The Great War
Published on 17 Dec 2018In our last epilogue special we outline the wars and conflicts that followed World War 1, some of them immediately and some of them with only a brief period of peace. Even in 1919 it was already clear that “the war to end all wars” didn’t in fact do that and that the new world order would be shaped by violence.
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hey guys and girls, with this last video, our epilogue series is over and this was the very last episode featuring Indy. Again, this was more meant as an appetizer for the future of the show now. When we filmed this, we didn’t know, yet that we could continue working on the show. We will make an announcement about what to expect next year this week. Cheers Flo
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– CREDITS –
Presented by: Indiana Neidell
Written by: Indiana Neidell
Director: Toni Steller & Florian Wittig
Director of Photography: Toni Steller
Sound: Toni Steller
Mixing, Mastering & Sound Design: www.above-zero.com
Editing: Toni Steller, Julian Zahn
Motion Design: Christian Graef
Research by: Indiana Neidell
Fact checking: Markus LinkeThe Great War Theme composed by Karim Theilgaard: http://bit.ly/karimyt
A Mediakraft Networks Original Channel
Based on a concept by Spartacus Olsson
Author: Indiana Neidell
Visual Concept: David van Stephold
Producer: Toni Steller & Florian Wittig
Social Media Manager: Florian WittigContains licenced Material by British Pathé
All rights reserved – © Mediakraft Networks GmbH, 2018
December 18, 2018
Conflicts & Wars In The Aftermath of WW1 I THE GREAT WAR Epilogue
Repost – Induced aversion to a particular Christmas song
Earlier this year, I had occasion to run a Google search for “Mr Gameway’s Ark” (it’s still almost unknown: the Googles, they do nothing). However, I did find a very early post on the old site that I thought deserved to be pulled out of the dusty archives, because it explains why I can — to this day — barely stand to listen to “Little Drummer Boy”:
Seasonal Melodies
James Lileks has a concern about Christmas music:
This isn’t to say all the classics are great, no matter who sings them. I can do without “The Little Drummer Boy,” for example.
It’s the “Bolero” of Christmas songs. It just goes on, and on, and on. Bara-pa-pa-pum, already. Plus, I understand it’s a sweet little story — all the kid had was a drum to play for the newborn infant — but for anyone who remembers what it was like when they had a baby, some kid showing up unannounced to stand around and beat on the skins would not exactly complete your mood. Happily, the song has not spawned a sequel like “The Somewhat Larger Cymbal Adolescent.”
This reminds me about my aversion to this particular song. It was so bad that I could not hear even three notes before starting to wince and/or growl.
Back in the early 1980’s, I was working in Toronto’s largest toy and game store, Mr Gameway’s Ark. It was a very odd store, and the owners were (to be polite) highly idiosyncratic types. They had a razor-thin profit margin, so any expenses that could be avoided, reduced, or eliminated were so treated. One thing that they didn’t want to pay for was Muzak (or the local equivalent), so one of the owners brought in his home stereo and another one put together a tape of Christmas music.
Note that singular. “Tape”.
Christmas season started somewhat later in those distant days, so that it was really only in December that we had to decorate the store and cope with the sudden influx of Christmas merchandise. Well, also, they couldn’t pay for the Christmas merchandise until sales started to pick up, so that kinda accounted for the delay in stocking-up the shelves as well …
So, Christmas season was officially open, and we decorated the store with the left-over krep from the owners’ various homes. It was, at best, kinda sad. But — we had Christmas music! And the tape was pretty eclectic: some typical 50’s stuff (White Christmas and the like), some medieval stuff, some Victorian stuff and that damned Drummer Boy song.
We were working ten- to twelve-hour shifts over the holidays (extra staff? you want Extra Staff, Mr. Cratchitt???), and the music played on. And on. And freaking on. Eternally. There was no way to escape it.
To top it all off, we were the exclusive distributor for a brand new game that suddenly was in high demand: Trivial Pursuit. We could not even get the truck unloaded safely without a cordon of employees to keep the random passers-by from snatching boxes of the damned game. When we tried to unpack the boxes on the sales floor, we had customers snatching them out of our hands and running (running!) to the cashier. Stress? It was like combat, except we couldn’t shoot back at the buggers.
Oh, and those were also the days that Ontario had a Sunday closing law, so we were violating all sorts of labour laws on top of the Sunday closing laws, so the Police were regular visitors. Given that some of our staff spent their spare time hiding from the Police, it just added immeasurably to the tension levels on the shop floor.
And all of this to the background soundtrack of Christmas music. One tape of Christmas music. Over and over and over and over and over and over and over again.
It’s been over 20 years 30 years now, and I still feel the hackles rise on the back of my neck with this song … but I’m over the worst of it now: I can actually listen to it without feeling that all-consuming desire to rip out the sound system and dance on the speakers. After two three decades.
Making a Large Mitre Box | Paul Sellers
Paul Sellers
Published on 20 Jun 2016Making your own mitre box is a quick to make and more accurate alternative to buying one. It requires accurately square stock and careful layout and cutting. It can help you get clean, crisp mitre joints, particularly when used in combination with a shooting board:
For more information on these topics, see https://paulsellers.com or https://woodworkingmasterclasses.com
QotD: Addiction
The chief difficulty with the word “addiction” is the idea that it describes a power greater than the will. If it exists in the way we use it and in the way our legal and medical systems assume it exists, then free will has been abolished. I know there are people who think and argue this is so. But this is not one of those things that can be demonstrated by falsifiable experiment. In the end, the idea that humans do not really have free will is a contentious opinion, not an objective fact.
So to use the word “addiction” is to embrace one side in one of those ancient unresolved debates that cannot be settled this side of the grave. To decline to use it, by contrast, is to accept that all kinds of influences, inheritances, and misfortunes may well operate on us, and propel us towards mistaken, foolish, wrong, and dangerous actions or habits. It is to leave open the question whether we can resist these forces. I am convinced that declining the word “addiction” is both the only honest thing to do, and the only kind and wise thing to do, when we are faced with fellow creatures struggling with harmful habits and desires. It is all very well to relieve someone of the responsibility for such actions, by telling him his body is to blame. But what is that solace worth if he takes it as permission to carry on as before? Once or twice I have managed to explain to a few of my critics that this is what I am saying. But generally they are too furious, or astonished by my sheer nerve, to listen.
Peter Hitchens, “The Fantasy of Addiction”, First Things, 2017-02.
