Extra Credits
Published on 16 May 2019This series is brought to you by Total War: THREE KINGDOMS, a brand new strategy game set during this time period. https://store.steampowered.com/app/77…
Yuan Shao’s forces cross the Yellow River, assaulting Cao’s fortifications. Yuan has 110,000 soldiers — including the runaway warlord Liu Bei — while Cao Cao has only twenty thousand. But things are about to go in a very unexpected, brutal twist for the next eight years…
Three kings ruled in China. Three kings, each dreaming of ruling all under heaven. Three kings who rallied their armies for battle. The empire, long divided, must unite; long united, must divide.
Thanks to Jordan Martin for the guest art! https://www.jordanwmartin.com/
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May 17, 2019
The Three Kingdoms – The Battle of Guandu – Extra History – #2
The EU’s trade distortions harm African farmers in many ways
One of the unifying themes of the European Union is its dedication to farm subsidies, which are very popular among some European farmers. EU farming subsidies and trade policies also do significant measurable harm to African farmers:
spiked: How does the EU harm African economies?
Sam Akaki: Thanks to the EU’s Common Agricultural Policy, which heavily subsidises EU farmers, Africa’s markets are flooded with their cheap excess produce. If you go to any African market, you can buy all kinds of European produce sold at very, very cheap prices. This is driving African farmers out of the market. At the same time, the EU imposes strict limitations on what African countries can export to the European market. In particular, African farmers cannot export value-added goods. So if a farmer in Ghana is producing cocoa, or a farmer in Kenya is producing coffee, they can perhaps get less than a dollar for their product as they have to export it raw. Only a fraction of the money you pay for a jar of coffee goes to an African farmer. The value-added goods, such as processed coffee, are then produced in Europe. Germany, especially, has been doing a lot of harm.
EU lobby groups and NGOs are not working in the interests of Africa and are opposed to African attempts to get themselves out of poverty. For instance, many African farmers work with genetically modified (GM) crops. One of the big issues about GM food is that Western companies sell GM seeds that don’t produce new seeds for the next season. Farmers have to go back to companies like Monsanto every year. In Uganda, at the Kawanda Agricultural Research Institute, scientists have been working on their own way of producing local GM seeds that will be reusable each year. Europe is against this and tries to stop it.
[…]
spiked: How have EU sanctions affected Africa?
Akaki: The clearest examples are Zimbabwe and Eritrea. Of course, these countries have human-rights issues. But human rights are a question of development. Countries go through developmental stages. There would have been enormous human-rights abuses in Europe 100 years ago. The UK and the EU use their influence selectively to impose economic and diplomatic sanctions on African countries. We should follow a consistent policy. We impose sanctions on African countries but we are happy to trade with other human-rights abusers like Saudi Arabia. One danger is that these sanctions are driving African countries closer and closer into the arms of the Chinese. This is a real own goal.
Sanctions are a blunt instrument. The leaders responsible for human-rights abuses are protected. They still have access to the best lifestyles money can buy. Their money is stashed away in British and other foreign banks. Sanctions don’t touch them at all. Instead, they hit the poorest hardest. Sanctions are directly contributing to poverty and mass migration. We should promote human rights, certainly, but we shouldn’t use human rights to punish the very poorest.
The Red Baron – The Great War – Sabaton History 015
Sabaton History
Published on 16 May 2019The Red Baron is one of the, if not THE MOST iconic heroes of The Great War. He simultaneously embodies the mechanisation of modern war and a romanticised version of war with his individual skill and heroism. Indy goes beyond the legend to tell the history of Manfred von Richthofen, a.k.a The Red Baron, the latter of which also is the name of a Sabaton song that will feature on their upcoming album The Great War.
You can find the eight points of the Dicta Boelcke in the pinned comment.
Support Sabaton History on Patreon (and possibly get a History Channel special edition): https://www.patreon.com/sabatonhistory
Pre-order The Great War here: https://www.sabaton.net/pre-order-of-…
Check out the trailer for Sabaton’s new album ‘The Great War’ right here: https://www.youtube.com/watch?v=HCZP1…
Watch more videos on the Sabaton YouTube channel: https://www.youtube.com/user/Sabaton?…
Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShopHosted by: Indy Neidell
Written by: Markus Linke and Indy Neidell
Directed by: Astrid Deinhard and Wieke Kapteijns
Produced by: Pär Sundström, Astrid Deinhard and Spartacus Olsson
Creative Producer: Joram Appel
Executive Producers: Pär Sundström, Joakim Broden, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Maps by: Eastory
Edited by: Iryna Dulka
Sound Editing by: Marek KaminskiEastory YouTube Channel: https://www.youtube.com/channel/UCEly…
Archive by: Reuters/Screenocean https://www.screenocean.com
Music by Sabaton.Sources:
– © IWM: Q 66959, Q 105717, Q 73533, Q 67598, Q 50329, Q 50328, Q 42284, Q 111872, Q 54397, Q 63148, Q 63122, Q 3140, Q 57513 Q 58028, Q 52781, Q 63822, Q 50673, Q 72919, Q 12044, IWM 187, EPH 9001, Q 67832, IWM 1004, Q 63162, Q 67780, Q 58034, Q 63137, Q 63160
– © IWM Art: IWM ART 517, 1488, 517, 3071, 2659, 2660, 3199, 2754, 654
– Bendigo Soldiers Memorial Institute Military Museum: 2075P
– Klimbim Colorization
– James Miller ColorizationAn OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
From the comments:
Sabaton History
This is the second episode of Sabaton History about one of the songs of the upcoming Sabaton album The Great War. By supporting us on Patreon, you can help us continue making these YouTube videos. You will also get some exclusive content – like a full version of Indy and Joakim talking about The Red Baron, which is live on our Patreon site right here: https://www.patreon.com/posts/full-length-red-26854763Indy mentions the Dicta Boelcke in the video. These are the eight points that Boelcke and von Richthofen used in the skies (source: Werner, Johannes von, 1932):
1. Try to secure advantages before attacking. If possible, keep the sun behind you.
2. Always carry through an attack when you have started it.
3. Fire only at close range, and only when your opponent is properly in your sights.
4. Always keep your eye on your opponent, and never let yourself be deceived by ruses.
5. In any form of attack it is essential to assail your enemy from behind.
6. If your opponent dives on you, do not try to evade his onslaught, but fly to meet it.
7. When over the enemy’s lines never forget your own line of retreat.
8. For the Staffel (squadron): Attack on principle in groups of four or six. When the fight breaks up into a series of single combats, take care that several do not go for the same opponent.
Was Shakespeare really an illiterate illegal immigrant disabled asexual woman of colour?
Oliver Kamm discusses the most recent “Was Shakespeare really …?” article, this one published in The Atlantic by Elizabeth Winkler:
This was long thought to be the only portrait of William Shakespeare that had any claim to have been painted from life, until another possible life portrait, the Cobbe portrait, was revealed in 2009. The portrait is known as the “Chandos portrait” after a previous owner, James Brydges, 1st Duke of Chandos. It was the first portrait to be acquired by the National Portrait Gallery in 1856. The artist may be by a painter called John Taylor who was an important member of the Painter-Stainers’ Company.
National Portrait Gallery image via Wikimedia Commons.
[Winkler] accuses what she calls orthodox Shakespeare scholars of “a dogmatism of their own” on the issue, whereby “even to dabble in authorship questions is considered a sign of bad faith, a blinkered failure to countenance genius in a glover’s son.” Armed with this tendentious premise, along with the less contentious one that Shakespeare depicts female characters with unrivalled sympathy and insight, Winkler spins a hypothesis that Emilia Bassano, born in London in 1569 to Venetian immigrants, is a viable candidate for the true author.
Even as I read Winkler’s piece, I expected a denouement that it was all a piece of fiction, analogous to the enjoyable 2009 caper St Trinian’s 2: The Legend of Fritton’s Gold, which ends with buried treasure under the Globe Theatre and the discovery of Shakespeare’s true identity. It never came. The article was presented as a serious contribution to a debate in which Winkler has made a potentially historic discovery.
In British newspapers, there is a longstanding technique of obscuring a paucity of evidence in support of a preposterous thesis by posing it as a question. It’s been dubbed by the political commentator John Rentoul “Questions to Which the Answer is No” (QTWAIN). Winkler’s article employs the stratagem liberally. “Was Shakespeare’s name useful camouflage, allowing [Bassano] to publish what she otherwise couldn’t?” “Could Bassano have contributed [to literature] even more widely and directly?” In a moment of self-knowledge, Winkler asks: “Was I getting carried away, reinventing Shakespeare in the image of our age?” Yet she immediately supplies not the correct answer but yet another QTWAIN: “Or was I seeing past gendered assumptions to the woman who — like Shakespeare’s heroines — had fashioned herself a clever disguise?”
Feminist readings of Shakespeare have enriched literary criticism and scholarship in, among other areas, reconsidering genre distinctions and examining the effects of patriarchal structures on relations between the sexes. There is no decorous way of saying that Winkler’s article, by contrast, is a farrago that should never have been conceived, pitched, commissioned or published. Winkler credulously retails a series of purported mysteries about Shakespeare’s authorship that are no mystery at all, and repeats claims derived from Shakespeare denialists that any capable scholar would have been able to correct. She places particular stress on the work of a “meticulous scholar” Diana Price, who claims: “Writers in Elizabethan and Jacobean England left behind records of their professional activities. Shakespeare left behind documentation of his professional activities, but none is literary… He is the only alleged [emphasis added] writer of any consequence from the time period who left behind no personal evidence of his career as a professional writer.”
Price is neither meticulous nor a scholar (she designates herself “an independent scholar,” which should have caused Winkler greater wariness). As Alan Nelson of Berkeley University has put it, Price knows how to put a sentence together but she doesn’t know how to put an argument together.
We in fact have unimpeachable evidence of Shakespeare’s activities as a writer, far more than we do for, say, his fellow-dramatists John Webster or Cyril Tourneur, but by a series of rhetorical sleights-of-hand Price rules it all inadmissible. To give a single but weighty example: Shakespeare’s fellow actors John Heminge and Henry Condell assembled the First Folio of Shakespeare’s works, published in 1623, with Shakespeare’s name on the title page and his engraved image in the frontispiece, and with a laudatory poem by Ben Jonson referring to the author as “Sweet Swan of Avon.” Price dismisses this as evidence of authorship because it’s posthumous, coming seven years after Shakespeare’s death, even though the planning and publishing of the book must have taken years, and Heminge, Condell and Jonson all knew Shakespeare personally. This isn’t scholarship but sophistry.
A noteworthy example of Betteridge’s Law of Headlines. (As is, of course, the headline on this post.)
Convincing Children That Airfix Is Still Fun | James May’s Toy Stories | Spark
Spark
Published on 6 Apr 2019James May subjects traditional toys to spectacular, supersize challenges. Children have taken their attention by video games and mobile phones since they became heavily accesible, can they be convinced that outdated Airfix’s models are still fun?
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QotD: Mark Steyn and the “Human” “Rights” Tribunals
It’s statements like these that have landed Steyn on various hit lists, including, most famously, those of the Canadian Human Rights Commission, the British Columbia Human Rights Tribunal and the Ontario Human Rights Commission, which are strange quasi-judicial bodies that were stirred to action a decade ago by the Canadian Islamic Congress. Between 2005 and 2007 the weekly news magazine Maclean’s published eighteen articles by Steyn, including an excerpt from America Alone, that were all deemed “Islamophobic” by the human rights tsars. Without going into excruciating detail about the various legal jockeying that took place — who knew one country could have this many commissions and tribunals that could all attack simultaneously? — Steyn and Maclean’s were charged with inciting hatred against Muslims, setting in motion an endless process of discovery and hearings.
“We were trying to lose,” said Steyn. “We wanted them to find us guilty so that we could appeal to a real court, hopefully the Supreme Court, and prove that these hate-speech laws are more absurd than any laws outside North Korea. Before I came along, these human rights tribunals had a 100 per cent conviction rate! The fact that we fought back meant that I became an albatross around their neck. The Thought Police were exposed to massive unrelenting publicity for the first time, and they didn’t expect that. They didn’t expect us to push back. But free speech is on the retreat, and this was not a time for a faint-hearted defence.”
The Canadian Human Rights Commission eventually bowed out of their part in the imbroglio, saying the articles were “polemical, colourful and emphatic” but failed to satisfy the definition of writings “of an extreme nature” as defined by the Supreme Court. But the British Columbia Human Rights Tribunal was not so sure, holding a five-day hearing during which the Canadian Islamic Congress presented evidence that twenty articles in Maclean’s presented Islam as a violent religion and Muslims as violent people, with the Islamist lawyer using words like racist, hateful, contemptuous, Islamophobic and irresponsible. Mahmoud Ayoub, a Harvard historian of religion, testified that Steyn didn’t understand the meaning of the word jihad and that, of the 1.5 billion Muslims in the world, less than a million interpreted jihad to justify violence against non-believers. (I don’t know of any other religion in the world that has merely a million devotees willing to kill, but that’s what the man said.)
Mark Steyn, interviewed by John Bloom, “Mark Steyn, Cole Porter and Free Speech”, Quadrant, 2017-05-11.
