Podcasts about new hampshire press

Little is known about the personal life of Ann Parlin, the woman who came up with the idea for clam bakes to raise relief money for the families of imprisoned suffragists. She married Dr. Louis Parlin on July 7th, 1839, in Maine before moving to Providence. In 1841, they appear in the city’s business records through Dr. Parlin’s homeopathy clinic. He’s considered the founder of homeopathy in Rhode Island, and he practiced there for two to three years while participating in the city’s bubbling radical politics. The Parlins were fairly well off and Louis was a landholder or a freeman allowed to vote, but both of them believed fully in the people’s sovereign power to reform their governments at will.Further Reading:“A Woman of Spunk: Ann Parlin’s Vision for Revolution”Russell DeSimone, “Lewis and Ann Parlin” in Rhode Island’s Rebellion: A Look at Some Aspects of the Dorr War, Bartlett Press. 2009.Comegna, “The Dupes of Hope Forever: The Locofoco of Equal Rights Movement, 1820s-1870s,” (PhD Diss.) University of Pittsburgh. 2016.Zagarri, Rosemarie. Revolutionary Backlash: Women and Politics in the Earl American Republic. Philadelphia: University of Pennsylvania Press. 2007.Zboray, Ronald & Mary. Voices Without Votes: Women and Politics in Antebellum New England. Durham, NH: University of New Hampshire Press. 2010.Music by Kai Engel See acast.com/privacy for privacy and opt-out information.

When I was young I liked to go to bars, especially bars where bands were playing. But when I got there, I often didn’t listen very carefully. And in truth, I wasn’t there to see the band; I was there to “make the scene,” which is to say see and be seen by my peers. As Jennifer Hall-Witt explains in her fascinating book Fashionable Acts: Opera and Elite Culture in London, 1780-1880 (University of New Hampshire Press, 2007), that’s apparently why English notables went to the opera in the late eighteenth and early nineteenth century. They dressed up, went out, and “made the scene.” All the while there was an opera being performed, but it doesn’t seem anyone was paying close attention to it. They milled about, traded glances, visited each other’s boxes, talked, joked and generally had a good time. That all changed in the second half of the century. Most significantly, people began to watch and listen to the opera instead of each other. Jennifer tells us why. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I was young I liked to go to bars, especially bars where bands were playing. But when I got there, I often didn’t listen very carefully. And in truth, I wasn’t there to see the band; I was there to “make the scene,” which is to say see and be seen by my peers. As Jennifer Hall-Witt explains in her fascinating book Fashionable Acts: Opera and Elite Culture in London, 1780-1880 (University of New Hampshire Press, 2007), that’s apparently why English notables went to the opera in the late eighteenth and early nineteenth century. They dressed up, went out, and “made the scene.” All the while there was an opera being performed, but it doesn’t seem anyone was paying close attention to it. They milled about, traded glances, visited each other’s boxes, talked, joked and generally had a good time. That all changed in the second half of the century. Most significantly, people began to watch and listen to the opera instead of each other. Jennifer tells us why. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I was young I liked to go to bars, especially bars where bands were playing. But when I got there, I often didn’t listen very carefully. And in truth, I wasn’t there to see the band; I was there to “make the scene,” which is to say see and be seen by my peers. As Jennifer Hall-Witt explains in her fascinating book Fashionable Acts: Opera and Elite Culture in London, 1780-1880 (University of New Hampshire Press, 2007), that’s apparently why English notables went to the opera in the late eighteenth and early nineteenth century. They dressed up, went out, and “made the scene.” All the while there was an opera being performed, but it doesn’t seem anyone was paying close attention to it. They milled about, traded glances, visited each other’s boxes, talked, joked and generally had a good time. That all changed in the second half of the century. Most significantly, people began to watch and listen to the opera instead of each other. Jennifer tells us why. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I was young I liked to go to bars, especially bars where bands were playing. But when I got there, I often didn’t listen very carefully. And in truth, I wasn’t there to see the band; I was there to “make the scene,” which is to say see and be seen by my peers. As Jennifer Hall-Witt explains in her fascinating book Fashionable Acts: Opera and Elite Culture in London, 1780-1880 (University of New Hampshire Press, 2007), that’s apparently why English notables went to the opera in the late eighteenth and early nineteenth century. They dressed up, went out, and “made the scene.” All the while there was an opera being performed, but it doesn’t seem anyone was paying close attention to it. They milled about, traded glances, visited each other’s boxes, talked, joked and generally had a good time. That all changed in the second half of the century. Most significantly, people began to watch and listen to the opera instead of each other. Jennifer tells us why. Learn more about your ad choices. Visit megaphone.fm/adchoices