Podcasts about new netherlands

Your daily news in under three minutes.   Connect with us: @AJEPodcasts on Twitter, Instagram, Facebook, Threads and YouTube

The Highlands doesn't have the terrain or conditions for the type of disaster that killed 101 people last year on the island of Maui in Hawaii. But that doesn't mean there are no risks, especially if simultaneous fires forced a mass exodus. Native Americans used sophisticated tools and strategies to shape the landscape. One of the most important was fire. Indigenous peoples set fires to open land for planting and to clear crinkly underbrush that alerted game to a hunter's presence. Burning the land returned nutrients to the soil and encouraged growth that deer, turkey and quail depended on for food. Archaeologist Lucianne Lavin has uncovered evidence of controlled burns near Albany around the year 1000 A.D. They were almost certainly used in the Highlands, as well. "Such a fire is a spectacular sight when one sails on the rivers at night while the forest is ablaze on both banks," wrote Adriaen van der Donck, an important leader in New Netherlands in the 1640s. In the past few decades, controlled burns, or prescribed fires, have become a common part of preventing wildfires such as a 1988 blaze that consumed nearly 800,000 acres in Yellowstone National Park. The argument is now widely accepted that more than a century of rigorous fire suppression has created the conditions for even worse fires to break out and spread. Erica Smithwick, director of the Earth and Environmental Systems Institute at Penn State University, who specializes in eastern U.S. wildfires, has studied the issue of controlled burns and worked with land managers, hunters and conservationists to put intentional fire back on the radar in Pennsylvania. While the practice faced some resistance, she notes that managers in the Pine Barrens region of New Jersey have been conducting controlled burns for years. As part of her pitch, she points out that controlled burns reduce tick populations. There are two problems with controlled burns, however. The first is capacity, because it takes training. New York State does some training at the Albany Pine Bush Preserve, in Minnewaska State Park and on Long Island, but not enough for fire agencies around the state to adopt the practice. Evan Thompson, the manager of the Hudson Highlands State Park Preserve, believes it would be difficult to introduce controlled burns in the park's rugged landscape, which spans some 25,000 acres on both sides of Route 9. "You can't burn everything from Garrison to Fahnestock," he says. Still, Joseph Pries, the state Department of Environmental Conservation fire ranger for Dutchess and Putnam counties, says the agency is ready to draw up plans for controlled burns for any agency or manager who wants them. The second limitation is public acceptance. Many people, thoroughly indoctrinated by decades of Smokey Bear commercials, remain skeptical of the idea that starting a fire can stop a fire. Liability is key: If a controlled burn gets out of control and destroys property (which has happened), who pays the bill? Anticipating this, in 2009, the Pennsylvania Legislature passed a law protecting public agencies and non-governmental organizations that employ trained burned bosses from lawsuits over damage. Because there are so many homes along the perimeter of the Hudson Highlands State Park Preserve, Thompson worries about a controlled burn that escapes its handlers. "It could have disastrous consequences," he says. The same thing that could make a wildfire in the Highlands so destructive - the encroachment of homes into the woods - is what makes using controlled burns to mitigate the risk so difficult. According to Smithwick, many places lack a forest management plan to sort through the intricate web of entangled species and conflicting demands that make up forest ecology. Lauren Martin, a park steward at the Hudson Highlands State Park Preserve, agrees. "Forest management is a constant give-and-take," she says. Dead trees can fuel intense fires but also shelter wildlife and would be expensive to re...

Giovanni Battista Rogeri has often been confused with other makers such as the Rugeri family, because of his name, and Giovanni Paolo Maggini, because of his working style. Trained in the famous workshop of Nicolo Amati in Cremona, Rogeri set out to make a name for himself in Brescia creating a Cremonese Brescian fusion. Learn all about this often mistaken maker in this first episode on the life of Giovanni Battista Rogeri.   This is the story of Giovanni Battista Rogeri the Cremonese trained violin maker who made it big in Brescia and has since been confused with other makers throughout history. Florian Leonhard talks about the influences Rogeri pulled on and exactly why his instruments have for so long been attributed to Giovanni Paolo Maggini.   Transcript    Far, far away in a place called Silene, in what is now modern day Libya, there was a town that was plagued by an evil venom spewing dragon, who skulked in the nearby lake, wreaking havoc on the local population. To prevent this dragon from inflicting its wrath upon the people of Silene, the leaders of the town offered the beast two sheep every day in an attempt to ward off its reptilian mood swings. But when this was not enough, they started feeding the scaly creature a sheep and a man. Finally, they would offer the children and the youths of the town to the insatiable beast, the unlucky victims being chosen by lottery.  As you can imagine, this was not a long term sustainable option. But then, one day, the dreaded lot fell to the king's daughter. The king was devastated and offered all his gold and silver, if only they would spare his beloved daughter.  The people refused, and so the next morning at dawn, the princess approached the dragon's lair by the lake, dressed as a bride to be sacrificed to the hungry animal.  It just so happened that a knight who went by the name of St George was passing by at that very moment and happened upon the lovely princess out for a morning stroll. Or so he thought. But when it was explained to him by the girl that she was in fact about to become someone else's breakfast and could he please move on and mind his own business he was outraged on her behalf and refused to leave her side.  Either she was slightly unhinged and shouldn't be swanning about lakes so early in the morning all by herself, or at least with only a sheep for protection, or she was in grave danger and definitely needed saving. No sooner had Saint George and the princess had this conversation than they were interrupted by a terrifying roar as the dragon burst forth from the water, heading straight towards the girl. Being the nimble little thing she was, the princess dodged the sharp claws.  As she was zigzagging away from danger, George stopped to make the sign of the cross and charged the gigantic lizard, thrusting Ascalon, that was the name of his sword, yep he named it, into the four legged menace and severely wounded the beast. George called to the princess to throw him her girdle, That's a belt type thing, and put it around the dragon's neck. From then on, wherever the young lady walked, the dragon followed like a meek beast.  Back to the city of Silene went George, the princess, and the dragon, where the animal proceeded to terrify the people. George offered to kill the dragon if they consented to becoming Christian. George is sounding a little bit pushy, I know. But the people readily agreed and 15, 000 men were baptized, including the king. St. George killed the dragon, slicing off its head with his trusty sword, Ascalon, and it was carried out of the city on four ox carts. The king built a church to the Blessed Virgin Mary and St. George on the site where the dragon was slain and a spring flowed from its altar with water that it is said would cure all diseases.  This is the story of Saint George and the Princess. It is a classic story of good versus evil, and of disease healing miracles that would have spoken to the inhabitants of 17th century Brescia. The scene depicting Saint George and the Princess is painted in stunning artwork by Antonio Cicognata and was mounted on the wall of the Church of San Giorgio.  Giovanni Battista Rogeri gazed up at this painting as family and friends, mainly of his bride Laura Testini, crowded into the church of San Giorgio for his wedding. Giovanni was 22 and his soon to be wife, 21, as they spoke their vows in the new city he called home. He hoped to make his career in this town making instruments for the art loving Brescians, evidence of which could be seen in the wonderful artworks in such places as this small church. Rogeri would live for the next 20 years in the parish of San Giorgio. The very same George astride an impressive white stallion in shining armour, his head surrounded by a golden halo. He is spearing the dragon whilst the princess calmly watches on clad in jewels with long red flowing robes in the latest fashion. In the background is the city of Brescia itself, reminding the viewer to remember that here in their city they too must fight evil and pray for healing from disease ever present in the lives of the 17th century Brescians. Hello and welcome to the Violin Chronicles, a podcast in which I, Linda Lespets, will attempt to bring to life the story surrounding famous, infamous, or just not very well known, but interesting violin makers of history.  I'm a violin maker and restorer. I graduated from the French Violin Making School some years ago now, and I currently live and work in Sydney with my husband Antoine, who is also a violin maker and graduate of the French school, l'Ecole Nationale de Luthierie in Mircourt. As well as being a luthier, I've always been intrigued with the history of instruments I work with, and in particular, the lives of those who made them. So often when we look back at history, I know that I have a tendency to look at just one aspect, but here my aim is to join up the puzzle pieces and have a look at an altogether fascinating picture. So join me as I wade through tales not only of fame, famine, and war, but also of love. Artistic genius. Revolutionary craftsmanship, determination, cunning and bravery, that all have their part to play in the history of the violin.  Welcome to this first episode on the life of Giovanni Battista Rogeri. After having spent the last few episodes looking at the life of the Ruggeri family, we will now dive into the life of that guy who almost has the same name, but whose work and contribution to violin making, you will see, is very different. And we will also look at just why, for so many years, his work has been attributed erroneously to another Brescian maker. The year was 1642, and over the Atlantic, New York was called New Amsterdam. The Dutch and the English were having scuffles over who got what. Was it New England? New Netherlands? In England, things were definitely heating up, and in 1642, a civil war was in the process of breaking out. On one side there were the parliamentarians, including Oliver Cromwell, and on the other side were the Royalists, who were the supporters of King Charles I. This war would rage on for the next 20 years, and not that anyone in England at this time really cared, but the same year that this war broke out, a baby called Giovanni Battista Rogeri was born in Bologna, perhaps, and for the next 20 years he grew up in this city ruled by the Popes of Italy. He too would witness firsthand wars that swept through his hometown. He would avoid dying of the dreaded plague, sidestep any suspicion by the Catholic church in this enthusiastic time of counter reformation by being decidedly non Protestant. And from an early age, he would have been bathed in the works of the Renaissance and now entering churches being constructed in the Baroque style. Bologna was a city flourishing in the arts, music and culture, with one of the oldest universities in the country.  But for the young Giovanni Battista Rogeri, to learn the trade of lutai, or violin maker, the place he needed to be was, in fact, 155. 9 km northwest of where he was right now. And if he took the A1, well, today it's called the A1, and it's an ancient Roman road so I'm assuming it's the same one, he could walk it in a few days. Destination Cremona, and more precisely, the workshop of Niccolo Amati. An instrument maker of such renown, it is said that his grandfather, Andrea Amati, made some of the first violins and had royal orders from the French king himself.  To be the apprentice of such a man was a grand thing indeed. So we are in the mid 1600s  and people are embracing the Baroque aesthetic along with supercharged architecture and paintings full of movement, colour and expression. There is fashion, and how the wealthy clients who would buy instruments in Cremona dressed was also influenced by this movement. Emily Brayshaw. You've got these ideas of exaggeration of forms and you can exaggerate the human body with, you know, things like high heels and wigs and ribbons and laces. And you've got a little bit of gender bending happening, men wearing makeup and styles in the courts. You know, you've got dress and accessories challenging the concept of what's natural, how art can compete with that and even triumph over the natural perhaps. You've got gloves trimmed with lace as well. Again, we've got a lot of lace coming through so cravats beauty spot as well coming through. You've got the powder face, the, the wig. Yeah. The makeup, the high heels. Okay. That's now. I actually found a lovely source, an Italian tailor from Bergamo during the Baroque era. The Italians like really had incredibly little tailors and tailoring techniques. And during this sort of Baroque era. He grumbles that since the French came to Italy not to cut but to ruin cloth in order to make fashionable clothes, it's neither possible to do our work well nor are our good rules respected anymore. We have completely lost the right to practice our craft. Nowadays though who disgracefully ruin our art and practice it worse than us are considered the most valuable and fashionable tailors.  So we've got like this real sort of shift. You know, from Italian tailoring to sort of French and English tailoring as well. And they're not happy about it. No, they are not happy about it. And this idea that I was talking about before, we've got a lovely quote from an Italian fashion commentator sort of around the mid 17th century. His name's Lam Pugnani, and he mentions the two main fashions. meaning French and Spanish, the two powers that were ruling the Italian peninsula and gradually building their global colonial empires. And he says, “the two main fashions that we have just recorded when we mentioned Spanish and French fashion, enable me to notice strangeness, if not a madness residing in Italian brains, that without any reason to fall in love so greatly Or better, naturalize themselves with one of these two nations and forget that they are Italian. I often hear of ladies who come from France, where the beauty spot is in use not only for women, but also for men, especially young ones, so much so that their faces often appear with a strange fiction darkened and disturbed, not by beauty spots, but rather by big and ridiculous ones, or so it seems somebody who is not used to watching similar mode art”. So, you know, we've got people commentating and grumbling about these influences of Spain and France on Italian fashion and what it means to be Italian. When we sort of think about working people, like there's this trope in movie costuming of like peasant brown,  you know, and sort of ordinary, you know, people, perhaps ordinary workers, you know, they weren't necessarily dressed.  In brown, there are so many different shades of blue. You know, you get these really lovely palettes of like blues, and shades of blue, and yellows, and burgundies, and reds, as well as of course browns, and creams, and these sorts of palettes. So yeah, they're quite lovely. And I'm imagining even if you didn't have a lot of money, there's, I know there's a lot of flowers and roots and barks that you can, you can dye yourself. Yeah, definitely. And people did, people did. I can imagine if I was living back there and we, you know, we're like, Oh, I just, I want this blue skirt. And you'd go out and you'd get the blue skirt. The flowers you needed and yeah, definitely. And people would, or, you know, you can sort of, you know, like beetroot dyes and things like that. I mean, and it would fade, but then you can just like, you know, quickly dye it again. Yeah, or you do all sorts of things, you know, and really sort of inject colour and, people were also, you know, people were clean. To, you know, people did the best they could  keep themselves clean, keep their homes clean. You know, we were talking about boiling linens to keep things fresh and get rid of things like fleas and lice. And people also used fur a lot in fashion. And you'd often like, you know, of course you'd get the wealthy people using the high end furs, but sometimes people would, you know, use cat fur in Holland, for example, people would trim their fur. Their garments and lined their garments with cat fur.  Why not? Because, you know, that's sort of what they could afford.  It was there. Yeah, people also would wear numerous layers of clothing as well because the heating wasn't always so great. Yeah. You know, at certain times of the year as well. So the more layers you had, the better. The more, the more warm and snug you could be. As do we in Sydney. Indeed.  Indeed.  Canadians complain of the biting cold here. I know. And it's like, dude, you've got to lay about us. It's a humid cold. It's awful. It's horrible. It just goes through everything. Anyway. It's awful. Yeah. So at the age of 19, Giovanni Battista Rogeri finds himself living in the lively and somewhat crowded household of Niccolo Amati. The master is in his early 60s and Giovanni Battista Rogeri also finds himself in the workshop alongside Niccolo Amati's son Girolamo II Amati, who is about 13 or 14 at this time.  Cremona is a busy place, a city bursting with artisans and merchants. The Amati Workshop is definitely the place to be to learn the craft, but it soon becomes clear as Giovanni Battista Rogeri looks around himself in the streets that, thanks to Nicolo Amati, Cremona does indeed have many violin makers, and although he has had a good few years in the Amati Workshop, Learning and taking the young Girolamo II Amati the second under his wing more and more as his father is occupied with other matters. He feels that his best chances of making a go of it would be better if he moved on and left Cremona and her violin makers. There was Girolamo II Amati who would take over his father's business. There were the Guarneri's around the corner. There was that very ambitious Antonio Stradivari who was definitely going to make a name for himself. And then there were the Rugeri family, Francesco Rugeri and Vincenzo Rugeri whose name was so familiar to his, people were often asking if they were related.  No, it was time to move on, and he knew the place he was headed. Emily Brayshaw.  So, you've also got, like, a lot of artisans moving to Brescia as well, following the Venetian ban on foreign Fustian sold in the territory. So Fustian is, like, a blend of various things. Stiff cotton that's used in padding. So if you sort of think of, for example someone like Henry VIII, right? I can't guarantee that his shoulder pads back in the Renaissance were from Venetian Fustian, but they are sort of topped up and lined with this really stiff Fustian to give like these really big sort of, Broad shoulders. That's how stiff this is. So, Venice is banning foreign fustians, which means that Cremona can't be sold in these retail outlets. So, Ah, so, and was that sort of That's fabric, but did that mirror the economy that Brescia was doing better than Cremona at this point? Do you, do you think? Because of that? Well, people go where the work is. Yeah. Cause it's interesting because you've got Francesco Ruggeri, this family that lives in Cremona. Yeah. And then you have about 12 to 20 years later, you have another maker, Giovanni Battista Rogeri.  Yeah. He is apprenticed to Niccolo Amati. So he learns in Cremona. And then he's in this city full of violin makers, maybe, and there's this economic downturn, and so it was probably a very wise decision. He's like, look, I'm going to Brescia, and he goes to Brescia. He would have definitely been part of this movement of skilled workers and artisans to Brescia at that time, sort of what happening as well. So, you know, there's all sorts of heavy tolls on movements of goods and things like that. And essentially it collapses. And they were, and they were heavily taxed as well. Yeah, definitely. Definitely. It was the fabulous city of Brescia. He had heard stories of the city's wealth, art, music and culture, famous for its musicians and instrument makers. But the plague of 1630 had wiped out almost all the Luthiers and if ever there was a good time and place to set up his workshop, it was then and there. So bidding farewell to the young Girolamo Amati, the older Nicolò  Amati and his household, where he had been living for the past few years. The young artisan set out to make a mark in Brescia, a city waiting for a new maker, and this time with the Cremonese touch. Almost halfway between the old cathedral and the castle of Brescia, you will find the small yet lovely Romanesque church of San Giorgio. Amidst paintings and frescoes of Christ, the Virgin and the Saints, there stands a solemn yet nervous young couple, both in their early twenties. Beneath the domed ceiling of the church, the seven angels of the Apocalypse gaze down upon them, a constant reminder that life is fragile, and that plague, famine and war are ever present reminders of their mortality. But today is a happy one. The young Giovanni Battista Rogeri is marrying Laura Testini.  And so it was that Giovanni Battista Rogeri moved to Brescia into the artisanal district and finds himself with a young wife, Laura Testini. She is the daughter of a successful leather worker and the couple most probably lived with Laura's family. Her father owned a house with eight rooms and two workshops. This would have been the perfect setup for the young Giovanni to start his own workshop and get down to business making instruments for the people of Brescia. He could show off his skills acquired in Cremona, and that is just what he did. Since the death of Maggini, there had not been any major instrument making workshops in Brescia. Florian Leonhard  Here I talk to Florian Leonhard about Giovanni Battista Rogeri's move to Brescia and his style that would soon be influenced by not only his Cremonese training, but the Brescian makers such as Giovanni Paolo Maggini I mean, I would say in 1732. The Brescian violin making or violin making was dead for a bit,  so until the arrival of Giovanni Battista Rogeri, who came with a completely harmonised idea,  into town and then adopted  features of  Giovanni Paolo Maggini and Gasparo da Salo. I cannot say who, probably some Giovanni Paolo Maggini violins that would have been more in numbers available to him, have influenced his design of creating an arching. It's interesting that he instantly picked up on that arching  because Giovanni Battista Rogeri always much fuller arched. The arching rises much earlier from the purfling up. Right. So he came from the Cremonese tradition, but he adopted the, like, the Brescian arching idea. He, he came from Niccolo Amati and has learned all the finesse of construction, fine making, discipline, and also series production. He had an inside mould, and he had the linings, and he had the, all the blocks, including top and bottom block.  And he nailed in the neck, so he did a complete package of Cremonese violin making and brought that into Brescia, but blended it in certain stylistics and sometimes even in copies with the Brescian style. For a long time, we have had Before dendrochronology was established, the Giovanni Paolo Magginis were going around and they were actually Giovanni Battista Rogeris. Brescia at this time was still a centre flourishing in the arts and despite the devastation of the plague almost 30 years ago, it was an important city in Lombardy and was in the process of undergoing much urban development and expansion.  When Giovanni Rogeri arrived in the city, There were efforts to improve infrastructure, including the construction of public buildings, fortifications and roads. The rich religious life of the city was evident, and continued to be a centre of religious devotion at this time, with the construction and renovation of churches in the new Baroque style.  The elaborate and ornate designs were not only reserved for churches, but any new important building projects underway in the city at this time. If you had yourself the palace in the Mula, you were definitely renovating in the Baroque style. And part of this style would also be to have a collection of lovely instruments to lend to musicians who would come and play in your fancy new pad. Strolling down the colourful streets lined with buildings covered in painted motifs, people were also making a statement in their choice of clothing. Another thing that the very wealthy women were wearing are these shoes called Chopines, which are like two foot tall. And so you've got like this really exaggerated proportions as well. Very tall. I mean. Very tall, very wide. So taking up a lot of space. I'm trying to think of the door, the doorways that would have to accommodate you. Yes. How do you fit through the door? So a lot of the time women would have to stoop. You would need to be escorted by either servants.  And then you'd just stand around. I did find some discussions of fashion in the time as well.  Commentators saying, well, you know, what do we do in northern France? We either, in northern Italy, sorry, we either dress like the French, we dress like the Spanish, why aren't we dressing like Italians? And kind of these ideas of linking national identity through the expression of dress in fashion. So, we're having this But did you want to, was it fashionable to be to look like the French court or the, to look like the Spanish court. Well, yeah, it was, it was fashionable. And this is part of what people are commenting about as well. It's like, why are we bowing to France? Why are we bowing to Italy? Sorry. Why are we bowing to Spain? Why don't we have our own national Italian identity? And we do see like little variations in dress regionally as well. You know, people don't always. Dress exactly how the aristocracy are dressing. You'll have your own little twists, you'll have your own little trimmings, you'll have your own little ways and styles. And there are theories in dress about trickle down, you know, like people are trying to emulate the aristocracy, but they're not always. Trying to do that. Well, yeah, it's not practical if you're living, you know, if you're and you financially you can't either like some of these Outfits that we're talking about, you know with one of these hugh like the Garde in Fanta worn by Marie Theresa that outfit alone would have cost in today's money like more than a million dollars  You can't copy these styles of dress, right? So what you've got to do is, you know, make adjustments. And also like a lot of women, like you, these huge fashion spectacles worn at court. They're not practical for working women either. So we see adaptations of them. So women might have a pared down silhouette and wear like a bum roll underneath their skirts and petticoats and over the top of the stays. And that sort of gives you a little nod to these wider silhouettes, but you can still move, you can still get your work done, you can still, you know, do things like that. So that's sort of what's happening there. Okay, so now we find a young Giovanni Battista Rogeri. He has married a local girl and set up his workshop. Business will be good for this maker, and no doubt thanks to the latest musical craze to sweep the country. I'm talking about opera.  In the last episodes on Francesco Ruggeri, I spoke to Stephen Mould, the composer. at the Sydney Conservatorium about the beginnings of opera and the furore in which it swept across Europe. And if you will remember back to the episodes on Gasparo Da Salo at the beginning of the Violin Chronicles, we spoke about how Brescia was part of the Venetian state.  This is still the case now with Giovanni Battista Rogeri and this means that the close relationship with Venice is a good thing for his business.  Venice equals opera and opera means orchestras and where orchestras are you have musicians and musicians have to have an instrument really, don't they? Here is Stephen Mould explaining the thing that is opera and why it was so important to the music industry at the time and instrument makers such as our very own Giovanni Battista Rogeri. Venice as a place was a kind of Gesamtkunstwerk.  Everything was there, and it was a very, it was a very modern type of city, a trading city, and it had a huge emerging, or more than emerging, middle class. People from the middle class like entertainment of all sorts, and in Venice they were particularly interested in rather salacious entertainments, which opera absolutely became. So the great thing of this period was the rise of the castrato.  Which they, which, I mean, it was, the idea of it is perverse and it was, and they loved it. And it was to see this, this person that was neither man nor, you know, was in a way sexless on the stage singing  and, and often singing far more far more virtuosically than a lot of women, that there was this, there was this strange figure. And that was endlessly fascinating. They were the pop stars of their time. And so people would go to the opera just to hear Farinelli or whoever it was to sing really the way. So this is the rise of public opera. As opposed to the other version. Well, Orfeo, for example, took place in the court at Mantua, probably in the, in the room of a, of a palace or a castle, which wouldn't have been that big, but would have been sort of specially set up for those performances. If I can give you an idea of how. Opera might have risen as it were, or been birthed in Venice. Let's say you've got a feast day, you know, a celebratory weekend or few days. You're in the piazza outside San Marco. It's full of people and they're buying things, they're selling things, they're drinking, they're eating, they're having a good time. And all of a sudden this troupe of strolling players comes into the piazza and they start to put on a show, which is probably a kind of comedia dell'arte spoken drama. But the thing is that often those types of traveling players can also sing a bit and somebody can usually play a lute or some instrument. So they start improvising. Probably folk songs. Yeah. And including that you, so you've kind of already there got a little play happening outside with music. It's sort of like a group of buskers in Martin place. It could be very hot. I mean, I've got a picture somewhere of this. They put a kind of canvas awning with four people at either corner, holding up the canvas awning so that there was some sort of shade for the players. Yeah. That's not what you get in a kid's playground these days. You've almost got the sense. Of the space of a stage, if you then knock on the door of one of the palazzi in, in Venice and say to, to the, the local brew of the, of the aristocracy, look, I don't suppose we could borrow one of your rooms, you know, in your, in your lovely palazzo to, to put on a, a, a show.  Yeah, sure. And maybe charged, maybe didn't, you know, and, and so they, the, the very first, it was the San Cassiano, I think it was the theatre, the theatre, this, this room in a, in a palace became a theatre. People went in an impresario would often commission somebody to write the libretto, might write it himself. Commissioner, composer, and they put up some kind of a stage, public came in paid, so it's paying to come and see opera.  Look, it's, it's not so different to what had been going on in England in the Globe Theatre. And also the, the similar thing to Shakespeare's time, it was this sort of mixing up of the classes, so everything was kind of mixed together.  And that's, that's why you get different musical genres mixed together. For example, an early something like Papaya by Monteverdi, we've just done it, and from what, from what I can gather from the vocal lines, some of the comic roles were probably these street players,  who just had a limited vocal range, but  could do character roles very well, play old women, play old men, play whatever, you know, caricature type roles. Other people were Probably trained singers. Some of them were probably out of Monteverdi's chorus in San Marco, and on the, on when they weren't singing in church, they were over playing in the opera, living this kind of double life.  And That's how  opera  started to take off. Yeah, so like you were saying, there are different levels. So you had these classical Greek themes, which would be more like, you're an educated person going, yes, yes, I'm seeing this classical Greek play, but then you're someone who'd never heard of Greek music. The classics. They were there for the, you know, the lively entertainment and the sweet performers. Yes. So the, the, the Commedia dell'arte had, had all these traditional folk tales. Then you've got all of the, all of the ancient myths and, and, and so forth.  Papaya was particularly notable because it was the first opera that was a historical opera. So it wasn't based on any ancient myths or anything. It was based on the life of Nero and Papaya. And so they were real life a few hundred years before, but they were real. It was a real historical situation that was being enacted on the stage.  And it was a craze. That's the thing to remember is. You know, these days people have to get dressed up and they have to figure out how they get inside the opera house and they're not sure whether to clap or not and all of this sort of stuff and there's all these conventions surrounding it. That wasn't what it was about. It was the fact that the public were absolutely thirsty for this kind of entertainment.  Yeah. And I was seeing the first, so the first opera house was made in in about 1637, I think it was. And then by the end of Monteverdi's lifetime, they said there were 19 opera houses in Venice. It was, like you were saying, a craze that just really took off. They had a few extra ones because they kept burning down. That's why one of them, the one that, that is, still exists today is called La Fenice. It keeps burning down as well, but rising from the ashes. Oh, wow. Like the, yeah, with the lighting and stuff, I imagine it's So, yeah, because they had candles and they had, you know, Yeah, it must have been a huge fire hazard. Huge fire hazard, and all the set pieces were made out of wood or fabric and all of that. Opera houses burning down is another big theme.  Oh yeah, it's a whole thing in itself, yeah. So then you've got These opera troupes, which are maybe a little, something a little bit above these commedia dell'arte strolling players. So, you've got Italy at that time. Venice was something else. Venice wasn't really like the rest of Italy. You've got this country which is largely agrarian, and you've got this country where people are wanting to travel in order to have experiences or to trade to, to make money and so forth. And so, first of all if an opera was successful, it might be taken down to Rome or to Naples for people to hear it. You would get these operas happening, happening in different versions. And then of course, there was this idea that you could travel further through Europe. And I, I think I have on occasion, laughingly. a couple of years ago said that it was like the, the latest pandemic, you know, it was, but it was this craze that caught on and everybody wanted to experience. Yeah. So you didn't, you didn't have to live in Venice to see the opera. They, they moved around. It was, it was touring. Probably more than we think. That, that, that whole period, like a lot of these operas were basically unknown for about 400 years. It's only, the last century or so that people have been gradually trying to unearth under which circumstances the pieces were performed.  And we're still learning a lot, but the sense is that there was this sort of network of performers and performance that occurred.  And one of the things that Monteverdi did, which was, which was different as well, is that before you would have maybe one or two musicians accompanying, and he came and he went, I'm taking them all. And he created sort of, sort of the first kind of orchestras, like  lots of different instruments. They were the prototypes of, of orchestras. And Look, the bad news for your, the violin side of your project, there was certainly violins in it. It was basically a string contingent. That was the main part of the orchestra. There may have been a couple of trumpets, may have been a couple of oboe like instruments. I would have thought that for Venice, they would have had much more exotic instruments.  But the, the, the fact is at this time with the public opera, what became very popular were all of the stage elements. And so you have operas that have got storms or floods or fires. They simulated fires. A huge amount of effort went into painting these very elaborate sets and using, I mean, earlier Leonardo da Vinci had been experimenting with a lot of how you create the effect of a storm or an earthquake or a fire or a flood. There was a whole group of experts who did this kind of stuff. For the people at the time, it probably looked like, you know, going to the, the, the first big movie, you know, when movies first came out in the 20s, when the talkies came out and seeing all of these effects and creating the effects. When we look at those films today, we often think, well, that's been updated, you know, it's out of date, but they found them very, very, very compelling. What I'm saying is the money tended to go on the look of the thing on the stage and the orchestra, the sound of the orchestras from what we can gather was a little more monochrome. Of course, the other element of the orchestra is the continuo section. So you've got the so called orchestra, which plays during the aria like parts of the opera, the set musical numbers. And you've got the continuo, which is largely for the rest of the team. And you would have had a theorbo, you would have had maybe a cello, a couple of keyboard instruments, lute. It basically, it was a very flexible, what's available kind of. Yeah, so there was they would use violines, which was the ancestor of the double bass. So a three stringed  one and violins as well. And that, and what else I find interesting is with the music, they would just, they would give them for these bass instruments, just the chords and they would improvise sort of on those. Chords. So every time it was a little bit different, they were following a Yes. Improvisation. Yeah. So it was kind of original. You could go back again and again. It wasn't exactly the same. And look, that is the problem with historical recreation. And that is that if you go on IMSLP, you can actually download the earliest manuscript that we have of Papaya.  And what you've got is less than chords, you've got a baseline. Just a simple bass line,  a little bit of figuration to indicate some of the chords, and you've got a vocal line. That's all we have. We don't actually know, we can surmise a whole lot of things, but we don't actually know anything else about how it was performed. I imagine all the bass instruments were given that bass line, and like, Do what you want with that. So yeah, it would, and it would have really varied depending on musicians. Probably different players every night, depending on, you know,  look, if you go into 19th century orchestras, highly unreliable, huge incidents of drunkenness and, you know, different people coming and going because they had other gigs to do. Like this is 19th century Italian theatres at a point where, you know, It should have been, in any other country, it would have, Germany had much better organized you know, orchestral resources and the whole thing. So it had that kind of Italian spontaneity and improvised, the whole idea of opera was this thing that came out of improvisation. Singers also, especially the ones that did comic roles, would probably improvise texts, make them a bit saucier than the original if they wanted for a particular performance. All these things were, were open.  And this brings us to an end of this first episode on Giovanni Battista Rogeri.  We have seen the young life of this maker setting out to make his fortune in a neighbouring city, alive with culture and its close connections to Venice and the world of opera. I would like to thank my lovely guests Emily Brayshaw, Stephen Mould and Florian Leonhardt for joining me today.   ​ 

On this day in 1782, the Dutch Republic became the second nation to officially recognize the sovereignty of the United States.    See omnystudio.com/listener for privacy information.

The episode will present the Colony New France, first settlement of Canada, the founding of Quebec and Montreal, Louisiana settlement, Samuel de Champlain, fur trading outposts, the Colony New Netherlands, Purchase of Manhattan, Gotham City of New Amsterdam and the Swedish origin of Bronx.Subscribe: Don't miss any episodes, make sure you subscribe to the podcast!Social media: Facebook (www.facebook.com/oldglorypodcast), Twitter/X (@oldglorypodcast), Instagram (@oldgloryhistorypodcast)Rating: If you like the podcast, please give it a five-star rating in iTunes or Spotify!Contact: oldglorypodcast@gmail.comPicture: Peter Minuit, the governor of New Netherlands, makes the purchase of Manhattan 1626. WikipediaLiterature on the American Colonial Era:- American colonies: the settling of North America, Alan Taylor- Colonial America, Richard Middleton- The British in the Americas 1480-1815, Anthony McFarlane- The Americans: Colonial experience, Daniel Boorstin- The Barbarous years, Bernard Bailyn- The American Colonies, R.C. Simmons- Colonial America 1607-1763, Harry Ward- The Forty years that created America, Edward Lamont- Wilderness at dawn, Ted Morgan- A History of Colonial America, Max Savelle- The Brave new world, Peter Charles Hoffer- Founding of the American colonies 1583-1660, John Pomfret- The colonies in transition 1660-1713, Wesley Frank Craven Hosted on Acast. See acast.com/privacy for more information.

Colonial New York City's first founding settlers landed in 1624. One year later, the colony became the capital of New Netherlands, a New World province founded by Dutch settlers and entrepreneurs. Check out the YouTube version of this episode at https://youtu.be/sR__J3Ox22s which has accompanying visuals including maps, charts, timelines, photos, illustrations, and diagrams.  New Netherland books available at https://amzn.to/4aVLcv1  New Amsterdam books available at https://amzn.to/3SknH7u  New York City books available at https://amzn.to/3FvCHYz THANKS for the many wonderful comments, messages, ratings and reviews. All of them are regularly posted for your reading pleasure on https://patreon.com/markvinet where you can also get exclusive access to Bonus episodes, Ad-Free content, Extra materials, and an eBook Welcome Gift when joining our growing community on Patreon or Donate on PayPal at https://bit.ly/3cx9OOL and receive an eBook GIFT. SUPPORT this series by enjoying a wide-range of useful & FUN Gadgets at https://twitter.com/GadgetzGuy and/or by purchasing any product on Amazon using this FREE entry LINK https://amzn.to/3k8qrGM (Amazon gives us credit at no extra charge to you). It costs you nothing to shop using this FREE store entry link and by doing so encourages & helps us create more quality content. Thanks! Mark Vinet's HISTORICAL JESUS podcast is available at https://parthenonpodcast.com/historical-jesus                                                    Mark's TIMELINE video channel at https://youtube.com/c/TIMELINE_MarkVinet Website: https://markvinet.com/podcast Instagram: https://www.instagram.com/denarynovels Twitter: https://twitter.com/MarkVinet_HNA  Facebook: https://www.facebook.com/mark.vinet.9 YouTube Podcast Playlist: https://www.bit.ly/34tBizu Podcast: https://parthenonpodcast.com/history-of-north-america TikTok: https://tiktok.com/@historyofnorthamerica Books: https://amzn.to/3k8qrGM                                                                              Linktree: https://linktr.ee/WadeOrganization See omnystudio.com/listener for privacy information.

It's not just blue vs red, North vs South. There's us here in Yankeedom, Then there's New Netherlands, The Midlands, Tidewater, Greater Appalachia, The Deep South (of course), New France, The Far West, El Norte, The Left Coast, and First The post One Nation Indivisible: Oh Really? appeared first on Keeping Democracy Alive.

Before New York was New York, it was New Amsterdam. Dutch colonists arrived on the East Coast in the early 17th century, creating the New Netherlands. At its heart was a settlement on the tip of the island of Manhattan, centred on the fur trade. Russell Shorto tells Don how New Amsterdam became integral to all trade between Europe and the New World, becoming a version of the multicultural melting pot that is the (renamed) city today.Produced by Benjie Guy. Mixed by Joseph Knight. Senior Producer: Charlotte Long.For more History Hit content, subscribe to our newsletters here.If you'd like to learn even more, we have hundreds of history documentaries, ad-free podcasts, and audiobooks at History Hit - subscribe today!

Excerpt from "The Description and First Settlement of New Netherlands", in Nicolas Wassenaer's Historie van Europa.

This week in episode 7 of season 2, just like the british forces we will be following, we make our presence known loud and proud! How do we do this? Powered by the fuel of history and non-canonical direct to video sequels! Don't understand yet? That's ok, just hop on in and find out!   Come with Paul and Nolan as we learn about the origins of things we all thought we knew, like how and why the Pilgrims came to the new world, the surprise attack that took New York by surprise, and why you should never pray you sailors met god before they even leave port.   All that and more, so make sure to tune in for each and every episode as we continue this crazy and hilarious journey on BACKROW LESSONS!!!   Check us out on all the social media sites! https://twitter.com/BackrowLessons https://www.facebook.com/BackrowLessons https://backrowlessons.podbean.com/ https://www.instagram.com/Backrowlessons/

For a number of reasons Massachusetts is thought of as a product of British colonialism. We fought a revolution against the British, English is our primary language, our legal system is based on English law, and the state is part of “New England”. However, many may be surprised that before Massachusetts became English it was Dutch. Cape Cod was referred to as New Holland and most of the Northeast was either called New Belgium or New Netherlands. The dutch were setting up shop in Mass. a decade before the Pilgrims set foot in Plymouth. Yes, long before the English colonial charters were issued, Dutch explorers pushed through the wilderness, traded with native tribes, built settlements and created maps that showed them controlling the entire territory. What did Dutch Mass look like? What happened to it? Can we see any of it today? The Dutch did not control Massachusetts by the end of the 17th century and is generally not thought of as Dutch today. This episode of Lost Massachusetts starts with the early history of Dutch claims while pointing out a number of things that have Dutch origins. We interview Dutch Emma, who has lived in Massachusetts for years, about her knowledge of the Dutch legacy. Adriaen Block (thehistoryjunkie.com) Hendrick Christiaensen (newpaltz.edu) Cornelius Jacobsen May (newnetherlandinstitute.org) Block's Map (nyc99.org) New Netherlands Map (hjbltd.com) Later English Map with some Dutch names (natedsanders.com) Dutch Colonies (nps.gov) Get at Lost Massachusetts Postcard from a Lost Place LostMass Podcast Reviews at Apple (podcasts.apple.com) Photos at: instagram.com/lostmassachusetts Sound Effects From Zapsplat (zapsplat.com) Music Courtesy of Free Music Archive (freemusicarchive.org) More on lostmassachusetts.com --- Send in a voice message: https://anchor.fm/lostmass/message Support this podcast: https://anchor.fm/lostmass/support

Nominate Football-Oranje for "Best Podcast - International" and "Best Club Content Creator - International" HERE: https://footballcontentawards.com/voting Reaction podcast to Louis van Gaal being named as Netherlands manager again! Remember to subscribe to Football-Oranje and turn notifications ON to keep updated with all the uploads from our channel. Follow us on Twitter: https://twitter.com/FootballOranje_ Like us on Facebook: https://www.facebook.com/Football-Oranje Visit our website, PACKED with news, opinion and MORE: http://www.football-oranje.com/ Twitter: Michael Statham @EredivisieMike Mike Bell @MichaelJBell09

We will return to New Netherlands failed leaderships, the catastrophic "Pig Wars"  and the turnaround under Peter Stuyvesant's leadership. 

Arizona Republican Governor Doug Ducey made headlines over the weekend by vetoing 22 bills passed by his state's legislature. He claims he vetoed these bills because Arizona lawmakers need to pass a budget and have it on his desk ASAP. But is that the real reason? Also, I am down to the last little bit of Russell Shorto's 'The Island at the Center of the World: The Epic Story of Dutch Manhattan and the Forgotten Colony That Shaped America.' Let's take some time to unpack how the attitudes and organization of the Dutch imprinting themselves early-on in the colony of New Netherlands and the trading port of New Amsterdam helped to shape how the 13 colonies ultimately came together to form The United States of America as we know it today. If one looks closely, one can almost see current New York Governor Andrew Cuomo and the comedians at Saturday Night Live in the 17th century historical sketch Shorto provides. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/garrett-ashley-mullet/message Support this podcast: https://anchor.fm/garrett-ashley-mullet/support

We will turn to the Dutch colony of New Netherlands and the initial consolidation of the town called "New Amsterdam" aka New York City  

There were many men who helped shape the Colonial landscape of New England. Many dynamic and energetic men. One of the most prolific, and active men of the 1630s had to be John Underhill. When we last met, we developed a little of his family background. This episode we will look at his time among the English colonies. He held positions in Massachusetts Bay, Connecticut, New Haven, New Hampshire, and played a major role in the Mystic Massacre. It was not always pretty. We are building toward his second career in New Netherlands...that's right: this episode will only cover half of his story. Audio Production by Podsworth Media.

Welcome to From Complex to Queens, the Amazin’ Avenue podcast focusing on the Mets’ minor league system. Memorializing Anne Hutchinson, the Puritan who was tried and exiled from the Massachusetts Bay Colony due to her religious beliefs and settled in New Netherlands, the team discusses the top players who were sent packing from Boston to The Bronx. After, the team takes a look at the upcoming 2021 MLB Draft in the The Second Annual Way-Too-Early Draft Special! Steve is a fan of Jud Fabian, an outfielder from the University of Florida. Lukas likes Brady House, a infielder from Winder-Barrow High School in Georgia. Ken is a fan of Adrian Del Castillo, a catcher from the University of Miami. Thomas likes Jaden Hill, a right-handed pitcher from LSU. Wrapping things up, they discuss the Wilponery of the Week. As always, you can listen or subscribe to the podcast through Apple Podcasts, where we encourage you to leave a review if you enjoy the show. It really helps! And you can find us on the Stitcher app, Spotify, or listen wherever you get podcasts. Got questions? Comments? Concerns? You can email the show at fromcomplextoqueens at gmail dot com, and follow us on Twitter: Steve (@stevesypa), Lukas (@lvlahos343), (@KenLavin91), and Thomas (@sadmetsszn). Until next week, #lovethemets #lovethemets! Learn more about your ad choices. Visit megaphone.fm/adchoices

Russell Shorto - A Story of My Family and the Mob The Not Old Better Show, Author Interview Series Welcome to The Not Old Better Show.  I'm Paul Vogelzang, and this is episode #520.  Today's show is brought to you by Relief Factor. So many of The Not Old Better Show audience enjoy researching genealogy, family history, and ancestry.  Our guest today, NYT best-selling author, Russell Shorto's new book ‘Smalltime,' A Story of My Family and the Mob, explores much more. Admittedly, Russell Shorto also had unusually rich material to work with. “Smalltime: A Story of My Family and the Mob”  is a painstakingly researched, thoroughly entertaining, multi-generational look at Russell Shorto's paternal grandfather's career as a mobster in Johnstown, PA.  Speaking of the mob, 5 time Academy Award-winning filmmaker of The Godfather series. Francis Ford Coppola says of ‘Smalltime,'  “Great history mixed with lovely, lingering memories.” Shorto was born in 1959, and his grandfather, also named Russell Shorto, lived until 1981. They knew each other, but “Smalltime” could easily never have happened.  We talk about 'why,' the mob's way of doing business, and the personal growth that comes from researching your family's roots.  Russell Shorto says to do family history work you must have the stomach for it! Russell Shorto is known for narrative history, nonfiction books including “The Island at the Center of the World,” about the 17th-century North American Dutch colony New Netherlands, and “Revolution Song,” about the American Revolution. Yet the fascinating life of his own namesake ancestor might have remained unwritten if not for a chance encounter several years ago with an older relative who prodded him to look into it.  Check out our interview and please join me in welcoming to The Not Old Better Show via internet phone, author Russell Shorto. Thank you to sponsor Relief Factor for sponsoring the show today.  My special thanks to author Russell Shorto for his generous time today, and my thanks to you my dear Not Old Better Show audience for your company today, and I hope you'll join me next time.  Be safe, be healthy, and please practice smart social distancing, and remember, Let's talk about better. The Not Old Better Show. Thanks, everybody. URL:  Relief Factor dot com slash better  URL:   https://www.relieffactor.com/better

This history story tells about some manners and customs of New Netherlands. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

--Made of cast iron, probably in the Netherlands, ca. 1650 --found at the Schuyler Flatts, Colonie, New York --held by the New York State Museum A mysterious fragment of an iron fireback found near the hearth of an old manor house in what was New Netherlands shows how we have misunderstood the Dutch -- a people who strove for stability, domesticity, and traditional social hierarchy to link their far-flung colonies with the homeland. Image courtesy of the state of New York. Please support this podcast and hear all lectures, including the previous "History of the United States in 100 Objects" -- www.patreon.com/user?u=5530632

EPISODE 324 At last! The Bowery Boys: New York City History podcast looks at one of the strangest traditions in this city's long history -- that curious custom known as Moving Day. Every May 1st, for well over two centuries, from the colonial era to World War II, rental leases would expire simultaneously, and thousands of New Yorkers would pack their possessions into carts or wagons and move to new homes or apartments.  (Later on, October 1st would become the second ‘moving day’.) Of course, for the rest of the world May 1 would mean all different things – a celebration of spring or moment of political protest. And it would mean those things here in New York – but on a backdrop of just unbelievable mayhem in the streets. There are a few theories about the origin of Moving Day but most of them trace back the Dutch colony of New Netherlands. So why did New Yorkers continue the custom for centuries? FEATURINGDavy Crockett, The Jeffersons, Mickey Mouse and an amazing New Yorker named Amy Armstrong with a really stubborn husband. boweryboyshistory.com Make sure you're subscribed to the Bowery Boys: New York City History podcast so you don't miss an episode. Support the show.

The captain of a deep space freighter stumbles upon the salvage of several lifetimes.    Credits:  Narrated by Rebecca Gambino-Harris  Written and produced by Doryen Chin    ----more---- Music:  "They Call It Nature"  "Raise Your Hand If You Think Evil Is Increasing in This World"  "I Used to Need the Violence"  "Last Night I Dreamt I Saw True Love in Your Eyes"  by Chris Zabriskie  Licensed under Creative Commons: By Attribution 4.0 License  http://creativecommons.org/licenses/by/4.0/  "Awaiting Return"  "Departure - Ghostpocalypse"  "Echoes of Time v2"  "Heartbeat of the Hood"  "Lightless Dawn"  "Magic Forest"  "New Direction"  "Thunder Dreams"  "Tranquility"  "With The Sea"  by Kevin MacLeod (incompetech.com)  Licensed under Creative Commons: By Attribution 3.0 License  http://creativecommons.org/licenses/by/3.0/  "Sad Past"  by Silent Partner  https://soundcloud.com/silentpartnermusic    Transcript:   My name is Evelyn Parr. The date is December 29th, 1484. I've been an operator for T.K.I. for eight wake-years. For the last three, I've run internetwork shipping lanes through colonial systems. Primarily towing petroleum barges and the like. My operational record and qualifications aside, I've passed every single quarterly C.T. scan, amyloid screening, and telomere checkup with flying colors. So let there be no doubt whatsoever that I am of sound mind, regardless of what you may think after hearing this report. --- I was on a wake cycle returning from Chiron. I'd already checked all the Trident's operational systems. It was nearly time to go back on ice when we picked up the signal. By "we" I mean me... And my ship. Long-range scanners detected an A.S.O.S - automated distress beacon. Per Network contract, I was obligated to respond under penalty of forfeit. --- When you pick up any sort of distress call, the system is designed to make sure you know. They say it's because the company "values every human life," but we all know the odds of live rescue out here in the black. --- The alarm came out of nowhere. I was doing last-minute spot checks on my crasket -- cryogenic sleeping pod -- when all of a sudden there's this odd... rumbling sensation in my chest. The cabin goes black. Emergency lights come on. Klaxons ringing in my ears. And it startles me so bad I bust my head on a railing. I climb over to the nearest terminal. It's flashing an all-hands bulletin. "S.O.S. detected. Procedural intercept in progress." That rumbling I felt was the inertial dampers straining against the main engines. The Trident was already en-route to answer the call. --- When I got to the bridge, I disabled the alarm and checked the sit-rep. Depending how far off this thing was, I might've had to go back into cryo for several weeks before we even reached it. I couldn't believe it when I saw that we only had six hours until intercept. Six hours. Something that close would be well-inside visual range. Do you know what the odds are? Astronomical is... an understatement. --- The Trident had a periscope. I never used it. I forgot it was even there. But, apparently when the Salvage Protocols kick in, the periscope automatically deploys and orients straight to the source. I could barely make out the object, even at full zoom. A pale fleck drifting against the endless void. An escape pod. Not much more than a crasket. --- The rendezvous would be done by remote. A repair drone would deploy, fly out to the pod, then guide it straight into the Trident's path as we fly by. That way we don't waste any fuel trying to match its velocity. --- I consulted the Protocol Binder and refreshed myself on the recovery procedures. First, the recovered article -- in this case an escape pod -- must be checked for known contaminants. Radiation, toxic materials, and biological hazards. Then the interior of the pod would be slowly warmed up to room temperature. This allows any hidden or dormant biological contaminants to show themselves. If the pod is clear, recovery begins. If the pod is contaminated, we push it out to a safe distance and neutralize it with an asymmetric nuclear charge. --- A little after eighteen hundred hours, the repair drone successfully docked the pod to the Trident. --- I couldn't find any record of the pod's serial number in the T.K.I. database. But, there was a name painted on the side of the power-cell. "Rode Kruis." Whatever it as, it wasn't commercial. --- Dimensions of the pod were about 25 cubic meters. Most of the bulk was taken up by the power cell. Bio scans showed one living creature. A person. This meant the chances of a valuable recovery were slim. It also meant I'd be sharing my life support, water, and nutrients with another person for the foreseeable future. --- Halfway through the scan, the Trident detected a foreign biological substance on the pod. It appeared to be contained to a small area. Something no bigger than a suitcase. Just as I was about to turn the key to terminate the recovery, the system disabled my access. Locked me out. Apparently, it didn't see the foreign bio-mat as a threat. I was... Unimpressed with that assessment. --- The Trident's medical systems took over control of the pod and began a thorough checkup of its inhabitant. Whatever it was the sensors picked up on that pod, I didn't trust it, and I needed to ensure the safety of both myself and my cargo. --- Locked out of the recovery system, I could attempt to bypass it and force the Trident to undock the pod. But even if I succeeded, I could lose my license. However, as captain of the Trident, I had the power to arrest and interrogate any individuals which present a reasonable threat to myself, my crew, or company assets. Therefore, acting within my full rights as a contractor for T.K.I. under the laws and jurisdiction of the Colonial Alliance, I pursued the only course of action available to me. I woke them up. --- From the medical bay, I was able to access the crasket controls and perform an emergency override. A face appeared on the tiny monitor. A woman, barely in her twenties. As she came out of cryo-sleep, her breath began to fog the glass lid of the crasket. I switched on the intercom and went to pour myself some coffee while I waited for her to come to. --- As I returned, I could hear her voice, calling out for help. Coffee in hand, I pressed the talk button and told her it was alright, that she had been rescued. She breathed a sigh of relief and smiled into the camera. Then she asked if I could come let her out of the crasket. I told her that I'd do that as soon as I could, but I needed to clear some things up first. Standard procedure. She said she understood. I told her that while running safety scans, the Trident picked up an unidentified biological substance on her pod, and asked her if she knew anything about it. A look of panic washed over her face, and before she could answer my question, our conversation was interrupted by a red alert from the Trident -- just before the power cut out completely. --- The engineers say it was a solar flare, but there was nothing in the forecasts about any dangerous weather in the region. No other ships in nearby systems have reported any issues on or around that time. --- I waited patiently for the emergency systems to come online. But they never did. --- If the backups weren't coming on, that most likely meant that the fuses had popped from an overload. I'd have to manually reset them one by one. --- When you spend such a long time on a ship by yourself, its interior becomes as familiar to you as your childhood bedroom. --- I groped in the darkness of the medical bay and felt my way toward engineering without much difficulty. I quickly descended into the bowels of the Trident until finally I found what I was looking for. But when I checked the fuse controllers, I discovered that none of them had been tripped. The primary systems all remained firmly in the 'on' position. Same story with the backups. I knew that I must've been mistaken, so I fumbled around until I found an emergency torch. That's when I knew I was in trouble. Whatever killed the Trident, had apparently knocked out every single electronic circuit on board. Right down to the flashlights. --- It took me a little while to calm down from the panic. The Trident was a dead hulk. Floating through space at sub-relativistic speeds. Fourteen clicks from the nearest outpost. I couldn't even put up a distress beacon. My crasket had its own power supply, but if the torch was any indication, it was likely nonfunctional as well. --- I was right. --- Eventually, I remembered the girl in the escape pod. I thought about her, cold and alone, trapped in a dead crasket, not knowing what was going on. Rescued from cryo-sleep only to be entombed alive. I... I almost didn't... I thought, "what would be the point?" Even if I got her out of there, she'd still die. We both would. But... I couldn't let her die alone. --- I took my tool kit down to the docking bay and that's when I see a light. There was a light, shining through the hatch window on the docking port. Having become fully accustomed to total darkness, it stung my eyes to look at it. I could see the fog of my breath puffing out in front of me as I pulled myself along the handrails toward it. Up close it was plain to see. Somehow... Miraculously... The pod still had power. --- The pod hatch was so crusted with interstellar grime that my spanner nearly snapped cracking it open. The air inside was stale. Metallic. Vintage tech. Sunbleached and brittle. Back then they still used actual plastic. --- The pod's systems woke up on my approach. Little fans whirred to life, storage units chattering. But the crasket was dark. Its glass fogged by grime and condensation. I suddenly realized I had no idea how long it had been since the power went out. If the trident was still in control of the crasket when it did... --- I stared at it. Guilt dragging on my gut. My hands were shaking so bad I had a hard time popping the latch on the lid. But I didn't close my eyes. If my chickenshit behavior had killed this poor girl, I at least owed her that. --- I almost couldn't do it. But I did. As I lifted the lid of the crasket, the lights inside blinked on. She was gone. The crasket was empty. --- I couldn't process what I was seeing. I reached down and touched the lining of the crasket. It was cool, and dry. It just didn't make any sense. A rush of cold hit me out of nowhere and I was stricken with a sudden lethargy. Like I had been hit with a tranquilizer. And I feel this, creeping sensation. Crawling up my back and my neck. Like static electricity. --- It was like a lightbulb went off in my head. I started putting pieces together. I realized this wasn't a salvage or a rescue mission. I was being hijacked. And this... Bitch... Whoever she was... She was right behind me. At this point, my fight or flight response must've kicked in because I spun around, ready for... I don't even know. --- And just my luck, that's when the power in the Trident came back on. Which meant gravity was back. I fell. Right into the open crasket. --- I think I hit my head again. There was a flash of light behind my eyes. When I was finally able to focus again, I saw a trickle of blood on the lid of the crasket... Which I realized had closed on me. I heard the latch engage with a meaty thunk. --- Through the glass, I see her. Standing over me. Her hand on the lid of the crasket. A look of triumph written on her fucking face. I think I screamed. Pounded on the glass as the crasket slowly filled with sleeping agent. Tendrils of white vapor curling around my bruised fists. And I just thought, "this is it." "This is how I die." --- I like my job. Pay's good. Meet new people. See new places. Everything's always different. Take a job from a man on the Solomons; Wake up and get paid by his grandson. So time... history... Not really my strong suit. --- I was one of those students who always aced every exam without studying. I know. Insufferable, right? To me, history was little more than endless memorization of dates and places and the names of people long since dead. Once mankind had had his way with good old Mother Earth, he moved on to bigger and better things. That's the story. That's all you really need to know about history. What else was there? --- The scientists who found me, an older couple on a survey mission, sent word of my recovery to T.K.I. I had been missing for eighteen months. They say it was a miracle I was even found at all. The couple had nearly completed their work and were preparing to leave the system behind when they detected an unexpected visitor passing near the world they were surveying. --- To say they were enthusiastic about finding me would be putting it lightly. But it wasn't really me they were interested in. They woke me hastily, and, ignoring all safety and quarantine procedures, ushered me onto their station. --- As we waited for a T.K.I. representative to send instructions for my return, they badgered me for information on the escape pod they found me in. A wave of humiliation washed over me. Still reeling, I didn't relish the thought of recounting the tale of my hijacking and subsequent marooning. --- Don't get me wrong. I was grateful to be alive. But I knew that T.K.I. would hold me fully accountable for the loss of my shipment. The insurance would cover any debts I owed on the Trident herself, but I'd be consigned to T.K.I. for longer than my natural life. --- They shared a surprised look and asked me what I was talking about. I told them that the Trident had been taken by a young woman who was pretending to be stranded on the escape pod they found me in. I described her to them, and guessed that she could be halfway across the quadrant by now, making a fortune off my haul and selling my ship for scrap. Again, they give each other this look, and then quietly asked me to follow them to their bridge. Intrigued, I did. --- The bridge had a breathtaking view of the survey world. A good deal of the station was visible on either side of the wrap-around windows. Looking out, I couldn't believe what I saw. Docked between their research shuttles, halfway down the superstructure, was the Trident. --- They told me the reason they were able to find me was the size of my signature on their deep space radar. It's hard to hide when you're towing twenty million tons of petroleum. Then they showed me a blip on their orbital debris tracker. My shipment was parked in a parallel orbit. --- And, I don't know what to do with this information. "What about the girl?" I ask them. And, for the third time, they give me this look, like I'm growing antlers out of my skull, and finally I'm so fed up that I shout at them to tell me just what the hell is going on. That's when they take me downstairs. To their research lab. --- And I'm about to lose it. I'm looking around at the lab and all the equipment. Spectrometers, electron microscopes, subterranean radiology. Standard Geology setup. Then I stop cold. Across from me, tacked to the wall, is a photograph. A group photo. About two-dozen people in uniform. The crew of a ship. But there's one face that stands out. A face that's burned permanently into my memory. I tell them, "There she is! That's her!" But I can tell they don't understand, so I pluck the photo off the wall and jab at the girl with my finger. "That's her! That's the damned pirate that hijacked me." They tell me I must be mistaken, that's impossible. --- And now I'm seeing red. Because I realize that they must be in on it. I haven't been rescued. I've been kidnapped. I demand to know what these supposed "geologists" want with me and my cargo. They explain that yes, they're scientists, but not geologists. They're archeologists. And the girl in the photo can't have hijacked my ship... Because she's been dead for almost four hundred years. --- At this point I break down in tears. I just let go and lose all control of my dignity. The archeologists wrap me in a blanket and stuff a cup of hot tea into my hands. Then, as carefully as they can, they tell me a story. --- A long time ago, a colony began to terraform a new system. But this was back in the days before xenobiology had matured as a field of study. The colonists were unaware that the terraforming process had awakened a dormant microbe in the permafrost of their new home. The death toll was catastrophic. But, a pioneering humanitarian organization out of New Netherlands devoted all of their resources to finding a cure. And eventually, it's believed that they did. But the system was already under strict quarantine. No ships were allowed in or out. But there was one ship that tried anyway. "The Rode Kruis?" I stated more than asked. A fragment of memory came forward in my mind. Some long forgotten bit of history that I hadn't bother to pay any attention. They nodded, and said that the Colonial Alliance had stationed several defense ships around the system to prevent traffic in or out. They fired on the Rode Kruis. And the captain, knowing that any survivors caught on an escape pod would never make it to the surface alive. I could tell where they were going, and I cut them off. "This was four hundred years ago, right? How could you know for sure? Maybe she did survive! Maybe she's still somewhere on the Trident!" They told me that yes, a single escape pod had been launched. But the Alliance left it alone because they didn't detect any life signs on board. As far as they were concerned, it was empty. They let it go. --- That's when I knew. The foreign bio-mat that the Trident detected... The reason it wasn't rejected by the contamination scans... She didn't hijack my ship to steal it. --- "But there _was_ someone on board," I said. But they told me it just wasn't possible. Captain Adrienne Kensington Ellis went down with her ship. Her body was recovered in the wreckage of the Rode Kruis and laid to rest on the world below. They built a monument to the sacrifice of her and her crew in the ruins of the capitol settlement. --- I must have watched the tapes a hundred times. Trying to make sense of it all. But every angle, every camera, showed the same thing. I saw myself. Talking to... Nothing. The escape pod was empty when I found it. Nobody had been in the crasket. --- It's been four centuries since the colony was wiped out by a mysterious alien virus. But somehow... Across space, and time, and even death, the captain of the Rode Kruis kept her promise. The cure had found its way home. THE END.

Episode Transcript: My name is Tanya Marsh and you’re listening to Death, et seq. We’ve been talking about funerals a lot on this podcast so far, and I wanted to switch gears this week and talk about one of my favorite topics – cemeteries. I love cemeteries. As my friends and family will attest, I am a semi-professional cemetery tourist. When I visit a new place, I want to check out the historic cemeteries. When I visit a place that I’ve been dozens of times, I still want to check out the cemeteries. So in a new series that I’m going to call “Cemetery Tourism,” I’ll be looking at different clusters of cemeteries that share similar characteristics or a similar history. I’m going to start the series in the Northeastern United States, in two of our earliest urban centers — New York City and Boston. Both of these cities were founded in the mid-1600s, and their early cemeteries share some common characteristics, but they also differed in important ways because of the people who founded those two cities. American cemeteries are different from cemeteries anywhere else in the world, for a couple of reasons. In the colonial era, we were obviously heavily influenced by the law of England and the social norms that had been established there and carried here. The England of the 17th century had an established church – the Church of England. The theology of the Church of England placed great importance on burial in consecrated ground. So the law of England reflected the assumption that all people in good standing with the church and entitled to burial within the church would be buried in their local parish churchyard. There were people that weren’t in good standing, or members of other religions, so allowances had to be made for them too, but the vast majority of people were buried in the local parish churchyard owned by the Church of England. That’s just how it was set up. But colonial America was a fairly diverse place. For example, Puritan colonists from England of course settled Massachusetts Bay Colony, while a more diverse group of English, Dutch, and German immigrants settled the former New Amsterdam, there were all kinds of ethnic groups and faiths on William Penn’s land, and the English Virginia Company established settlements focused on economics rather than religious liberty. Each of the colonies was different from the English system, but they were also each different from each other. These realities forced Americans to innovate. Massachusetts established (and still retains) a law that each town must create a burying ground for the use of residents and strangers. Unlike the English system, these are secular cemeteries, owned and managed by the government. In the densely populated cities like New York, Boston, and Philadelphia, cemeteries were established downtown and despite practices designed to maximize the capacity of cemeteries, soon became overcrowded. In the Chesapeake, where the population was more widely dispersed, family burying grounds were established in addition to more traditional churchyards. Although the location of American burials differed from the uniform English precedent, other aspects of the process were the same during colonial times. Remains were wrapped in a shroud or encased in a wood coffin, then placed in the earth, a family tomb, or a mausoleum. Americans originally followed other European Christian customs—most graves were not individually memorialized and many contained the remains of more than one person. American disposition practices shifted after the Civil War. Embalming was rarely practiced before the war. During the war, a crude method of embalming was used to stabilize the remains of wealthier men, primarily on the Union side, so they could be sent home for burial. After the Civil War, undertakers trained in embalming evolved into funeral directors. Into the twentieth century, death moved from the home to the hospital; and the ceremonies surrounding death moved from the parlor to the funeral parlor. Undertaking had once been a complementary profession for carpenters—they could build the coffin and transport the remains to the cemetery. But the Industrial Revolution moved casket production from small workshops to factories, particularly after World War II. “Modern business principles” were applied to create modern cemeteries, owned by for-profit companies in many states, larger in scale and designed to minimize the costs of maintenance. These companies benefited from laws that gave great deference to cemetery owners—traditionally families, religious organizations and municipalities—to establish their own rules and regulations. Modern cemeteries adopted rules that required concrete and/or steel vaults or grave liners that would encase the coffin and prevent the uneven terrain that follows grave collapse. These companies also adopted rules that limited graves to a single interment. The cumulative effect is a very different set of practices than existed before the Civil War. Nearly all modern graves in the United States are dedicated in perpetuity to the remains of a single individual, memorialized with a tombstone. On today’s episode, I’ll talk about the history and development of cemeteries in New York City and Boston. If you’re interested in photographs and maps, be sure to check out the show notes at the podcast’s website – www.deathetseq.com. The Dutch first settled New Amsterdam, then just the southern tip of Manhattan, in 1624. A detailed city map called the Castello Plan was created in 1660 – it shows virtually every structure that existed in New Amsterdam at that time. In 1664, four English frigates sailed into New Amsterdam’s harbor and demanded the surrender of New Netherlands. Articles of Capitulation were signed that September and in 1665, New Amsterdam was reincorporated under English law as New York City. The settlement was named for the Duke of York, the brother of the English King Charles II who later became King James II. During most of the 17th century, even after the English took over, the Reformed Dutch Church was the dominant religious authority in New Amsterdam/New York. There were scattered Congregational, Presbyterian and Lutheran churches in the region, as well as Quakers, Catholics, and a few Jews. With the English in 1665, however, also came the established Church of England. One of the first significant cemeteries in New York City was established in the 1630s on the west side of Broadway, a little north of Morris Street. It was referred to as the “Old Graveyard” In 1656, there was a petition to “divide the Old Graveyard which is wholly in ruins, into lots to be built upon, and to make another Graveyard south of the Fort.” Apparently it persisted until at least 1665, when a collection was made to repair the graveyard because it was “very open and unfenced, so that the hogs root in the same.” By 1677, however, the graveyard had been cut up into four building lots and sold at auction to the highest bidder. There is no record regarding where the graves from this “Old Graveyard” were moved, but construction on the site more than a century later uncovered “a great many skulls and other relics of humanity,” so it sounds like perhaps they weren’t moved at all. Some things in Poltergeist are real, people. In 1662, the Dutch established a new burial ground on Broadway, on a parcel that was then located outside the city’s gates. That burial ground became a part of the Trinity churchyard when Trinity Church was established in thirty years later. In 1693, the New York Assembly passed an act to build several Episcopal churches in New York City and “all the inhabitants were compelled to support the Church of England, whatever might be their religious opinion.” In 1696, a plot of land stretching 310 feet from Rector Street to the Dutch burial ground that had been established on Broadway in 1662 was acquired by the Episcopalians and the Charter of Trinity Church was issued on May 6, 1697. The charter declared: “[Trinity Church] situate in and near the street called the Broadway, within our said city of New York, and the ground thereunto adjoining, enclosed and used for a cemetery or church-yard, shall be the parish church, and church-yard of the parish of Trinity Church … and the same is hereby declared to be forever separated and dedicated to the service of God, and to be applied thereunto for the use and behalf of the inhabitants … within our said city of New York, in communion with our said Protestant Church of England.” By the time of the Revolution, the churchyard at Trinity, including the old portion that had been the Dutch burial ground, was said to contain 160,000 graves. In 1847 a proposal to extend Albany Street to connect it with Pine Street would have disturbed the northern portion of the Trinity Church churchyard, part of the 1662 Dutch burial ground. A government report advocated against the extension: “[The burial ground] was established by the Dutch on their first settlement... It is nearly a century older than the other sections of the yard. It was originally a valley, about thirty feet lower at its extreme depth than the present surface, and has undergone successive fillings, as the density of interments rendered it necessary, to raise the land until it reached the present surface: so that the earth now, to a depth of several feet below the original, and thence to the present time of interment, is in truth filled with human remains, or rather composed of human ashes. The bodies buried there were [approximately 30,000 to 40,000] persons of several generations, and of all ages, sects and conditions, including a large number of the officers and soldiers of the Revolutionary War, who died whilst in British captivity; and almost every old family that is or ever was in this city, has friends or connections lying there.” In an 1892 guidebook to New York City, Moses King wrote: "Only the established and powerful corporations of Trinity and a few other churches have been able to resist the demands of modern life and business for the ground once sacred to the dead. Hundreds of acres [in Manhattan], now covered by huge buildings or converted into public thoroughfares, were at some time burial-places; over ninety of which have been thus existed, and passed away. Of most of them even the location has been forgotten…” Trinity Churchyard still resides on Broadway at Rector Street, in lower Manhattan, two blocks from Federal Hall, the building where George Washington was sworn in, the “room where it happened” in the very early days of the Republic, and the New York Stock Exchange. The Anglican St. Paul’s Chapel, established on Broadway between Fulton and Vesey Streets around 1766, and its surrounding churchyard still remains in the shadow of the World Trade Center. Many of the other cemeteries that once resided in lower Manhattan are relics of memory. For example: • The Middle Dutch Church, on the east side of Nassau Street between Cedar and Liberty Streets, was surrounded by a burial ground beginning in 1729. The bodies were removed sometime after 1844. The North Dutch Church on William Street between Fulton and Ann Streets had an adjacent burial ground from 1769 to 1875. • The French burial ground on the northeast corner of Nassau and Pine Streets, extending north to Cedar Street (1704-1830); • The Presbyterian churchyard on the north side of Wall Street opposite the end of New Street (1717-1844); • The Old Brick Presbyterian Church graveyard on Beekman Street between Chatham and Nassau Streets (1768-1856); • The cemetery located at Pearl, Duane, and Rose Streets which was leased from the city as early as 1765 but not used as a cemetery until after the Revolution; and • A Lutheran Church and adjacent burial ground on south Pearl Street, a site which had become a vegetable market by 1706. A cemetery on the south side of Houston Street between Eldridge and Stanton Street was used from 1796 to 1851 as the Reformed Dutch Church Cemetery, to provide excess capacity for the crowded churchyards. The bodies were disinterred and removed around 1874. Meanwhile, Puritan colonists from England founded Boston in 1630. Unlike the religious and ethnic diversity that could be found in New Amsterdam/New York City during this time period, the Puritan leaders of Boston punished religious dissenters. Baptist minister Obadiah Holmes was publicly whipped in 1651 and Mary Dyer was hanged in Boston Common in 1660 for repeatedly defying a law banning Quaker from being in Massachusetts Bay Colony. However, prosperity in Boston led to the development of a more diverse community that included Catholics and Quakers and other groups that were initially persecuted by the Puritans. Eventually the Puritans began to accept that they could not have a unified church and state. Puritan burying grounds were often located adjacent to the town’s meeting house. Headstones were expensive and many of the earliest were imported from England. Most often, early burials were marked with wood markers or primitive stones, if they were marked at all. The Puritan burying ground was a utilitarian space simply used to bury the dead. Puritans did not visit graves or maintain them. They were often very disorganized. Graves were tightly clustered and gravestones were often broken or buried as the cemetery became more populated. In many cases, graves were dug deep enough to accommodate 12 or more coffins placed on top of each other to within five feet of the surface. Recall that in the 1650s, there was a petition to remove the Old Graveyard in New Amsterdam because hogs were rooting around. In Boston, the early burying grounds were used as communal space to graze cattle. The oldest burying ground in Boston is King’s Chapel which is not, as the name suggests, the churchyard for the adjacent King’s Chapel. What was originally simply known as the “Burying Ground” was established in 1630 and was Boston’s only cemetery for 30 years. King’s Chapel is quite small, less than half an acre. It was used as a burial ground for 200 years, but estimates are that there are only about 1,500 burials. There are only 615 gravestones and 29 tabletop tomb markers remaining. Most graves include about four burials on top of one another. Excess remains were excavated and the bones were deposited in the charnel house that can still be seen on the edge of the burying ground. A charnel house would be a very familiar idea for the English colonists because English churchyards were similarly overcrowded. When the cemetery authorities ran out of ground for fresh burials, older burials were simply dug up and the bones were placed in a communal pit in the consecrated ground, or catacombs beneath the church. If you’ve visited any European churches, you’re probably familiar with this idea. Although the idea of the charnel house was a feature of English churchyards, King’s Chapel Burying Ground was not a churchyard. It was a community burial ground and included people of all faiths, not just Puritans. It was more like a municipal, secular cemetery than a churchyard. In all of the Boston burying grounds, it was common to have a headstone, highly decorated with the name and sometimes the biography of the deceased, and a footstone with only the name of the deceased. Graves were placed so that the feet of the deceased faced east. This was believed to have been done so that when Christ returns, the dead can simply stand up and walk to Jerusalem. King’s Chapel also includes 29 underground tombs which consist of a burial room made of brick and covered with earth and grass. These are marked with box structures, but the boxes are just markers, not the tombs themselves. When the tombs needed to be opened, the box was removed and the entrance dug up. In the early 1700s, 24 tombs were built along the back fence and in 1738, 23 tombs were built along Tremont Street. These are actually underneath the present-day sidewalk of Tremont Street and their markets and entrances are inside the fence. King’s Chapel Burying Ground also includes a curious structure that looks like the top of a tomb or pit. That’s actually a subway fresh air ventilator shaft that was constructed in 1896. Human remains in that portion of the burying ground were relocated during the construction. It is called King’s Chapel Burying Ground today because in 1686, Governor Edmund Andros wanted to build an Anglican church in Puritan Boston. This was an unpopular idea, so no one would sell him any land. So Andros built his church in part of the existing Burying Ground, right over existing graves. As you can imagine, this didn’t make Andros any more popular with the Puritans of Boston. After King’s Chapel was consecrated, people began referring to the adjacent cemetery as King’s Chapel Burying Ground, which also couldn’t have made the Puritans very happy. In 1660, King’s Chapel was ordered closed “for some convenient season” and new burials directed to the second burying ground. Of course tombs were installed decades later and grave burials in King’s Chapel Burying Ground weren’t outlawed until 1826, although they continued until 1896. The second burial ground in Boston was established in 1659 when the Selectment of Boston purchased ½ acre in the northern end of town. Originally called the North Burying Place or the North Burying Ground, the parcel was expanded in 1711 and 1809. It is now known as Copp’s Hill Burying Ground and is located just down the street from the Old North Church. The City of Boston has counted 2,230 grave markers and 228 tombs in Copp’s Hill but the exact number of burials is unknown. Estimates range from 8,000 to 10,000. This includes an estimate of over 1,000 unmarked graves of African and African American slaves. The third burying ground in Boston is located just down Tremont Street from King’s Chapel. Also established in 1660, the Old Granary Burying Ground is the final resting place of many important figures from the Revolutionary War including Paul Revere, John Hancock, Samuel Adams, and the men killed in the Boston Massacre. Benjamin Franklin’s parents are also buried here. Granary is located on 2 acres and contains 2,345 gravestones. In 1922, it was estimated that there were 8,030 burials over its 260 year history. Originally, Granary Burying Ground was part of the Boston Common, which then extended up Tremont Street. It was originally called the South Burying Ground, then renamed the Middle Burying Ground when one was established further south. It was finally renamed Granary Burying Ground because of the 12,000 bushel grain storage building built in 1737 to provide food for the poor and called the granary. The granary was moved to Dorchester in 1809 to make room for Park Street Church. The final colonial burial ground that I’ll mention is the Central Burying Ground, which was established in 1754 on 1.4 acres at the corner of Boston Common on Boylston Street between Charles and Tremont Streets. There are only about 487 markers remaining, but records indicate that approximately 5,000 people are buried in Central Burying Ground, including many unmarked graves of paupers from the Alms House and inmates from the House of Industry. There are some unique tombs visible in Central Burying Ground because they are surrounded by a “moat” on both sides. The first tomb is thought to have been built in 1771. 149 tombs were built on the four sides of the burying ground and nearly half of the burials were in the tombs. But in 1836, Boylston Street was widened and 69 tombs were destroyed – the owners moved the remains either to the 60 tombs in the Dell or to the then-new Mount Auburn Cemetery in Cambridge. In 1895, the subway was being constructed along Boylston Street disturbing the remains of approximately 2,000 people. They were reburied in a mass grave in the northeast corner of Central Burying Ground. The last grave burial took placed in 1856, but tomb burials continued until the 1950s. Until 1810, Central Burying Ground was called South Burying Ground, which is when Granary was renamed. Identifying burying grounds by their relative location to one another is clearly a bad strategy, as the constant re-naming of cemeteries in Boston demonstrates. So I’ve described the first four cemeteries in Boston and the most famous cemetery in colonial New York – Trinity. The four colonial cemeteries in Boston were all owned by the government and non-sectarian, even though their practices resembled those of churchyards in England. New York, on the other hand, was dominated by churchyards in colonial days and the early days of the Republic. The challenges that these cemeteries faced in the beginning of the 1800s was similar in both cities, but the way that the cemeteries were changed as a result was very different. All four cemeteries I described are still in the heart of downtown Boston. In lower Manhattan, only Trinity and St. Paul’s Chapel remain. The backlash against the colonial cemeteries was triggered by their overuse and their general lack of organization and maintenance. In 1807, an Englishman named John Lambert visited New York. In his diary, he referred to Trinity Church and St. Paul’s Chapel as “handsome structures” but added: "The adjoining churchyards, which occupy a large space of ground railed in from the street and crowded with tombstones, are far from being agreeable spectacles in such a populous city. … One would think there was a scarcity of land in America to see such large pieces of ground in one of the finest streets of New York occupied by the dead. The continual view of such a crowd of white and brown tombstones and monuments as is exhibited in the Broadway must tend very much to depress the spirits." Some burial places had been closed and relocated in the Seventeenth and Eighteenth Centuries. But the Nineteenth Century significantly accelerated that process. Overcrowded church yards and vaults (referred to as “intra-mural” burial grounds) were criticized by public health officials as “injurious to health, offensive to the senses, [and] repulsive to the taste of a refined age.” In New York City, the precipitating event to efforts to halt intra-mural burial was the Yellow Fever epidemic that began in late July 1822 on Rector Street. Reported cases spread quickly and when the first cases on Broadway were reported, public health officials feared that if the disease was not contained, it would quickly engulf City Hall and force the government into exile. On August 7th, the Board of Health ordered that an area around Rector Street be quarantined by the erection of fences. The quarantine area had to be expanded quickly. Searching for a cause of the epidemic and an effective way to halt the spread of the disease, the Board of Health began to panic. Prevailing medical thought of the day blamed epidemics on “miasma” and “infected air.” In early August, concerned about the cluster of cases in the area around Trinity Church, the Board of Health appointed a committee to “inquire into the expediency of regulating or preventing the interment of the dead in Trinity Church Yard during the continuance of the present epidemic.” The committee concluded that “the yard of that Church is at times, offensive to persons in its vicinity, and that, in the evening especially, the exhalations are such as perhaps are dangerous to the health of the citizens in its immediate neighborhood.” It was therefore recommended that “no grave be permitted to be opened or dug in Trinity Church Yard, until the further order of the Board of Health, under the penalty of one hundred dollars.” The proposed resolution was adopted by the Common Council on August 22nd. Around the same time, a report from Dr. Samuel Ackerly to the Board of Health recommended that the ban on interments at Trinity be made permanent. Dr. Ackerly related the story of the Cathedral of Dijon, “which [recently] produced a malignant disease in the congregation from the putrid bodies of the persons buried in the vaults of the Church. The disease ceased after the Church was ventilated and fumigated.” This case was presented to the Board of Health as “proof that noxious exhalations may arise from dead bodies.” Accordingly, Dr. Ackerly suggested that the source of the Yellow Fever epidemic may be Trinity Church Yard, where “the ground has been one hundred and twenty-four years receiving the dead, and the evil day has at length arrived. To strike at the root of the evil,” Dr. Ackerly advised, “no further interments should be allowed there. The graves might be leveled and covered with a body of clay, upon which a layer of lime, ashes and charcoal should be placed, and the grave stones laid flat, that the rain may run off and not penetrate the soil to hasten putrefaction and increase the exhalations.” On September 15th, the Board of Health “respectfully request[ed]” that churches with adjacent burial grounds in lower Manhattan cover their graves “thickly with lime, or charcoal, or both.” On September 23rd, Trinity Church Yard was covered with 52 casks of lime. The next day, 192 bushels of slacked lime were spread in St. Paul’s church yard, a few blocks north of Trinity Church. On September 28th, 172 bushels of slacked lime were spread “upon the grave-yard and about the vaults of the North Dutch church corner of William and Fulton-streets. The grounds about this church were not extensive and principally occupied by vaults, which nevertheless emitted very offensive effluvia.” Thirty additional casks of lime were slacked and spread at Trinity Church on October 1st. On October 8th, the vaults of the Middle Dutch Church at the corner of Liberty and Nassau were covered with 40 casks of lime. “These vaults were exceedingly offensive,” the Board of Health reported. It was also reported that “the vaults of the French church in Pine-street in the vicinity of the former church also emitted disagreeable smells.” By late November 1822, the Yellow Fever epidemic had subsided. With an eye towards preventing the next outbreak, the Common Council passed a resolution to consider the future of intra-mural burial. "It appears to be the opinion of Medical Men that the great number of the dead interred in the several cemeteries within the bounds of this City, is attended with injurious consequences to the health of the inhabitants. This subject is therefore worthy of consideration and if the effects are in reality such as some of the faculty declare them to be, ought not future interments be prohibited at least during a part of the year. …" A law forbidding interments south of Canal Street was proposed in early 1823. At the time, there were at least 23 separate burial grounds south of Canal Street, many adjacent to churches. The leaders of the Reformed Dutch Church, the First Presbyterian Church, Grace Church, St. George’s Church, Christ’s Church, and Vestry of Zion Church all presented remonstrances to the Common Council in February 1823 objecting to the proposed law. Over those objections, a Law Respecting the Interment of the Dead was enacted by the Common Council on March 31, 1823. "Be it ordained by the Mayor Aldermen & Commonalty of the City of New York in Common Council Convened. That if any Person or Persons shall after the first day of June next dig up or open any grave or cause or procure any grave to be opened in any burying ground cemetery or church yard or in any other part or place in this City which lies to the Southward of a line commencing at the centre of Canal Street on the North River and running through the centre of Canal Street to Sullivan Street thence through Sullivan st. to Grand Street thence through Grand St. to the East river or shall inter or deposit or cause or procure to be interred or deposited in any such grave any dead body every such person shall forfeit and pay for every such offence the sum of Two hundred and fifty dollars." "And be it further Ordained that no dead body shall after the first day of June aforesaid be interred or deposited in any vault or tomb south of the aforesaid line under the penalty of Two hundred and fifty dollars for each and every offence." Churches south of Canal Street continued to fight the law. On April 21, 1823, the leaders of St. George Church, the Brick Presbyterian Church, the First Presbyterian Church of Wall Street, and Trinity Church requested revisions to permit some burials and entombments in private vaults. But the die had been cast. As the population of Manhattan grew, the Common Council moved the line prohibiting new burials northward, first to 14th Street, then to 86th Street. Without the income generated by burials, many churches closed their doors and relocated their dead to the new rural cemeteries in Brooklyn, Queens, and the Bronx. Similar complaints in Boston prompted the creation of Mount Auburn Cemetery, in Cambridge, Massachusetts, one of the most important and earliest rural cemeteries. Justice Joseph Story gave the address at the dedication of Mount Auburn cemetery in 1831. Story, then an Associate Justice on the United States Supreme Court and a professor at Harvard Law School, emphasized “the duty of the living” to “provide for the dead.” He explained that although the obligation to provide “grounds … for the repose of the dead” is a Christian duty, our “tender regard for the dead” is universal and “deeply founded in human affection.” Justice Story explained that Mount Auburn had been founded to cure the problem with the Boston colonial cemeteries. "It is painful to reflect, that the Cemeteries in our cities, crowded on all sides by the overhanging habitations of the living, are walled in only to preserve them from violation. And that in our country towns they are left in a sad, neglected state, exposed to every sort of intrusion, with scarcely a tree to shelter their barrenness, or a shrub to spread a grateful shade over the new-made hillock." Story argued that “there are higher moral purposes” that lead us to establish and care for cemeteries—"[i]t should not be for the poor purpose of gratifying our vanity or pride, that we should erect columns, and obelisks, and monuments to the dead; but that we may read thereon much of our own destiny and duty.” "[T]he repositories of the dead bring home thoughts full of admonition, of instruction, and slowly but surely, of consolation also. They admonish us, but their very silence, of our own frail and transitory being. They instruct us in the true value of life, and in its noble purposes, its duties, and its destinations. … We return to the world, and we feel ourselves purer, and better, and wiser, from this communion with the dead. I hope you’ve enjoyed this first episode in my series on Cemetery Tourism, and I hope that next time you’re in New York or Boston, you take the time to check out not only these colonial cemeteries located in the heart of the old cities, but the beautiful rural cemeteries that were later constructed – Mount Auburn in Cambridge, Green-wood in Brooklyn and Woodlawn in the Bronx. I’ll perhaps talk about the rural cemetery movement in a future episode. If you are interested in having me focus on particular cemeteries, please let me know by visiting www.deathetseq.com or dropping me a comment or a direct message on Facebook or Twitter. Thank you for joining me today on Death, et seq.

You may be familiar with some of the more famous Plymouth Colony names like William Bradford, William Brewster, or Miles Standish; but few know much about Isaac Allerton - an enigmatic man who rose to prominence in Plymouth, Marblehead, New Haven, and New Netherlands between 1620 and 1659. In this episode, host Hilary Goodnow spoke with historians David Furlow and Lisa Pennington who are working to unravel the mystery of Isaac Allerton and his family across the 17th-century Atlantic World.

Native Opinion Episode 114 “WITHOUT OUR WOMEN, WHERE WOULD WE BE?” How To Reach Our Show: E-Mail: hosts@nativeopinion.com Twitter: @nativeopinion Facebook: facebook.com/nativeopinionpodcast/ Our Website: nativeopinion.com Our Youtube Channel: https://www.Youtube.com/c/NativeOpinion Leave us a voicemail. Call us! 860–381–0207 Guest: Indigenous Women Rising You can find out all about the great outstanding work at Indigenous Women Rising by visiting their website: https://www.iwrising.org Article 1 Title: Women played a very important role in the life of the Native American Author: Indians Dot Org Women played a very important role in the life of the Native American. They were more than just mothers of the tribes’ children. They were builders, warriors, farmers, and craftswomen. Their strength was essential to the survival of the tribes. In most cases, the women were actually in charge of gathering materials and then building the homes for everyone. They maintained their homes’ roof and created new houses for tribes to live in. This is an astonishing achievement, particularly for the women of their time. The men knew that women were the source of life, and provided a feeling of strength and consistency to their lives. The women in Native American tribes often helped their men to hunt down buffalo. Then, when the buffalo were harvested, the women were responsible for skinning, cutting, and cooking the animal. They also gathered firewood, cooked, and repaired clothing and shoes. READ MORE Article 1, Part B Title: Native Women of ICTMN, Part I Author: Simon Moya-Smith o April 12, 2016 **Let me make this short and sweet: We at Indian Country Today have a glorious gallery of Native American writers and thinkers, and a great many of these folks are immensely imaginative and seriously wise indigenous women. My loving mother, a wonderful indigenous woman herself, taught me two things early on in life: “Never sit on your lips when you should open your mouth,” and “Now shut up and let the women talk.” These lessons have served me well so far, and why stop now? Indeed. Lo, here’s Part I of our series on Native American women at ICTMN. READ MORE Article 2 Title: Meet the anti-Trump candidate running to become the United States’ first Native American governor Author: From The blog “The Interview” **In a year when the rights of indigenous people have been under assault, from Standing Rock to the president’s Twitter feed, a largely unknown politician is pushing back by launching a campaign to become the country’s first Native American governor. Paulette Jordan, a 37-year-old Idaho state representative and member of the Coeur d’Alene Tribe, is running as a progressive Democrat to try and become state governor. READ MORE Article 3 Title: American Indian Women Author: Historian Ellen Holmes Pearson Question What were women treated like in the tribes of the Indians? Were they given more rights than American women of the time? Answer In 1644, the Rev. John Megalopensis, minister at a Dutch Church in New Netherlands, complained that Native American women were “obliged to prepare the Land, to mow, to plant, and do every Thing; the Men do nothing except hunting, fishing, and going to War against their Enemies…” Many of his fellow Europeans described American Indian women as “slaves” to the men, because of the perceived differences in their labor, compared to European women. Indian women performed what Europeans considered to be men’s work. But, from the Native American perspective, women’s roles reflected their own cultural emphases on reciprocity, balance, and autonomy. Most scholars agree that Native American women at the time of contact with Europeans had more authority and autonomy than did European women. READ MORE Article 4 Title: ARMED TRUMP SUPPORTERS CONFRONT AMERICAN INDIAN ARIZONA LAWMAKERS AT STATE CAPITOL Author: BY LEVI RICKERT / CURRENTS / 29 JAN 2018 PHOENIX - On Thursday, January 25, 2018, several armed Trump supporters, carrying Trump flags, surrounded Arizona state Representative Pamela Hannley and yelled at her about her “protecting illegals” near the state Capitol in Phoenix. Close by, on their way to lunch, were Representative Eric Descheenie (D-Chinle) and Representative Wenona Benally (D-Window Rock). Both are Navajo. Representative Benally recounts the event for Native News Online: "Rep. Descheenie stepped in between them and Rep. Hannley, in order to protect her from them. As soon as he did so, it drew the attention of the rest of the Trump protesters. The rest of the Trump protestors quickly walked over to us, surrounding us and aggressively yelling at us about our support for ‘illegals.’ READ MORE Article 5 Title: Walmart Just Announced More Layoffs, Despite the Billions, it Will Get in Tax Cuts Author: By Sahid Fawaz Walmart made headlines earlier this month when it announced bonuses up to $1,000 while laying off thousands at Sam’s Stores. Now Walmart is laying off more people even as it stands to reap billions in savings from the Trump tax plan. "Wal-Mart Stores Inc. is cutting as many as 1,000 jobs at its headquarters this year and next, the latest effort to streamline a retail empire under threat from Amazon.com Inc. The first wave of layoffs totaled between 400 and 500 jobs and hit the company’s marketing, human resources, merchandising, real estate and other divisions this week, the Bentonville, Arkansas-based chain said. Those affected will have 60 days to find a new role. READ MORE  

1619 At Jamestown, Virginia, approximately 20 captive Africans are sold into slavery in the British North American colonies.  1612 The first commercial tobacco crop is raised in Jamestown, Virginia.  1626 The Dutch West India Company imports 11 black male slaves into the New Netherlands. 1636 Colonial North America's slave trade begins when the first American slave carrier, Desire, is built and launched in Massachusetts.  1640 John Punch, a runaway black servant, is sentenced to servitude for life. His two white companions are given extended terms of servitude. Punch is the first documented slave for life. 1640 New Netherlands law forbids residents from harboring or feeding runaway slaves. 1641 The D'Angola marriage is the first recorded marriage between blacks in New Amsterdam.

How on earth did the Swedes end up in North America?  This episode covers the complex diplomacy involving New Sweden, the English colonies, New Netherlands, the Susquehannock, the Lenape and the Five Nations. Sources: THE CANADIAN ENCYCLOPEDIA IROQUOIS DIPLOMACY ON THE EARLY AMERICAN FRONTIER BY TIMOTHY J. SHANNON

PROGRAM TOPIC Can your business develop overseas markets listen as Greg Wolf & Rada Khadjinova talk about the World Trade Center Alaska.  Information every small business owner should consider.  Find out more about World Trade visit www.wtak.com.  DAVE’S THOUGHTSIn the 17th century the Netherlands had the most market driven economy in Europe.  The Dutch West India Company founded the New Netherlands or what we know as New York.  What happened to them?  Listen as Dave tells their story.  Do you have any questions or comments send Dave an email at David@GDTB.Biz.IN THE NEWSTax suprises can follow when paryroll firms implodeDoes your business use a company to manage payroll?  Listen to this news item or follow this link to read entire article Wall Street Journal.  Send questions or comments to David@GDTB.Biz.Small Firms Stay on Course as Outlook DimsDave summarizes the WSJ/Vistage Small Business CEO Survey with similar results as the NFIB Optimism Index.  Small business owners make plans despite cloudy outlook.   Listen to this news item or follow this link to read entire article Wall Street Journal.  Send questions or comments to David@GDTB.Biz. LISTEN SATURDAYS Getting Down to Business® with David Weatherholt broadcast Saturday’s 8-10 am (AKDT) Fox News Talk KOAN 95.5 FM & AM 1020 – Stream: www.foxnewskoan.com in Anchorage, Alaska.  In Spokane, Washington listen to MoneyTalk 1230 AM KSBN from 9-11 am.

Missy Wolfe, author of “Insubordinate Spirit,” which uncovers the lost wolrd  of the New Netherland/New England borderlands. While knowing a little about New England I have not really heard of the "New Netherlands" so I am really looking to learn even more about America from htis author. Looking forward to chatting and learning