Podcasts about hundred years

Kann ein Land zwei Völkern gehören? 1920 übernehmen die Briten Palästina mit dem Auftrag, diese Frage zu beantworten. Ihr Plan: Den Juden eine Heimstätte schaffen, ohne die arabische Mehrheit zu vertreiben. Was folgt, ist eine Meisterklasse im Scheitern. Ein Holzparavent wird zum Kriegsgrund, ein Geistlicher zum Terroristen, ein Aufstand zur Katastrophe. 1939 kapitulieren die Briten und wechseln komplett die Seite – ausgerechnet am Vorabend des Holocausts. Das Paradox: Je mehr die Briten vermitteln wollen, desto mehr eskaliert der Konflikt. Eine Geschichte über die Grenzen imperialer Macht und die verhängnisvolle Logik unlösbarer Konflikte.Du hast Feedback oder einen Themenvorschlag für Joachim und Nils? Dann melde dich gerne bei Instagram: @wasbishergeschah.podcastQuellen:Martin Bunton, The Palestinian-Israeli Conflict, OUPMuriel Asseburg, Jan Busse, Der Nahostkonflikt, C.H.Beck Michael Brenner, Israel: Traum und Wirklichkeit des jüdischen Staates, C.H.BeckDerek Penslar, Theodor Herzl: Staatsmann ohne Staat, WallsteinBenny Morris, Righteous Victims, Knopf DoubledayRashid Khalidi, The Hundred Years' War on Palestine, Metropolitan BooksUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Theodor Herzl ist ein Mann zwischen den Welten. Der assimilierte Wiener Jude trägt Schmiss und deutschnationale Ideale, bis ihm 1895 die Dreyfus-Affäre brutal vor Augen führt: Selbst in Frankreich, dem Mutterland der Juden-Emanzipation, brüllt der Mob "Tod den Juden!" In diesem Moment verwandelt sich der Feuilleton-Journalist in den Propheten des Zionismus. Er gründet 1897 in Basel den ersten Zionistenkongress und proklamiert: "Hier habe ich den Judenstaat gegründet." Doch wie entsteht aus einem Traum von Normalität der Grundstein für einen Jahrhundert-Konflikt? Warum ignoriert der visionäre Staatsmann die Warnung eines arabischen Bürgermeisters? Die Geschichte des Nahostkonflikts beginnt nicht mit Hass, sondern mit der verzweifelten Hoffnung auf eine eigene Heimat.Du hast Feedback oder einen Themenvorschlag für Joachim und Nils? Dann melde dich gerne bei Instagram: @wasbishergeschah.podcastQuellen:Muriel Asseburg, Jan Busse, Der Nahostkonflikt, C.H.Beck Michael Brenner, Israel: Traum und Wirklichkeit des jüdischen Staates, C.H.BeckDerek Penslar, Theodor Herzl: Staatsmann ohne Staat, WallsteinBenny Morris, Righteous Victims, Knopf DoubledayRashid Khalidi, The Hundred Years' War on Palestine, Metropolitan BooksUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

European invastion of Russia go back to at least Napoleon. Russia chose to evacuate and burn Moscow rather than be ruled by Napoleon -- Western leaders should not expect anything different today. The spiritual/demonic roots of this current war which has the aim of destroying the White and Christian race and the agents of Satan's war. (The video of this podcast contains a variety of overlays -- and this is true of most of my podcasts) Fritz Berggren, PhD www.bloodandfaith.com www.x.com/bloodandfaith www.gab.com/cybertext

May 30, 1431. In the Hundred Years' War, 19-year-old military leader Joan of Arc is burned at the stake following a trial by an English-backed tribunal in Rouen, France. This episode originally aired in 2022.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

I was delighted to talk to the historian Helen Castor (who writes The H Files by Helen Castor) about her new book The Eagle and the Hart. I found that book compulsive, and this is one of my favourite interviews so far. We covered so much: Dickens, Melville, Diana Wynne Jones, Hilary Mantel, whether Edward III is to blame for the Wars of the Roses, why Bolingbroke did the right thing, the Paston Letters, whether we should dig up old tombs for research, leaving academia, Elizabeth I, and, of course, lots of Shakespeare. There is a full transcript below.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Helen told me what is hardest to imagine about life in the fourteenth century.I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Good news to any publishers reading this. Helen is ready and willing to produce a complete edition of the Paston Letters. They were a bestseller when they were published a hundred years ago, but we are crying out for a complete edition in modern English.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that.Full TranscriptHenry: Today I am talking to the historian, Helen Castor. Helen is a former fellow of Sydney Sussex College in Cambridge. She has written several books of history. She is now a public historian, and of course, she has a Substack. The H Files by Helen CastorWe are going to talk mostly about her book, The Eagle and the Hart, which is all about Richard II and Henry IV. I found this book compulsive, so I hope you will read it too. Helen, welcome.Helen: Thank you very much for having me, Henry.Henry: You recently read Bleak House.Helen: I did.Henry: What did you think?Helen: I absolutely loved it. It was a long time since I'd read any Dickens. I read quite a lot when I was young. I read quite a lot of everything when I was young and have fallen off that reader's perch, much to my shame. The first page, that description of the London fog, the London courts, and I thought, "Why have I not been doing it for all these years?"Then I remembered, as so often with Dickens, the bits I love and the bits I'm less fond of, the sentimentality, the grotesquerie I'm less fond of, but the humour and the writing. There was one bit that I have not been able to read then or any of the times I've tried since without physically sobbing. It's a long time since a book has done that to me. I don't want to spoil it for anyone who hasn't read it, but--Henry: I'm sure I know what you mean. That's quite a sentimental passage.Helen: It is, but not sentimental in the way that I find myself objecting to. I think I really respond viscerally to this sentimentalising of some of his young women characters. I find that really off-putting, but I think now I'm a parent, and particularly I'm a parent of a boy [laughter]. I think it's that sense of a child being completely alone with no one to look after them, and then finding some people, but too late for a happy ending.Henry: Too late.Helen: Yes.Henry: You've been reading other classic novels, I think, Moby Dick?Helen: I'm in the middle of Moby Dick as we speak. I'm going very slowly, partly because I'm trying to savour every sentence. I love the sentence so much as a form. Melville is just astonishing, and also very, very funny in a way I hadn't expected to keep laughing out loud, sometimes because there is such humour in a sentence.Sometimes I'm just laughing because the sentence itself seems to have such audacity and that willingness to go places with sentences that sometimes I feel we've lost in the sort of sense of rules-based sentences instead of just sticking a semicolon and keep going. Why not, because it's so gorgeous and full of the joy of language at that point? Anyway, I'm ranting now, but--Henry: No, I think a lot of rules were instituted in the early 20th century that said you can and cannot do all these things, and writers before that point had not often followed those rules. I think what it has led to is that writers now, they can't really control a long sentence, in the sense that Melville and Dickens will do a long sentence, and it is a syntactically coherent thing, even though it's 60, 70 longer words. It's not just lots of stuff, and then, and then. The whole thing has got a beautiful structure that makes sense as a unit. That's just not obvious in a lot of writing now.Helen: I think that's exactly right. Partly, I've been reading some of the Melville out loud, and having just got onto the classification of whales, you can see I'm going very slowly. Those sentences, which are so long, but it's exactly that. If you read them out loud, and you follow the sense, and the punctuation, however irregular it might be in modern terms, gives you the breathing, you just flow on it, and the excitement of that, even or perhaps especially when one is talking about the classification of whales. Just joyful.Henry: Will we be seeing more very long sentences in your next book?Helen: I think I have to get a bit better at it. The habit that I was conscious of anyway, but became acutely so when I had to read my own audiobook for the first time is that I think I write in a very visual way. That is how I read because mostly it's silent.I discovered or rediscovered that often what I do when I want to write a very long sentence is I start the sentence and then I put a diversion or extra information within em dashes in the middle of the sentence. That works on the page because you can see spatially. I love that way of reading, I love seeing words in space.A lot of different kinds of text, both prose and poetry, I read in space like that. If you're reading to be heard, then the difficulty of breaking into a sentence with, whether it's brackets or em dashes or whatever, and then rejoining the sentence further down has its own challenges. Perhaps I ought to try and do less of that and experiment more with a Melvillian Dickensian onward flow. I don't know what my editor will think.Henry: What has brought you back to reading novels like this?Helen: I was wondering that this morning, actually, because I'm very aware having joined Substack, and of course, your Substack is one of the ones that is leading me further in this direction, very inspiringly, is discovering that lots of other people are reading and reading long novels now too. It reminded me of that thing that anyone with children will know that you have a baby and you call it something that you think only you have thought of, and then four years later, you call and you discover half the class is called that name. You wonder what was in the water that led everybody in that direction.I've just seen someone tweet this morning about how inspired they are by the builder next door who, on the scaffolding, is blasting the audiobook Middlemarch to the whole neighborhood.Henry: Oh my god. Amazing.Helen: It's really happening. Insofar as I can work out what led me as opposed to following a group, which clearly I am in some sense, I think the world at the moment is so disquieting, and depressing, and unnerving, that I think for me, there was a wish to escape into another world and another world that would be very immersive, not removed from this world completely. One that is very recognizably human.I think when I was younger, when I was in my teens and 20s, I loved reading science fiction and fantasy before it was such a genre as it is now. I'm a huge fan of Diana Wynne Jones and people like that.Henry: Oh, my god, same. Which one is your favorite?Helen: Oh, that is an impossible question to answer, partly because I want to go back and read a lot of them. Actually, I've got something next to me, just to get some obscurity points. I want to go back to Everard's Ride because there is a story in here that is based on the King's square. I don't know if I'm saying that right, but early 15th century, the story of the imprisoned King of Scotland when he was in prison in England. That one's in my head.The Dalemark Quartet I love because of the sort of medieval, but then I love the ones that are pure, more science fantasy. Which is your favorite? Which should I go back to first?Henry: I haven't read them all because I only started a couple of years ago. I just read Deep Secret, and I thought that was really excellent. I was in Bristol when I read it quite unwittingly. That was wonderful.Helen: Surrounded by Diana Wynne Jones' land. I only discovered many years into an obsession that just meant that I would read every new one while there were still new ones coming out. I sat next to Colin Burrow at a dinner in--Henry: Oh my god.Helen: I did sort of know that he was her son, but monstered him for the whole time, the whole course of sitting together, because I couldn't quite imagine her in a domestic setting, if you like, because she came up with all these extraordinary worlds. I think in days gone by, I went into more obviously imaginary worlds. I think coming back to it now, I wanted something big and something that I really could disappear into. I've been told to read Bleak House for so many decades and felt so ashamed I hadn't. Having done that, I thought, "Well, the whale."Henry: Have you read Diana Wynne Jones' husband's books, John Burrow? Because that's more in your field.Helen: It is, although I'm ashamed to say how badly read I am in medieval literary scholarship. It's weird how these academic silos can operate, shouldn't, probably don't for many, many people. I always feel I'm on horribly thin ground, thin ice when I start talking about medieval literature because I know how much scholarship is out there, and I know how much I haven't read. I must put John Burrow on my list as well.Henry: He's very readable. He's excellent.Helen: I think I can imagine, but I must go into it.Henry: Also, his books are refreshingly short. Your husband is a poet, so there's a lot of literature in your life at the moment.Helen: There is. When we met, which was 10 years ago-- Again, I don't think of myself as knowledgeable about poetry in general, but what was wonderful was discovering how much we had in common in the writing process and how much I could learn from him. To me, one of the things that has always been extremely important in my writing is the sentence, the sound of a sentence, the rhythm of a sentence folded into a paragraph.I find it extremely hard to move on from a paragraph if it's not sitting right yet. The sitting right is as much to do with sound and rhythm as it is to do with content. The content has to be right. It means I'm a nightmare to edit because once I do move on from a paragraph, I think it's finished. Obviously, my editor might beg to differ.I'm very grateful to Thomas Penn, who's also a wonderful historian, who's my editor on this last book, for being so patient with my recalcitrance as an editee. Talking to my husband about words in space on the page, about the rhythm, about the sound, about how he goes about writing has been so valuable and illuminating.I hope that the reading I've been doing, the other thing I should say about going back to big 19th-century novels is that, of course, I had the enormous privilege and learning curve of being part of a Booker jury panel three years ago. That too was an enormous kick in terms of reading and thinking about reading because my co-judges were such phenomenal reading company, and I learned such a lot that year.I feel not only I hope growing as a historian, but I am really, really focusing on writing, reading, being forced out of my bunker where writing is all on the page, starting to think about sound more, think about hearing more, because I think more and more, we are reading that way as a culture, it seems to me, the growth of audiobooks. My mother is adjusting to audiobooks now, and it's so interesting to listen to her as a lifelong, voracious reader, adjusting to what it is to experience a book through sound rather than on the page. I just think it's all fascinating, and I'm trying to learn as I write.Henry: I've been experimenting with audiobooks, because I felt like I had to, and I sort of typically hate audio anything. Jonathan Swift is very good, and so is Diana Wynne Jones.Helen: Interesting. Those two specifically. Is there something that connects the two of them, or are they separately good?Henry: I think they both wrote in a plain, colloquial style. It was very capable of being quite intellectual and had capacity for ideas. Diana Wynne Jones certainly took care about the way it sounded because she read so much to her own children, and that was really when she first read all the children's classics. She had developed for many years an understanding of what would sound good when it was read to a child, I think.Helen: And so that's the voice in her head.Henry: Indeed. As you read her essays, she talks about living with her Welsh grandfather for a year. He was intoning in the chapel, and she sort of comes out of this culture as well.Helen: Then Swift, a much more oral culture.Henry: Swift, of course, is in a very print-heavy culture because he's in London in 1710. We've got coffee houses and all the examiner, and the spectator, and all these people scribbling about each other. I think he was very insistent on what he called proper words in proper places. He became famous for that plain style. It's very carefully done, and you can't go wrong reading that out loud. He's very considerate of the reader that you won't suddenly go, "Oh, I'm in the middle of this huge parenthesis. I don't know how--" As you were saying, Swift-- he would be very deliberate about the placement of everything.Helen: A lot of that has to do with rhythm.Henry: Yes.Helen: Doesn't it? I suppose what I'm wondering, being very ignorant about the 18th century is, in a print-saturated culture, but still one where literacy was less universal than now, are we to assume that that print-saturated culture also incorporated reading out loud —Henry: Yes, exactly so. Exactly so. If you are at home, letters are read out loud. This obviously gives the novelists great opportunities to write letters that have to sort of work both ways. Novels are read out loud. This goes on into the 19th century. Dickens had many illiterate fans who knew his work through it being read to them. Charles Darwin's wife read him novels. When he says, "I love novels," what he means is, "I love it when my wife reads me a novel." [laughs]You're absolutely right. A good part of your audience would come from those listening as well as those reading it.Helen: Maybe we're getting back towards a new version of that with audiobooks expanding in their reach.Henry: I don't know. I saw some interesting stuff. I can't remember who was saying this. Someone was saying, "It's not an oral culture if you're watching short videos. That's a different sort of culture." I think, for us, we can say, "Oh yes, we're like Jonathan Swift," but for the culture at large, I don't know. It is an interesting mixed picture at the moment.Helen: Yes, history never repeats, but we should be wary of writing off any part of culture to do with words.Henry: I think so. If people are reporting builders irritating the neighbourhood with George Eliot, then it's a very mixed picture, right?Helen: It is.Henry: Last literary question. Hilary Mantel has been a big influence on you. What have you taken from her?Helen: That's quite a hard question to answer because I feel I just sit at her feet in awe. If I could point to anything in my writing that could live up to her, I would be very happy. The word that's coming into my head when you phrase the question in that way, I suppose, might be an absolute commitment to precision. Precision in language matters to me so much. Her thought and her writing of whatever kind seems to me to be so precise.Listening to interviews with her is such an outrageous experience because these beautifully, entirely formed sentences come out of her mouth as though that's how thought and language work. They don't for me. [chuckles] I'm talking about her in the present tense because I didn't know her, but I find it hard to imagine that she's not out there somewhere.Henry: She liked ghosts. She might be with us.Helen: She might. I would like to think that. Her writing of whatever genre always seems to me to have that precision, and it's precision of language that mirrors precision of thought, including the ability to imagine herself into somebody else's mind. That's, I suppose, my project as a historian. I'm always trying to experience a lost world through the eyes of a lost person or people, which, of course, when you put it like that, is an impossible task, but she makes it seem possible for her anyway and that's the road I'm attempting to travel one way or another.Henry: What is it about the 14th and 15th centuries that is hardest for us to imagine?Helen: I think this speaks to something else that Hilary Mantel does so extraordinarily well, which is to show us entire human beings who live and breathe and think and feel just as we do in as complex and contradictory and three-dimensional a way as we do, and yet who live in a world that is stripped of so many of the things that we take so much for granted that we find it, I think, hard to imagine how one could function without them.What I've always loved about the late Middle Ages, as a political historian, which is what I think of myself as, is that it has in England such a complex and sophisticated system of government, but one that operates so overwhelmingly through human beings, rather than impersonal, institutionalized, technological structures.You have a king who is the fount of all authority, exercising an extraordinary degree of control over a whole country, but without telephones, without motorized transport, without a professional police service, without a standing army. If we strip away from our understanding of government, all those things, then how on earth does society happen, does rule happen, does government happen?I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Henry: Good. You went to the RSC to watch The Henriad in 2013.Helen: I did.Henry: Is Shakespeare a big influence on this book? How did that affect you?Helen: I suppose this is a long story because Richard II and The Henriad have been-- there is Richard II. Richard II is part of The Henriad, isn't it?Henry: Yes.Helen: Richard II. Henry, see, this is-Henry: The two Henry IVs.Helen: -I'm not Shakespearean. I am. [laughs]Henry: No, it's Richard II, the two Henry IVs, and Henry V. Because, of course, Henry Bolingbroke is in Richard II, and it--Helen: Yes, although I never think of him as really the same person as Henry IV in the Henry IV plays, because he changes so dramatically between the two.Henry: Very often, they have a young actor and an old actor, and of course, in real life, that's insane, right?Helen: It's absolutely insane. I always separate Henry IV, parts I and II, and Henry V off from Richard II because it feels to me as though they operate in rather different worlds, which they do in lots of ways. My story with the Henry ad, now that we've established that I actually know what we're talking about, goes back to when I was in my teens and Kenneth Branagh was playing Henry V in Stratford. I grew up very near Stratford.At 15, 16, watching the young Branagh play Henry V was mind-blowing. I went a whole number of times because, in those days, I don't know how it is now, but you could go and get standing tickets for a fiver on the day. More often than not, if there were spare seats, you would get moved into some extraordinary stall seats at-- I was about to say halftime, I'm a football fan, at the interval.Henry V was the play I knew best for a long time, but at the same time, I'd studied Richard II at school. The Henry IV plays are the ones I know least well. I'm interested now to reflect on the fact that they are the ones that depart most from history. I wonder whether that's why I find them hardest to love, because I'm always coming to the plays from the history. Richard II and Henry V actually have a lot to show us about those kings. They bear very close relationships with a lot of the contemporary chronicles, whereas the Henry IV ones is Shakespeare doing his own thing much more.Particularly, as you've just said, making Henry IV way too old, and/or depending which angle we're looking at it from, making Hotspur way too young, the real Hotspur was three years older than Henry IV. If you want to make Hotspur and how-- your young Turks, you have to make Henry IV old and grey and weary with Northumberland.Back in 2013, the really intense experience I had was being asked to go for a day to join the RSC company on a school trip to Westminster Hall and Westminster Abbey at the beginning of their rehearsal process, so when David Tennant was playing Richard II and Greg Doran was directing. That was absolutely fascinating. I'd been thinking about Richard and Henry for a very long time. Obviously, I was a long way away from writing the book I've just written.Talking to actors is an extraordinary thing for a historian because, of course, to them, these are living characters. They want to know what's in their character's mind. They want to know, quite rightly, the chronological progression of their character's thought. That is something that's become more and more and more and more important to me.The longer I go on writing history, the more intensely attached I am to the need for chronology because if it hasn't happened to your protagonist yet, what are you doing with it? Your protagonist doesn't yet know. We don't know. It's very dramatically clear to us at the moment that we don't know what's happening tomorrow. Any number of outrageous and unpredictable things might happen tomorrow.The same certainly was true in Richard II's reign, goes on being true in Henry IV's reign. That experience, in the wake of which I then went to see Henry IV, parts 1 and 2 in Stratford, was really thought-provoking. The extent to which, even though I'd been working on this period for a long time, and had taught this period, I still was struggling to answer some of those questions.Then I'd just had the similarly amazing experience of having a meeting with the Richard II cast and director at the Bridge Theatre before the Nicholas Heitner production with Jonathan Bailey as Richard went on stage. That was actually towards the end of their rehearsal process. I was so struck that the actor playing Bolingbroke in this production and the actor playing Bolingbroke in the production back in 2013 both asked the same excellent first question, which is so hard for a historian to answer, which is at what point does Bolingbroke decide that he's coming back to claim the crown, not just the Duchy of Lancaster?That is a key question for Bolingbroke in Richard II. Does he already know when he decides he's going to break his exile and come back? Is he challenging for the crown straight away, or is he just coming back for his rightful inheritance with the Duchy of Lancaster? That is the million-dollar question when you're writing about Bolingbroke in 1399.It's not possible to answer with a smoking gun. We don't have a letter or a diary entry from Henry Bolingbroke as he's about to step on board ship in Boulogne saying, "I'm saying I'm coming back for the Duchy of Lancaster." The unfolding logic of his situation is that if he's going to come back at all, he's going to have to claim the crown. When he admits that to himself, and when he admits that to anybody else, are questions we can argue about.It was so interesting to me that that's the question that Shakespeare's Richard II throws up for his Bolingbroke just as much as it does for the historical one.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Henry: When I left your book, the one thing I thought was that in Shakespeare, the nobles turn against Richard because of his excesses. Obviously, he really dramatizes that around the death of Gaunt. From your book, you may disagree with this, I came away thinking, well, the nobles wanted more power all the time. They may not have wanted the king's power, but there was this constant thing of the nobles feeling like they were owed more authority.Helen: I think the nobles always want more power because they are ambitious, competitive men within a political structure that rewards ambition and competition. The crucial thing for them is that they can only safely pursue ambition and competition if they know that the structure they're competing within will hold.The thing that keeps that structure rooted and solidly in place is the crown and the things that the crown is there to uphold, namely, particularly, the rule of law because if the rule of law starts to crumble, then the risk is that the whole structure collapses into anarchy. Within anarchy, then a powerful man cannot safely compete for more power because an even more powerful man might be about to roll into his estates and take them over. There have to be rules. There has to be fair competition. The referee is there on a football pitch for a reason.The king, in some senses, whether you want to see him as the keystone in an arch that supports a building or whether he's a referee on a football pitch, there are reasons why powerful men need rules because rules uphold their power. What goes wrong with Richard is that instead of seeing that he and the nobles have a common interest in keeping this structure standing, and that actually he can become more powerful if he works with and through the nobles, he sees them as a threat to him.He's attempting to establish a power structure that will not be beholden to them. In so doing, he becomes a threat to them. This structure that is supposed to stand as one mutually supportive thing is beginning to tear itself apart. That is why Richard's treatment of Bolingbroke becomes such a crucial catalyst, because what Richard does to Bolingbroke is unlawful in a very real and very technical sense. Bolingbroke has not been convicted of any crime. He's not been properly tried. There's been this trial by combat, the duel with Mowbray, but it hasn't stopped arbitrarily, and an arbitrary punishment visited upon both of them. They're both being exiled without having been found guilty, without the judgment of God speaking through this duel.Richard then promises that Bolingbroke can have his inheritance, even though he's in exile. As soon as Gaunt dies, Richard says, "No, I'm having it." Now, all of that is unlawful treatment of Bolingbroke, but because Bolingbroke is the most powerful nobleman in the country, it is also a warning and a threat to every other member of the political classes that if the king takes against you, then his arbitrary will can override the law.That diagnosis is there in Shakespeare. It's the Duke of York, who in reality was just a completely hopeless, wet figure, but he says, and I've got it written down, keep it beside me.Henry: Very nice.Helen: Kind of ridiculous, but here it is. York says to Richard, "Take Herford's rights away and take from time his charters and his customary rights. Let not tomorrow then ensue today. Be not thyself, for how art thou a king, but by fair sequence and succession?" In other words, if you interfere with, and I know you've written about time in these plays, it's absolutely crucial.Part of the process of time in these plays is that the rules play out over time. Any one individual king must not break those rules so that the expected process of succession over time can take place. York's warning comes true, that Richard is unseating himself by seeking to unseat Bolingbroke from his inheritance.Henry: We give Shakespeare good marks as a historian.Helen: In this play, yes, absolutely. The things he tinkers with in Richard II are minor plot points. He compresses time in order to get it all on stage in a plausible sequence of events. He compresses two queens into one, given that Richard was married to, by the time he fell, a nine-year-old who he'd married when he was six. It's harder to have a six-year-old making speeches on stage, so he puts the two queens into one.Henry: You don't want to pay another actor.Helen: Exactly.Henry: It's expensive.Helen: You don't want children and animals on stage. Although there is a wonderful account of a production of Richard II on stage in the West End in 1901, with the Australian actor Oscar Asche in it, playing Bolingbroke. The duel scene, he had full armour and a horse, opening night. It was a different horse from the one he rehearsed with. He gives an account in his autobiography of this horse rearing and him somersaulting heroically off the horse.Henry: Oh my god.Helen: The curtain having to come down and then it going back up again to tumultuous applause. You think, "Oscar, I'm wondering whether you're over-egging this pudding." Anyway, I give Shakespeare very good marks in Richard II, not really in the Henry IV plays, but gets back on track.Henry: The Henry IV plays are so good, we're forgiven. Was Richard II a prototype Henry VIII?Helen: Yes. Although, of course, history doesn't work forwards like that. I always worry about being a historian, talking about prototypes, if you see what I mean, but--Henry: No, this is just some podcast, so we don't have to be too strict. He's over-mighty, his sense of his relationship to God. There are issues in parliament about, "How much can the Pope tell us what to do?" There are certain things that seem to be inherent in the way the British state conceives of itself at this point that become problematic in another way.Helen: Is this pushing it too far to say Richard is a second son who ends up being the lone precious heir to the throne who must be wrapped in cotton wool to ensure that his unique God-given authority is protected? Also describes Henry VIII.Henry: They both like fancy clothes.Helen: Both like fancy clothes. Charles I is also a second son who has to step up.Henry: With wonderful cuffs and collars. He's another big dresser.Helen: And great patrons of art. I think we're developing new historical--Henry: No, I think there's a whole thing here.Helen: I think there is. What Henry does, of course, in rather different, because a lot has changed thanks to the Wars of the Roses, the power of the nobility to stand up independently of the crown is significantly lessened by the political effects of the Wars of the Roses, not at least that a lot of them have had their heads cut off, or died in battle, and the Tudors are busy making sure that they remain in the newly subjected place that they find themselves in.Henry then finds to go back to Hilary Mantel, a very, very able political servant who works out how to use parliament for him in rejecting those extra English powers that might restrain him. I do always wonder what Richard thought he was going to do if he'd succeeded in becoming Holy Roman Emperor, which I take very seriously as a proposition from Richard.Most other historians, because it's so patently ridiculous, if you look at it from a European perspective, have just said, "Oh, he got this idea that he wanted to become Holy Roman Emperor," but, of course, it was never going to happen. In Richard's mind, I think it was extremely real. Whether he really would have tried to give the English crown to Rutland, his favorite by the end of the reign, while he went off in glory to be crowned by the Pope, I don't know what was in his head. The difference with Henry is that the ambitions he eventually conceives are very England-focused, and so he can make them happen.Henry: Is there some sort of argument that, if the king hadn't won the Wars of the Roses, and the nobility had flourished, and their sons hadn't been killed, the reformation would have just been much harder to pull off here?[silence]Helen: I wonder what that would have looked like, because in a sense, the king was always going to win the Wars of the Roses, in the sense that you have to have a king. The minute you had someone left standing after that mess, that protracted mess, if he knew what he was doing, and there are arguments about the extent to which Henry VII knew what he was doing, or was doing something very different, whether or not he knew it was different, but there was always going to be an opportunity for a king to assert himself after that.Particularly, the extent to which the lesser landowners, the gentry had realized they couldn't just rely on the nobility to protect them anymore. They couldn't just follow their lord into battle and abdicate responsibility.Henry: Okay.Helen: That's an interesting--Henry: How much should we blame Edward III for all of this?Helen: For living too long and having too many sons?Henry: My argument against Edward is the Hundred Years' War, it doesn't actually go that well by the end of his reign, and it's cost too much money. Too many dukes with too much power. It's not that he had too many sons, he elevates them all and creates this insane situation. The war itself starts to tip the balance between the king and parliament, and so now you've got it from the dukes, and from the other side, and he just didn't manage the succession at all.Even though his son has died, and it really needs some kind of-- He allowed. He should have known that he was allowing a vacuum to open up where there's competition from the nobles, and from parliament, and the finances are a mess, and this war isn't there. It's just… he just leaves a disaster, doesn't he?Helen: I think I'd want to reframe that a little bit. Perhaps, I'm too much the king's friend. I think the political, and in some senses, existential dilemma for a medieval king is that the best of all possible worlds is what Edward achieves in the 1340s and the 1350s, which is, fight a war for reasons that your subjects recognize as in the common interest, in the national interest. Fight it over there so that the lands that are being devastated and the villages and towns that are being burned are not yours. Bring back lots of plunder. Everybody's getting richer and feeling very victorious.You can harness parliament. When things are going well, a medieval king and a parliament are not rivals for power. An English king working with parliament is more powerful than an English king trying to work without parliament. If things are going well, he gets more money, he can pass laws, he can enforce his will more effectively. It's win-win-win if you're ticking all those boxes.As you're pointing out, the worst of all possible worlds is to be fighting a war that's going badly. To fight a war is a big risk because either you're going to end up winning and everything's great, or if it's going badly, then you'd rather be at peace. Of course, you're not necessarily in a position to negotiate peace, depending on the terms of the war you've established.Similarly, with sons, you want heirs. You want to know the succession is safe. I think Edward's younger sons would argue with you about setting up very powerful dukes because the younger ones really-- York and Gloucester, Edmund of Langley and Thomas of Woodstock, really didn't have much in the way of an estate given to them at all, and always felt very hard done by about that. John of Gaunt is set up very well because he's married off to the heir of the Duke of Lancaster who's handily died, leaving only daughters.Henry: That's the problem, isn't it, creating that sort of impact? John of Gaunt is far too rich and powerful.Helen: You say that, except he's unfeasibly loyal. Without Gaunt, disaster happens much, much, much earlier. Gaunt is putting all those resources into the project of propping up the English state and the English crown for way longer than Richard deserves, given that Richard's trying to murder him half the time in the 1380s.Henry: [laughs] For sure. No, I agree with you there, but from Edward III's point of view, it's a mistake to make one very powerful son another quite powerful son next to-- We still see this playing out in royal family dynamics.Helen: This is the problem. What is the perfect scenario in a hereditary system where you need an heir and a spare, but even there, the spare, if he doesn't get to be the heir, is often very disgruntled. [laughs] If he does get to be the heir, as we've just said, turns out to be overconvinced of his own-Henry: Oh, indeed, yes.Helen: -specialness. Then, if you have too many spares, you run into a different kind of problem. Equally, if you don't have a hereditary system, then you have an almighty battle, as the Anglo-Saxons often did, about who's actually going to get the crown in the next generation. It's a very tricky--Henry: Is England just inherently unstable? We've got the Black Death, France is going to be a problem, whatever happens. Who is really going to come to a good fiscal position in this situation? It's no one's fault. It's just there wasn't another way out.Helen: You could say that England's remarkably-- See, I'm just playing devil's advocate the whole time.Henry: No, good.Helen: You could say England is remarkably stable in the sense that England is very unusually centralized for a medieval state at this point. It's centralized in a way that works because it's small enough to govern. It's, broadly speaking, an island. You've got to deal with the Scotts border, but it's a relatively short border. Yes, you have powerful nobles, but they are powerful nobles who, by this stage, are locked into the state. They're locked into a unified system of law. The common law rules everyone. Everyone looks to Westminster.It's very different from what the King of France has been having to face, which has been having to push his authority outward from the Île-de-France, reconquer bits of France that the English have had for a long time, impose his authority over other princes of the realm in a context where there are different laws, there are different customs, there are different languages. You could say that France is in a much more difficult and unstable situation.Of course, what we see as the tide of the war turns again in the early 15th century is precisely that France collapses into civil war, and the English can make hay again in that situation. If Henry V had not died too young with not enough sons in 1423, and particularly, if he'd left a son who grew up to be any use at all, as opposed to absolutely none-- what am I saying? I'm saying that the structure of government in England could work astonishingly well given the luck of the right man at the helm. The right man at the helm had to understand his responsibilities at home, and he had to be capable of prosecuting a successful war abroad because that is how this state works best.As you've just pointed out, prosecuting a successful war abroad is an inherently unstable scenario because no war is ever going to go in your direction the entire time. That's what Richard, who has no interest in war at all is discovering, because once the tide of war is lapping at your own shores, instead of all happening over there, it's a very, very different prospect in terms of persuading parliament to pay for it, quite understandably.You talk about the Black Death. One of the extraordinary things is looking at England in 1348, 1349, when the Black Death hits. Probably, something approaching half the population dies in 18 months. If you're looking at the progress of the war, you barely notice it happened at all. What does the government do? It snaps into action and implements a maximum wage immediately, in case [chuckles] these uppity laborers start noticing there are fewer of them, and they can ask for more money.The amount of control, at that stage at least, that the government has over a country going through an extraordinary set of challenges is quite remarkable, really.Henry: Did Bolingbroke do the right thing?Helen: I think Bolingbroke did the only possible thing, which, in some senses, equates to the right thing. If he had not come back, he would not only have been abandoning his own family, his dynasty, his inheritance, everything he'd been brought up to believe was his responsibility, but also abandoning England to what was pretty much by that stage, clearly, a situation of tyranny.The big argument is always, well, we can identify a tyrant, we have a definition of tyranny. That is, if a legitimate king rules in the common interest and according to the law, then a tyrant rules not in the common interest, and not according to the law. But then the thing that the political theorists argue about is whether or not you can actively resist a tyrant, or whether you have to wait for God to act.Then, the question is, "Might God be acting through me if I'm Bolingbroke?" That's what Bolingbroke has to hope, because if he doesn't do what he does in 1399, he is abandoning everything his whole life has been devoted to maintaining and taking responsibility for. It's quite hard to see where England would then end up, other than with somebody else trying to challenge Richard in the way that Henry does.Henry: Why was he anointed with Thomas Becket's oil?Helen: Because Richard had found it in the tower, [chuckles] and was making great play of the claims that were made for Thomas. This is one of the interesting things about Richard. He is simultaneously very interested in history, and interested in his place in history, his place in the lineage of English kings, going all the way back, particularly to the confessor to whom he looks as not only a patron saint, but as in some sense, a point of identification.He's also seeking to stop time at himself. He doesn't like to think about the future beyond himself. He doesn't show any interest in fathering an heir. His will is all about how to make permanent the judgments that he's made on his nobles. It's not about realistically what's going to happen after his death.In the course of his interest in history, he has found this vial of oil in the tower somewhere in a locked drawer with a note that says, "The Virgin gave this to Thomas Becket, and whoever is anointed with this oil shall win all his battles and shall lead England to greatness," et cetera. Richard has tried to have himself re-anointed, and even his patsy Archbishop of Canterbury that he's put in place after exiling the original one who'd stood up to him a bit.Even the new Archbishop of Canterbury says, "Sire, anointing doesn't really work like that. I'm afraid we can't do it twice." Richard has been wearing this vial round his neck in an attempt to claim that he is not only the successor to the confessor, but he is now the inheritor of this holy oil. The French king has had a holy oil for a very long time in the Cathedral of Reims, which was supposedly given to Clovis, the first king of France, by an angel, et cetera.Richard, who is always very keen on emulating, or paralleling the crown of France, is very, very keen on this. If you were Henry coming in 1399 saying, "No, God has spoken through me. The country has rallied to me. I am now the rightful king of England. We won't look too closely at my justifications for that," and you are appropriating the ceremonial of the crown, you are having yourself crowned in Westminster Abbey on the 13th of October, which is the feast day of the confessor, you are handed that opportunity to use the symbolism of this oil that Richard has just unearthed, and was trying to claim for himself. You can then say, "No, I am the first king crowned with this oil," and you're showing it to the French ambassadors and so on.If we are to believe the chroniclers, it starts making his hair fall out, which might be a contrary sign from God. It's a situation where you are usurping the throne, and what is questionable is your right to be there. Then, any symbolic prop you can get, you're going to lean on as hard as you can.Henry: A few general questions to close. Should we be more willing to open up old tombs?Helen: Yes. [laughs]Henry: Good. [laughs]Helen: I'm afraid, for me, historical curiosity is-- Our forebears in the 18th and 19th century had very few qualms at all. One of the things I love about the endless series of scholarly antiquarian articles that are-- or not so scholarly, in some cases, that are written about all the various tomb openings that went on in the 18th and 19th century, I do love the moments, where just occasionally, they end up saying, "Do you know what, lads? Maybe we shouldn't do this bit." [chuckles]They get right to the brink with a couple of tombs and say, "Oh, do you know what? This one hasn't been disturbed since 1260, whatever. Maybe we won't. We'll put it back." Mostly, they just crowbar the lid off and see what they can find, which one might regret in terms of what we might now find with greater scientific know-how, and et cetera. Equally, we don't do that kind of thing anymore unless we're digging up a car park. We're not finding things out anyway. I just love the information that comes out, so yes, for me.Henry: Dig up more tombs.Helen: Yes.Henry: What is it that you love about the Paston Letters?Helen: More or less everything. I love the language. I love the way that, even though most of them are dictated to scribes, but you can hear the dictation. You can hear individual voices. Everything we were saying about sentences. You can hear the rhythm. You can hear the speech patterns. I'm no linguistic expert, but I love seeing the different forms of spelling and how that plays out on the page.I love how recognizable they are as a family. I love the fact that we hear women's voices in a way that we very rarely do in the public records. The government which is mainly what we have to work with. I love Margaret Paston, who arrives at 18 as a new bride, and becomes the matriarch of the family. I love her relationship with her two eldest boys, John and John, and their father, John.I do wish they hadn't done that because it doesn't help those of us who are trying to write about them. I love the view you get of late medieval of 15th-century politics from the point of view of a family trying to survive it. The fact that you get tiny drops in letters that are also about shopping, or also about your sisters fall in love with someone unsuitable. Unsuitable only, I hasten to add, because he's the family bailiff, not because he isn't a wonderful and extremely able man. They all know those two things. It's just that he's a family bailiff, and therefore, not socially acceptable.I love that experience of being immersed in the world of a 15th-century gentry family, so politically involved, but not powerful enough to protect themselves, who can protect themselves in the Wars of the Roses in any case.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. [chuckles]Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that. There are some very good selections. Richard Barber did one many years ago, and, of course, self-advertising. There is also my book, now more than 20 years old, about the Paston family, where I was trying to put in as much of the letters as I could. I wanted to weave the voices through. Yes, please go and read the Paston Letters in selections, in whatever form you can get them, and let's start lobbying for a complete modernized Paston.Henry: That's right. Why did you leave academia? Because you did it before it was cool.Helen: [laughs] That's very kind of you to say. My academic life was, and is very important to me, and I hate saying this now, because the academic world is so difficult now. I ended up in it almost by accident, which is a terrible thing to say now, people having to-- I never intended to be an academic. My parents were academics, and I felt I'd seen enough and wasn't sure I wanted to do that.I couldn't bear to give up history, and put in a PhD application to work with Christine Carpenter, who'd been the most inspiring supervisor when I was an undergraduate, got the place, thought, "Right, I'm just going to do a PhD." Of course, once you're doing a PhD, and everyone you know is starting to apply for early career jobs, which weren't even called early career jobs in those days, because it was a million years ago.I applied for a research fellowship, was lucky enough to get it, and then applied for a teaching job, utterly convinced, and being told by the people around me that I stood no chance of getting it, because I was way too junior, and breezed through the whole process, because I knew I wasn't going to get it, and then turned up looking for someone very junior.I got this wonderful teaching job at Sidney Sussex in Cambridge and spent eight years there, learned so much, loved working with the students. I was working very closely with the students in various ways, but I wasn't-- I'm such a slow writer, and a writer that needs to be immersed in what I was doing, and I just wasn't managing to write, and also not managing to write in the way I wanted to write, because I was becoming clearer and clearer about the fact that I wanted to write narrative history.Certainly, at that point, it felt as though writing narrative history for a general audience and being an early career academic didn't go so easily together. I think lots of people are now showing how possible it is, but I wasn't convinced I could do it. Then, sorry, this is a very long answer to what's [crosstalk] your question.Henry: That's good.Helen: I also had my son, and my then partner was teaching at a very different university, I mean, geographically different, and we were living in a third place, and trying to put a baby into that geographical [chuckles] setup was not going to work. I thought, "Well, now or never, I'll write a proposal for a book, a narrative, a book for a general readership, a narrative book about the Paxton family, because that's what I really want to write, and I'll see if I can find an agent, and I'll see if I," and I did.I found the most wonderful agent, with whose help I wrote a huge proposal, and got a deal for it two weeks before my son was due. At that point, I thought, "Okay, if I don't jump now, now or never, the stars are aligned." I've been a freelance medieval historian ever since then, touching every wood I can find as it continues to be possible. I am very grateful for those years in Cambridge. They were the making of me in terms of training and in terms of teaching.I certainly think without teaching for those years, I wouldn't be anywhere near as good a writer, because you learn such a lot from talking to, and reading what students produce.Henry: How do you choose your subjects now? How do you choose what to write about?Helen: I follow my nose, really. It's not very scientific.Henry: Why should it be?Helen: Thank you. The book, bizarrely, the book that felt most contingent, was the one I wrote after the Paston book, because I knew I'd written about the Pastons in my PhD, and then again more of it in the monograph that was based on my PhD. I knew having written about the Pastons in a very academic, analytical way, contributing to my analysis of 15th-century politics. I knew I wanted to put them at the center and write about them. That was my beginning point.The big question was what to do next, and I was a bit bamboozled for a while. The next book I ended up writing was She-Wolves, which is probably, until now, my best-known book. It was the one that felt most uncertain to me, while I was putting it together, and that really started from having one scene in my head, and it's the scene with which the book opens. It's the scene of the young Edward VI in 1553, Henry VIII's only son, dying at the age of 15.Suddenly, me suddenly realizing that wherever you looked on the Tudor family tree at that point, there were only women left. The whole question of whether a woman could rule was going to have to be answered in some way at that point, and because I'm a medievalist, that made me start thinking backwards, and so I ended up choosing some medieval queens to write about, because they've got their hands on power one way or another.Until very close to finishing it, I was worried that it wouldn't hang together as a book, and the irony is that it's the one that people seem to have taken to most. The next book after that grew out of that one, because I found myself going around talking about She-Wolves, and saying repeatedly, "The problem these queens faced was that they couldn't lead an army on the battlefield."Women couldn't do that. The only medieval woman who did that was Joan of Arc, and look what happened to her. Gradually, I realized that I didn't really know what had happened to her. I mean, I did know what--Henry: Yes, indeed.Helen: I decided that I really wanted to write about her, so I did that. Then, having done that, and having then written a very short book about Elizabeth I, that I was asked to write for Penguin Monarchs, I realized I'd been haunted all this time by Richard and Henry, who I'd been thinking about and working on since the very beginning of my PhD, but I finally felt, perhaps, ready to have a go at them properly.It's all been pretty organic apart from She-Wolves, which was the big, "What am I writing about next?" That took shape slowly and gradually. Now, I'm going to write about Elizabeth I properly in a-Henry: Oh, exciting.Helen: -full-scale book, and I decided that, anyway, before I wrote this last one, but I-- It feels even righter now, because I Am Richard II, Know Ye Not That, feels even more intensely relevant having now written about Richard and Henry, and I'm quite intimidated because Elizabeth is quite intimidating, but I think it's good, related by your subjects.[laughter]Henry: Have you read the Elizabeth Jenkins biography?Helen: Many, many years ago. It's on my shelf here.Henry: Oh, good.Helen: In fact, so it's one of the things I will be going back to. Why do you ask particularly? I need--Henry: I'm a big Elizabeth Jenkins fan, and I like that book particularly.Helen: Wonderful. Well, I will be redoubled in my enthusiasm.Henry: I look forward to seeing what you say about it. What did you learn from Christine Carpenter?Helen: Ooh. Just as precision was the word that came into my head when you asked me about Hilary Mantel, the word that comes into my head when you ask about Christine is rigor. I think she is the most rigorous historical thinker that I have ever had the privilege of working with and talking to. I am never not on my toes when I am writing for, talking to, reading Christine. That was an experience that started from the first day I walked into her room for my first supervision in 1987.It was really that rigor that started opening up the medieval world to me, asking questions that at that stage I couldn't answer at all, but suddenly, made everything go into technicolor. Really, from the perspective that I had been failing to ask the most basic questions. I would sometimes have students say to me, "Oh, I didn't say that, because I thought it was too basic."I have always said, "No, there is no question that is too basic." Because what Christine started opening up for me was how does medieval government work? What are you talking about? There is the king at Westminster. There is that family there in Northumberland. What relates the two of them? How does this work? Think about it structurally. Think about it in human terms, but also in political structural terms, and then convince me that you understand how this all goes together. I try never to lose that.Henry: Helen Castor, thank you very much.Helen: Thank you so much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

May 16, 1920. Tens of thousands of people surround St. Peter's Basilica to honor Joan of Arc, a French peasant girl who died nearly five hundred years before. Joan's feats in battle—and her visions of God—have become legendary since her heyday during the Hundred Years' War. And today, the Catholic Church is making her a saint. But Joan was a real person – and while many supported her during her lifetime, many others wanted her dead. Who was this curious figure? And how did her faith turn the tides of a seemingly endless age of violence? Special thanks to Nancy Goldstone, author of ⁠The Maid and the Queen: The Secret History of Joan of Arc⁠; and Charity Urbanski, associate history professor at the University of Washington. ** This episode originally aired May 15, 2023. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Following the Oct. 7, 2023 invasion of Israel and the pogrom carried out by terrorists from Hamas and affiliated Islamist organizations, and some Gazan civilians as well, UN Secretary-General Antonio Guterres opined that the attack “did not happen in a vacuum.”Well, he's correct just not in the way he intended.Hebron is an ancient city 20 miles south of Jerusalem in Judea, now more usually referred to as the West Bank. Hebron is the burial place of Abraham, and Jews and Muslims lived there mostly peacefully for centuries until the morning of Aug. 24, 1929 when 67 Jewish men, women, and children were slaughtered by their Arab neighbors. It was one of the worst pogroms ever perpetrated outside of Europe, where many pogroms were perpetrated over many years.“Ghosts of a Holy War: The 1929 Massacre in Palestine That Ignited the Arab-Israeli Conflict” is a meticulously researched and beautifully written account of this pivotal event by the eminent journalist Yardena Schwartz, combining historical analysis with contemporary insights.She joins host Cliff May to discuss the Hebron massacre and the long history of Arab-Israeli conflict.

Following the Oct. 7, 2023 invasion of Israel and the pogrom carried out by terrorists from Hamas and affiliated Islamist organizations, and some Gazan civilians as well, UN Secretary-General Antonio Guterres opined that the attack “did not happen in a vacuum.”Well, he's correct just not in the way he intended.Hebron is an ancient city 20 miles south of Jerusalem in Judea, now more usually referred to as the West Bank. Hebron is the burial place of Abraham, and Jews and Muslims lived there mostly peacefully for centuries until the morning of Aug. 24, 1929 when 67 Jewish men, women, and children were slaughtered by their Arab neighbors. It was one of the worst pogroms ever perpetrated outside of Europe, where many pogroms were perpetrated over many years.“Ghosts of a Holy War: The 1929 Massacre in Palestine That Ignited the Arab-Israeli Conflict” is a meticulously researched and beautifully written account of this pivotal event by the eminent journalist Yardena Schwartz, combining historical analysis with contemporary insights.She joins host Cliff May to discuss the Hebron massacre and the long history of Arab-Israeli conflict.

In this episode of Filmmaker Mixer, we sit down with La Tina—the acclaimed Colombian sound collective made up of Andrés Silva Díaz, Alejandro Uribe-Holguín, and Manuel José Gordillo. Together, they form the sonic force behind Netflix's ambitious adaptation of One Hundred Years of Solitude, based on the novel by Gabriel García Márquez. We explore their creative process, the cultural and technical challenges of bringing the world of Macondo to life through sound, and how their work pays tribute to the magical realism of Márquez's masterpiece. From atmospheric design to emotional texture, this is an immersive conversation about sound as storytelling.

Today's episode of Project Censored is preempted by special programming for KPFA's 2025 Spring Fund Drive. Nora Barrows-Friedman speaks with renown historian and author Rashid Khalidi about his work documenting the history of Palestine and his recent book The Hundred Years' War on Palestine. Rashid Khalidi is the author of numerous books about the Middle East, among them the award-winning Palestinian Identity, Brokers of Deceit, and The Iron Cage. His writing has appeared in The New York Times, Boston Globe, Los Angeles Times, Chicago Tribune, and many other publications. He is the Edward Said Professor of Modern Arab Studies at Columbia University and coeditor of the Journal of Palestine Studies. Nora Barrows-Friedman is a longtime broadcaster and journalist who has focused on Palestine and Palestinian rights issues for nearly 20 years. She was the co-host and senior producer of Flashpoints on KPFA from 2003-2010, and has since been an associate editor and reporter for The Electronic Intifada. Nora is the author of In Our Power: U.S. Students Organize for Justice in Palestine. To support our mission and receive Rashid Khalidi's book The Hundred Years' War on Palestine as a thank-you gift, please donate here or call (800) 439-5732 (800-HEY-KPFA).     The post Special Spring Fund Drive Programming: Rashid Khalidi and The Hundred Years' War on Palestine appeared first on KPFA.

The Hundred Years' War shaped medieval Europe's political landscape for over a century—but what really caused this epic conflict between England and France? In this illuminating conversation, former UK Supreme Court Justice and acclaimed medieval historian Lord Jonathan Sumption cuts through myths and misconceptions to reveal the war's true origins.Contrary to popular belief, the war didn't begin as a simple grab for the French crown. Instead, it stemmed from a complex constitutional crisis when French kings began centralizing power over previously semi-independent territories held by English monarchs. As Lord Sumption explains, "The kings of England decided that the only way they could retain their independence as dukes of Aquitaine was to cast off the sovereignty of the French crown."The discussion explores how England, despite being smaller and less wealthy, repeatedly triumphed on the battlefield through technological advantages like the deadly longbow and tactical innovations such as dismounted combat. We examine Parliament's crucial role in war financing and how devastating chevauchées (mounted raids) terrorized the French countryside for decades.Perhaps most fascinating is Lord Sumption's analysis of Joan of Arc's extraordinary impact. Through "an insane degree of courage," this remarkable figure transformed French morale and fulfilled a prophecy about France's redemption by a spotless virgin. Her push for Charles VII's coronation at Reims proved pivotal in convincing French subjects of his divine right to rule.The war's conclusion came not through a single decisive battle but through French administrative reorganization, standing armies, and Burgundy's crucial defection from the English alliance. As Lord Sumption observes, even exceptional leaders like Henry V ultimately could not overcome resource disparities—reminding us that in warfare, available resources ultimately determine outcomes.You can send a message to the show/feedback by clicking here. The system doesn't let me reply so if you need one please include your email.

fWotD Episode 2917: Initial campaign of the Breton Civil War Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia's finest articles.The featured article for Wednesday, 30 April 2025, is Initial campaign of the Breton Civil War.The initial campaign of the Breton Civil War took place in 1341 when a French royal army intervened in a dynastic dispute between two claimants to the Duchy of Brittany. Brittany was a province of France, but although the dukes of Brittany were vassals of the French kings they governed the duchy as independent rulers. When Duke John III (r. 1312–1341) died on 30 April 1341, title to the duchy was claimed by both his niece, Joan of Penthièvre, and his younger half-brother, John of Montfort. Joan's claim was exercised through her husband, Charles of Blois, a nephew of the king of France, Philip VI (r. 1328–1350). A complicating factor was the ongoing Hundred Years' War between France and England that had broken out in 1337. A truce was in place which was due to expire in June 1341 but was extended to June 1342.It was generally assumed that Joan's claim would prevail and that Charles would become the new duke. But John acted quickly and installed friendly garrisons in most of the towns and castles of Brittany by August. He discussed the possibility of a military treaty with English emissaries but made no move towards effecting one. Rumours of these discussions reached Philip, causing him to turn against John and in September Charles was recognised as the new duke. John refused to give way and Philip sent an army to Brittany to impose Charles.Within a month John had been defeated and was a prisoner. His wife, Joanna of Flanders, sent the ducal treasury west to Brest, took command of her husband's field army, stormed the town of Redon and moved to the small but strongly walled town of Hennebont. She despatched a senior counsellor to encourage English military intervention, set up her two-year-old son, also named John, as the faction's figurehead and heir to his father's claim to the duchy, and waited on events. The war lasted 24 years, frequently as a part of the Hundred Years' War.This recording reflects the Wikipedia text as of 00:48 UTC on Wednesday, 30 April 2025.For the full current version of the article, see Initial campaign of the Breton Civil War on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Gregory.

The Battle of Crécy in 1346 saw an outnumbered English army under King Edward III win an unexpected and decisive victory that reshaped the Hundred Years' War — and the future of Europe. But what if everything we thought we knew about the Battle of Crécy was wrong?Matt Lewis is joined by Professor Michael Livingston to peel back centuries of myth to uncover the real Crécy, the truth behind the battle's location, its legendary longbowmen, and the five kings who played their part in this epic confrontation.More:The Battle of Agincourt >https://open.spotify.com/episode/3hp2D8T7XnGXumMpBHpopQThe Hundred Years Warhttps://open.spotify.com/episode/3UQkEb0MTdJdwYmJB333RXGone Medieval is presented by Matt Lewis and edited by Amy Haddow. The producer is Rob Weinberg. The senior producer is Anne-Marie Luff.All music used is courtesy of Epidemic Sounds.Gone Medieval is a History Hit podcast.Sign up to History Hit for hundreds of hours of original documentaries, with a new release every week and ad-free podcasts. Sign up at https://www.historyhit.com/subscribe. You can take part in our listener survey here: https://insights.historyhit.com/history-hit-podcast-always-on

« L'Heure du Monde » revient dans cinq épisodes sur les origines du conflit israélo-palestinien, qui voit depuis des décennies deux peuples se déchirer pour une même terre.Dans ce troisième épisode, Benjamin Barthe, journaliste au service International du Monde, nous raconte la construction progressive du futur Etat d'Israël dans les années 1930, sous le regard des Palestiniens.Un épisode de Cyrielle Bedu et Garance Muñoz. Réalisation : Quentin Bresson. Présentation et rédaction en chef : Jean-Guillaume Santi.Cet épisode a été publié le 9 avril 2025.Pour aller plus loin :La Palestine, une terre deux fois promiseLa Nakba, grande déchirure de la PalestineUne histoire moderne d'Israël, Elie Barnavi (Flammarion, 1988)C'était en Palestine au temps des coquelicots, Tom Segev (Liana Levi, 2000)The Hundred Years' War on Palestine, Rashid Khalidi (Metropolitan Books, 2020, non traduit)---Pour soutenir "L'Heure du Monde" et notre rédaction, abonnez-vous sur abopodcast.lemonde.fr Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

« L'Heure du Monde » revient dans cinq épisodes sur les origines du conflit israélo-palestinien, qui voit depuis des décennies deux peuples se déchirer pour une même terre.Dans ce deuxième épisode, Benjamin Barthe, journaliste au service International du Monde, nous raconte comment le sionisme se concrétise avec les premières émigrations de juifs vers la Palestine et grâce à l'aide d'une puissance majeure à l'époque, le Royaume-Uni, et de son premier ministre, Lord Balfour.Un épisode de Cyrielle Bedu et Garance Muñoz. Réalisation : Quentin Bresson. Présentation et rédaction en chef : Jean-Guillaume Santi.Cet épisode a été publié le 8 avril 2025.Pour aller plus loin :La Palestine, une terre deux fois promiseLa Nakba, grande déchirure de la PalestineUne histoire moderne d'Israël, Elie Barnavi (Flammarion, 1988)C'était en Palestine au temps des coquelicots, Tom Segev (Liana Levi, 2000)The Hundred Years' War on Palestine, Rashid Khalidi (Metropolitan Books, 2020, non traduit)---Pour soutenir "L'Heure du Monde" et notre rédaction, abonnez-vous sur abopodcast.lemonde.fr Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

The 1906 assault of a white woman in Chattanooga led to a murder and the U.S. Supreme Court's first and only intervention in a state criminal trial.Sources:Curriden, Mark and Phillips, Leroy Jr. Contempt of Court: The Turn-of-the-Century Lynching that Launched a Hundred Years of Federalism (Faber & Faber, 1999).Hindley, Meredith. “Chattanooga versus the Supreme Court: The Strange Case of Ed Johnson.” National Endowment for the Humanities. Vol 35. No. 6. November/December 2014. https://www.neh.gov/humanities/2014/novemberdecember/feature/chattanooga-versus-the-supreme-courtPrice, Eric. “Chattanooga dedicates memorial to Ed Johnson more than a century after mob-lynching.” ABC News Channel 9. 19 September, 2021. https://newschannel9.com/news/local/chattanooga-dedicates-memorial-to-ed-johnson-more-than-a-century-after-mob-lynchingTranscript of Record in U. S. Supreme Court in Case of U. S. v Shipp, Docket Original No. 5. (National Archives). Webb, Michael D. “‘God Bless You All-I Am Innocent': Sheriff Joeseph F. Shipp, Chattanooga, Tennessee, and the Lynching of Ed Johnson.”Tennessee Historical Quarterly. Vol. 58. No. 2. Summer 1999. pp. 156-179White, J. Bliss. Biography and Achievements of the Colored Citizens of Chattanooga (Chattanooga, 1904).As well as articles from the Chattanooga Times, Chattanooga News, Voice of the People (Atlanta), and the New York Times.Music: Credits to Holizna, Fesilyan Studios & Virginia ListonFor more information, visit www.oldbloodpodcast.com

« L'Heure du Monde » revient dans cinq épisodes sur les origines du conflit israélo-palestinien, qui voit depuis des décennies deux peuples se déchirer pour une même terre.Dans ce premier épisode, Benjamin Barthe, journaliste au service International du Monde, nous raconte l'émergence du sionisme au XIXe siècle, un mouvement né en réaction à l'antisémitisme qui se déploie alors en Europe, et dont l'objectif est la création d'un Etat juif, qui deviendra Israël.Un épisode de Cyrielle Bedu et Garance Muñoz. Réalisation : Quentin Bresson. Présentation et rédaction en chef : Jean-Guillaume Santi.Cet épisode a été publié le 7 avril 2025.Pour aller plus loin :La Palestine, une terre deux fois promiseLa Nakba, grande déchirure de la PalestineUne histoire moderne d'Israël, Elie Barnavi (Flammarion, 1988)C'était en Palestine au temps des coquelicots, Tom Segev (Liana Levi, 2000)The Hundred Years' War on Palestine, Rashid Khalidi (Metropolitan Books, 2020, non traduit)---Pour soutenir "L'Heure du Monde" et notre rédaction, abonnez-vous sur abopodcast.lemonde.fr Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Agnes Sorel: The First Royal Mistress and Her Scandalous Legacy. Today on Queens podcast, we revisit a cursed episode from 2021. We are having another look at the controversial life of Agnes Sorel, the official mistress of King Charles VII of France. We'll get into the scandal of her life along with a conspiracy theory or two. This is also a great time to revisit our episodes on Isabeau of Bavaria or Yolande of Aragon too! The episode explores whether there was a conspiracy to install Agnes as a political tool and covers her humanitarian efforts, fashion impact, and her untimely death under suspicious circumstances. Times Stamps: 00:00 Introduction and Disclaimer 01:49 Revisiting Agnes Sorell 02:34 The Cursed Episode 04:37 Agnes Sorell's Scandalous Reputation 06:06 Agnes Sorell's Early Life 06:33 The Hundred Years' War Context 10:49 Agnes Sorell's Rise to the French Court 22:47 Conspiracy Theories and Political Intrigue 31:01 Charles VII's Obsession with Agnes 41:13 Agnes Sorell's Influence and Legacy 01:00:19 The Dramatic Demise of Agnes Sorell 01:07:44 The Aftermath and Historical Impact Some sources: Vice Agnès Sorel — Fashion and Influence in the French Court Crime Reads: The Poisoning of Agnes Sorel Harlots of History Queens podcast is part of Airwave Media podcast network. Please get in touch with advertising@airwavemedia.com if you would like to advertise on our podcast. Want more Queens? Head to our Patreon, check out our merch store, and follow us on Instagram! Learn more about your ad choices. Visit megaphone.fm/adchoices

Many people know the Hundred Years' War, and almost everyone in the English speaking world has heard of the Battle of Agincourt, but not many would be familiar with the The Battle of Baugé which was fought on the 22nd March 1421 between the English and the Franco-Scottish forces in the territory of Baugé in France.Let's ask Callum Watson more about this conflict. Callum works at the site of the Battle of Bannockburn and who recently released a book on the topic with Pen & Sword Publishing.Callum's Book:https://www.pen-and-sword.co.uk/1314-The-Year-of-Bannockburn-Hardback/p/49813/aid/1238Find Callum:https://www.youtube.com/channel/UCiesDZuBN1Z0SE3Vq3Gjz_Ahttps://drcallumwatson.blogspot.com/https://www.instagram.com/cpwatson1375/The Battle of Bannockburn - National Trust for Scotland:https://www.nts.org.uk/visit/places/bannockburn/Britain's Lost Battlefields:https://www.imdb.com/title/tt12270298/https://www.channel5.com/show/britain-s-lost-battlefields-with-rob-bellLondon Walking Tours:https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011/https://www.getyourguide.com/london-l57/london-unsavory-history-guided-walking-tour-t428452/https://ifitaintbaroquepodcast.art/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In the midst of the Hundred Years' War, King Henry V of England faced a daunting challenge at the Battle of Agincourt on October 25, 1415. With an army of about 6,000 men, primarily longbowmen, he confronted a French force estimated at 20,000 to 25,000, including heavily armored knights. The English longbow, capable of firing up to 12 arrows per minute, proved decisive. As the battle commenced, Henry ordered his men to plant sharpened stakes to thwart the French cavalry charge. The muddy terrain hampered the French knights, who, despite their numbers, struggled to advance. When they charged, the English longbowmen unleashed a devastating volley, causing chaos among the French ranks. The English line initially faltered under the weight of the French assault, but they quickly regrouped. The battle devolved into brutal hand-to-hand combat, with Henry himself fighting valiantly. Ultimately, the French lost their nerve and retreated, suffering heavy casualties—estimates suggest 6,000 to 7,000 dead, while the English losses were significantly lower. In the aftermath, Henry captured several high-ranking French nobles, including the Constable of France. This victory not only solidified Henry's power but also shifted the balance of the war, leading to future treaties that would alter the course of English and French history. The Battle of Agincourt became a legendary tale of courage and strategy, showcasing the effectiveness of the English longbow and the resilience of a determined king.  

Today's episode of Africa Today is preempted by special programming for KPFA's 2025 Winter Fund Drive: Brian Edwards-Tiekert in Conversation with Rashid Khalidi, author of Hundred Years' War on Palestine. To support KPFA's mission and receive Khalidi's book as a thank-you gift, please donate here or call (800) 439-5732.   The post Special Winter Fund Drive Programming: Rashid Khalidi on Palestine appeared first on KPFA.

Today's episode of Voices of the Middle East and North Africa is preempted by special programming for KPFA's 2025 Winter Fund Drive: Brian Edwards-Tiekert in Conversation with Rashid Khalidi, author of Hundred Years' War on Palestine. To support KPFA's mission, please donate here or call (800) 439-5732.   The post Special Winter Fund Drive Programming: Rashid Khalidi on Palestine appeared first on KPFA.

David Remnick talks with The New Yorker's literary guiding lights: the fiction editor Deborah Treisman and the poetry editor Kevin Young. Treisman edited “A Century of Fiction in The New Yorker,” and Young edited “A Century of Poetry in The New Yorker,” both of which were published this month.  “When you asked me to do this,” Young remarks to David Remnick, “I think my first response was, I've only wanted to do this since I was fifteen. . . . It was kind of a dream come true.” Treisman talks about the way that stories age, and the difficulty of selecting stories. “The thing to remember is that even geniuses don't always write their best work right right off the bat. People make a lot of noise about rejection letters from The New Yorker that went to famous writers, or later-famous writers. And they were probably justified, those rejections.”

00:08 — Asa Winstanley is an investigative journalist writing for the Electronic Intifada. His latest book is Weaponising Anti-Semitism: How the Israel Lobby Brought Down Jeremy Corbyn. 00:33 — Rashid Khalidi, Edward Said Professor of Arab Studies at Columbia. His most recent book is The Hundred Years' War on Palestine: a history of settler colonialism and resistance.     The post Trump Administration's Emerging Policy Toward the Middle East appeared first on KPFA.

Episode 156 January 16, 2025 On the Needles 2:02 ALL KNITTING LINKS GO TO RAVELRY UNLESS OTHERWISE NOTED.  Please visit our Instagram page @craftcookreadrepeat for non-Rav photos and info     Full Spectrum by Andrea Rangel, Koigu Painter's Palette Premium Merino in black and 861 (turquoise, olive, purple, black 2009!)-- DONE!!   Succulents 2025 Blanket CAL by Mallory Krall, Hue Loco DK in Propagation– January DONE!!   Fingering yarn cozy by Melina Brell, Fibernymph Dyeworks Mountain Tweed in a Game for all Seasons– DONE!!   My Favorite Things Dishcloth by Kitchen Sink Shop, KnitPicks Dishie in Blue– DONE!!   Tawashi Knot by Marte Fagervik, Rico Design Creative Bubble in Gold– DONE!!   January Colorwork Cuff Club by Summer Lee, Lemonade Shop Simple Sock in Dunks Flax Worsted Sweater by Tin Can Knits, Neighborhood Fiber Co DK in 1600 Pennsylvania Ave (oct 2020, reusing yarn)   Cortney's knitting: Pressed Flower Pullover by Amy Christoffers in Neighborhood Fiber Studio DK Ramblewood and Suri Loft Mondawmin (which is burgundy and hot pink).  (Wintery Knitting!)   On the Easel 23:00   Secret 100 Day project with Daria & Marcy. Oil painting On the Table 27:12   Justine Cooks by Justine Doiron Parmesan Crusted Olives/Butter Beans Black Rice, Blistered Greens and Herby Tonnato Grilled Corn and Tomatoes with Vegan Tonnato Sauce Recipe - Sean Baker Crispy Rice in Sungold-Miso Broth Cinnamon Romesco Chickpeas and Charred Greens    Russian Tea Cakes for Cocktail Club My “italian stew” no tomatos this time, added spinach. Sauteed chard with garlic.  (Wintery cooking!) Citrus peel syrup? Stay tuned.  (Wintery cooking!)   On the Nightstand 37:59 We are now a Bookshop.org affiliate!  You can visit our shop to find books we've talked about or click on the links below.  The books are supplied by local independent bookstores and a percentage goes to us at no cost to you!   Three by Valérie Perrin, trans by Hildegarde Serle One of Us Knows by Alyssa Cole  The Lotus Empire by Tasha Suri (audio, Burning Kingdoms trilogy) The Djinn Waits a Hundred Years by Shubnum Khan  Orbital by Samantha Harvey   A Better Man by Louise Penny  The Lost Story by Meg Shaffer Get the Picture by Bianca Bosker Between Shades of Grey by Ruta Spetys  (winter reading!)

How do you find your purpose?My friend, Suz, and I chat about how difficult it can be to feel like you're on the right path and how in awe of Sister Jean's ability to relax into and trust in God's plan for her. Plus, we discuss Sister Jean's refreshing takes on societal issues, our hopes for you, our wonderful listeners, and a shared regret. A quick nugget of Sister Jean wisdom: "It's easy to do good if you want to do good."Listener discretion advised: this episode includes adult languageSupport the victims and first responders of the Los Angeles FiresSupport the show:On PatreonBuy us a bookBuy cute merchIf you have any comments or questions, please connect with me on Instagram or email babesinbooklandpodcast@gmail.com. I'd love to hear your suggestions and feedback! If you leave a kind review, I will read it top of show!Link to this episode's book:Wake up With Purpose!: What I Learned in my First Hundred Years by Sister JeanShow Links:Forest BathingStress Can Increase Your Biological AgeThe Game of ChangeTranscripts are available through apple's podcast app—they may not be perfect, but relying on them allows me to dedicate more time to the show! If you're interested in being a transcript angel, let me know. This episode is produced, recorded, and edited by me.Theme song by Devin KennedySpecial thanks to my dear friend, Suz. We'll figure it out!Xx, Alex

The 9/11 attacks, as well as the ones in Madrid, London, Paris and Brussels; the genocides in Nazi Germany, Rwanda and Cambodia; the torture in dictatorial regimes; the wars in former Yugoslavia, Syria and Iraq and currently in Ukraine; the sexual violence during periods of conflict, all make us wonder: why would anyone do something like that? Who are these people?  Drawing on 30 years of research, Alette Smeulers explores the perpetrators of mass atrocities such as war crimes, crimes against humanity, genocide and terrorism. Examining questions of why people kill and torture and how mass atrocities can be explained, Smeulers presents a typology of perpetrators, with different ranks, roles and motives. Devoting one chapter to each type of perpetrator, Perpetrators of Mass Atrocities: Terribly and Terrifyingly Normal? (Routledge, 2023) combines insights from academic research with illustrative case studies of well-known perpetrators, from dictators to middlemen, to lower ranking officials and terrorists. Their stories are explored in depth as the book examines their behaviour and motivation. Perpetrators of Mass Atrocities thus provides a comprehensive understanding of the causes of extreme mass violence. Such knowledge not only can help the international criminal justice system to be able to attribute blame in a fairer way but can also assist in preventing such atrocities being committed on the current scale. Perpetrators of Mass Atrocities is essential reading for all those interested in war crimes, genocide, terrorism and mass violence. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Dr. Susan A. Brewer's fascinating The Best Land: Four Hundred Years of Love and Betrayal on Oneida Territory (Cornell University Press, 2024), she recounts the story of the parcel of central New York land on which she grew up. Brewer and her family had worked and lived on this land for generations when the Oneida Indians claimed that it rightfully belonged to them. Why, she wondered, did she not know what had happened to this place her grandfather called the best land. Here, she tells its story, tracing over the past four hundred years the two families—her own European settler family and the Oneida/Mohawk family of Polly Denny—who called the best land home. Situated on the passageway to the west, the ancestral land of the Oneidas was coveted by European colonizers and the founders of the Empire State. The Brewer and Denny families took part in imperial wars, the American Revolution, broken treaties, the building of the Erie Canal, Native removal, the rise and decline of family farms, bitter land claims controversies, and the revival of the Oneida Indian Nation. As Dr. Brewer makes clear in The Best Land, through centuries of violence, bravery, greed, generosity, racism, and love, the lives of the Brewer and Denny families were profoundly intertwined. The story of this homeland, she discovers, unsettles the history she thought she knew. With clear determination to tell history as it was, without sugarcoating or ignoring the pain and suffering of both families, Dr. Brewer navigates the interconnected stories with grace, humility, and a deep love for the land. The Best Land is a beautiful homage to the people, the place, and the environment itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Dr. Susan A. Brewer's fascinating The Best Land: Four Hundred Years of Love and Betrayal on Oneida Territory (Cornell University Press, 2024), she recounts the story of the parcel of central New York land on which she grew up. Brewer and her family had worked and lived on this land for generations when the Oneida Indians claimed that it rightfully belonged to them. Why, she wondered, did she not know what had happened to this place her grandfather called the best land. Here, she tells its story, tracing over the past four hundred years the two families—her own European settler family and the Oneida/Mohawk family of Polly Denny—who called the best land home. Situated on the passageway to the west, the ancestral land of the Oneidas was coveted by European colonizers and the founders of the Empire State. The Brewer and Denny families took part in imperial wars, the American Revolution, broken treaties, the building of the Erie Canal, Native removal, the rise and decline of family farms, bitter land claims controversies, and the revival of the Oneida Indian Nation. As Dr. Brewer makes clear in The Best Land, through centuries of violence, bravery, greed, generosity, racism, and love, the lives of the Brewer and Denny families were profoundly intertwined. The story of this homeland, she discovers, unsettles the history she thought she knew. With clear determination to tell history as it was, without sugarcoating or ignoring the pain and suffering of both families, Dr. Brewer navigates the interconnected stories with grace, humility, and a deep love for the land. The Best Land is a beautiful homage to the people, the place, and the environment itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Dr. Susan A. Brewer's fascinating The Best Land: Four Hundred Years of Love and Betrayal on Oneida Territory (Cornell University Press, 2024), she recounts the story of the parcel of central New York land on which she grew up. Brewer and her family had worked and lived on this land for generations when the Oneida Indians claimed that it rightfully belonged to them. Why, she wondered, did she not know what had happened to this place her grandfather called the best land. Here, she tells its story, tracing over the past four hundred years the two families—her own European settler family and the Oneida/Mohawk family of Polly Denny—who called the best land home. Situated on the passageway to the west, the ancestral land of the Oneidas was coveted by European colonizers and the founders of the Empire State. The Brewer and Denny families took part in imperial wars, the American Revolution, broken treaties, the building of the Erie Canal, Native removal, the rise and decline of family farms, bitter land claims controversies, and the revival of the Oneida Indian Nation. As Dr. Brewer makes clear in The Best Land, through centuries of violence, bravery, greed, generosity, racism, and love, the lives of the Brewer and Denny families were profoundly intertwined. The story of this homeland, she discovers, unsettles the history she thought she knew. With clear determination to tell history as it was, without sugarcoating or ignoring the pain and suffering of both families, Dr. Brewer navigates the interconnected stories with grace, humility, and a deep love for the land. The Best Land is a beautiful homage to the people, the place, and the environment itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

The 9/11 attacks, as well as the ones in Madrid, London, Paris and Brussels; the genocides in Nazi Germany, Rwanda and Cambodia; the torture in dictatorial regimes; the wars in former Yugoslavia, Syria and Iraq and currently in Ukraine; the sexual violence during periods of conflict, all make us wonder: why would anyone do something like that? Who are these people?  Drawing on 30 years of research, Alette Smeulers explores the perpetrators of mass atrocities such as war crimes, crimes against humanity, genocide and terrorism. Examining questions of why people kill and torture and how mass atrocities can be explained, Smeulers presents a typology of perpetrators, with different ranks, roles and motives. Devoting one chapter to each type of perpetrator, Perpetrators of Mass Atrocities: Terribly and Terrifyingly Normal? (Routledge, 2023) combines insights from academic research with illustrative case studies of well-known perpetrators, from dictators to middlemen, to lower ranking officials and terrorists. Their stories are explored in depth as the book examines their behaviour and motivation. Perpetrators of Mass Atrocities thus provides a comprehensive understanding of the causes of extreme mass violence. Such knowledge not only can help the international criminal justice system to be able to attribute blame in a fairer way but can also assist in preventing such atrocities being committed on the current scale. Perpetrators of Mass Atrocities is essential reading for all those interested in war crimes, genocide, terrorism and mass violence. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/genocide-studies

The 9/11 attacks, as well as the ones in Madrid, London, Paris and Brussels; the genocides in Nazi Germany, Rwanda and Cambodia; the torture in dictatorial regimes; the wars in former Yugoslavia, Syria and Iraq and currently in Ukraine; the sexual violence during periods of conflict, all make us wonder: why would anyone do something like that? Who are these people?  Drawing on 30 years of research, Alette Smeulers explores the perpetrators of mass atrocities such as war crimes, crimes against humanity, genocide and terrorism. Examining questions of why people kill and torture and how mass atrocities can be explained, Smeulers presents a typology of perpetrators, with different ranks, roles and motives. Devoting one chapter to each type of perpetrator, Perpetrators of Mass Atrocities: Terribly and Terrifyingly Normal? (Routledge, 2023) combines insights from academic research with illustrative case studies of well-known perpetrators, from dictators to middlemen, to lower ranking officials and terrorists. Their stories are explored in depth as the book examines their behaviour and motivation. Perpetrators of Mass Atrocities thus provides a comprehensive understanding of the causes of extreme mass violence. Such knowledge not only can help the international criminal justice system to be able to attribute blame in a fairer way but can also assist in preventing such atrocities being committed on the current scale. Perpetrators of Mass Atrocities is essential reading for all those interested in war crimes, genocide, terrorism and mass violence. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In Dr. Susan A. Brewer's fascinating The Best Land: Four Hundred Years of Love and Betrayal on Oneida Territory (Cornell University Press, 2024), she recounts the story of the parcel of central New York land on which she grew up. Brewer and her family had worked and lived on this land for generations when the Oneida Indians claimed that it rightfully belonged to them. Why, she wondered, did she not know what had happened to this place her grandfather called the best land. Here, she tells its story, tracing over the past four hundred years the two families—her own European settler family and the Oneida/Mohawk family of Polly Denny—who called the best land home. Situated on the passageway to the west, the ancestral land of the Oneidas was coveted by European colonizers and the founders of the Empire State. The Brewer and Denny families took part in imperial wars, the American Revolution, broken treaties, the building of the Erie Canal, Native removal, the rise and decline of family farms, bitter land claims controversies, and the revival of the Oneida Indian Nation. As Dr. Brewer makes clear in The Best Land, through centuries of violence, bravery, greed, generosity, racism, and love, the lives of the Brewer and Denny families were profoundly intertwined. The story of this homeland, she discovers, unsettles the history she thought she knew. With clear determination to tell history as it was, without sugarcoating or ignoring the pain and suffering of both families, Dr. Brewer navigates the interconnected stories with grace, humility, and a deep love for the land. The Best Land is a beautiful homage to the people, the place, and the environment itself. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Netflix has brought Gabriel García Márquez's iconic novel "One Hundred Years of Solitude" to life with a two-part limited series spanning over 16 hours of television. The Colombian masterpiece tells the multi-generational saga of the Buendía family, who establish the utopian town of Macondo. The story captures their struggles with love, war, curses, and solitude, intertwined with the magical realism that defines García Márquez's literary style. We spoke to Alex García López, one of the series' directors about the experience of creating the magical world of Macondo.This interview was recorded in early November.Follow us on TikTok and YouTube. Subscribe to our newsletter by going to the top of our homepage. 

On tonight's show: Johnny Dodds, 29th And Dearborn Artie Shaw, When the Quail Come Back to Saint Quentin Georgie Auld & His Orchestra, A Hundred Years from Today (vocals Sarah Vaughan) Louis Armstrong, Someday You'll Be Sorry Lucky Thompson, Mood Indigo Billie Holiday & Tony Scott and His Orchestra, Trav'lin Light Billy Bauer, You'd Be So Nice to Come Home To Eriko Ishihara, You'd Be So Nice to Come Home To Clark Terry, Paul Gonsalves, Blues for Daddy-O's Jazz Patio Blues Red Garland, One O'Clock Jump Art Pepper, 'Round Midnight Ella Fitzgerald, One for My Baby (And One More for the Road) Ahmad Jamal,  Excerpt from the Blues Yusef Lateef, Love Theme from the Robe Wynton Kelly, Comin' In the Back Door Chico Hamilton, Fancy

Website: https://chthonia.netPatreon: https://patreon.com/chthoniaMerch: https://chthoniapodcast.creator-spring.com/School: https://instituteforfemininemyth.orgHappy new year! Our first podcast of 2025 looks at Joan of Arc, also known as Jeanne D'Arc, and La Pucelle (the Maid). We discuss Joan's short life, having been burned at the stake at the age of 19 after being victorious in pushing the English out of France in the Hundred Years' War, and installing Charles VII on the throne. We focus on three things: her visions of Michael the Archangel, St. Margaret of Antioch and St. Catherine of Alexandria; the heresy charges leveled against her for wearing male attire; and finally the question that plagued me as I recorded this--who exactly WAS Joan that she would be sought out for this mission? 

Galatians 3:1 Thanks to everyone who supports TMBH at patreon.com/thetmbhpodcast You're the reason we can all do this together! Discuss the episode here Music by Jeff Foote

It's Day 2 of the Majority Report's Best Ofs of 2024! Today you'll hear Sam and Emma speak with Rashid Khalidi, professor of Modern Arab Studies at Columbia University, to discuss his 2020 book The Hundred Years' War on Palestine: A History of Settler Colonialism and Resistance, 1917–2017, Check out Rashid's book here: https://us.macmillan.com/books/9781627798556/thehundredyearswaronpalestine/ Become a member at JoinTheMajorityReport.com: https://fans.fm/majority/join Follow us on TikTok here!: https://www.tiktok.com/@majorityreportfm Check us out on Twitch here!: https://www.twitch.tv/themajorityreport Find our Rumble stream here!: https://rumble.com/user/majorityreport Check out our alt YouTube channel here!: https://www.youtube.com/majorityreportlive Join Sam on the Nation Magazine Cruise! 7 days in December 2024!!: https://nationcruise.com/mr/ Check out StrikeAid here!; https://strikeaid.com/ Gift a Majority Report subscription here: https://fans.fm/majority/gift Subscribe to the ESVN YouTube channel here: https://www.youtube.com/esvnshow Subscribe to the AMQuickie newsletter here: https://am-quickie.ghost.io/ Join the Majority Report Discord! http://majoritydiscord.com/ Get all your MR merch at our store: https://shop.majorityreportradio.com/ Get the free Majority Report App!: http://majority.fm/app Go to https://JustCoffee.coop and use coupon code majority to get 20% off your purchase! Follow the Majority Report crew on Twitter: @SamSeder @EmmaVigeland @MattLech @BradKAlsop Check out Matt's show, Left Reckoning, on Youtube, and subscribe on Patreon! https://www.patreon.com/leftreckoning Check out Matt Binder's YouTube channel: https://www.youtube.com/mattbinder Subscribe to Brandon's show The Discourse on Patreon! https://www.patreon.com/ExpandTheDiscourse Check out Ava Raiza's music here! https://avaraiza.bandcamp.com/ The Majority Report with Sam Seder - https://majorityreportradio.com/

The ancient Mediterranean teemed with gods. For centuries, a practical religious pluralism prevailed. How, then, did one particular god come to dominate the politics and piety of the late Roman Empire? In Ancient Christianities: The First Five Hundred Years (Princeton University Press, 2024), Dr. Paula Fredriksen traces the evolution of early Christianity—or rather, of early Christianities—through five centuries of Empire, mapping its pathways from the hills of Judea to the halls of Rome and Constantinople. It is a story with a sprawling cast of characters: not only theologians, bishops, and emperors, but also gods and demons, angels and magicians, astrologers and ascetics, saints and heretics, aristocratic patrons and millenarian enthusiasts. All played their part in the development of what became and remains an energetically diverse biblical religion. The New Testament, as we know it, represents only a small selection of the many gospels, letters, acts of apostles, and revelations that circulated before the establishment of the imperial church. It tells how the gospel passed from Jesus, to the apostles, thence to Paul. But by using our peripheral vision, by looking to noncanonical and paracanonical texts, by availing ourselves of information derived from papyri, inscriptions, and archaeology, we can see a different, richer, much less linear story emerging. Dr. Fredriksen brings together these many sources to reconstruct the lively interactions of pagans, Jews, and Christians, tracing the conversions of Christianity from an energetic form of Jewish messianism to an arm of the late Roman state. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The ancient Mediterranean teemed with gods. For centuries, a practical religious pluralism prevailed. How, then, did one particular god come to dominate the politics and piety of the late Roman Empire? In Ancient Christianities: The First Five Hundred Years (Princeton University Press, 2024), Dr. Paula Fredriksen traces the evolution of early Christianity—or rather, of early Christianities—through five centuries of Empire, mapping its pathways from the hills of Judea to the halls of Rome and Constantinople. It is a story with a sprawling cast of characters: not only theologians, bishops, and emperors, but also gods and demons, angels and magicians, astrologers and ascetics, saints and heretics, aristocratic patrons and millenarian enthusiasts. All played their part in the development of what became and remains an energetically diverse biblical religion. The New Testament, as we know it, represents only a small selection of the many gospels, letters, acts of apostles, and revelations that circulated before the establishment of the imperial church. It tells how the gospel passed from Jesus, to the apostles, thence to Paul. But by using our peripheral vision, by looking to noncanonical and paracanonical texts, by availing ourselves of information derived from papyri, inscriptions, and archaeology, we can see a different, richer, much less linear story emerging. Dr. Fredriksen brings together these many sources to reconstruct the lively interactions of pagans, Jews, and Christians, tracing the conversions of Christianity from an energetic form of Jewish messianism to an arm of the late Roman state. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Power dynamics in the Middle East shifted dramatically this year. In Lebanon, Israel dealt a severe blow toHezbollah, and another crucial ally of Iran—Bashar al-Assad's regime in Syria—was toppled by insurgents. But the historian Rashid Khalidi is skeptical that these changes will set back the Palestinian cause, as it relates to Israel. “This idea that the Palestinians are bereft of allies assumes that they had people who were doing things for their interest,” Khalidi tells David Remnick, “which I don't think was true.” The limited responses to the war in Gaza by Iran and Hezbollah, Khalidi believes, clearly demonstrate that Iran's so-called Axis of Resistance “was designed by Iran to protect the Iranian regime. . . . It wasn't designed to protect Palestine.” Khalidi, a professor emeritus at Columbia University, is the author of a number of books on Palestinian history; among them, “The Hundred Years' War on Palestine” has been particularly influential. The book helped bring the term “settler colonialism” into common parlance, at least on the left, to describe Israel's relationship to historic Palestine. Sometimes invoked as a term of opprobrium, “settler colonialism” is strongly disputed by supporters of Israel. Khalidi asserts that the description is historically specific and accurate. The early Zionists, he says, understood their effort as colonization. “That's not some antisemitic slur,” he says. “That's the description they gave themselves.” The concept of settler colonialism has been applied, on the political left, to describe Israel's founding, and to its settlement of the Palestinian-occupied territories. This usage has been disputed by supporters of Israel and by thinkers including Adam Kirsch, an editor at the Wall Street Journal, who has also written about philosophy for The New Yorker. “Settler colonialism is . . . a zero-sum way of looking at the conflict,” Kirsch tells David Remnick. “In the classic examples, it involves the destruction of one people by another and their replacement over a large territory, really a continent-wide territory. That's not at all the history of Israel and Palestine.” Kirsch made his case in a recent book, “On Settler Colonialism: Ideology, Violence, and Justice.” Learn about your ad choices: dovetail.prx.org/ad-choices

Power dynamics in the Middle East shifted dramatically this year. In Lebanon, Israel dealt a severe blow toHezbollah, and another crucial ally of Iran—Bashar al-Assad's regime in Syria—was toppled by insurgents. But the historian Rashid Khalidi is skeptical that these changes will set back the Palestinian cause, as it relates to Israel. “This idea that the Palestinians are bereft of allies assumes that they had people who were doing things for their interest,” Khalidi tells David Remnick, “which I don't think was true.” The limited responses to the war in Gaza by Iran and Hezbollah, Khalidi believes, clearly demonstrate that Iran's so-called Axis of Resistance “was designed by Iran to protect the Iranian regime. . . . It wasn't designed to protect Palestine.” Khalidi, a professor emeritus at Columbia University, is the author of a number of books on Palestinian history; among them, “The Hundred Years' War on Palestine” has been particularly influential. The book helped bring the term “settler colonialism” into common parlance, at least on the left, to describe Israel's relationship to historic Palestine. Sometimes invoked as a term of opprobrium, “settler colonialism” is strongly disputed by supporters of Israel. Khalidi asserts that the description is historically specific and accurate. The early Zionists, he says, understood their effort as colonization. “That's not some antisemitic slur,” he says. “That's the description they gave themselves.”The concept of settler colonialism has been applied, on the political left, to describe Israel's founding, and to its settlement of the Palestinian-occupied territories. This usage has been disputed by supporters of Israel and by thinkers including Adam Kirsch, an editor at the Wall Street Journal, who has also written about philosophy for The New Yorker. “Settler colonialism is . . . a zero-sum way of looking at the conflict,” Kirsch tells David Remnick. “In the classic examples, it involves the destruction of one people by another and their replacement over a large territory, really a continent-wide territory. That's not at all the history of Israel and Palestine.” Kirsch made his case in a recent book, “On Settler Colonialism: Ideology, Violence, and Justice.”

A woman executed for her crimes. An outlaw fleeing from his king. A heron killed by a hawk.  The stage is set for Edward III to walk England into a war unlike anything seen before. A Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email podcastadsales@sonymusic.com Learn more about your ad choices. Visit megaphone.fm/adchoices Written and hosted by Dan Jones Producer - Georgia Mills Executive Producer - Louisa Field Production Manager - Eric Ryan Marketing - Kieran Lancini Sound Design - Chris o'Shaughnessy Learn more about your ad choices. Visit podcastchoices.com/adchoices

We talk about several news stories on this week's show. Check out our show notes below:   For more information on the disproportionate toll on Palestinians lives since 1917, see Rashid Khalidi, The Hundred Years' War on Palestine, A History of Settler Colonialism and Resistance, 1917-2017, (N.Y., Henry Holt & Co., 2020).    The Haaretz podcast quoted in this episode can be found at: https://www.haaretz.com/israel-news/podcasts/2024-11-30/ty-article-podcast/.premium/netanyahus-war-on-the-israeli-media-and-how-it-is-already-affecting-press-freedom/00000193-7e85-d7fe-a393-7f8d17600000    For a general summary of anti-BDS laws in the United States, see:  https://en.wikipedia.org/wiki/Anti-BDS_laws    The story about Mr. Moshe Yaalon, “Former Defense Minister Accuses Israel of Committing War Crimes in Gaza,” by Adam Rasgon, Liam Stock, and Natan Odenheimer,  N.Y. Times, December 1, 2024, can be found at:  https://www.nytimes.com/2024/12/01/world/middleeast/israel-gaza-yaalon.html?searchResultPosition=1    Consider subscribing to Haaretz for current information:  https://promotion.haaretz.com/offers?htm_source=site&htm_medium=button&htm_campaign=subscription&htm_campaign_type=subscription&htm_content=hello_default    For Robert Reich's discussion of the Hunter Biden pardon, see:  https://mail.proton.me/u/9/almost-all-mail/Am-6ux8A5oEB0nmcKi31CF20XS8OhqQudOuS2jZXVuhKuHqY_ow6xCSLufsK90KwVBhZVxHA9cEUmIEBpjPjKw==#keyword=Reich

The war in Gaza has been going on for over a year, killing 44,000 Gazans and leaving countless others injured or displaced. With no ceasefire on the horizon, the question remains: where do things go from here? This week, Adam is joined by Palestinian-American historian Rashid Khalidi, author of The Hundred Years' War on Palestine: A History of Settler Colonialism and Resistance, 1917–2017, to examine the ongoing devastation in Gaza and what possibilities, if any, exist for a path forward. Find Rashid's book at factuallypod.com/booksSUPPORT THE SHOW ON PATREON: https://www.patreon.com/adamconoverSEE ADAM ON TOUR: https://www.adamconover.net/tourdates/SUBSCRIBE to and RATE Factually! on:» Apple Podcasts: https://podcasts.apple.com/us/podcast/factually-with-adam-conover/id1463460577» Spotify: https://open.spotify.com/show/0fK8WJw4ffMc2NWydBlDyJAbout Headgum: Headgum is an LA & NY-based podcast network creating premium podcasts with the funniest, most engaging voices in comedy to achieve one goal: Making our audience and ourselves laugh. Listen to our shows at https://www.headgum.com.» SUBSCRIBE to Headgum: https://www.youtube.com/c/HeadGum?sub_confirmation=1» FOLLOW us on Twitter: http://twitter.com/headgum» FOLLOW us on Instagram: https://instagram.com/headgum/» FOLLOW us on TikTok: https://www.tiktok.com/@headgum» Advertise on Factually! via Gumball.fmSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

You can find the op-ed by Thomas Friedman, “Mr. Trump, Do You Realize How Much the World Has Changed Since You Were President?” Nov. 26, 202 at:    https://www.nytimes.com/2024/11/26/opinion/trump-israel-iran.html  Abraham Lincoln's Thanksgiving Proclamation, October 3, 1863,  can be found at:  https://obamawhitehouse.archives.gov/sites/default/files/docs/transcript_for_abraham_lincoln_thanksgiving_proclamation_1863.pdf  A colleague on the same Solidarity Pilgrimage with me posted the following statement about our trip:  For more information on how Palestinians have had their human rights violated for over a century, see Rashid Khalidi, The Hundred Years' War on Palestine, A History of Settler Colonialism and Resistance, 1917-2017, (N.Y., Henry Holt & Co., 2020).  Visit the Sabeel Ecumenical Liberation Theology Center at https://sabeel.org  and the Community Renewal Society at:  https://www.communityrenewalsociety.org/  You can find Ethan Avriel's  Haaretz article that  we discussed about the Palestinian economy, "On the Road to Annexation, Israel Is Intentionally Causing Economic Collapse in the West Bank," at:  https://www.haaretz.com/israel-news/2024-11-19/ty-article-magazine/.premium/on-the-road-to-annexation-israel-is-intentionally-causing-a-palestinian-economic-collapse/00000193-3f53-d8aa-a3b3-3fdf3a6a0000  

This episode, we get a taste of nostalgia as AJLT takes us back to our roots: Carrie being a terrible friend! Now that Aiden is back in the picture, Carrie proves that even in your mid fifties, you can still be THAT annoying girl in a new relationship who ditches her friends now that she's a "we". Seema does some amazing "umbrella while smoking" work as she reads Carrie the house DOWN, and Charlotte is relieved that she isn't the fat girl at her new job (PRAISE THE LORD). Meanwhile, Miranda is getting bullied by two 20-somethings as she continues to lose her grip on social norms and regular human interaction. The reason to show up for this episode, of course, is Guissepe's un-mentioned but obvious boner during his scene with Anthony. Enjoy!!!EMAIL us with any thoughts, questions, or your most salacious sex stories at patcpod@gmail.comJOIN US EVERY WEDNESDAY AT 4PM MST FOR OUR LIVE WEEKLY ROUNDUP!!! Subscribe to our YOUTUBE channel!This month on Patreon:The Golden Girls S1 E12 "The Custody Battle"Broad City S2 E2 "Mochalatta Chills"Girls S2 E2 "I Get Ideas"WICKED MOVIE SPECIAL Hosted on Acast. See acast.com/privacy for more information.

Jewish Voice For Peace brings you an evening with renowned historian and author Rashid Khalidi in conversation with Katie Halper. Dr. Khalidi will discuss current events in Palestine, his seminal, best-seller book "The 100 Years War on Palestine," student protests and his decision to retire from Columbia University. Rashid Khalidi is Edward Said Professor of Arab Studies Emeritus at Columbia University. He received a B.A. from Yale University and a D. Phil. from Oxford University, and has previously taught at the Lebanese University, the American University of Beirut, and the University of Chicago. He was editor and later co-editor of the Journal of Palestine Studies, and has served as President of the Middle East Studies Association. He is the author of eight books, including The Hundred Years' War on Palestine: A History of Settler-Colonialism and Resistance, 1917-2017, and of over 100 scholarly articles and book chapters, and has co-edited three books. ***Please support The Katie Halper Show *** For bonus content, exclusive interviews, to support independent media & to help make this program possible, please join us on Patreon - https://www.patreon.com/thekatiehalpershow Get your Katie Halper Show Merch here! https://katiehalper.myspreadshop.com/all Follow Katie on Twitter: @kthalps

Have you ever considered visiting Bourges? In this episode of Join Us in France, titled "Exploring Bourges: A Hidden French Gem," Annie Sargent and Elyse Rivin take you on a deep dive into this lesser-known but fascinating town in central France. They discuss Bourges' rich medieval history, including its role during the Hundred Years' War, and explore two of its most iconic landmarks—the stunning Bourges Cathedral and the Palais Jacques Coeur. Get the podcast ad-free Annie shares her impressions from her recent trip, describing the town's charm and historical significance. Elyse adds rich context about Jean, Duke of Berry, who played a key role in Bourges' development during the Middle Ages. Together, they paint a vivid picture of the city's golden era and discuss why this off-the-beaten-path destination should be on your radar. Whether you're interested in French history, architecture, or simply looking for a unique travel experience, this episode has something for everyone. Join Annie and Elyse as they uncover the hidden gems of Bourges, from its cultural landmarks to its culinary specialties like pâté berrichon and Sancerre wine. Don't miss out—listen now to discover why Bourges is worth a visit! Table of Contents for this Episode Today on the podcast Podcast supporters The Magazine segment Bootcamp 2025 Annie and Elyse Exploring Bourges: First Impressions Historical Significance of Bourges The Printemps de Bourges Music Festival Bourges, location on the map of France The Hundred Years' War and Bourges Jean, Duke of Berry: Patron of Bourges Books of Hours What does the word “Bourgeois” mean? Jacques Coeur The Intrigue of Bourges and Jacques Coeur The Downfall of Jacques Coeur Escape and Exile Jacques Coeur dies Exploring Bourges: Landmarks and History The Bourges Cathedral Places to visit in Bourges Culinary Delights from Bourges Thank you Patrons Planning a trip to France? Tips for Americans visiting France Next week on the podcast Copyright More episodes about going off the beaten track in France

St Crispin's day, 1415: Henry V stands victorious, after a tremendous defeat of the French forces at the Battle of Agincourt. He is just about to make a historic speech which will be retold by Shakespeare nearly two centuries later. There are mounds of bodies, too many dead for the chroniclers to count. Those who escaped the bloodshed have been taken prisoner back to England, including the young Duke of Orleans, on the day before his twenty-first birthday. And a month later, across the Channel, the Count of Armagnac comes to power in Paris, and rules so brutally that the residents of the French capital start to hope for an English invasion. Henry V is taking no time to rest, and begins planning his next offensive… Join Tom and Dominic in the fourth instalment of our series on the Hundred Year's War, as Henry V considers his next move after his triumph at Agincourt. _______ *The Rest Is History LIVE in the U.S.A.* If you live in the States, we've got some great news: Tom and Dominic will be performing throughout America in November, with shows in San Francisco, L.A., Chicago, Philadelphia, Washington D.C., Boston and New York.  *The Rest Is History LIVE at the Royal Albert Hall* Tom and Dominic, accompanied by a live orchestra, take a deep dive into the lives and times of two of history's greatest composers: Wolfgang Amadeus Mozart and Ludwig van Beethoven. Tickets on sale now at 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