positions. Tenacious fighting on the ground ensued, reminiscent of the trench warfare of World War I. The French repeatedly repulsed Viet Minh assaults on their positions. Supplies and reinforcements were delivered by air, though as the key French positions were overrun, the French perimeter contracted and the air resupply on which the French had placed their hopes became impossible. As the Viet Minh antiaircraft fire took its toll, fewer and fewer of those supplies reached the French. The garrison was overrun in May after a two-month siege, and most of the French forces surrendered. A few of them escaped to Laos. The French government in Paris then resigned, and the new Prime Minister, the left-of-centre Pierre Mendès France, supported French withdrawal from Indochina. Information Sourced from; https://en.wikipedia.org/wiki/Battle_of_Dien_Bien_Phu Body Sourced From; https://youtu.be/mLXoeelZ7XA Public Access America 
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The reason for this special edition is two fold, firstly many people have emailed me about my opinion about the present tension in Korea over the North Korean Atomic Bomb and missile programmes.  A secondly to announce further future episodes which would place the Korean War in its historical context of the time, which explain why such was the fear of a Communist take over of Asia, that explain why American committed itself to a three year long war in Korea. The next series of such episodes is on the First Indochina War fought between a Communist Army and a western power, France which lasted from 1945 to 1954.

In today's episode, the flames of history illuminate the conducting genius of Arturo Toscanini, whose baton shaped the world of classical music. We then transition to the innovation of Dacron, a material that revolutionized textiles and fashion. The episode takes a dramatic turn with the Battle of Dien Bien Phu, a defining moment in the First Indochina War. Finally, we explore the cultural explosion of Bill Haley's "Rock Around the Clock," a song that rocked the foundations of popular music.In just five minutes, we'll guide you through these historical vignettes, providing context, anecdotes, and a deeper understanding of the individuals and events that shaped their times. Whether you're a devoted Billy Joel fan or someone curious about the history behind the lyrics, "Five Minutes of Fire" is your daily ticket to historical enlightenment.Subscribe now to join us as we unravel the verses of "We Didn't Start the Fire," offering insights that bring the past to life. "Five Minutes of Fire" - where history unfolds swiftly and vibrantly, twice a day. Don't miss your daily spark of historical exploration!Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy