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Mere minutes after the shooting, a doctor arrived on the scene. Using his ungloved, unwashed fingers, he dug into President James Garfield's bullet wound. The doctor hoped to retrieve the bullet. That would prove a common theme in the president's medical care. As James Garfield struggled to survive, doctors obsessed over retrieving the bullet. They subjected him to daily examinations — always with unsanitized tools and unwashed hands. Those examinations caused him tremendous suffering. They ultimately killed him.Remember, kids, history hoes always cite their sources! For this episode, Kristin pulled from: The book, “Destiny of the Republic: A Tale of Madness, Medicine, and the Murder of a President,” by Candice MillardThe book, “Dark Horse: The Surprise Election and Political Murder of President James A. Garfield,” by Kenneth D. Ackerman“Murder of a President” documentary and additional resources from PBS.org“‘As a Matter of Fact, I Presume I Shall Live to be President'”: A Brief Biographical Sketch of Garfield's Assassin” from the National Park Service“Assassination and Insanity in Gilded Age America,” by Winston BowmanAre you enjoying An Old Timey Podcast? Then please leave us a 5-star rating and review wherever you listen to podcasts!Are you *really* enjoying An Old Timey Podcast? Well, calm down, history ho! You can get more of us on Patreon at patreon.com/oldtimeypodcast. At the $5 level, you'll get a monthly bonus episode (with video!), access to our 90's style chat room, plus the entire back catalog of bonus episodes from Kristin's previous podcast, Let's Go To Court.
Charles Guiteau was seething. He'd convinced himself that he deserved a political appointment. When he didn't get one, he placed the blame squarely on President James Garfield's shoulders. James Garfield was a liar. A cheat. The country would be better off without him! Over time, Charles convinced himself that God wanted him to assassinate the president. So? He bought a gun. He tracked the president's movements. He shot the President in cold blood.Remember, kids, history hoes always cite their sources! For this episode, Kristin pulled from: The book, “Destiny of the Republic: A Tale of Madness, Medicine, and the Murder of a President,” by Candice MillardThe book, “Dark Horse: The Surprise Election and Political Murder of President James A. Garfield,” by Kenneth D. Ackerman“Murder of a President” documentary and additional resources from PBS.org“‘As a Matter of Fact, I Presume I Shall Live to be President'”: A Brief Biographical Sketch of Garfield's Assassin” from the National Park Service“Assassination and Insanity in Gilded Age America,” by Winston BowmanAre you enjoying An Old Timey Podcast? Then please leave us a 5-star rating and review wherever you listen to podcasts!Are you *really* enjoying An Old Timey Podcast? Well, calm down, history ho! You can get more of us on Patreon at patreon.com/oldtimeypodcast. At the $5 level, you'll get a monthly bonus episode (with video!), access to our 90's style chat room, plus the entire back catalog of bonus episodes from Kristin's previous podcast, Let's Go To Court.
Dan Wang, author of "Breakneck: China's Quest to Engineer the Future," joins me to explore why China builds while America blocks, how lawyers strangled U.S. infrastructure, and why Connecticut trains run slower than they did in 1914. Dan lived through China's trade war, Zero COVID, and the exodus of 15,000+ Chinese millionaires, giving him unique insight into both superpowers' pathologies. This conversation covers everything from why ribbon-cutting ceremonies matter for societal optimism to how lawyers morphed from deal-makers to obstructionists after the 1960s. We explore California's high-speed rail fiasco, the rebellion against NIMBYism, and Dan's prescription: America needs 20% more engineering, China needs 50% more lawyerly protections. Plus we discuss cognitive diversity, the Death Star versus the Rebel Alliance, and why we need synthesis. I hope you enjoy the conversation as much as I did. For the full transcript, episode takeaways, and bucketloads of other goodies designed to make you go, “Hmm, that's interesting!”, check out our Substack. Important Links: Personal Website X / Twitter LinkedIn Profile at the Hoover Institution Show Notes: The Engineering State vs. the Lawyerly Society America's Lost Building Culture China's Gilded Age & America's Progressive Era Solutions for America's Building Crisis An Oncoming Battle of Elites Becoming Pro Development A Vision for a New Housing Fund China's Challenges Who Has a Better Shot At Change? Rickover: The Grand American Builder Dan's Uncertain Forecast of China Looking Ahead to 2035 Dan As Emperor of the World
How did a man who crushed unions in Gilded Age America come to see himself as humanity's benefactor? Speaking to Elinor Evans, historian and biographer David Nasaw explores the many contradictions of 19th-century industrialist Andrew Carnegie's life. From his ruthless business tactics and controversial role in the violent 1892 Homestead Strike, to his reinvention as a pioneering philanthropist and self-declared enemy of war, they uncover how Carnegie shaped the age of steel – and struggled to reconcile capitalism with conscience. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices
K-Pop Demon Hunters K-Pop Demon Hunters sounds like a joke title, but this action packed adventure/romance/musical/ martial arts action film… is really something different! The surprise animated hit of the year which has been not only smashing streaming video records (thats Netflix for ya), but also demolishing the music charts (Golden hitting no. 1 on Spotify!) is something nobody saw coming, but now that it’s here we may never be the same! Its a heady mix of Korean mythology, flying swords-person action, heartbreaking romance, radical self acceptance and all with a K-Pop soundtrack that lets be clear… absolutely slaps. We have a special guest for this show, with our beloved Ardella (Bec) chiming in to profess her undying love of this unexpected gem! Dion may have his demonic grump on, but Jill and Quinny both are singing from the hymn-book of hon-moon creation. Synopsis K-Pop Demon Hunters” tells the story of a K-pop girl group, Huntrix, who are also demon hunters, tasked with protecting the world from demons and their king, Gwi-Ma. They use their music to maintain a magical barrier called the Honmoon and work towards strengthening it into the Golden Honmoon, which would permanently banish demons. Their mission is complicated when a rival demon boy band, the Saja Boys, emerges, stealing their fans and weakening the Honmoon. https://youtu.be/gsMp_Oq-_mY As always, a musical magical thank-you to the K-popping demon hunting divas who join in with the conversation on the Twitch stream, live each Tuesday night at 7:30pm AEDT. And an especially huge thanks to any of the glow stick waving uber fans who are kind enough to support us by programming a tip in our jar via Ko-Fi, or subscribing on twitch… every bit helps us to keep the honmoon strong and if not golden, a bit bronzed… If you feel so inclined drop us a sub we really love them, The more subby mc-sub-faces we get, the more Emotes You get! https://youtu.be/3JTVQTk36R8?si=CPEwLl_mx84YG1Iw https://youtu.be/yebNIHKAC4A?si=ImoyGFkIO-pC3a99 https://youtu.be/983bBbJx0Mk?si=_B-EAl_rChUeZ8c0 WE WANT YOUR FEEDBACK! Send in voicemails or emails with your opinions on this show (or any others) to info@theperiodictableofawesome.com Please make sure to join our social networks too! We're on: Youtube: https://www.youtube.com/user/TPToA/ Twitter: www.twitter.com/TPToA Facebook: www.facebook.com/PeriodicTableOfAwesome Instagram: www.instagram.com/theperiodictableofawesome/ Full text transcript Dion Ohh hello and welcome to the periodic Table of awesome. Well, we’re getting on to this Tuesday night, going down the good old road of something Netflix. Are you related? Hello. Yes. Quinny Hello, we’re going down. And we’re going down, down, down. Speaker 3 I know. Quinny What, John, why aren’t? Dion You singing. I don’t understand the concept. What the **** is happening? This is not a regular. Hi. My name is Dion. I’m joined tonight by Queenie and I’m joined by Jill. And I’m joined by Beck. Pop. Hello, pop. It’s been a while. Thanks for joining us. This one. Quinny Hey, welcome back. Dion Because yeah, for your viewing pleasure, you’re helping us talk about K pop. Ardella I am. I am this cultural phenomenon has been on repeat in my household for the last month, so I’m thrilled to talk about it. Speaker Hi. Jill Oh. Dion Oh. Ardella On the Internet. Dion A month. Quinny Yeah, yeah. Ardella OK, we are late to this party. Dion I am but I I’m 100% late to this party only because. Yeah, sorry. Quinny All right. Dion Good to you. Quinny No, no, no. I like I said, I actually talked about it. I don’t know the weekend it came out or the like. I watched it because I had nothing else on. I was sitting on the couch and I was like, that looks entertaining. I’ll just put that on in the background. And was then kind of like this is ******* cool. And then when in the next episode, I’m like Jill, Jill, Jill, you gotta you gotta check it out. You gotta check it. And she’s like. Jill Like, leave me alone. Otherwise I won’t watch. Speaker 4 Yeah, yeah. And then the. Quinny It was like Jill, Jill, Penny, Penny, Penny, Penny, Penny, and she’s like, leave me alone. Jill Next, let’s do yeah. Sorry, it’s it’s the Aries. You can’t tell me what to do. Quinny Yeah, the license. Ardella Can I just say though, despite being one of the longest bloody trailers in the world, I. I’m so impressed by how little it manages to give away, and I wonder if we can manage to give away a similar level of not spoilers. Jill Yeah. Quinny Yeah, we can. We can. I mean we can. We also do a. Spoilery bit after we’ve done the thing, but. Ardella I remember how this works. Quinny OK, OK. Ardella I also remember that we often suck it, not giving too many spoilers in the free spoiler bit. Quinny This is a good point. Well made. Jill OK, we’re going to be as vague as. Quinny Possible. Yeah. So how did your come to it? Did you just find it on Netflix? Did did somebody recommend? Jill It to you. I know. Yeah. Somebody annoyed. Me to watch it, yeah. Dion No, Quinn. He made me watch it. Ardella Yes. Yeah. Did he tape your eyelids open and struck you to the chair? Yeah. Dion Yeah, it’s 100% Clockwork Orange, me. For this but but I’ve got this. Speaker 1 Yep. Quinny And I’m not sad. I’m not. I’m not. Embarrassed about that? Dion I’ve got this weird. Sort of tick now that I have to keep kind of doing this and I feel like I need to do choreographed dances every now and again. So I don’t know what’s happening. I don’t know anything about. Jill Can teach you. Quinny See, I don’t think we were fully aware that Beck was as into this as not as until like you you posted a video to us. You’re like look at. Dion Excellent. Speaker 4 This did you dance? Dion Like ohh OK, you know, we’re gonna talk about stuff that, like quite blatantly. I have absolutely no ******* idea what’s going on. Jill I mean. Dion We might as well open the floor up to people who do know what the **** is. Ardella Going on, but have you watched it dear? Dion Yes, I watched it from the start to the last song. Ardella Great. How? How the **** do you still? Have no idea what is going on then. Dion Have you seen the film? Ardella It’s a very cromulent storyline. Speaker 2 No wonder. Dion Here’s what’s going on. They’re just doing things on screen and singing songs and going. This is good. Yeah. And you’re watching it. Jill Yeah, pop music is a part of Concepto dialog. OK, yeah. Dion Sure. Ardella Dion should never go and see a. Jill Thank you. Speaker 13 Musical is what? Ardella We’re hearing this is an even musical. Quinny No, no. Speaker 13 Devil story. Dion No, this isn’t far off though. Speaker 13 Season. Dion This is it. Musical level storytelling and I watched it. And I’m not saying like things are bad or weird or out of my comfort zone. It’s just it’s not really for me. Speaker 3 Dion And that’s OK, you know. Ardella You’re allowed to be wrong. Jill He often is. Quinny Also I I will point out that that Dean had had a very, very long bad day by the time that this came onto his screen and I kind of get the feeling that it was like. Speaker 4 Oh. Quinny Is that a reasonably accurate description deal? Dion Look, you know I’m not. I’m able to separate church and state here. I can understand the value of something even though my personal opinions may have coloured it slightly. That being said, I still don’t really know what’s going on in Capot demon. Jill Would you? Would you like this is not. Speaker 4 Let’s let’s have us. Dion I mean, sure, if you think I’ve got it, I wonder if I’ve got any music somewhere. Hang on a second. Quinny Yeah. Yeah. OK. K pop. Hang on. What voice am I doing? Speaker 13 Nothing, right? Quinny Well, that’s it. Somebody else better do. Dion Ohh no. Quinny OK, K pop demon hunters tells the story of A K pop girl group called Hunt Tricks, who are also demon hunters tasked with protecting the world from demons from for their king Guimar. They use their music to maintain a magical barrier called the honeymoon, and work towards strengthening. Hit into the golden Hon moon. Which would permanently vanish. Ardella Day and age of Tik toking. And if you’re my age, Instagram, reeling a week after it’s appeared on TikTok. We’ve basically have a a huge collection of people who’ve basically seen half the movie through real. Or tick tocks and then go. OK, I may as well go and watch this movie now. So I think that a lot of people have had that experience when Quinny mentioned it. I then was like, let’s watch the trailer for this and was on board after watching the trailer and. Speaker 1 Mm-hmm. Ardella My partner and I sat down and. Watched it over Friday night. We were amazed by the number of layers that this movie has that you do not get from the trailer, and I was on board just with what that surface level stuff was already. Quinny Yeah, yeah, yeah. And that was the thing that surprised me. It was just the the like from a trailer, like or because I didn’t even see a trailer. I just saw it pop up on Netflix, as you know, the the, The little preview that starts playing. And I was like. Ardella Yeah, that’s the trailer. Quinny Well, but it I didn’t even watch the whole thing like it was just sort of there in the background and I was. I don’t know what that is. But **** it looks cool. Dion Did you just hit it like a fricking pokie machine button? As soon as it popped up, you were like chin, let’s do this. Quinny My good addition. Yeah, sorry, Jill. You’re gonna. Jill Say something. Yeah, I think at the time, quinny, when you said. Hey, Jill, have you watched K pop demon hunters yet? I think my best friend had also watched it and had, like. Posted a story about it and all I heard all over Instagram was the the main song from it Golden. It was on everything and not just like animated clips of the movie, but like just people’s reels. They’re using that song. And so I was like, oh, no. Speaker 4 Hmm. Jill This is the hype zone. Jill doesn’t like being. Speaker 4 5th. Jill In the hype zone. Jill wants to avoid ever watching stuff that gets into the hype zone. I still have not watched Everything Everywhere, all at once because it got too hyped, so this was heading in that direction and went. Queenie, when you said to me, have you watched it yet? I was like, I’ll get to it. Ardella Was interesting that you mentioned that Jill, because there are theme crossovers. Jill Yeah. So I don’t push me. But then I. Kept hearing the bloody music. I’m like ****, this is a catchy song and then I think it got to like the following weekend and I’m like, I’m not gonna talk to anybody about this, but I’m gonna watch. Speaker It. Jill And I was like, oh, that’s great. Quinny Because I’ve seen so many people who, like, have watched it, and then it’s just become their whole personality. Jill Ohh yeah, I mean that was on heavy rotation like the album it was. It became a hyper fixation for a. Quinny Yes. Jill Week. Dion Wait, so can I just get this one like coming into this just a little bit blind, you know, from this whole stuff. So you’re telling me that there are real people in the real world that saw the small part of this and it’s become a hyper fixed? Speaker 4 Yeah. Dion Which is mirroring the fact that the fans of this band in the fake world have a hyper fixation problem. Ardella So interestingly, interestingly, the soda pop song by the Demon Boy Band for a very long time there took over the charts from the actual you know, K pop boy band of the moment BTS. Quinny You say? Speaker 4 Oh yes. Dion The soju boys. I love the soju boys, they’re great. Speaker 4 Ohh I love some soju. Quinny Beck, how do you feel about this? Pineapple surgery. Speaker 1 What? Dion Soulja boys. Jill I like the lemon one, it’s. Dion Delicious. Jill Kind of funky, but it’s good. Dion Yeah, yeah, yeah. I like the one with the six pack. Ardella But what’s what’s really interesting about the soundtrack to this as compared to a traditional musical, is in a traditional musical, you’ve always got that one song that everyone skips or tunes out goes to the bathroom during it’s usually the one that the token old man sings. Jill Ohh OK. Speaker 13 But. Ardella If you think about it, is. Quinny It’s the talk singing 1. You give it to the guy who can barely sing. Jill Ohh yeah yeah. Jeff Goldblum. Number in wicked. Yeah, exactly. Ardella There are no low points in this soundtrack and. Quinny In new tiles. Ardella I think even. The one song that when I was watching the movie for the first time I was like, this is kind of my bathroom breaks on. When I went back and listened to the soundtrack. Speaker 13 Through by. Ardella Wolf it was still a banger. I was still singing along. I was still fully on board. I was finding all the hidden messages in the lyrics. I don’t think there is a a dud on this soundtrack. Quinny Nope. And as of 2 days ago, Golden went to literal #1 on the Billboard chart like it’s ******* stupid. Ardella Something that’s really cool about the creatives behind this entire movie is that the movie has so many authentic South Korean cultural elements to it that it has become huge in South Korea as well. And many, many people there. Speaker 3 Hmm. Ardella Absolutely love it, which is so wonderful because there have has been a lot of outcry in the past about South Korean culture being misrepresented. And this is a wonderful example of cultural appreciation rather than appropriation, and one of the reasons behind that is that they have actually included many South Korean genuine K pop stars and producers, writers, and the singing voice of. The main main individual from home tricks. She was a K pop star in training who went away to go to school and stopped Kpop training. And when she came back to try and be a K pop star they told her she was too old and couldn’t do it. Anymore. And so she became a writer and a producer. Of K pop music instead, and now is singing on this and has gone to the top of the charts so incredibly hard. And I think that that lends this incredible authenticity to it, but also is kind of like a stuff you to the industry at the same time, which is amazing. Dion Because it’s look, it’s a curious thing about the the making of it, because actually, yes, I did. I watched the whole thing and then I even watched the credits where they showed all the behind the scenes bits of the people in there. And I thought that was really interesting. And then reading more about it and trying to find out more about it. I was like, oh, that’s interesting that they have. A bunch of Korean American. Others. Doing the voice work, but then a bunch of South Korean singers doing the song work and I was just a little bit like oh, oh, OK like why, why the need for the split like? Ardella They’re two different skill sets. Yeah, yeah, yeah. Quinny You you don’t find that many actors who can sing that ******* well. Like who can sing to the level that is required of. Ardella Yeah. The vocal range in golden is outstanding. That is like 3 octaves of belting. That’s insanity. Dion I’m asking the question to not because I’m attacking the I’m not asking the question because I might. Why? They have to get more. You know, why is it a whole bunch of different sort of people in there? Jill Deon, Every Disney musical movie had a talking voice actress and a singing voice actress as well. It was. Dion I’m pretty sure John Oliver did all the singing for his parts as Zazu, right? Ardella Not all. Yeah, not all of them. I think the more recent ones like Moana, the. Dion Of course I know. Jill Yeah. The more, yeah, I mean, the classic ones, I mean the ones from the. Ardella Voice actor sings as well. Jill 90s when we were kids. Ardella Yeah. Speaking of which. Dion Sure. Jill Yes, the travesty of casting Leah Salonga in this movie. Ardella Yeah. And then giving her 30 seconds of background vocals to do. Leah Salonga was the singing voice of Jasmine and Mulan, and is an incredible musical theatre. Jill Yeah, crazy. Ardella Actress and amazing singer and is in there as like the the main mentor character for the Huntress Girls. And has no real singing. It’s so background that I didn’t even notice when it happened. Jill It’s devastating, but. Quinny Yeah. Yeah. Like, like putting, I don’t know. One of the. Yeah. Mariah Carey is a background character. Speaker 3 Yeah, yeah. Like what? Ardella Mariah would never let that happen. Quinny No, no, absolutely not. So what was it about it that that sort of caught your eye? Immediately because I know what put me on the back foot straight away and made me go. That’s different. But I’d love to. Know what you guys thought? Dion What? What? Yeah. So there’s two. There’s two parts in that which which caught your eye. And there was a bit that caught you on the back foot which. Quinny Was your question what? What caught your what? One you were talking about excited you, really. Grabbed you. What? Dion Was that what put you? What put you on the front foot? Linked you into this show? Quinny The. What? Yeah, yeah. Jill The music I think, like I I enjoy the odd K pop. I’m. I’m not a die hard. I’m not a I don’t have a bias. I’m not like fully into the K pop culture. But I do enjoy the music peripherally, and so I thought like the songs were so catchy. And then when I saw, like, some of the animated stuff, I’m like, ohh, that’s very reminiscent of the spider verse animation. And then I realized it was a Sony thing. And then I’m like, OK. Well, this is probably going to be good. Ardella Yeah. I think the thing that put me off was the time. Speaker 4 Well. Ardella What the hell is that? Title K pop Demon Hunters makes me think that this is trash and it is trash, but the best kind of crack trash. It’s amazing. Jill Quinny MHM. Jill OK, you know what? It’s 100% tapped into for me was the female power story, but based in music like. I was one of those kids that was like ohh yeah, I wanna be in a girl band like that was like one of my fantasy things when I was. A child, but. Also, like yeah, being a superhero too. And like Sailor Moon. Is so intrinsic for me. It really had those kind of vibes of like, you know, magical girls that can save the planet. Quinny Yeah. Yeah, that’s one of the first things I why I was like, ohh you would love it. Just for the magical girl factor. Like the the costume changes the. Speaker 4 What’s this? Quinny The that that very Sailor Moon kind of vibe. Ardella What’s so interesting for me about? The introduction, just the opening sequence was that. Speaker 2 Hmm. Speaker That. Ardella Funky kind of intro music. The the K pop music that it starts with reminds me a lot of earlier K pop when I was into it and some of my South Korean friends just roll their eyes at me because I think that my idea of K pop is like someone. These days, being like my favorite band is the Backstreet Boys. You know, it’s like ohh sweetie. Jill OK. Ardella There we go. Yeah, you’re you’re the the shush now, grandma. Everything’s fine. Because my my favourites were like the Wonder Girls. And you know quite quite early K pop. I think, you know, compared to what’s in today, but. Dion You can. Ardella It’s just so funky and fun, and the fact that. It immediately started with the classic K pop mixing of Korean lyrics in with English lyrics, and then the flip to rap in there as well, and the rap being in both Korean and English, it really grabbed me in that I was like, OK, this is. Actually K pop it, it’s not just in the name, they are actually going with it and I found it really interesting learning afterwards that the K pop element was the last thing to be added into this storyline. Dion Yeah. Ardella Interesting. Yeah, that that was the last kind of piece of the puzzle when they were developing this movie was creating it as a K pop story. Dion Which is very strange because I think the thing that made me. Sort of get on board a bit with it. Like a bit more was the fact that it was self aware enough to understand some of? The. Insanity behind massive mass market fandom? Not that anyone is immune to it, like it’s all around when you go looking hard and you know the West. The West has borrowed from the that that world very heavily in the past. Our last Spice Girls etcetera, etcetera. Quinny Not that hard. Dion Was the ability for it to just to be self aware take a bit of fun, have a bit of fun with it, and then continue on go like, yeah, we acknowledge that there’s this there is there is some weird **** that happens in that world and we’re just going to lean into it and understand that it’s part of it. And then move. For with the rest of it, you know, apart from the animation is great and the characters were somewhat likeable. Quinny There, there, there are two things that got me straight up. So initially looking at it, I thought oh, wow, this reminds me of what, KD A yeah, which, you know, is the the League of Legends K Pop group. And I was like, OK, we’re obviously kind of gonna. Yes. That’s the thing there. Dion Thank you. You’re not like you’re saying things like Katie and I’m like, wait, is it three letter acronym? Should I know? What the **** is going on here? Kill. Kill, death, aggression. Quinny K/BA. Dion Right, OK. So just just help me with. This it’s a foreign territory. Quinny They they are a a AK pop group that was done by the animation company that did League of Legends. So they’ve they’ve got a couple of songs that I actually have no idea how many songs they have about that. And I looked at that and I thought, OK, there’s a touch point. But the thing that and I have the same thing. Hip hop demon hunters. What a stupid ******* name. But watching it, I got to about 5 minutes in and the moment that they’re on the plane and. And they allowed their characters to be ugly and to do stupid faces. And they’re beautiful characters who are fully, you know, gorgeous and made-up, and everything are burping and, like, eating ramen and fighting like ******* demons. But at the same time, they are. Very, very comedic and and I was like oh. ****, this is really kind of like as as soon as I watch it. I was like, this is gonna play to a a female crowd so. Well because it’s not saying look at these perfect, you know, pristine things. These are people who just want to have snacks and lie on the couch and you know relax and be ******* normal. Humans, but at the same time, they want to be super powerful. You know, warlocks that are protecting the world from demons and **** like that. Like this is every little girl’s ******* dream combined and. I was like, holy ****. Jill Yeah, like women can be multifaceted. They’re not just put into one box. Quinny The power of that. Jill As one thing. Ardella They can, but there’s absolutely no way an actual K pop band would be allowed to pig out on. Speaker 4 Junk. Yeah, that’s the thing. It’s. Ardella That’s not happening in the real life world, I’m sorry to say. That is. I mean, when we think about. Dion But but but. The dropping in out of a plane? Sure. Speaker 4 Just. Ardella Kind of disbelief there. Day on. Yeah, carries through. It carries through. But I do think that it’s interesting having that acknowledgement of. I mean it, it’s it’s an an issue, an underlying issue. I think the treatment of pop stars and this isn’t just a problem in South Korea with K pop or in Japan with J Pop, although it’s a very similar kind of culture from my understanding, yeah, in the their K pop J pop. Machines that churn out these bands that are designed and kind of almost bread to create hype and money and. All of this, we see it in like Dan was saying in. The Spice Girls. Quinny Yep. Ardella As well, we see it in these manufactured bands that have been created to take our love and to take our money, OK. Quinny The eagles. Jill There’s literally another program on Netflix right now called building the band. Ardella Yeah, exactly. Exactly. And I think it’s really interesting then to look at our K pop demon band. And see that they are. They’re they’re saying the quiet part out loud with with the demon boy band here. But the reality is that that is what all K pop bands are. They are there to take the love to take the energy and to take the money of their fans. And they’ve been created. Expressly to do that. And so I I just find that really interesting to have. That kind of duality on display where we’re saying no hunt tricks are the the good guys when the reality is that. All K pop bands are there to do exactly what the Demon Boy band are doing. Dion Yes. Quinny And that duality is also encompassed in the lead character as well that, yeah, there are so many elements of things that she is not comfortable with. There’s elements of her public perception that she’s not comfortable with and. You kind of like the stories of the three characters. You know that that one of them is the bad girl who doesn’t get on with her family. The other ones come from, you know, America and is is a a rapper, but she’s also really sweet. All of these things are. Prepackaged they’re made to make them assailable, you know, definable feature. Ardella A personality. Quinny Yeah, yeah, that people can latch on to, but then you’re also watching and going. Yeah, they’re really funny. And they’re really cool. And I like them. And, you know, they’re they’re little horn dogs. And they, they, they just turn into popcorn and. Dion Thank, thankfully. Yeah, I mean, thankfully, you know, they they expressed all those lessons and of course that was the end of it. And this is all we have when. There’s one. Oh, no. That’s why there’s going to be sequels and a TV show and a live stage show. And it’s like, oh, oh, no, the demons won. Ohh no. Jill That’s one thing that I I would like to talk about a bit more is like the actual structure of the story. I know we’re not gonna give anything away, but I was interested that it was a movie. TV and not a TV series because I felt like there could have been a lot more character development actually happened throughout a TV series. I wanted more about the back story of the girl’s mentor. I wanted a little bit more time with the Saga boys in the demon. From in general, yeah, just a little bit more fleshing out of story I thought would be great. Ardella Apparently it was originally 3 hours long and I. Saw. Someone, I think it might have been tally in the in the chat mentioned that earlier. Jill I’d watch 3 hours of this. Quinny Yeah, I’m there for, I mean. Speaker 3 Actually really. Ardella Joined a 90 minute movie though. Speaker 4 We have so many long. Speaker 3 Yeah, yeah. Ardella *** films coming out these days and the pacing in this felt great. I would much rather be left wanting more than be left sitting on my couch, scrolling Instagram halfway through because I’m like, this is a this is a. Speaker I wanted. Jill Sure. Ardella Dull bed. Quinny Yeah, yeah, this is the song that I’m not into. And that’s the reprise of the song. I’m not. Into. Speaker 13 It’s the old man song again. Speaker Ohh. Quinny It’s something I did like though is is while I was watching it. I you know the first number I was like ohh yeah, this is pretty cool. And then within the 1st 13 minutes, there were three, you know, musical numbers, completely different songs. Like I was watching, and I was like, oh ****, this is a secret musical. It’s not that secret, but it’s a proper musical and that, I mean, for me, for my, my taste, that was ******* great sick. Amazing and like to your point, Dion, I immediately then go totally see. This is a stage. And to your point, Beck. Ohh one of you. I’m not sure who was. Yes, I could see it working as a series because there’s a lot more to explore, and while Dion, I know that you’re like the capitalist pigs, they’re just trying to make money out of the kids sometimes. That’s OK. Because this is a ******* cool story. Speaker 4 Yeah, I I mean. Ardella If you do like everyone wants our money, it is a we live in a society. Speaker Oh. Jill Here at the in the high points of the capitalism, my friend. Ardella Yeah, but I think that there is a a way that feel feels friendly and genuine to do that and this is hitting that nail for me. And there’s a way that feels inauthentic and. Speaker Hmm. Ardella Cash grabby and that’s not this at the moment. We’ll see how many spin offs they try and squeeze out of this and when it tips that line. Speaker Sure. Ardella But I think at the moment it still feels. Dion And in 15 years, when Netflix rolls back around and makes a live action version of the K pop Demon Hunters franchise, we will know hey. Yeah, now. Ardella Warm and flat. Quinny Ohh, so he said. They’re not doing it. Dion If you’re talking about. Quinny They they they got, they got absolutely ******* pilloried on the Internet when the initial run of things that they announced was live action. Make stage show and ongoing series. Everyone said do not ******* do this live action they. Dion Quinny. Went OK. Producers don’t care. It’s just that now there’s a lot of complaints. They’ll wait till they’re less complaints and then they’ll do it anyway for a tax break. That’s how the system works, quinny. Speaker 4 That. Quinny So you’ve got another K pop. Dion People. Speaker 6 Exactly. Speaker 3 For me. Speaker You know like. Dion Stuff will happen that way, unfortunately and sometimes, fortunately, anyway, philosophically. Ardella Well, the sequel has already been greenlit by Netflix, which is unsurprising given that this is apparently in the couple of months that it’s been out a month and 1/2 that it’s been out. It has already topped all other animated movies on Netflix for the most watched. Dion Yeah. And we’re a good time behind as we have already. Explain like in in terms of the pickup of this is that came out in June, you know and it’s now **** me, August. Quinny Yes. Speaker Yeah. Quinny That’s the official date. Dion Yeah, yeah. Every time I look at the calendar these days. Ardella It is now **** me. Dion I’m like ****. Anyway. Quinny I’m Jill. I want to know on your your new rating system, how many? How many tips have you got less after this? Speaker 4 ****. No. I think that’s a good. Jill 2 tips off. Dion Ohh no **** left. Speaker 4 Yeah, yeah, I it it. Yeah, it. Put my ****. Jill Off I enjoyed it a lot more than I. Dion Jill is Jill is untited. Jill Was expecting to because like. I know Queenie loves animation and so his glowing review was like Oh well, it’s gotta be good. And then also my friend who loves K pop and and animation as well and even her husband who enjoys animation like both raved about it. So I’m like, OK well. This has got to be good. That kind of got me in to watch it, but it’s so strange that like. I then convinced my other friend group to watch it and they were all like, oh, this is very kiddy and every everybody else thought it was. It was quite junior, but I didn’t really. Get that read. Quinny No. Jill They were like ohh it seems like a bit of a teen bop kind of thing and I’m like, well, I am 15 years old. Guys like, that’s why I like it. Speaker 4 I think this. Ardella Is very Shrek adjacent in the figure. Pitch the kid. TV like category if you want to put. Jill Yeah, but there’s. Ardella It there, but it’s so grown up. Jill This was the stuff for the horn bag older women like. Speaker 4 Is that what you say, Shrek? Yes. Quinny She’s not. Dion Shrek can get it. Speaker I mean. Dion Shrek can’t get. I mean, sorry. Before we go into the ratings, which we should do soon to try. Speaker 4 Yeah. Quinny No, no. We need to talk about so. Dion And keep in time. Quinny Many more things. Dion Yeah, there are many things to talk about. The the Quinny, you did raise a point to me the other day talking about K pop demon hunters, which is going. Yes, it’s an interesting comparison, like an interesting comparison film to perfect blue, which we talked about recently too and. Speaker 2 Yeah. Dion I was like. You may have a point. Jill Maybe not a companion piece. Dion There. Quinny I don’t know. I think I think they’re a fantastic companion faced 11 after the other and just. Dion Thematically. Thematically, it’s it’s somewhat similar in in in certain ways, not not the same way, like let’s they’re too. Jill Ones are very dark and twisted version. Dion Exactly, but they both. Quinny Yeah, what’s when’s the demons we met. Along the way. Dion But they both talk about fandoms. They both talk about the some of the crushing nature of conformity and having to represent yourself as something you may not be, and the damage that that could do. And. And let’s be honest, yeah, it diverges. Very, very different. But there are interesting themes and it’s really interesting to me to think about that. That film made back in the 90s was like working out these problems then and how far we’ve come and how we relate to it. Now, how creatives are relating to that now in this space with, you know, capable demon hunters is like, yeah, look at all these. Things that are still pretty much a problem, but we’re going to acknowledge that they have been a problem and that, you know, these are the things and but we still keep going because we have good messages that we want to try to put out. And if we could all make some money, that’s. Great. But if we have competition, we will crush. It that’s one take away I got from from like K Pop bands is they crush each other. Speaker 1 Also. Dion As they can. Jill In the charts in the. Dion Yeah, it’s in the chat, but literally. Quinny Charts that I think you know differentiate some really very differently is that in perfect blue fandom is seen as being toxic and dangerous and bad. In this one fandom is is the beautiful glowing. Power of house that will save the world and die on your face. Is telling me that you ain’t buying any of this. Dion I think that’s a stretch. Ardella Ship, haven’t we all been in a a stadium watching a band that you love and just all singing along at once and just felt that that vibe? I mean, it’s what gets people into cult. So you know that it can be used for good or for ill. Quinny I was we we we both watched 11,000 with 11,000 other people. People rolled dice. Speaker 14 Yeah. Speaker 1 Yeah. Dion I mean I. Speaker 3 Yeah, it’s. Dion Went I went to the Jared Leto 1 and that was fine. I’m normal. Ardella It’s a powerful thing, is what I’m getting at, yeah. Quinny Yeah. Dion I get. Speaker Quinny You and in the chat a couple of people mentioned that there’s a comparison with the Puss in Boots, the last Wish, same automotive. Ardella I thought his favorite movie of all time. Dion I still haven’t. I still haven’t watched it. Even though you keep telling me I. I know. I know get that ***** kids. You know, like there’s only so many. Quinny Fine. Ardella Come here. We will. Clockwork Orange you again. Dion Alright, time to go to my friend’s house and be forced. Watched it or something. Quinny Yeah. Ardella That’s how I feel about the drunk DC. Watches that we’ve. Dion Oh yeah, we still gonna. Do that one. Quinny Hmm. Dion I still haven’t seen Aquaman 2. Can we bookend it? Which? One should go first, is it? Speaker 2 Oh. Speaker 13 I didn’t even know. Ardella There was an Aquaman. Ohh yeah. Speaker 4 Yes, ******* all. Dion Yeah. Anyway, OK, think of your think of your ratings. Yes, rate, rate and rate and spoil. Speaker 4 Should we right and then spoil? Yeah, yes, yes, yes. Quinny And if you have seen it in the chat, drop me some numbers so that I can put them into the thing I love. I love keeping an eye out for them. Dion Look, OK, I’ll look. I’ll start. Cause Get Me Out of the way. Why? Not. RIP the Band-Aid. Off, yeah, I look, I had a fun time because it was quite poppy and exciting and the animation is actually quite flawless. I like the characters all had a bit of humanity in them. They weren’t that way. U. Kind of. Everyone kind of worked. There’s definitely a saleable marketable thing going because that blue cat is why is that not a plushy already? Speaker 4 Oh yes. Quinny Going to tell you about the blue cat. Ardella Derpy is his name. Dion Derpy is great. Yeah. OK, all the like. It’s good. I can see the the bit of the franchise there. And I can also see. Speaker He loves derpy. Dion Me having to scream when I hear the song again after the yeah, yeah. Yeah. 100% not for me, but I will give it 75. Because yeah, like, I think it’s good. Like if someone said, hey, you know, should I watch K pop diamonds? I’m like, yeah, like, you know, I recommend it to people with small kids. I don’t recommend all the way up to people who are 75. Yeah. I was the whole gamut. You can get something out of it. There is a good message in there. Ardella 75 yeah. Dion And I think it’s quite a little hidden gem or. Unreleased jam, even if you don’t particularly like K Pop. Quinny Fair, Jill. Sorry. Jill Yeah. Look, I’m so excited to say that I have no tips after this film. It’s been a while. It’s been a while, but I am going to give it a 90. Speaker Off. Quinny We yellow. Jill Been a while since we’ve hit the nines for me, but I love that animation. There were just some moments where I was like. What am I watching like? This is just like the textures and everything were so ******* beautiful. There were moments where I’m like Christ, that looks almost realistic. Speaker 1 Mm-hmm. Jill Loved how everybody had a personality. Everyone was like, different. Had their clerks had their faults, like had their beautiful moments. The only reason why it’s not getting more is because there were just some like small unresolved story things that I wish had been explored a little bit more, but. Other than that. We loved it. Quinny Heck, do you want to drop a number? Ardella Quinny Nice. Ardella I’m a harsh marker, but what can I say? It’s interesting that you mentioned the animation, Jill, because one of the beautiful things that I’ve learned is that the hunt tricks characters our protagonists are animated in a very traditional way, which means that every second frame they move. Whereas our demon Boy band animated differently where they move every single frame and there are certain times at where it’s poignant in the movie where they swim. Speaker Which? Ardella Ohh and so there’s there’s lots of super cool things that happen behind the scenes that we don’t consciously recognise, but it’s doing stuff to our brains and I think it’s really, really cool. So yeah, I think the more that I learn about this movie and the work that’s gone in behind the scenes, the more I love it. And that’s why it’s really reaching those top numbers. Quinny Oh. Dion You gotta respect a bit of filmmaking. Quinny Yeah. Dion Bit of craft work in there. Ardella Exactly. Quinny And and that’s very much like the first spider verse. Yes, where like they were animating different characters on different frame rates and you know the the attention to detail. And one of the things that gets me about this is the. The absolute love for Korean culture, but also Korean mythology, and it’s also going to be very, very interesting down the track. Seeing people cosplay from it because already there have been people who have gone to do cosplays of the Soulja Boys and so forth and have had to. That that question of appropriation or appreciation. Is very difficult around certain parts of costumes because the hats are an actual part of a very specific part of Korean culture that you really can’t **** with. Yeah. So like the fact. Ardella Historical Korean culture, not even current really Korean culture as far as I’m aware as well. Quinny Yeah. Hmm. So yeah, whipping one up out of warbler is is kind of not. Not cool, not kosher. And that kind of. Ardella Derpy is my next cosplay. Yeah. Quinny Thing. And when we come back from the the and everything, I will talk about Derpy because that’s another piece of amazing Korean history and culture right there. My rating is 95. I ******* watched the **** out of it and love the **** out of it. The like the music aspect of it, I I’m not a big K pop fan or anything like that. I I don’t listen to a lot of that music, but I didn’t care because it was super catchy. The vocals were insane. I love that mix of of like the three different voices and the three different styles. Of the girls like that, you know, one will drop into really American style rap, but they’re all capable of rapping. They’ll all take, you know, high parts, low parts. But at the same time, then mix it with a bunch of really cool choreography and and martial arts. Mix in some extra mythology, add some cute characters. I love the fact that you know secondary characters are given a bit of love to like. The band’s manager is. Not a ********. You know how ******* lovely is it that that you know, you’re not just going? Yeah. The traditional ******** band manager? No, he ******* loves. Dion Them. Did you not learn anything from Jersey and the Pussycats? What the? ****. Speaker Yeah. Quinny Yeah, I I just, I mean, as I was watching, I just kept thinking, Oh my God, this is this is a thing for a generation of of girls to watch and. And relate to and want to be and emulate and I suddenly understood that whole thing that all the girls in primary school would go off and learn dances. And then to tie that whole thing that that you know, people want to do of of singing and dancing with, like, spiritual power and empowerment and protectiveness. I was just like, **** me. So yeah, I got a little love for it. I really don’t have much bad to say about it, which is, I mean, I don’t want to give it 100 because that would be ridiculous, but ****** really enjoyed. Dion It you can give it a. Speaker 13 100 and that’s just the surface story. Quinny I know we haven’t even talked about what it all means. Dion Can’t wait for you to review the stage musical 350,000 out of. Quinny Review it, I’m going. To direct the. *******. Dion Which would you like to go? Would you like to meet the? Boys or yeah. With that one, we see who, who we. Talking about here, who are the Sargent boys? Sounds weird? Speaker Yeah. Speaker 3 Look normal. Speaker 5 Ohh yeah. Speaker 6 Come on. Take your time. Yeah. Speaker 14 Just like. Speaker Yeah. Speaker 2 Ohh hot. Speaker 3 You guys are so gross. Speaker 6 No, yet you go hot. Then we’ll go. He. Dion Ohh that is just harsh. No helping hand there whatsoever. So the Sarja boys are a bit of * ****, really, aren’t they? They’re just *****. Hot *****. Speaker Yes. Jill Yeah, but they’re hot. They’re hot. Speaker 4 Hot *****. Dion Yeah. Yeah, Jesus. Jill I’m going to tell you like we went to smash. What was it like 3 weeks ago? The artist Alley was chocolate block of K pop demon hunters. Art anything? Right with that tiger on, it was sold. Quinny Oh. Dion Right. Jill Out. Yeah, right. Good. There were. There’s a scene in the film where the both of the bands are Hunter Eggs and the Sergeant Boys are doing a meet and greet with fans. Quinny Oh my God. So. Jill And Abby, the gentleman with the. Tabs instead of signing a piece of paper with his name, he runs like pencil against a piece of paper on his ABS, and that’s his signature. There were drawings of that in the artist Alley for sale. The insanity. Dion I love Jesus. Yeah. I mean, OK question here. I don’t understand why I have questions now and spoil the logo is up and we’ll talk about spoil everythings if you like. Yeah, it’s been a month. It’s been out for quite a long time. I get derpy the thing. Jill Of this movie. Speaker 14 Yes. Dion But what was with the strange Game of Thrones crossover with the Three Eyed Raven? Speaker Quinny Do you want the? Speaker 4 It’s not a Game of Thrones crossover deal on. Dion Everything’s a Game of Thrones crossover. Ardella It’s. Quinny Heck, do you wanna take it? Ardella Quinty no quinny you take this, you are so keen. Quinny No, I was so keen. But I I mean, I’m guessing we’ve probably watched the same explainer videos and stuff. Speaker 13 No, I I read I don’t. Watch. Quinny Ohh God, within you actually. Jill Jesus, she’s an intellectual. Speaker 13 Exactly. Where’s my glasses? Quinny Just need to take these things off and becomes derpy. The ******* yeah, well. Dion You’re on. You’re on. Jill Stick your tongue out. Dion New media now not only this traditional lofi media that you may try. Speaker 2 Oh. Quinny Yeah. So OK, it’s not a Raven, it’s a magpie. And in Korean culture, the A, this is a it’s a historical joke. So the, the, the, the tiger and the magpie is the punchline of a historical joke. That tigers were traditionally shown as being the representative of the upper class and of rich culture, and specifically the governing class, and the magpie was the symbol of the lower class, the worker. Pass whatever and the hat which I’ve got to remember the name of. Thank you. If somebody wants to look it up for me, that’d be great. The hat is essentially a symbol of power. And so there’s a joke, or there’s a moment in there where the sorry. Dion It’s called a gap. It’s called a get, yeah. Speaker 4 Yeah. Jill Yeah, ginu ginu. Quinny So. Jill Said he made it for the tiger. Quinny So yeah, that’s the joke is that it’s a symbol of power that was meant for the tiger, but the magpie keeps stealing it. Speaker Ah. Quinny And so it’s the it’s a symbol that the lower class will always get one up on the upper class because the upper class is ******* stupid and that’s why he’s derpy. And you’ll see in a lot of Korean art, tigers are always drawn slightly cross eyed or just a little bit dumb looking. Jill Quinny And it’s because essentially, they’re just going upper class. The stupid look at the smart magpie with three eyes, you can see everything. Dion So this is exactly like parasite. Ardella Yeah, that’s what we’re saying. Speaker 4 Yeah. Dion No, just that that character representation of the blue cat and the magpie is just parasite as a metaphor. Quinny Yeah. Jill Yeah. Yep, yeah. Quinny And and it makes that sequence where where Derpy comes out and knocks over the plant and then just can’t get it to stand up way too long. Like ohh you stupid. Speaker Yes. Thank you. Dion But it’s good to know, you know, like, I like those little trivia bits. It’s fun. It’s fun to. Ardella Learn. Feel like I I was so. Impressed that for the first time I think ever. Speaker Hmm. Ardella A Netflix trailer. Managed to intrigue and make me want to watch more and actually get me invested in the story without giving away the actual plot. Yeah, there is. There is a very surface level plot being shown out there and I think now that people are, you know, watching more of the clips on TikTok and Instagram and that sort of thing and watching even the golden video clip, they’ll, you might get spoiled. Quinny Hmm. Ardella Before watching the movie, if you’ve seen all of that, but for me my first tip popped off in the opening in. Quinny In the you’re missing how many sticks are you missing? Ardella Well, I have lost the second hit for me when the pattern reveal. Speaker 7 Hmm. Ardella Happened in the. Speaker Ah. Ardella There was. It is very rare that any movie, a movie directed for adults with high levels of intelligence, they rarely get me with the whoa. What happened there was seeing that coming. This movie did that, I gasped. At that reveal, there were. There was nothing in me that thought that that was coming and that is so rare these days. I am so impressed that this movie called K Pop Demon. And so kind of surface level, you know, just fun on top, managed to have this flip. It had this beautiful level of depth to it. I just really loved that so much. I would have enjoyed, I think, a movie where it was just a, you know, magical girl. Banned fighting demons. I would have enjoyed that anyway, but this went a step further. Speaker Hmm. Quinny So in when we’re talking about the patterns and we’re talking about that, that reveal and that question about Rumi. What are the? Different like so I think that there are so many different layers of what it could mean. And I think one of the things that’s really smart about the film is that. It. Doesn’t specifically say it means any one thing. But what? What did you guys? Ardella Because they’re they’re waiting for the sequel or the spin offs or. Jill Yeah. So we’re gonna get the story that gives you the back story about, like who roomie’s father was and what happened to her mother and the the what were they called the Sunshine Sisters or whatever. Quinny Yeah. Speaker Yeah. Jill The. Quinny Yeah. Jill Band. Was and then we also need to have Gino come back because that was unfair how he went. Out. I know it was a beautiful sacrifice, but no, I want Ginyu back. Ardella He’s now in the blade, though. If you if you watch the sequence, you can see his spirit get pulled into the blade, which is an actual thing in Korean. Quinny Oh no. Ardella Mythology. Spirit blades. I believe. I believe I’m not Korean. Please correct me if I’m wrong. Jill OK, well I love. I love me as sexy anthropomorphize spirit coming out. Of the sword. So I’ll take. Yeah. Speaker 3 And then the grade. Ardella Changes once his spirit is absorbed into it, so you can see the two different forms of the the blades are. Jill I need to ******* watch this movie again. Don’t. Ardella Very, very cool. Speaker 13 I let’s go right now. Quinny Yeah, yeah. Dion Let’s see. We’re doing a watch along right now. Speaker 4 It’s. Jill Now become a live stream. Quinny So damn, what was your you? You had some different takes on on what, some of that meaning may have? Been. Dion Which what do you mean the the meaning of which the whole? Quinny Thing of the past. Dion There’s a lot going on me was there? Did I say something that I’ve I’ve undoubtedly forgotten since yesterday? Quinny On. Yeah, well, quite possibly. So, I mean there there’s, there’s that whole thing of like being, you know, intergenerational trauma, like of this is the Korean trauma. Of what? Their history is the split of the country, North and South Korea, which you can read into that. You could also read into it an LGBT thing of this thing that you have to keep hidden about. Yourself. And whether or not she’s allowed to be, especially in K pop, the idea that is she allowed to be who she actually is. Because that is not appropriate like that whole thing of you wearing marks on your. That. You have to keep hidden. I think it has a lot of meaning for a lot of different people for probably a lot of different reasons. Speaker 1 MHM. Ardella Yes, I would agree. I would hesitate to say that this is implying that Ruby is LGBTQIA plus at all, but I have 100% think that people who are LGBTQ a. Quinny No, not necessarily. Ardella Us could find a lot of parallels there. Quinny Yeah, I think that that’s sort of like that X-Men kind of thing. It’s like, yeah, no, we’re not saying that these characters are gay or whatever, but they are a fantastic. Ardella Except the ones that. Quinny Are. Yeah. So my my best X-Men guy. Ardella I think it’s really interesting. We’re seeing a lot of this storyline coming out in a lot of Asian and Asian American stories over the last decade especially, I’ve noticed a a real through line in a lot of the media that I’ve seen, at least. Where these cultures seem to be very much from an outsider perspective. Very much about conforming and not rocking the boat and being being part of a whole community that works well together because everyone kind of assimilates and and doesn’t step outside of the mold or make anyone uncomfortable. And I think yeah, exactly. I think that there is a lot of media coming out these days. Jill Yeah, homogeneous. Ardella And it’s interesting, Jill, that you mentioned Everything Everywhere all at once earlier, because that’s definitely part of the story behind that movie and and a real message in that movie is. Is that we need to allow the newer generations to be a little bit more unique and individual and celebrate that as something that is wonderful and and adds colour to our cultures and our societies, rather than being something that we should squash. Or avoid and to me, that’s what the patterns were and that’s what you know, was a a real underlying message behind this story is it’s not about conforming, it’s about celebrating what’s unique and individual about each of us. Jill Yeah. Quinny Yeah, I I did just check and and the reason I brought it up is because of the writer did say that the the intent was that it was a. Bit like coming. Out to your parents? Ohh, so she was. She was. It was a very deliberate piece to say hey, it’s like that. She’s not saying that Remy is, you know. Dion So coming out. Ardella I mean, could be you go off in your head cannons out there. Dion To your friends. Also coming coming out to your friends who have literally been trained to murder. You. Speaker 13 Your your partner. Quinny Yeah. Dion For the whole thing. Speaker 4 Yes. Dion Look, I like the little bit of the sort of Buffy the Vampire Slayer chosen. Ones. You know, how do we do this? We just kind of go and kill these faithless demons which there are thousands and thousands and thousands of them, apart from the very special one. Quinny Yeah, very. Dion That ohh wait. Yes. Yes. So you know I got that sort of storyline. Ardella Although I do think that there is a pot, I mean obviously we see Janus. Progression where he was genuinely villainous. He was * ****. Wow, what * **** we learned. Dion Sure. What is it again with? Absolutely ancient men and young women. Jill That’s like type. Speaker 4 Being like can. Ardella You I I just want to be rich and wealthy at the expense of my family. What a ******* nightmare, human. But then. Speaker And. Ardella Obviously evolves and become someone who we can genuinely sympathise with, I think, but I feel like we also, especially in that scene, I think Jill, you mentioned the the signing scene, we see a lot of the other members of the Demon Boy Band of the Sargent Boys. Speaker 4 Yeah, yeah. Ardella Have a little bit more personality and a little bit more empathy, I think, than I was expecting and I I would be interested to see that explored a bit more. As well, yeah. Speaker 1 Hmm. Quinny One thing I do love is also the the historical mythological context of it too, that the the idea of the the Singing priestess is is quite a a long history in Korean culture. So the moon or mudang not mudang. Are a an offshoot of of Korean shamanism who their their whole thing was, you know, singing to keep their people safe and, you know, reach out and and bridge the world between gods and humans and so forth. And you see that at the at the very start, like there’s the flashback to the original ones. They’re they’re all traditional like priestess outfits. But then the fact that they’re, you know, really latching into the the Korean singing group thing. You know that there was another group in the 50s and the 60s called the the Kim Sisters. Who group of three well known all around the world, appeared on the Ed Sullivan Show. Did like 22 shows over the years on Ed Sullivan. Like that kind of thing. We’re going. Yes, we’re gonna do it. I love the idea that we could have, you know, stories told in different time frames. Ardella Yeah. And before the Kim’s sisters, there was the Jair Gory sisters. I think it’s pronounced and they were also a three piece girl band who we assume is kind of being referenced in that introduction as well. Dion Can can we just make sure that we even if we go across different time periods they still kill demo? That’s right. Yes, as long as there’s still some demon hunting and killing going on in there. I’m fine. I’m on board with it. Ardella Like. Quinny 100%. Speaker 4 Absolutely. Ardella 100 percent, 100% yeah. I also need to mention I’m sure many of us already know this, but Saja as the name of the Saja boys also has multiple meanings. It means lion. Dion Yeah, yeah. Ardella But it is also a kind of slang term for the grim Reaper. So there’s that duality there. So that’s that’s why they have the lion like logo. That’s what they’re saying. That’s the that’s the loud part. They’re like, we’re the Lion Boys essentially, but. Speaker 2 Oh. Quinny I didn’t know. Dion That, and also dark and mysterious. Quinny And. Ardella It’s also. Through. Yeah, slang for the grim Reaper in South Korea. Quinny And I don’t think I would have understood or appreciated this film if I hadn’t for the past couple of years had an awful lot to do with idol culture like, yeah, but I I’ve learned a lot in the past few years of working for idol festivals and, you know. The whole idol scene and. And. Something that I find fascinating and is really like key to the film, but it’s sort of unless you’ve seen the crowds doing their thing in person. The relationship between crowd and band. Is incredibly intense. Like and the crowds at these events are not. Just, you know, observers, they’re part of the show and they see their role really importantly, you know, all of the glow glowing sticks that they’re holding up all of the colours that they choose to wear, the fact that they, you know, stand a particular singer or whatever and will then change the. Ardella They’re bias. Quinny Yeah, yeah. You know, they will do all these things and like, you’ll see them during songs. Like I watch them at smash people climbing up on each other’s shoulders just so that they can. Performatively go. You know, I’m not actually singing at you. I’m just showing you how much I appreciate what you’re doing. Is like if you don’t know about it, you’re gonna think it’s ******* weird as ****, which I did for a while, but then when you see it, you go ohh. OK, I get it. And now I watch this film and you realize why so much time is spent with the fandom as well, like. They they spend a lot of time, you know, looking at the the kinds of fans who have latched on to these people. Is it the the sex starved older ladies? Is it the preteen girls who are just utterly, you know, smitten? Is it the big boofy guys who will cry at the drop of a hat? You know, all of that is. Ardella I think it’s interesting, though, to suggest that it’s just a AK pop thing or a J pop thing or something like that where you have these biases when you think about, you know, kiss people would wear their specific band members makeup style to go to a kiss concert. It’s it’s a similar. Quinny Oh, not at all. Speaker 4 Yeah, it’s just all. Jill About finding community and the things that. You love, yeah. Quinny Yeah. Really. And. And it’s also like I remember I wanted to write a ******* paper on this at one point. It’s the the concept of avatar rism that you wear the thing that you want to take on the, the, the, the feeling of you know, so. Jill Dude, I’ve done it for 20 years doing cosplay. Speaker 13 Exactly. Hello cosplay? Yeah. Quinny And cosplay is cosplay is like the the the doing it out loud and doing it at the biggest possible way. But for other people it’s that whole thing of wearing your favorite band T-shirt or wearing a Superman T-shirt or wearing, you know something. It’s that thing of. Jill Yeah. Quinny This gives me all these feelings. And I want to then wear it so that I can try and, you know. Jill Yeah. Now, name five of their. Songs. Ardella Jesus. Speaker 4 Yeah. Ardella And when you bring that all together, it really is. Powerful and I. Quinny Hmm. Ardella Think that that’s what they’re they’re tapping into on both sides here where you know that it can be used for good or for evil. Quinny Yeah. And. And the idea that a golden home moon only comes when, like, everybody’s actually being true about who they are, you know, that’s a it’s a pretty powerful ******* feeling. Yeah. Speaker Beautiful. Dion Yeah, beautiful. Speaking of powerful feelings. What are we doing for the rest of? The month, I don’t know. You don’t. You don’t know. Even though you you know exactly what it is. We’ve got a few things. There’s a lot going on in the month of the Merry, Merry month of August. We’ve got lots of movies that are out there. Things like nobody too. Quinny I do have a do in front of. Dion And one that we’re gonna see tomorrow night, which is. Weapons. Quinny Yeah. Dion You need the weapon. Give me the yeah. OK. Ardella I saw an ad for weapon the other night which just said 100% on Rotten Tomatoes and it was a print ad and I was like that. That’s a that’s a strong choice. Dion Yeah. Speaker 1 Hmm. Jill From the team that brought us barbarian. Dion Yeah. Jill He ******* loves barbarian. Dion Yeah, that was. That was one that came out of left field w
Daniel Schulman joins Rabbi Bronstein to discuss "The Money Kings," his epic narrative tracing the rise of German-Jewish financial dynasties, their impact on Wall Street, and the challenges they faced as Jews in Gilded Age America.
Dimitri and Khalid record what is probably the last SJ episode before their assassinations by apoplectic Simpsons reply guys lashing out in the throes of total ego death. Topics include: the dominance of “Gen X irony” in 1990s pop culture, the rise of contextual/information-based toy culture, Pynchon's cameos, reflections on Bartmania, the modern tendency to view the Simpsons as both profound and deeply left-wing, “the purpose of a Simpsons is what it does”, the Trump trial self-immolator's anti-Simpsons manifesto, DSA Lisa teaching us to perpetuate official LIES… The Simpsons as reflection “of the cynicism at the heart of the neoliberal economy”, FOX's deliberate “selling” of Gen X, Douglas Coupland's generation-defining book, the inversion of words like “stupid” and “bad”, the centrality of the hot couch and “ironic consumption”, “the Simpsons is to Fox what Bart Simpson is to Principal Skinner”, similarities with the fourth wall-breaking WWF Attitude Era, the 1993 paper “Homer Simpson's Eyes and the Culture of Late Nostalgia”, Time vs. “Megatrends”, Bill Cosby's “ontological run-in with Bart” and his defeat by the “superior intelligence of the ‘toon”… The secret etymology of the “Bad Boy” and precursors to the Bart Simpson archetype in Gilded Age America - specifically the creepy neotenous “Yellow Kid” comic strip, as well as the wildly successful “Peck's Bad Boy” series by Wisconsin Governor George Wilbur Peck… Bart failing to embody the Nietzschean übermensch while inoculating you to the nihilism of the neoliberal 90s, The Simpsons as information conversion spectacle, Matt Groening's revolting foot massage on the Lolita Express, the inexplicable number of Harvard mathematics Ph.Ds on the Simpsons writing staff, and why all “floating timeline” adult-oriented ‘toons are structurally conservative and inexorably sus.
The Nerds are back for another round of Play or Nay.This time: Steampunk Lincoln for PC. In this soulslike action game, you'll embody the iconic Abe Lincoln – but with a twist. Upgraded with gears, gadgets, and a burning desire for justice, Steampunk Lincoln navigates a post-apocalyptic Gilded Age America. Coal-belching iron monstrosities roam the desolate landscape, and it's your duty to battle them and restore order. Expect crunchy melee combat, gear upgrades, and an immersive steampunk atmosphere. Will you rise to the challenge as Steampunk Lincoln?Stay Nerdy, My Friends!See/Hear more at www.techegy.me
What does privilege look like today? How do the advantaged perform “ease”? And why do some of us feel at home in elite spaces, while others feel awkward? Princeton sociologist Shamus Khan joins Uncommon Sense to reflect on elites, entitlement and more. Reminding us that “poor people are not why there's inequality; rich people are why there's inequality”, he highlights the importance of studying elites for studying inequality, as the gap between the two grows.Being the author of Privilege: The Making of an Adolescent Elite at St Paul's School (2011), Shamus tells Rosie and Alexis about how the way elites justify and see their position has shifted – and how a disability studies perspective helps us to cast a critical eye on the “ease” with which the few seem to nimbly navigate elite institutions. What seems like some of us “have it” and others “just don't” is, suggests Shamus, socially produced – and what appears to be a “flat” and open world, ripe for the bold to seize, is really far more complex.Plus: why might people who share the same knowledge be valued differently when that knowledge is held in different – racialised, minoritised – bodies? Also: why TV shows and movies about elites don't stop at Saltburn, Succession and The Kardashians?Guest: Shamus KhanHosts: Rosie Hancock, Alexis Hieu TruongExecutive Producer: Alice BlochSound Engineer: David CracklesMusic: Joe GardnerArtwork: Erin AnikerFind more about Uncommon SenseEpisode ResourcesFrom The Sociological ReviewSpatial Delight: Space Invaders – N. Puwar, A. LisiakUncommon Sense: Taste – I. Karademir Hazir, R. Hancock, A. H. Truong‘Talent-spotting' or ‘social magic'? Inequality, cultural sorting and constructions of the ideal graduate in elite professions – N. Ingram, K. AllenBy Shamus KhanPrivilege: The Making of an Adolescent Elite at St. Paul's SchoolSaying Meritocracy and Doing Privilege (co-authored with Colin Jerolmack)How Cultural Capital Emerged in Gilded Age America (co-authored with Fabien Accominotti, Adam Storer)Further reading“Flexible Citizenship” – A. Ong“Space Invaders” – N. Puwar“Learning to Labour” – P. Willis“Understanding audience segmentation” – R. Peterson“Reality Television and Class” – B. Skeggs, H. Wood“‘Oh goodness, I am watching reality TV': How methods make class in audience research” – B. Skeggs, N. Thumim, H. Wood“Capital in the 21st Century” – T. PikettyRead more about Shey O'Brien, Fabien Acconomoti, Pierre Bourdieu and Frantz Fanon.Support Uncommon SenseUncommon Sense is a project of the Sociological Review Foundation, a charity whose mission is to promote sociological thinking to audiences beyond academia.There is a long and heartening tradition of listener support for independent podcasts. If you enjoy what you've heard and learned from Uncommon Sense, we'd be grateful for your support for the creation of future episodes.Make a one-off or regular donation
The drama and tragedy of Titanic's sinking has spawned all manner of myths about the passengers who left Southampton on the 10th of April 1912, and for four days luxuriated in her modern facilities, sumptuous interiors, and comfortable cabins. Particularly, in part thanks to the tremendous exploits of James Cameron's Rose and Cal, the ship's extravagant millionaires, tycoons and aristocrats. The truth of their lives exceeds even the legends. From J.J. Astor, the richest man on board, with his child bride, to Ben Guggenheim - an icon of Gilded Age America - and his mistress, to Sir Cosimo Duff Gordon and his wife, a lingerie entrepreneur, and Archie Butt, a beloved aide to President Taft, with his lover Francis. Conspicuously absent, however, was John Pierpont Morgan, who cancelled his booking at the last minute, and in one fell swoop found his greatest business competitors eliminated…Just as intriguing though, and often overlooked, were Titanic's second class passengers: middle-aged men with their teenage mistresses, a father who had his kidnapped his children, excited families, and Joseph Laroche, a brilliant engineer and the only black man on board, for whom Titanic provided the chance to sail into a new life. The same was true for many others. Little did they know that their marvellous adventure would come at a terrible cost. Join Tom and Dominic as they explore the dazzling, eccentric and endlessly fascinating First and Second Class passengers of Titanic, whose extraordinary lives shine all the brighter for the terrible danger and tragedy waiting for them on the icy horizon… *The Rest Is History LIVE in 2024* Tom and Dominic are back onstage this summer, at Hampton Court Palace in London! Buy your tickets here: therestishistory.com Twitter: @TheRestHistory @holland_tom @dcsandbrook Producer: Theo Young-Smith Assistant Producer: Tabby Syrett Executive Producers: Jack Davenport + Tony Pastor Learn more about your ad choices. Visit podcastchoices.com/adchoices
Come with us to peak Gilded Age America! We'll watch a charmingly unconventional love story unfold, cure yellow fever, stare at some incredible wallpaper and explore fascinating reasons why women should NOT vote. Katie takes us on location to Ethel Gibson Allen's Boston mansion, now the Gibson House Museum. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. 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
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. Learn more about your ad choices. Visit megaphone.fm/adchoices
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
Even people who still refuse to accept the reality of human-induced climate change would have to agree that the topic has become inescapable in the United States in recent decades. But as Joseph Giacomelli shows in Uncertain Climes: Debating Climate Change in Gilded Age America (University of Chicago Press, 2023), this is actually nothing new: as far back as Gilded Age America, climate uncertainty has infused major debates on economic growth and national development. In this ambitious examination of late-nineteenth-century understandings of climate, Giacomelli draws on the work of scientists, foresters, surveyors, and settlers to demonstrate how central the subject was to the emergence of American modernity. Amid constant concerns about volatile weather patterns and the use of natural resources, nineteenth-century Americans developed a multilayered discourse on climate and what it might mean for the nation's future. Although climate science was still in its nascent stages during the Gilded Age, fears and hopes about climate change animated the overarching political struggles of the time, including expansion into the American West. Giacomelli makes clear that uncertainty was the common theme linking concerns about human-induced climate change with cultural worries about the sustainability of capitalist expansionism in an era remarkably similar to the United States' unsettled present. Joseph Giacomelli is Assistant Professor of Environmental History at Duke Kunshan University. Brian Hamilton is chair of the History and Social Science Department at Deerfield Academy. Twitter. Website. 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
Where does the two-day weekend come from? In this standalone episode of Conflicted, we trace the historical trajectory of that oasis of leisure and free time we call “the weekend”. From its mystical beginnings in the religions of antiquity to its hard-fought development in Gilded Age America, we'll untangle the surprising origins of everyone's favorite part of the week. SOURCES: Hunnicutt, Benjamin. Free Time: The Forgotten American Dream. 2013. Onstad, Katrina. The Weekend Effect. 2017. Loomis, Erik. A History of America in Ten Strikes. 2018. Murolo, Priscilla. Chitty, A.B. From the Folks Who Brought You the Weekend. 2001. Green, James. Death in Haymarket. 2006. Brecher, Jeremy. STRIKE! 1972. Zinn, Howard. A People's History of the United States. 1980. Thomas, Gordan. Morgan-Witts, Max. The Day the Bubble Burst. 1979. BBC. (2019, September 5). Who invented the weekend? BBC Bitesize. Miller Center of Public Affairs, University of Virginia. “Presidential Speeches: Downloadable Data.” Accessed Feb 19, 2023. data.millercenter.org Captivating History. The Industrial Revolution. 2020. Grossman, Jonathan. “Fair Labor Standards Act of 1938: Maximum Struggle for a Minimum Wage.” Monthly Labor Review 101, no. 6 (1978): 22–30. http://www.jstor.org/stable/41840777. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is the James and Beth Lewis Professor of History at Miami University (OH), where she teaches and writes about the history of women, sex, and gender in the U.S. Her most recent book, Free Thinker: Sex, Suffrage, and the Extraordinary Life of Helen Hamilton Gardener tells the remarkable story of the "fallen woman" who negotiated Congressional passage of the 19th Amendment. She is also the author of From Eve to Evolution: Darwin, Science, and Women's Rights in Gilded Age America and several academic articles. Hamlin regularly contributes to the Washington Post and other media.According to a 2020 American Association of University Professors report, women in academia continue to have stubborn challenges inside the academy. In the same report, the American Association of University Professors reported that while women comprise 46.7% of full-time tenure and tenure-track faculty members at higher education institutions, the higher the rank, the lower the percentage of women. Available IPEDS data from 2020 shows the salaries for full-time female faculty members are about 81.2% of their male counterparts. Impacts from the COVID-19 pandemic continue to impact women faculty members disproportionately more than their counterparts. A Nature Medicine article from 2022 identifies how women in academia have been impacted by the pandemic, from falling behind in research publications to grant funding.Learn more about CITI Program: https://about.citiprogram.org/
Two vagabonds with great luck and big balls perpetrate a hoax that made them extremely rich and hoodwinked some of the finest, most respectable citizens of early Gilded Age America. In our modern era of boring electronic fraud, the romance of walking into a bank with a bag of dirty diamonds you claim you pulled out of a hidden mine is hard to match. These podcasts are ad-free and self-produced; I value your support on Patreon at https://www.patreon.com/ginandtacos.
Join Haymarket and Spectre Journal for a launch of Kim Moody's new book, Breaking the Impasse. Unlike most countries, the US has no labor party, let alone a mass socialist party. In an effort to overcome this predicament, a new generation of militants hope to transform the Democratic Party or use its ballot to build forces inside it for an eventual “dirty break.” In his new book, Moody argues this electoral orientation is a trap and that socialists should instead build class and social struggle and galvanize a militant minority as the preconditions for the formation of a working class party. Get the book, Breaking the Impasse: https://www.haymarketbooks.org/books/1873-breaking-the-impasse Speakers: Kim Moody was a founder of Labor Notes in the US and the author of several books on labour and politics including Breaking the Impasse: Electoral Politics, Mass Action & the New Socialist Movement in the United States (2022); Tramps & Trade Union Travelers: Internal Migration and Organized Labor in Gilded Age America (2017); and On New Terrain: How Capital Is Reshaping The Battleground Of Class War; all from Haymarket. He has a PhD from the University of Nottingham and is currently a Visiting Scholar at the University of Westminster in London. He is a member of the University and College Union and the National Union of Journalists. Joe Burns is a veteran union negotiator and labor lawyer with over 25 years experience negotiating labor agreements. He is currently the Director of Collective Bargaining for the Association of Flight Attendants, CWA. He graduated from the New York University School of Law. Prior to law school he worked in a public sector hospital and was president of his AFSCME Local. He is the author of Class Struggle Unionism, Strike Back: Rediscovering Militant Tactics to Fight the Attacks on Public Employee Unions and Reviving the Strike: How Working People Can Regain Power and Transform America. Keon Liberato is a railroad track construction worker and president of Track Local 3012 in the Teamsters Brotherhood of Maintenance of Way Employees Division (BMWED) Teamsters Rail Conference. He is a co-founder and co-chair of the BMWED-IBT Rank & File United reform caucus. Liberato is a member of the Democratic Socialist of America where he served as a member of the National Political Committee from 2020-2021. Lois Weiner, Professor Emerita, New Jersey City University, is a career teacher, education researcher, and teacher union activist. Her new book, as yet untitled, takes up what the Left can learn about defending social justice and workers' rights by examining capitalism's latest project to deprofessionalize teaching, undercut teachers' labor activism, and destroy public education. Chapters One and Two have been published by New Politics and Tempest. --------------------------------------------------------- This event is sponsored by Spectre Journal and Haymarket Books. Watch the live event recording: https://youtu.be/W0xxhv1ZOtQ Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks
Paris has a long history as the fashion capital of the world. In the late 19th Century, American women, like European women, wanted the latest in French fashion. The wealthiest women traveled to Paris regularly to visit their favorite couturiers, like the House of Worth and Maison Félix, to update their wardrobes. For those women who couldn't afford to travel, Paris came to them, via international expositions, magazines, and department stores. I'm joined in this episode by art historian Dr. Elizabeth L. Block, author of Dressing Up: The Women Who Influenced French Fashion, who helps us understand how the American women who were purchasing gowns and dresses helped transform the fashion industry. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons. Image Credit: “Mrs. William Astor (Caroline Webster Schermerhorn, 1831–1908),” painted by Carolus-Duran, 1890. Courtesy of the Metropolitan Museum of Art. Image is in the Public Domain. Audio Credit: “Nuit d'Etoiles (Starry Night),” written by Théodore de Banville and Claude Debussy; performed by Julia Culp and Coenraad V. Bos, 1917. Courtesy of the Internet Archive. Audio is in the Public Domain. Additional Sources: “Charles Frederick Worth (1825–1895) and the House of Worth,” Metropolitan Museum of Art. “‘The Gilded Age' Costumes are Like a Late-19th Century High-Fashion Street Style Editorial,” by Fawnia Soo Hoo, Fashionista, February 7, 2022. “How America's Gilded Age Paved The Way For Fashion Today,” by Eilidh Hargreaves, Vogue, January 30, 2022. “Downtown, Uptown: From The Dry Goods Store To The Palace Of Consumption,” by Keren Ben-Horin, Fashion History Timeline, Fashion Institute of New York, Mary 16, 2018. “The history of haute couture,” Harper's Bazaar, January 19, 2017. Learn more about your ad choices. Visit megaphone.fm/adchoices
For many Americans, the birth certificate is a mundane piece of paper, unearthed from deep storage when applying for a driver's license, verifying information for new employers, or claiming state and federal benefits. Yet as Donald Trump and his fellow “birthers” reminded us when they claimed that Barack Obama wasn't an American citizen, it plays a central role in determining identity and citizenship. In The Birth Certificate: An American History (University of North Carolina Press, 2021), award-winning historian Susan J. Pearson traces the document's two-hundred-year history to explain when, how, and why birth certificates came to matter so much in the United States. Deftly weaving together social, political, and legal history, The Birth Certificate is a fascinating biography of a piece of paper that grounds our understanding of how those who live in the United States are considered Americans. Susan J. Pearson is associate professor of history at Northwestern University and the author of The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America. Catriona Gold is a PhD candidate in Geography at University College London, researching security, subjectivity and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in the Cold War. She can be reached by email or on Twitter.
For many Americans, the birth certificate is a mundane piece of paper, unearthed from deep storage when applying for a driver's license, verifying information for new employers, or claiming state and federal benefits. Yet as Donald Trump and his fellow “birthers” reminded us when they claimed that Barack Obama wasn't an American citizen, it plays a central role in determining identity and citizenship. In The Birth Certificate: An American History (University of North Carolina Press, 2021), award-winning historian Susan J. Pearson traces the document's two-hundred-year history to explain when, how, and why birth certificates came to matter so much in the United States. Deftly weaving together social, political, and legal history, The Birth Certificate is a fascinating biography of a piece of paper that grounds our understanding of how those who live in the United States are considered Americans. Susan J. Pearson is associate professor of history at Northwestern University and the author of The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America. Catriona Gold is a PhD candidate in Geography at University College London, researching security, subjectivity and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in the Cold War. She can be reached by email or on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
For many Americans, the birth certificate is a mundane piece of paper, unearthed from deep storage when applying for a driver's license, verifying information for new employers, or claiming state and federal benefits. Yet as Donald Trump and his fellow “birthers” reminded us when they claimed that Barack Obama wasn't an American citizen, it plays a central role in determining identity and citizenship. In The Birth Certificate: An American History (University of North Carolina Press, 2021), award-winning historian Susan J. Pearson traces the document's two-hundred-year history to explain when, how, and why birth certificates came to matter so much in the United States. Deftly weaving together social, political, and legal history, The Birth Certificate is a fascinating biography of a piece of paper that grounds our understanding of how those who live in the United States are considered Americans. Susan J. Pearson is associate professor of history at Northwestern University and the author of The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America. Catriona Gold is a PhD candidate in Geography at University College London, researching security, subjectivity and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in the Cold War. She can be reached by email or on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
For many Americans, the birth certificate is a mundane piece of paper, unearthed from deep storage when applying for a driver's license, verifying information for new employers, or claiming state and federal benefits. Yet as Donald Trump and his fellow “birthers” reminded us when they claimed that Barack Obama wasn't an American citizen, it plays a central role in determining identity and citizenship. In The Birth Certificate: An American History (University of North Carolina Press, 2021), award-winning historian Susan J. Pearson traces the document's two-hundred-year history to explain when, how, and why birth certificates came to matter so much in the United States. Deftly weaving together social, political, and legal history, The Birth Certificate is a fascinating biography of a piece of paper that grounds our understanding of how those who live in the United States are considered Americans. Susan J. Pearson is associate professor of history at Northwestern University and the author of The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America. Catriona Gold is a PhD candidate in Geography at University College London, researching security, subjectivity and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in the Cold War. She can be reached by email or on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
For many Americans, the birth certificate is a mundane piece of paper, unearthed from deep storage when applying for a driver's license, verifying information for new employers, or claiming state and federal benefits. Yet as Donald Trump and his fellow “birthers” reminded us when they claimed that Barack Obama wasn't an American citizen, it plays a central role in determining identity and citizenship. In The Birth Certificate: An American History (University of North Carolina Press, 2021), award-winning historian Susan J. Pearson traces the document's two-hundred-year history to explain when, how, and why birth certificates came to matter so much in the United States. Deftly weaving together social, political, and legal history, The Birth Certificate is a fascinating biography of a piece of paper that grounds our understanding of how those who live in the United States are considered Americans. Susan J. Pearson is associate professor of history at Northwestern University and the author of The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America. Catriona Gold is a PhD candidate in Geography at University College London, researching security, subjectivity and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in the Cold War. She can be reached by email or on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/law
For many Americans, the birth certificate is a mundane piece of paper, unearthed from deep storage when applying for a driver's license, verifying information for new employers, or claiming state and federal benefits. Yet as Donald Trump and his fellow “birthers” reminded us when they claimed that Barack Obama wasn't an American citizen, it plays a central role in determining identity and citizenship. In The Birth Certificate: An American History (University of North Carolina Press, 2021), award-winning historian Susan J. Pearson traces the document's two-hundred-year history to explain when, how, and why birth certificates came to matter so much in the United States. Deftly weaving together social, political, and legal history, The Birth Certificate is a fascinating biography of a piece of paper that grounds our understanding of how those who live in the United States are considered Americans. Susan J. Pearson is associate professor of history at Northwestern University and the author of The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America. Catriona Gold is a PhD candidate in Geography at University College London, researching security, subjectivity and mobility in the 20-21st century United States. Her current work concerns the US Passport Office's role in the Cold War. She can be reached by email or on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/public-policy
At this week's Round Table, Inica, Jack, Kenisha, and Madeline spoke with Shaylyn Romney Garrett-- writer, speaker, and thinker-- who is trying to change America and the world for the better through connection and community in order to heal and renew our societies. Shaylyn is the coauthor with Robert Putnam of The Upswing: How America Came Together A Century Ago and How We Can Do It Again, which provides critical insights for weaving a stronger, more united future for our country. Today, it seems the only thing we can all agree on is that America is in a bad place and on the wrong track. So Shaylyn and Professor Putnam engaged in vast, data driven work to examine the last 125 years of history through four lenses-- economic, cultural, political, and social-- to better understand ‘how we got here'. They made a breathtaking finding: all four lenses map the same trajectory, a trajectory that looks like an inverted bell curve. At the turn of the 20th century, we were extremely polarized and narcissistic across economic, cultural, political, and social matters, after which things started moving in a better direction for the ensuing 70 years until about the mid 60s, when everything started sliding back to the way it looked at the beginning of the 20th century. You could characterize that 100 year period as an I-We-I-century: polarized and narcissistic at the beginning and end, but unified and communal in the middle. Today, our country looks very similar to the America from the turn of the century- Gilded Age America. The lesson, however, is surprisingly optimistic. Instead of disparaging, The Upswing teaches us to learn from and act upon what actually happened after the Gilded Age: an age of unprecedented peace and shared prosperity. We've been here before and we can get out of our current toxic culture if we learn from and build on historical precedents. One thing we learned during the last upswing is that progress didn't come overnight. It took 60+ years, and even with all that was accomplished, not everything changed and progress around things like race and gender were insufficient. We have to do better in creating OUR upswing, and Shaylyn was the perfect guest to guide us in doing so. Thank you for listening! --- Send in a voice message: https://anchor.fm/nextgenpolitics/message
A unique exploration of the life and work of Rudyard Kipling in Gilded Age America, from a celebrated scholar of American literature At the turn of the twentieth century, Rudyard Kipling towered over not just English literature, but the entire literary world. At the height of his fame in 1907, he was awarded the Nobel Prize for Literature, becoming its youngest winner. His influence on figures—including the likes of Freud and William James—was vast and profound. But in recent decades Kipling's reputation has suffered a strange eclipse. Though his body of work still looms large, and his monumental poem “If—” is quoted and referenced by politicians, athletes, and professors, he himself is treated with profound unease as a man on the wrong side of history. In If, scholar Christopher Benfey brings this fascinating writer to life and, for the first time, gives full attention to his intense engagement with the United States—a rarely discussed but critical piece of evidence in our understanding of this man and his enduring legacy. Benfey traces the writer's deep involvement with America over one crucial decade, from 1889 to 1899, when he lived for four years in Brattleboro, Vermont, and sought deliberately to turn himself into a specifically American writer. It was his most prodigious and creative period, as well as his happiest, during which he wrote The Jungle Book and Captains Courageous. Had a family dispute not forced his departure, Kipling almost certainly would have stayed. Leaving was the hardest thing he ever had to do, Kipling said. “There are only two places in the world where I want to live,” he lamented, “Bombay and Brattleboro. And I can't live in either.” In this fresh examination of Kipling, Benfey hangs a provocative “what if” over Kipling's American years and maps the imprint Kipling left on his adopted country as well as the imprint the country left on him. If proves there is relevance and magnificence to be found in Kipling's work --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pbliving/message Support this podcast: https://anchor.fm/pbliving/support
In dieser Folge besuchen Katharina und Nina das idyllische Dörfchen Cardiff im US Bundesstaat New York am 16. Oktober des Jahres 1869, wo der Fund eines versteinerten Riesen aus biblischer Vorzeit für gewaltiges Aufsehen sorgt. Wie eine Kneipendiskussion und ein findiger Tabakhändler einige Menschen reich machten und dabei „The Greatest Showman“ P. T. Barnum auf den Plan riefen und warum die Geschichte des „Cardiff Giant“ auch heute noch relevant ist, hört ihr in dieser Folge von „Früher war mehr Verbrechen – Der historische True Crime Podcast“ // Kapitel // - 02:56 – Eine sensationelle Entdeckung wird gemacht - 10:25 – Die Nachricht verbreitet sich wie ein Lauffeuer - 18:09 – Meinungen, Meinungen, Meinungen - 21:29 – Der Riese wird verkauft - 23:03 – George Hull's größter Coup - 28:06 – Der Riese geht auf Tour und P. T. Barnum tritt auf den Plan - 34:25 – Der Triumph des George Hull - 35:42 – Die Auswirkungen und Besprechung des Falles // Quellen & Shownotes // - Live Science, Cardiff Giant: ‘America's Biggest Hoax', Artikel vom 17. August 2016 https://www.livescience.com/55787-cardiff-giant.html - Onondaga Historical Association, Today in History: The Cardiff Giant and CNY's Biggest Hoax, - https://www.cnyhistory.org/2014/10/cardiff-giant/ - Smithsonian Magazine, The Cardiff Giant Was Just a Big Hoax, Artikel vom 16. Oktober 2017 https://www.smithsonianmag.com/smart-news/cardiff-giant-was-just-big-hoax-180965274/ - Pettit, M.: „The Joy in Believing“: The Cardiff Giant, Commercial Deceptions, and Styles of Ovservation in Gilded Age America, In: Isis, Vol 97, No. 4, 2006 - White, A. D.: Autobiography of Andrew Dickson White, New York 1917, https://www.lockhaven.edu/~dsimanek/cardiff.htm - History.com, The Cardiff Giant Fools the Nation 145 Years Ago, Artikel vom 16. Oktober 2014 - https://www.history.com/news/the-cardiff-giant-fools-the-nation-145-years-ago - Today in True Crime Podcast, “The Cardiff Giant” Hoax, Folge vom 16. Oktober 2019, - https://www.parcast.com/today-in-true-crime - Dark Histories Podcast, The Cardiff Giant & The Great American Humbug, Folge vom 20. April 2020, https://www.darkhistories.com/ - Hoaxilla Podcast, https://hoaxilla.com/ // Folgt uns auf Instagram // https://www.instagram.com/frueher.war.mehr.verbrechen/?hl=de // Karte mit allen „Früher war mehr Verbrechen“-Tatorten // https://bit.ly/2FFyWF6 GEMAfreie Musik von https://audiohub.de
On today’s episode we discuss the master of delusion himself, Charles Julius Guiteau. A man who failed at more things than most people ever even try. He also killed the president. (Kind of) Sources include: Destiny of the Republic by Candace Millard , Assassination and Insanity in Gilded Age America by Winston Bowman , GhostsofDC.org
In 1869, two well diggers in Cardiff, N.Y., unearthed an enormous figure made of stone. More than 600,000 people flocked to see the mysterious giant, but even as its fame grew, its real origins were coming to light. In this week's episode of the Futility Closet podcast we'll tell the story of the Cardiff giant, one of the greatest hoaxes of the 19th century. We'll also ponder the effects of pink and puzzle over a potentially painful treatment. Intro: Edgar Rice Burroughs invented a variant of chess for a book set on Mars. Due to an unfortunate edict, a ladder in Jerusalem has remained unmoved for 200 years. Sources for our feature on the Cardiff giant: Scott Tribble, A Colossal Hoax, 2008. Nate Hendley, The Big Con, 2016. Magnus Magnusson, Fakers, Forgers and Phoneys, 2007. Brian Innes, Fakes & Forgeries, 2005. Mark Rose, "When Giants Roamed the Earth," Archaeology 58:6 (2005), 30-35. Barbara Franco, "The Cardiff Giant: A Hundred Year Old Hoax," New York History 50:4 (October 1969), 420-440. James Taylor Dunn, "The Cardiff Giant Hoax," New York History 29:3 (July 1948), 367-377. Michael Pettit, "'The Joy in Believing': The Cardiff Giant, Commercial Deceptions, and Styles of Observation in Gilded Age America," Isis 97:4 (December 2006), 659-677. Julian D. Corrington, "Nature Fakes," Bios 27:3 (October 1956), 159-169. Kat Eschner, "The Cardiff Giant Was Just a Big Hoax," Smithsonian.com, Oct. 16, 2017. Jessie Szalay, "Cardiff Giant: 'America's Biggest Hoax,'" Live Science, Aug. 16, 2016. Ruth Mosalski, "Cardiff Giant Turned Out to Be Really Big US Hoax," South Wales Echo, Jan. 21, 2017, 24. Gerald Smith and George Basler, "Hull Earned a Spot in 'Con Man's Hall of Fame,'" [Binghamton, N.Y.] Press & Sun-Bulletin, Oct. 6, 2014, 4. Ed Kemmick, "'Petrified' Man Was Big Attraction in Turn-of-the-Last-Century Montana," Billings Gazette, March 13, 2009. Bill White, "Cardiff Giant, Piltdown Man -- And Now Heydt Man," [Allentown, Pa.] Morning Call, March 10, 2001, B3. "It Was a Giant Joke, Now Largely Forgotten," Associated Press, Nov. 14, 1999, L3. Roger Munns, "19th Century Hoax Now Just an Interesting Relic," Los Angeles Times, March 16, 1997, 11. Harvey Berman, "Prehistoric Giant Was a Hoax," [Montreal] Gazette, May 18, 1991, J8. Bob Hughes, "The Cardiff Giant: How a Great Hoax Came to Life in a North Side Barn," Chicago Tribune, June 2, 1985, 10. "Cardiff Giant in Suit," New York Times, April 18, 1949. Louis C. Jones and James Taylor Dunn, "Cardiff Giant Again," New York Times, May 23, 1948. "'Cardiff Giant' Sale Barred by Fort Dodge," Associated Press, Aug. 4, 1934. "Syracuse Plea Fails to Get Cardiff Giant," Associated Press, Dec. 6, 1930. Ruth A. Gallaher, "The Cardiff Giant," The Palimpsest 2:9 (1921), 269-281. "Gigantic Hoax Fools Scientists," El Paso [Texas] Herald, June 8, 1912, 10. "The Cardiff Giant: A Hoax That Took," Coeur d'Alene [Idaho] Evening Press, April 15, 1910, 4. Frank Lewis Ford, "The Last of a Famous Hoax," The Scrap Book 3:2 (April 1907), 221-223. "Cardiff Giant Fake Recalled by Death of the One of the Sculptors," Butte [Mont.] Inter Mountain, Nov. 8, 1902, 14. "Cardiff Giant Fake," [Marshalltown, Iowa] Evening Times-Republican, Nov. 6, 1902, 2. Andrew D. White, "The Cardiff Giant," The Century Illustrated Monthly Magazine, 64:6 (October 1902), 948-955. "The History of the Cardiff Giant," Scranton [Pa.] Tribune, June 24, 1899, 11. "Cardiff Giant Fraud," Salt Lake [Utah] Herald, April 23, 1899. "He Made the Giant," Reading [Pa.] Eagle, Feb. 10, 1889, 2. "The Cardiff Giant," in The History of Sauk County, Wisconsin, Western Historical Company, 1880, 547-552. "More About the Colorado Cardiff Giant," New York Times, Sept. 30, 1877. "The Cardiff Giant's Carpet-Bag," New York Times, Dec. 10, 1876. W.A. McKinney, "The Cardiff Giant," English Mechanics and the World of Science, 22:562 (Dec. 31, 1875), 393-394. "The Cardiff Giant Again," New York Times, May 11, 1874. "Can a Married Woman Hold Property in a Cardiff Giant?" St. Louis Democrat, Dec. 12, 1872. "The Cardiff Giant," College Courant 5:22 (Dec. 11, 1869), 347. "The Cardiff Giant," Harper's Weekly 13:675 (Dec. 4, 1869), 776. "The Cardiff Giant a Humbug," Proceedings of the Massachusetts Historical Society, December 1869 meeting, 161-163. Today the giant resides at the Farmers' Museum in Cooperstown, N.Y. Listener mail: "About Us," Town of Chicken (accessed March 15, 2019). "ptarmigan," Oxford Living Dictionaries (accessed March 15, 2019). "ptarmigan," Dictionary.com (accessed March 15, 2019). "Chicken of Chicken, Alaska" (accessed March 15, 2019). Wikipedia, "Chicken, Alaska" (accessed March 15, 2019). Danny Payne, "Paint the Town Pink: Iowa's Unusual Tactic of Messing With Its Opponents," Sports Illustrated, Sept. 24, 2015. Rick Brown, "Hayden Fry Jokes About Health, Pink Locker Room," Des Moines Register, Aug. 30, 2014. Mark Snyder, "Michigan Football Covers Iowa's Pink Visitors Locker Room," Detroit Free Press, Nov. 12, 2016. Mark Wogenrich, "Penn State Readies for Iowa and Its Soothing Pink Locker Room," [Allentown, Pa.] Morning Call, Sept. 19, 2017. Alexander G. Schauss, "The Physiological Effect of Color on the Suppression of Human Aggression: Research on Baker-Miller Pink," International Journal of Biosocial Research 2:7 (1985), 55-64. Wikipedia, "Baker-Miller Pink" (accessed March 16, 2019). Oliver Genschow, et al., "Does Baker-Miller Pink Reduce Aggression in Prison Detention Cells? A Critical Empirical Examination," Psychology, Crime & Law 21:5 (2015), 482-489. Morwenna Ferrier, "This Colour Might Change Your Life: Kendall Jenner and Baker-Miller Pink," Guardian, Jan. 10, 2017. Natalie Way, "In the Pink: The Secret Wall Color for Dropping Pounds and Calming Down," realtor.com, Jan. 12, 2017. Jake New, "The Meaning of Pink," Inside Higher Ed, Aug. 29, 2014. Kabir Chibber, "Sports Teams Think the Color Pink Can Help Them Win," Quartz, Aug. 22, 2018. "Norwich City Paint Carrow Road Away Dressing Room Pink," BBC, Aug. 20, 2018. "Norwich City Stats," FootyStats (accessed March 19, 2019). This week's lateral thinking puzzle was contributed by listener Neil de Carteret, who sent this corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!
In 1873 a Methodist missionary in New York City heard rumors of a little girl who was kept locked in a tenement and regularly whipped. She uncovered a shocking case of neglect and abuse that made headlines around the world. In this week's episode of the Futility Closet podcast we'll tell how one girl's ordeal led to a new era in child welfare. We'll also outsource Harry Potter and puzzle over Wayne Gretzky's accomplishments. Intro: By a 1976 resolution, George Washington forever outranks every other officer in the U.S. Army. Humorist Robert Benchley invented some creative excuses for missing deadlines. Sources for our feature on Mary Ellen Wilson: Eric A. Shelman and Stephen Lazoritz, The Mary Ellen Wilson Child Abuse Case and the Beginning of Children's Rights in 19th Century America, 2005. Susan J. Pearson, The Rights of the Defenseless: Protecting Animals and Children in Gilded Age America, 2011. Frank R. Ascione, Children and Animals: Exploring the Roots of Kindness and Cruelty, 2005. John E.B. Myers, Child Protection in America: Past, Present, and Future, 2006. Karel Kurst-Swanger and Jacqueline L. Petcosky, Violence in the Home: Multidisciplinary Perspectives, 2003. Mary Renck Jalongo, "The Story of Mary Ellen Wilson: Tracing the Origins of Child Protection in America," Early Childhood Education Journal 34:1 (August 2006), 1-4. Lela B. Costin, "Unraveling the Mary Ellen Legend: Origins of the 'Cruelty' Movement," Social Service Review 65:2 (June 1991), 203-223. Sallie A. Watkins, "The Mary Ellen Myth: Correcting Child Welfare History," Social Work 35:6 (November 1990), 500-503. Jini L. Roby, "Child Welfare Workers in the Legal Arena: What Works, What Doesn't," Child & Youth Care Forum 30:5 (October 2001), 305-319. John E.B. Myers, "A Short History of Child Protection in America," Family Law Quarterly 42:3 (Fall 2008), 449-463. Susan Vivian Mangold, "Protection, Privatization, and Profit in the Foster Care System," Ohio State Law Journal 60 (1999), 1295. Natan Sznaider, "Compassion and Control: Children in Civil Society," Childhood 4:2 (1997). Marian Eide, "The First Chapter of Children's Rights," American Heritage 41:5 (July/August 1990). Wanda Mohr, Richard J. Gelles, Ira M. Schwartz, "Shackled in the Land of Liberty: No Rights for Children," Annals of the American Academy of Political and Social Science 564:1 (July 1999), 37-55. Gerald P. Mallon, "From the Editor: The Legend of Mary Ellen Wilson and Etta Wheeler: Child Maltreatment and Protection Today," Child Welfare 92:2 (March/April 2013), 9-11. Amy D. Ronner, "Dostoevsky as Juvenile Justice Advocate and Progenitor of Therapeutic Jurisprudence," St. Thomas Law Review 30:1 (Fall 2017), 5-41. "Mary Ellen Wilson: Fact and Fiction," [Wooster, Ohio] Daily Record, April 29, 2017, 7. Howard Markel, "Case Shined First Light on Abuse of Children," New York Times, Dec. 14, 2009. Daniel Bergner, "The Case of Marie and Her Sons," New York Times Magazine, July 23, 2006. Al Baker, "Plan to Hasten Abuse Inquiries Came Up Short," New York Times, Jan. 21, 2006. "Mary Ellen Wilson," New York Times, June 14, 1874. "Mary Ellen Wilson," New York Times, June 2, 1874. "The Custody of Mary Ellen Wilson," New York Times, May 1, 1874. "Mary Ellen Wilson," New York Times, April 22, 1874. "Mary Ellen Wilson; Further Testimony in the Case Two Indictments Found Against Mrs. Connolly by the Grand Jury," New York Times, April 14, 1874. "Mary Ellen Wilson; Further Testimony as to the Child's Ill Treatment by Her Guardians," New York Times, April 12, 1874. "The Mission of Humanity; Continuation of the Proceedings Instituted by Mr. Bergh on Behalf of the Child, Mary Ellen Wilson," New York Times, April 11, 1874. "Mr. Bergh Enlarging His Sphere of Usefulness," New York Times, April 10, 1874. Listener mail: Mary Ilyushina and Lianne Kolirin, "Russia Reopens Investigation Into 60-Year-Old Dyatlov Pass Mystery," CNN, Feb. 4, 2019. "Russia's Reopening the Investigation of the Spooky Dyatlov Pass Incident," The Chive, Feb. 8, 2019 (warning: contains some potentially disturbing photos and one strong expletive). Emma Friedlander, "Russian Investigators Are Reopening the Dyatlov Pass Case. But What Is It?" Moscow Times, Feb. 14, 2019. Wikipedia, "Tiddles" (accessed Feb. 12, 2019). Rob Baker, "Tiddles, a rather fat cat that lived in the public lavatories at Paddington Station - 1978 - photo by Chris Moorhouse," Twitter, Jan. 22, 2019. Anna Menta, "Absurd New 'Harry Potter' Book Written By Predictive Text Already Has Fan Art," Newsweek, Dec. 14, 2017. Gael Fashingbauer Cooper, "Harry Potter Chapter Written by Bots Is Magically Terrible," CNET, Dec. 12, 2017. Charles Pulliam-Moore, "This New Harry Potter Chapter, Written With Predictive Keyboards, Is Magically Unhinged," io9, Dec. 12, 2017. Shannon Liao, "This Harry Potter AI-Generated Fanfiction Is Remarkably Good," The Verge, Dec 12, 2017. Evan Narcisse, "That Freaky Bot-Written Harry Potter Chapter Got Turned into a Freaky Cartoon," io9, Feb. 13, 2018. Botnik. Harry Potter and the Portrait of What Looked Like a Large Pile of Ash. This week's lateral thinking puzzle was contributed by listener Mandie Bauer. Here's a corroborating link (warning -- this spoils the puzzle). You can listen using the player above, download this episode directly, or subscribe on Google Podcasts, on Apple Podcasts, or via the RSS feed at https://futilitycloset.libsyn.com/rss. Please consider becoming a patron of Futility Closet -- you can choose the amount you want to pledge, and we've set up some rewards to help thank you for your support. You can also make a one-time donation on the Support Us page of the Futility Closet website. Many thanks to Doug Ross for the music in this episode. If you have any questions or comments you can reach us at podcast@futilitycloset.com. Thanks for listening!
In The Past Lane - The Podcast About History and Why It Matters
This week at In The Past Lane, the history podcast, I take a deep dive into the origins of Labor Day. It's a holiday that most Americans these days take for granted. But it was born out of the crisis of the Gilded Age, that tumultuous last third of the 19th century that saw both the US economy boom as never before and social upheaval take place on an unprecedented level. This unique holiday was first celebrated on September 5, 1882. On that day thousands of workers in New York City risked getting fired for taking an unauthorized day off to participate in festivities honoring honest toil and the rights of labor. This first commemoration of Labor Day testified to labor’s rising power and unity in the Gilded Age as well as its sense that both were necessary to withstand the growing power of business and industry. The Labor Day holiday originated with the Central Labor Union (CLU), a local labor federation – essentially a union of unions - formed in NYC in January 1882 to promote the interests of workers. The CLU immediately became a formidable force in New York, staging protest rallies, lobbying state legislators, and organizing strikes and boycotts. By August 1882 membership in the organization boomed to fifty-six unions representing 80,000 workers. But CLU activists wanted to do more than simply increase membership and win strikes. They wanted to build worker solidarity in the face of jarring changes being wrought by the industrial revolution in the Gilded Age – the period in American history covering roughly the last 3rd of the 19th century. During this period the United States was transformed from what today we’d call a “developing nation” in 1865 to the world’s leading economic power by 1900. The favorite word of politicians and business leaders in this era was “progress.” But along with this tremendous increase in national wealth came a problem: widespread poverty. Evidence of this troubling duality could be found everywhere, but especially in New York City where mansions of big business tycoons like Vanderbilt, Morgan, and Carnegie arose along Fifth Avenue, while in the rest of the city two-thirds of the population lived in cramped and squalid tenements. In short, the establishment of Labor Day signaled that Gilded Age America faced a crisis over growing inequality. The motivation to establish Labor Day also came from a growing sense of alarm among American workers over the growing power of employers over their employees and frustration over the unwillingness of political leaders to do anything about it. Employers were free to increase hours, slash wages, and fire workers at will – practices that rendered workers powerless and pushed more and more of them into poverty. These developments, noted labor leaders, called into question the future of the American republic. As the CLU put it in its constitution: “Economical servitude degrades political liberties to a farce. Men who are bound to follow the dictates of factory lords, that they may earn a livelihood, are not free. … [A]s the power of combined and centralized capital increases, the political liberties of the toiling masses become more and more illusory.” In other words, workers in the Gilded Age began to argue that in this new world of industry – one that was so very different from the agrarian world of the Founders - mere political equality (one man, one vote) was no longer adequate to maintain a healthy republican society. Modern industrial life, with huge corporations, global markets, and increasing numbers of people working for wages, required a recognition that republican citizenship included an economic dimension – not just a political one. As the reformer and labor activist Henry George wrote in 1879, “In our time…creep on the insidious forces that, producing inequality, destroy Liberty.” The fact that all male citizens possessed the vote and equality before the law, George continued, no longer guaranteed them the blessings of republican citizenship. If one was forced to work 60 or 80 hours a weeks and yet did not earn a living wage, his right to vote was meaningless. He had sunken into what workers in that er called, “industrial slavery.” Extreme inequality, in other words, would destroy American democracy. So these were the concerns that in 1882 prompted labor activists affiliated with New York’s CLU to establish Labor Day as a day that would celebrate workers and inspire them to reclaim their dissipating rights. As John Swinton, editor of the city’s only labor paper wrote, “Whatever enlarges labor’s sense of its power hastens the day of its emancipation.” Now, we should pause here to note that the precise identity of the CLU leader who in May 1882 first proposed the idea of establishing Labor Day remains a mystery. Some accounts say it was Peter “P. J.” McGuire, General Secretary of the United Brotherhood of Carpenters and Joiners (and future co-founder of the AFL), who proposed the idea. Others argue that it was another man with a similar last name, machinist Matthew Maguire. Well, we’ll probably never know the answer to which Maguire deserves the title of the “Father of Labor Day,” but it is clear that both men played key roles in promoting and organizing the original holiday. And so it was that after months of preparation the chosen day – Tuesday September 5, 1882 – finally arrived. Optimism among the organizers ran high, but no one knew how many workers would turn out. Few could expect their employers to grant them a day off and many feared getting fired and blacklisted for labor union activity. When William G. McCabe, the parade’s first Grand Marshall and popular member of the International Typographers Union, arrived an hour before the parade’s start, the situation looked grim. Only a few dozen workers stood milling about City Hall Park in lower Manhattan. But to the relief of McCabe and other organizers, by the time the parade touched off at 10:00 a.m., about 400 men and a brass band had assembled. In the early going, the small group of marchers faced ridicule from bystanders and interruptions in the line of march because policemen refused to stop traffic at intersections. But as the parade continued north up Broadway, it swelled in size as union after union fell into line from side streets. Soon the jeers turned into cheers as the spectacle of labor solidarity grew more impressive. Marchers held aloft signs that spoke both to their pride as workers and the fear that they were losing political power and economic standing in the republic: To the Workers Should Belong All Wealth Labor Built this Republic. Labor Shall Rule It Less Work and More Pay Eight Hours for a Legal Day’s Work All Men Are Created Equal Many workers wore their traditional work uniforms and aprons and walked behind wagons displaying their handiwork. Others dressed in their holiday best for the occasion. Midway through the parade, the throng of workers – now numbering 5,000 -- passed a reviewing stand at Union Square. Among the many dignitaries was Terence Powderly, Grand Master Workman of the Knights of Labor, the most powerful labor organization in the nation. It then continued up Fifth Avenue, past the opulent mansions of the new super rich of the era – the Vanderbilts, Morgans, Goulds and so on, before ending at 42nd Street and Sixth Ave. From there participants headed to a large park on Manhattan’s Upper west Side for a massive picnic. By late afternoon some 25,000 workers and their families jammed the park to participate in the festivities which consisted of live music, stirring speeches on workers’ rights, and consumption of copious amounts of food and beer. Thrilled with the success of this first effort, CLU leaders staged a second Labor Day the following year in 1883 and the event drew an even larger number of participants. The next year, in 1884, the CLU officially designated the first Monday in September as the annual Labor Day, calling upon workers to, “Leave your benches, leave your shops, join in the parade and attend the picnic. A day spent with us is not lost.” Upwards of 20,000 marched that year, including a contingent of African American workers (the first women marchers appeared in 1885). With such an impressive start, the tradition of an annual Labor Day holiday quickly gained popularity across the country. By 1886 Labor Day had become a national event. Some 20,000 workers marched in Manhattan, and another 10,000 in Brooklyn, while 25,000 turned out in Chicago, 15,000 in Boston, 5,000 in Buffalo, and 4,000 in Washington, D.C. Politicians took notice and in 1887 five states, including New York, passed laws making Labor Day a state holiday. Seven years later – just a dozen years after the first celebration in New York — President Grover Cleveland signed into law a measure establishing Labor Day as a holiday for all federal workers. Labor Day caught on so quickly among Gilded Age workers because unlike the traditional forms of labor activism like striking and picketing, or civic holidays commemorating victories in war, Labor Day drew together workers for the purposes of celebration. As P. J. McGuire later wrote of the parade, “No festival of martial glory of warrior’s renown is this; no pageant pomp of warlike conquest … attend this day. … It is dedicated to Peace, Civilization and the triumphs of Industry. It is a demonstration of fraternity and the harbinger of a better age – a more chivalrous time, when labor shall be best honored and well rewarded.” In the twentieth century, Labor Day parades grew into massive spectacles of pride and power. These annual events reflected the growing power and influence of organized labor in American society. The labor movement and social reformers pushed for policies aimed at limiting the power of big corporations and the wealthy, while protecting and enhancing the opportunity for the average citizen to live a decent life. These policies included the 8-hour day, increased workplace safety, collective bargaining rights, expanded public education, unemployment insurance, and Social Security. Their success reflected a growing acceptance of the idea that for republican citizenship to be real, it had to include a baseline of material wellbeing. By the 1930s, President Franklin D. Roosevelt enshrined “Freedom from Want” as one of the nation’s essential Four Freedoms. “True individual freedom cannot exist without economic security and independence,” he said. “People who are hungry and out of a job are the stuff of which dictatorships are made.” Roosevelt’s New Deal and subsequent moments of reform like President Lyndon B. Johnson’s “War on Poverty,” boosted the wellbeing of the average American. So, too, did the influence of a strong labor movement. Labor’s power was on full display on Labor Day in 1961 when 200,000 workers processed up Fifth Avenue behind Grand Marshall Mayor Robert Wagner, passing on the reviewing stand dignitaries that included Governor Nelson Rockefeller, Senator Jacob K. Javitts, and former President Harry S. Truman. The result of reforms and strong unions was the steady decline of extreme wealth inequality. Whereas in 1890 the top 1 percent of Americans owned 51 percent of all wealth, by 1979 the 1 percent owned 20.5% of all wealth. But since 1980 the trend has shifted dramatically back toward increased wealth and income inequality. This trend has many sources, including deindustrialization, cuts to social programs, and the deregulation of Wall Street. But a key one has been the decline of the power of organized labor. In 1955 union membership reached its historic highpoint with 39% of the American workforce belonging to a union. Today, union membership hovers around 10 percent. And wealth inequality? In 1979, as we just noted, the share of wealth possessed by the 1 percent had fallen to about 21%. Today, it’s closing in on 40% -- and rising. This trend explains why so many Americans have taken to calling this era, the Second Gilded Age. So this weekend, as millions celebrate Labor Day by not laboring, Americans would do well to reflect on the core claims of the early labor movement that invented Labor Day: Gilded Age workers and those who followed them argued that the nation’s democratic values and republican institutions were threatened by economic policies that left a small number of people extremely wealthy and powerful, while the great majority of citizens struggled to obtain or hold onto a piece of the American Dream. Today, this concern animates calls for a $15 minimum wage, single payer health care, tougher regulations on corporations, banks, and Wall Street, and greater investment in infrastructure and public education. So, Labor Day should remind us that while, to paraphrase Thomas Jefferson, all are created equal, they also grow up to live in a society shaped by policies and laws that determine whether opportunities for success are focused on the great majority of citizens, or merely on the 1 percent. Happy Labor Day, people. Recommended reading: Edward T. O’Donnell, Henry George and the Crisis of Inequality: Progress and Poverty in the Gilded Age (Columbia Univ. Press, 2015) Jonathan Grossman, “Who Is the Father of Labor Day?,” Labor History, 14, no. 4, (1973) Michael Kazin and Steven J. Ross, “America’s Labor Day: The Dilemma of a Workers’ Celebration,” Journal of American History (Mar 1992) P.J. McGuire, "Labor Day — Its Birth and Significance", The Union Agent [Kentucky], vol. 3, no. 9 (Sept. 1898). Follow In The Past Lane on Twitter @InThePastLane Instagram @InThePastLane Facebook https://www.facebook.com/InThePastLanePodcast/ YouTube https://www.youtube.com/channel/UCeZMGFqoAASwvSJ1cpZOEAA Related ITPL podcast episodes: Related ITPL podcast episodes: Episodes 052, 053, 054 – a three-part series on the Gilded Age Music for This Episode Jay Graham, ITPL Intro (JayGMusic.com) Kevin McCleod, “Impact Moderato” (Free Music Archive) Andy Cohen, “Trophy Endorphins” (Free Music Archive) Jon Luc Hefferman, “Discovery” (Free Music Archive) Blue Dot Sessions, “Sage the Hunter,” (Free Music Archive) Jon Luc Hefferman, “Winter Trek” (Free Music Archive) The Bell, “I Am History” (Free Music Archive) Production Credits Executive Producer: Lulu Spencer Technical Advisors: Holly Hunt and Jesse Anderson Podcasting Consultant: Dave Jackson of the School of Podcasting Photographer: John Buckingham Graphic Designer: Maggie Cellucci Website by: ERI Design Legal services: Tippecanoe and Tyler Too Social Media management: The Pony Express Risk Assessment: Little Big Horn Associates Growth strategies: 54 40 or Fight © In The Past Lane, 2018 Recommended History Podcasts Ben Franklin’s World with Liz Covart @LizCovart The Age of Jackson Podcast @AgeofJacksonPod Backstory podcast – the history behind today’s headlines @BackstoryRadio Past Present podcast with Nicole Hemmer, Neil J. Young, and Natalia Petrzela @PastPresentPod 99 Percent Invisible with Roman Mars @99piorg Slow Burn podcast about Watergate with @leoncrawl The Memory Palace – with Nate DiMeo, story teller extraordinaire @thememorypalace The Conspirators – creepy true crime stories from the American past @Conspiratorcast The History Chicks podcast @Thehistorychix My History Can Beat Up Your Politics @myhist Professor Buzzkill podcast – Prof B takes on myths about the past @buzzkillprof Footnoting History podcast @HistoryFootnote The History Author Show podcast @HistoryDean More Perfect podcast - the history of key US Supreme Court cases @Radiolab Revisionist History with Malcolm Gladwell @Gladwell Radio Diaries with Joe Richman @RadioDiaries DIG history podcast @dig_history The Story Behind – the hidden histories of everyday things @StoryBehindPod Studio 360 with Kurt Andersen – specifically its American Icons series @Studio360show Uncivil podcast – fascinating takes on the legacy of the Civil War in contemporary US @uncivilshow Stuff You Missed in History Class @MissedinHistory The Whiskey Rebellion – two historians discuss topics from today’s news @WhiskeyRebelPod American History Tellers @ahtellers The Way of Improvement Leads Home with historian John Fea @JohnFea1 The Bowery Boys podcast – all things NYC history @BoweryBoys Ridiculous History @RidiculousHSW The Rogue Historian podcast with historian @MKeithHarris The Road To Now podcast @Road_To_Now Retropod with @mikerosenwald
To be outside the "home" was a dangerous place to be in Gilded Age America. Richard White tells the story of how the modern nation reluctantly came into being alongside the environmental crisis of the late nineteenth century. The post Making the Nation in the Gilded Age: A Conversation with Richard White appeared first on Edge Effects.
In the summer of 1885, the Lakota Sioux holy man Sitting Bull toured North America as a member of Buffalo Bill Cody’s famous “Wild West” show. His participation, as Deanne Stillman explains in her book Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill (Simon & Schuster, 2017) linked two celebrities of Gilded Age America into an association that would endure for long afterward. Both men were legends of the American West–Cody for his service as a scout and prowess in killing bison, Sitting Bull for his role as a leader and his association with the Battle of Little Bighorn. Taking advantage of Sitting Bull’s relationship with Annie Oakley, another star performer in his show, Cody succeeded in enlisting his involvement, where he proved a popular draw. Though Sitting Bull’s time with the show was brief, he formed a bond with Cody deep enough to lead Cody to cross the country five years later in an unsuccessful effort to intervene in the events that led to Sitting Bull’s death. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the summer of 1885, the Lakota Sioux holy man Sitting Bull toured North America as a member of Buffalo Bill Cody’s famous “Wild West” show. His participation, as Deanne Stillman explains in her book Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill (Simon & Schuster, 2017) linked two celebrities of Gilded Age America into an association that would endure for long afterward. Both men were legends of the American West–Cody for his service as a scout and prowess in killing bison, Sitting Bull for his role as a leader and his association with the Battle of Little Bighorn. Taking advantage of Sitting Bull’s relationship with Annie Oakley, another star performer in his show, Cody succeeded in enlisting his involvement, where he proved a popular draw. Though Sitting Bull’s time with the show was brief, he formed a bond with Cody deep enough to lead Cody to cross the country five years later in an unsuccessful effort to intervene in the events that led to Sitting Bull’s death. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the summer of 1885, the Lakota Sioux holy man Sitting Bull toured North America as a member of Buffalo Bill Cody’s famous “Wild West” show. His participation, as Deanne Stillman explains in her book Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill (Simon & Schuster, 2017) linked two celebrities of Gilded Age America into an association that would endure for long afterward. Both men were legends of the American West–Cody for his service as a scout and prowess in killing bison, Sitting Bull for his role as a leader and his association with the Battle of Little Bighorn. Taking advantage of Sitting Bull’s relationship with Annie Oakley, another star performer in his show, Cody succeeded in enlisting his involvement, where he proved a popular draw. Though Sitting Bull’s time with the show was brief, he formed a bond with Cody deep enough to lead Cody to cross the country five years later in an unsuccessful effort to intervene in the events that led to Sitting Bull’s death. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the summer of 1885, the Lakota Sioux holy man Sitting Bull toured North America as a member of Buffalo Bill Cody’s famous “Wild West” show. His participation, as Deanne Stillman explains in her book Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill (Simon & Schuster, 2017) linked two celebrities of Gilded Age America into an association that would endure for long afterward. Both men were legends of the American West–Cody for his service as a scout and prowess in killing bison, Sitting Bull for his role as a leader and his association with the Battle of Little Bighorn. Taking advantage of Sitting Bull’s relationship with Annie Oakley, another star performer in his show, Cody succeeded in enlisting his involvement, where he proved a popular draw. Though Sitting Bull’s time with the show was brief, he formed a bond with Cody deep enough to lead Cody to cross the country five years later in an unsuccessful effort to intervene in the events that led to Sitting Bull’s death. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the summer of 1885, the Lakota Sioux holy man Sitting Bull toured North America as a member of Buffalo Bill Cody’s famous “Wild West” show. His participation, as Deanne Stillman explains in her book Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill (Simon & Schuster, 2017) linked two celebrities of Gilded Age America into an association that would endure for long afterward. Both men were legends of the American West–Cody for his service as a scout and prowess in killing bison, Sitting Bull for his role as a leader and his association with the Battle of Little Bighorn. Taking advantage of Sitting Bull’s relationship with Annie Oakley, another star performer in his show, Cody succeeded in enlisting his involvement, where he proved a popular draw. Though Sitting Bull’s time with the show was brief, he formed a bond with Cody deep enough to lead Cody to cross the country five years later in an unsuccessful effort to intervene in the events that led to Sitting Bull’s death. Learn more about your ad choices. Visit megaphone.fm/adchoices
In the summer of 1885, the Lakota Sioux holy man Sitting Bull toured North America as a member of Buffalo Bill Cody’s famous “Wild West” show. His participation, as Deanne Stillman explains in her book Blood Brothers: The Story of the Strange Friendship between Sitting Bull and Buffalo Bill (Simon & Schuster, 2017) linked two celebrities of Gilded Age America into an association that would endure for long afterward. Both men were legends of the American West–Cody for his service as a scout and prowess in killing bison, Sitting Bull for his role as a leader and his association with the Battle of Little Bighorn. Taking advantage of Sitting Bull’s relationship with Annie Oakley, another star performer in his show, Cody succeeded in enlisting his involvement, where he proved a popular draw. Though Sitting Bull’s time with the show was brief, he formed a bond with Cody deep enough to lead Cody to cross the country five years later in an unsuccessful effort to intervene in the events that led to Sitting Bull’s death. Learn more about your ad choices. Visit megaphone.fm/adchoices
Leland and Jane Stanford founded their university amidst the kinetic tumult of Gilded Age America. It was a time of swashbuckling capitalist ambition, let-‘er-rip financial finagling, and epic corruption. It was also a time of accelerating immigration, the rapid peopling and development of the great American West – and the golden age of American philanthropy, when so-called Robber Barons like Andrew Carnegie, John D. Rockefeller, and the Stanfords' lavished their millions on building lasting institutions to serve the common weal (well before the tax code conferred any advantage for doing so). James Campbell and David Kennedy revisited that founding moment, exploring the ways in which the circumstances of Stanford's birth might give guidance to the university in its second century and beyond.
In early 1943 – while the Battle of Stalingrad raged thousands of miles away – US government officials explored the hotel room of a recently deceased scientist. They were looking for the plans to a weapon that could change the war. They were looking for a death ray. The death ray did not exist, but there was enough doubt that Federal officials thought it wise to assess the thousands of notes and sketches that had been made during the scientist’s lifetime. After their assessment, the notes were locked away, leading to a persistent conspiracy theory that there had been a death ray, and that the US government was covering it all up. The notes had belonged to a man who in many ways embodied the American dream, the golden age of science, and the modern image of eccentric inventor. He had been one of the most famous men not only in America, but in the world. He laid the groundwork for many of the technologies that we take for granted today and contributed to many more. In the decades that followed his death in a room of the Hotel New Yorker on January 7, 1943, the scientist has gone from virtual obscurity to international celebrity, the namesake of high powered electric sportscars and a major international airport. Today on American History Too!, we explore the life, times, and legacy of the man who supposedly invented the electrical age: Nikola Tesla. Reading W. Bernard Carlson, Tesla: Inventor of the Electrical Age (Princeton: Princeton University Press, 2013) Robert Lomas, The man who invented the twentieth century: Nikola Tesla, forgotten genius of electricity (London: Headline, 2000) Paul Lucier, ‘The Origins of Pure and Applied Science in Gilded Age America’, Isis, 103:3 (September 2012), 527-536 Marc J. Seifer, Wizard : The life and times of Nikola Tesla ; biography of a genius (Secaucus: Carol Pub., 1996) Learn more about your ad choices. Visit megaphone.fm/adchoices
Interview with Sven Beckert for NPR affiliate KUAR on Clinton School Presents, a weekly dialogue of distinguished guests that visit the Clinton School of Public Service in Little Rock, Arkansas. Nikolai DiPippa, Clinton School Director of Public Programs, sat down with Sven Beckert, who is Laird Bell Professor of History at Harvard University. Beckert’s research and teaching center on the history of the United States in the nineteenth century, with a particular emphasis on the history of capitalism, including its economic, social, political and transnational dimensions. His publications have focused on the history of economic elites, on labor, on democracy and, in recent years, on the global history of capitalism. Beckert teaches courses on the history of American capitalism, Gilded Age America, the political economy of modern capitalism, labor history and global capitalism. He is co-chair of the Program on the Study of Capitalism at Harvard University, and the Weatherhead Initiative on Global History, also at Harvard. Beyond Harvard, he co-chairs an international study group on global history, is co-editor of a series of books at Princeton University Press on “America in the World,”and has co-organized a series of conferences on the history of capitalism. He has received many fellowships and awards, including the Newcomen Fellowship at Harvard Business School, and fellowships from the American Council of Learned Societies and the Center for Scholars and Writers at the New York Public Library. Beckert is a Guggenheim Fellow. He has lectured all over the world.
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women's Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women's rights advocates turned to Charles Darwin's evolutionary theory to answer the eternal “woman question.” Hamlin's fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women's rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women's equality–the biblical story of Eve. Charles Darwin's theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin's subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women's subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman's experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women's Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women's rights advocates turned to Charles Darwin's evolutionary theory to answer the eternal “woman question.” Hamlin's fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women's rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women's equality–the biblical story of Eve. Charles Darwin's theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin's subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women's subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman's experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women's Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women's rights advocates turned to Charles Darwin's evolutionary theory to answer the eternal “woman question.” Hamlin's fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women's rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women's equality–the biblical story of Eve. Charles Darwin's theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin's subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women's subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman's experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women’s Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women’s rights advocates turned to Charles Darwin’s evolutionary theory to answer the eternal “woman question.” Hamlin’s fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women’s rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women’s equality–the biblical story of Eve. Charles Darwin’s theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin’s subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women’s subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman’s experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women’s Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women’s rights advocates turned to Charles Darwin’s evolutionary theory to answer the eternal “woman question.” Hamlin’s fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women’s rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women’s equality–the biblical story of Eve. Charles Darwin’s theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin’s subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women’s subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman’s experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women’s Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women’s rights advocates turned to Charles Darwin’s evolutionary theory to answer the eternal “woman question.” Hamlin’s fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women’s rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women’s equality–the biblical story of Eve. Charles Darwin’s theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin’s subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women’s subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman’s experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women’s Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women’s rights advocates turned to Charles Darwin’s evolutionary theory to answer the eternal “woman question.” Hamlin’s fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women’s rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women’s equality–the biblical story of Eve. Charles Darwin’s theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin’s subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women’s subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman’s experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women’s Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women’s rights advocates turned to Charles Darwin’s evolutionary theory to answer the eternal “woman question.” Hamlin’s fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women’s rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women’s equality–the biblical story of Eve. Charles Darwin’s theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin’s subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women’s subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman’s experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
Kimberly A. Hamlin is an associate professor in American Studies and history at Miami University in Oxford Ohio. Her book from Eve to Evolution: Darwin, Science and Women’s Rights in Gilded Age in America (University of Chicago Press, 2014), provides a history of how a group of women’s rights advocates turned to Charles Darwin’s evolutionary theory to answer the eternal “woman question.” Hamlin’s fascinating intellectual history uncovers how the new evolutionary science provided multiple arguments by which to advance the cause of women’s rights in the home and society. Many scholars are familiar with the Enlightenment, religious, and socialist origins of feminist thought. Hamlin suggests another significant strand of thought offered by the science of human origins. She argues that Darwinism, often with unorthodox interpretations, was effective in overturning a central ideological obstacle to women’s equality–the biblical story of Eve. Charles Darwin’s theory, against his own conservative views, turned upside down traditional ideas about women. Freethinkers, socialist, sexologist seized on evolutionary science to build arguments against recalcitrant traditional views. They asserted that their contemporary culture was a construct of erroneous ideas calling for change, in order to live in accordance to the evolutionary laws of nature. As “reform Darwinists,” Hamlin’s subjects stood against social Darwinism, religious teaching, and custom. Yet, evolutionary science under male control was deployed to reassert women’s subordination. Sex difference as interpreted by many male scientists pointed to female intellectual inferiority. Women, mostly outside the science establishment, called on the evidence of “woman’s experience” against claims of scientific men.Hamlin offers a lucid narrative of how a group of women intervened in a period between the demise of Eve, as the metanarrative for the meaning of womanhood, and the masculinist consolidation of evolutionary science. Learn more about your ad choices. Visit megaphone.fm/adchoices
James Martin, author of "Sing Not War: The Lives of Union and Confederate Veterans in Gilded Age America."
James Martin, author of "Sing Not War: The Lives of Union and Confederate Veterans in Gilded Age America."
James Martin, author of "Sing Not War: The Lives of Union and Confederate Veterans in Gilded Age America."
James Martin, author of "Sing Not War: The Lives of Union and Confederate Veterans in Gilded Age America."