Quotulatiousness

January 9, 2021

Three Dumb Italy Stories

Filed under: Architecture, Europe, History, Humour, Italy — Tags: , , , — Nicholas @ 04:00

Overly Sarcastic Productions
Published 8 Jan 2021

If I had the time and energy, I’d have researched for a new video, but I have neither of those things right now, so you get Italy. Don’t worry, I made it extra snarky to compensate.

SOURCES & Further Reading: I, uh, well, most of the anecdotal information in this video came by way of tours I myself went on and somehow managed to retain 9 years later, but as always, you can find more on Florence & Venice in Florence: The Biography of A City by Christopher Hibbert and A History Of Venice by John Julius Norwich.

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The (declining) power of the political cartoon

Filed under: History, Humour, Media, Politics, USA — Tags: , , , — Nicholas @ 03:00

In Quillette, Jack Reilly outlines the rise of political cartooning from (of all people) Martin Luther to the present day, as it faces the final phase of its long career:

The first influential cartoon published in an American newspaper has traditionally been credited to Benjamin Franklin, who drew his famous serpent divided into eight parts with the legend Join, or Die — the message being that fellow colonists must band together to repel the enemy forces then threatening their territory. Long after Franklin’s death, the image would be dusted off for reuse by supporters of American unity.

Thomas Nast, whom many consider to be the greatest editorial cartoonist of all time, rose to prominence during the Civil War. Still in his early 20s, the young German immigrant began producing such arresting pro-Union material that Abraham Lincoln — flipping Napoleon’s rueful commentary about James Gillray on its head — referred to Nast as “our best recruiting agent.”

During the national election of 1864, conducted amidst the Civil War, the Democrats pushed a platform of reconciliation with the slaving south. In response, Nast created his famous Compromise with the South cartoon, depicting an injured union soldier, bowing his head and lifelessly shaking hands with a victorious confederate who stands atop the grave of a fallen Yankee, with Lady Liberty weeping in the foreground. The epitaph on a tombstone reads “In memory of the Union heroes who died in a useless war.” Nast’s lurid but masterful image created a sensation, and showed how politically powerful the cartooning medium could be in an age of mass newspaper readership. Two months later, Abraham Lincoln defeated the Democrat candidate, George McClellan, to secure a second term.

In the decades following the war, Nast would continue to elevate the medium to high art. In 1871, he began an ongoing series for Harper’s Weekly attacking the corruption of Tammany Hall, the Democratic political machine that controlled New York politics. Nast so mercilessly lampooned William M. “Boss” Tweed as the machine’s ringleader, that Tweed was heard to rage, “Stop them damn pictures! I don’t care a straw for your newspaper articles. My constituents can’t read. But they can’t help seeing them damn pictures!”

Eventually, Tweed was convicted of money laundering. (He attempted to escape justice by absconding to Spain, but was soon apprehended by Spanish officials, who reportedly recognized him with assistance from Nast’s cartoons.) As for Nast himself, he’d go on to conceive of the elephant as a symbol for the Republican party, popularize the use of the donkey for the Democrats, and help create the modern image of Santa Claus that Americans have come to love.

“The Third-Term Panic”, by Thomas Nast, originally published in Harper’s Magazine on 7 November 1874.

A braying ass, in a lion’s coat, and “N.Y. Herald” collar, frightening animals in the forest: a giraffe (“N. Y. Tribune”), a unicorn (“N. Y. Times”), and an owl (“N. Y. World”); an ostrich, its head buried, represents “Temperance”. An elephant, “The Republican Vote”, stands near broken planks (Inflation, Repudiation, Home Rule, and Re-construction). Under the elephant, a pit labeled “Southern Claims. Chaos. Rum.” A fox (“Democratic Party”) has its forepaws on the plank “Reform. (Tammany. K.K.)” The title refers to U.S. Grant’s possible bid for a third presidential term. This possibility was criticized by New York Herald owner and editor James Gordon Bennett, Jr.
Image and caption via Wikimedia Commons.

Tank Chats #90 | M26 Pershing | The Tank Museum

Filed under: History, Military, USA, Weapons, WW2 — Tags: , , — Nicholas @ 02:00

The Tank Museum
Published 29 Nov 2019

David Fletcher examines the American M26 Pershing “Heavy” tank. The Pershing saw service in the latter days of the Second World War and Korea.

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QotD: Heinlein’s “Future History”

Filed under: Books, Quotations, Space, USA — Tags: , , , , — Nicholas @ 01:00

I’ve been planning to write about Elon Musk’s Bowie-blasting space car ever since the video footage was transmitted back to Earth in the middle of this week. But I did not even notice until I sat down to the job that I have also been rereading Robert A. Heinlein’s “Future History” short-story cycle. This is not exactly a coincidence: I go back to the Future History every few years. This time I had one of those “Surprise! You’re old!” moments upon realizing that my cheap trade paperback of The Past Through Tomorrow, a collection of the Future History stories, must be 30 years old if it’s a day.

Written between 1939 and 1950 for quickie publication in pulp magazines, the Future History is a series of snapshots of what is now an alternate human future — one that features atomic energy, solar system imperialism, and the first steps to deep space, all within a Spenglerian choreography of social progress and occasional resurgent barbarity. It stands with Isaac Asimov’s Foundation trilogy as a monument of golden-age science fiction.

In some respects the Future History has not aged any better than one might expect. Like other young nerds who created the science-fiction canon, Heinlein was interested in rocketry before it was thought to have any practical use. And Heinlein was really, really good at acquiring or faking expert knowledge of those topics in which he happened to get interested. The man knew his Tsiolkovsky.

The result, in the key story of the Future History, is an uncannily accurate description of the design and launch of a Saturn V rocket. (Written before 1950, remember.) But because Heinlein happened not to be interested in electronic computers, all the spacefaring in his books is done with the aid of slide rules or Marchant-style mechanical calculators (which, in non-Heinlein history, had to become obsolete before humans could go to Luna at all). Heinlein sends people to colonize the moon, but nobody there has internet, or is conscious of its absence.

Colby Cosh, “Heinlein’s monster? The literary key to Elon Musk’s sales technique”, National Post, 2018-02-12.

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