Quotulatiousness

June 12, 2019

A Canticle for Leibowitz – Dystopias and Apocalypses – Extra Sci Fi

Filed under: Books, Media, USA — Tags: , , — Nicholas @ 06:00

Extra Credits
Published on 11 Jun 2019

A Canticle for Leibowitz is a book about cycles and violence — about the cost of progress. But it is also about the persistence of humanity’s quest for knowledge and endless resilience. Unlike other post-apocalyptic fiction tropes, it is focused on the lives and goings of everyday people, rather than on the setting itself, and is a critical work to study if you want to understand the post-apocalyptic genre better.

Inspired by his own experience being part of the bombing campaign that leveled the ancient monastery of Monte Cassino during World War 2 and the fear of nuclear annihilation that gripped America during the Cold War, Walter M. Miller Jr. imagined the world in a brand new dark age, ushered in by the hubris of humankind — in the only novel he ever published.

Men’s mental health and the conflicting demands they face

Filed under: Health, Media, Politics, USA — Tags: , , , — Nicholas @ 05:00

In Psychology Today, Rob Whitley explains the paradoxical demands that men make active efforts to talk about mental health issues and to “check their privilege” and shut up:

Men, Please Talk More

Men experience elevated rates of numerous mental health issues including suicide and substance use disorder while showing low rates of mental health service utilization and a tendency to bottle-up. This has led many scholars to posit a silent crisis of men’s mental health.

Consequently, many mental health organizations and high-profile individuals are sending out an insistent message that men must talk more about their mental health.

Even royalty has endorsed this message, with HRH Prince William stating in a recent documentary that we need to “pass the message onto men everywhere that it’s okay to talk about mental health… and be able to talk about our emotions.”

Fine words indeed.

Men, Please Shut Up

However, other individuals and organizations are sending out a completely different message, namely that men as a group need to remain silent and “check their privilege.” As wryly noted by Bloomberg journalist Ramesh Ponnuru “check your privilege means shut your mouth.”

Such messages can be seen all over the Internet, with pleas for men to shut-up or stop whining. Of note, these pleas come from both men and women. These echo comments men often hear in face-to-face interactions, even from their intimates and their employers.

Indeed, such perspectives can emanate from high places, including the U.S. Senate, with Hawaii Senator Mazie Hirono recently stating, “I just want to say to the men in this country: just shut up and step up. Do the right thing for a change.” For some, male silence is a sign of moral rectitude.

This situation creates a men’s mental health double-bind. On the one hand, men are being told to talk more and open-up; on the other hand, men are being told to check their privilege and be silent. This can only create cognitive and emotional distress.

Interestingly, the men’s mental health double-bind manifests itself beyond the borders of the U.S. As such, examples from the U.K and Canada are given below to illustrate its global nature.

QotD: Militant Islam and the Western media

Filed under: Europe, Media, Quotations, Religion — Tags: , , , , — Nicholas @ 01:00

Mark Steyn is a brave man. He doesn’t talk about his death threats or his security measures, but his public life speaks for itself. For the fifth anniversary of the Muhammad cartoon controversy, he stood on a stage in Copenhagen with the Danes who were not yet in hiding along with Lars Vilks, the Swedish cartoonist who had survived physical attacks, arson, at least three assassination plots, and an Al Qaeda hit list. Steyn returned for the tenth anniversary observance, a few months after the Charlie Hebdo massacre, but by then no cartoonists were left — they were all in hiding, including Vilks, after yet another attempt on his life.

“I’m always willing to stand with the guys in Denmark,” says Steyn. “But the reason all these left-wing Europeans end up on a stage with an eccentric right-wing Canadian like me is that no real A-list stars will agree to be there. At the tenth anniversary both the American State Department and the British Foreign Office even issued official warnings to their citizens to stay away from the Danish Parliament, where we were holding the ceremony. What kind of signal does that send? Why don’t the artists show up for these things? Why aren’t the movie stars there? When Theo Van Gogh was assassinated, no one at the Oscars had a word to say about it. They didn’t even put him in the obituary montage. And yet they congratulate themselves on their moral courage. George Clooney wears a Je suis Charlie Hebdo pin. Helen Mirren wears a brooch. But they were not with Charlie. Those guys died alone. This is gesture politics. No one would stand with them. I honour the genuine courage of Ayaan Hirsi Ali. Ayaan’s point is absolutely right — in the end you have to share the risk. Charlie Hebdo supported the Danish cartoonists, but the rest of the world didn’t. If every newspaper had published those cartoons, there would have been no point in killing anyone because there would have been too many people to kill. Instead, nobody stands with them, and so the small publication that does ends up massacred. The writer of the comic strip Doonesbury in America [Garry Trudeau] attacked the decision of PEN to honour Charlie Hebdo. Well, they were lying on the floor, bleeding and dying. I don’t think they noticed.”

The Danish cartoon controversy was actually the first moment the American press had been challenged by Islam and could do something in response — and their reaction was a spectacular failure of will and principle. In several countries around the world, it was actually against the law to publish the Danish cartoons, but many editors stepped up, published them anyway, and suffered the civil and criminal consequences. In the United States — where there was no such law — no major publication would print them.

Mark Steyn, interviewed by John Bloom, “Mark Steyn, Cole Porter and Free Speech”, Quadrant, 2017-05-11.

June 11, 2019

“[I]t may suddenly occur to you that Mazin has turned a deadly epochal disaster into … a buddy-cop movie”

Filed under: Environment, Health, History, Media, Russia — Tags: , , , , — Nicholas @ 05:00

I haven’t watched Chernobyl, but a lot of sensible people, including Colby Cosh, insist that it’s well-worth the watching:

It looks as though HBO’s miniseries Chernobyl will take the title as the prestige TV event of the first half of 2019. This is pretty remarkable, all things considered. The writer of the series, Craig Mazin, is still described on Wikipedia as “an American screenwriter and film director best known for writing Identity Thief, The Hangover Part II, The Hangover Part III, and The Huntsman: Winter’s War.” The director, Johan Renck, is a Swede who got his start as a Eurodance performer with the nom de guerre “Stakka Bo.” For the zillionth time, HBO has spread its patented secret sauce over unpromising ingredients and delivered superb television.

I am being something of a jerk about these people, of course. Screenwriters don’t have much control over which of their scripts get made and what happens to those scripts on the set, and Mazin is admired as a critic and teacher. (Unusual respect for writers is an obvious component of that HBO magic.) As for Renck, he got from trashy music to HBO through an apprenticeship in music video — the same kind of apprenticeship that brought us David Fincher, Spike Jonze and Michel Gondry. He may, in this regard, be the last gasp of a noble tradition.

It is not that the Chernobyl series doesn’t have elements of hackiness. After spending a couple of hours watching Jared Harris’s austere scientist and Stellan Skarsgård’s smarter-than-he-looks apparatchik warm to each other while trying to save Eastern Europe from obliteration, it may suddenly occur to you that Mazin has turned a deadly epochal disaster into … a buddy-cop movie. Set aside the wonderful visual poetry, the period detail and the fine soundtrack, and the spine you’re left holding is a whodunit. It’s the Case of the Exploding Reactor.

I think Mazin would probably admit this, if he hasn’t already, but if it’s not clear enough, the whole thing winds up in the last episode with a contrived courtroom drama, one which does not quite resemble anything that ever happened in connection with Chernobyl.

Here is the funny and admirable thing: the solution that Mazin’s “cops” work out is highly technical and involved, is explained in careful detail, and is more or less the real solution to the mystery of Chernobyl. Mazin, who is my age and was therefore a teenager when the reactor went kablooie, is not some Jordan Peterson-esque Soviet-history nerd or someone who wanted to turn Chernobyl into a metaphor. It just seems to have occurred to him one day, quite recently, that he knew the word “Chernobyl,” and remembered that Chernobyl was very bad, but wasn’t sure what exactly had happened. When he found out he realized there was a movie in it.

Between the accidents at Chernobyl and Three-Mile Island (in 1979), the nuclear power industry was set back literally decades … despite being one of the best — and safest — answers to the problem of generating enough electricity to keep modern industrial countries humming along while also reducing production of carbon dioxide in the atmosphere. Maybe someone will produce a TV mini-series to de-mystify the American nuclear accident soon, and debunk the half-truths, quarter-truths, and outright lies that still bedevil any discussion of nuclear power in the western world.

June 9, 2019

The blog as a modern “commonplace book”

Filed under: History, Media, Personal — Tags: , — Nicholas @ 05:00

I’ve been blogging continuously for over fifteen years, but I’ve never found — or even considered — a single unifying theme for the blog. There are consistencies over the years, like the QotD posts, but in general the blog acts as a place for me to note things that interest, excite, or agitate me. After my grandfather died in 1979, I inherited a few of his notebooks, which included scores of lists on all kinds of things … my grandmother said it was all gathered to help with crossword puzzles, but the range of information was much wider than you’d normally find in crosswords. I think, had he lived long enough, my grandfather would have been a dedicated blogger. The blogging world has a lot of blogs like mine, where the blogger notes seemingly random bits of information, and this is far from new: they used to be called “commonplace books“:

Anonymous mid-17th century manuscript containing poems by various authors, in various hands, including Shakespeare’s second sonnet.
Wikimedia Commons.

Commonplace books (or commonplaces) are a way to compile knowledge, usually by writing information into books. They have been kept from antiquity, and were kept particularly during the Renaissance and in the nineteenth century. Such books are essentially scrapbooks filled with items of every kind: recipes, quotes, letters, poems, tables of weights and measures, proverbs, prayers, legal formulas. Commonplaces are used by readers, writers, students, and scholars as an aid for remembering useful concepts or facts. Each one is unique to its creator’s particular interests but they almost always include passages found in other texts, sometimes accompanied by the compiler’s responses. They became significant in Early Modern Europe.

“Commonplace” is a translation of the Latin term locus communis (from Greek tópos koinós, see literary topos) which means “a general or common topic”, such as a statement of proverbial wisdom. In this original sense, commonplace books were collections of such sayings, such as John Milton’s example. Scholars now understand them to include manuscripts in which an individual collects material which have a common theme, such as ethics, or exploring several themes in one volume. Commonplace books are private collections of information, but they are not diaries or travelogues.

In 1685 the English Enlightenment philosopher John Locke wrote a treatise in French on commonplace books, translated into English in 1706 as A New Method of Making Common-Place-Books, “in which techniques for entering proverbs, quotations, ideas, speeches were formulated. Locke gave specific advice on how to arrange material by subject and category, using such key topics as love, politics, or religion. Commonplace books, it must be stressed, are not journals, which are chronological and introspective.”

By the early eighteenth century they had become an information management device in which a note-taker stored quotations, observations and definitions. They were used in private households to collate ethical or informative texts, sometimes alongside recipes or medical formulae. For women, who were excluded from formal higher education, the commonplace book could be a repository of intellectual references. The gentlewoman Elizabeth Lyttelton kept one from the 1670s to 1713 and a typical example was published by Mrs Anna Jameson in 1855, including headings such as Ethical Fragments; Theological; Literature and Art. Commonplace books were used by scientists and other thinkers in the same way that a database might now be used: Carl Linnaeus, for instance, used commonplacing techniques to invent and arrange the nomenclature of his Systema Naturae (which is the basis for the system used by scientists today). The commonplace book was often a lifelong habit: for example the English-Australian artist Georgina McCrae kept a commonplace book from 1828-1865.

June 7, 2019

“A Ghost in the Trenches” – Francis Pegahmagabow – Sabaton History 018 [Official]

Filed under: Cancon, History, Media, Military, WW1 — Tags: , , , — Nicholas @ 04:00

Sabaton History
Published on 6 Jun 2019

As a ghost he roamed the trenches, effectively taking out his enemies one by one. He was the deadliest sniper of The Great War, with over 300 confirmed kills on his name. He is Canadian soldier Francis Pegahmagabow, born in an indigenous First Nations family, and the The Sabaton Song “A Ghost in the Trenches” is about his life and adventures.

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/SabatonOfficialShop

Hosted 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 Kaminski

Archive by: Reuters/Screenocean https://www.screenocean.com
Music by Sabaton.

Sources:
– IWM: Q 454, Q 17730, Q 50690, IWM 255, IWM 778, Q 17780, Q 745, IWM 466, IWM 208, Q 53538, E(AUS) 1497, E (AUS) 4677, E(AUS) 2078, Q 70213, Q 5977, Q 108213, Q 50553, Q 53637, Q 2638, Q 65444, Q 11668, Q 79508, Q 23706, Q 88121, Q 50638, IWM 207, Q 4135, Q 80267, Q 29027
– National Library of Scotland (NLS)
– Library and Archives Canada: Canadians advancing east of Arras.
– Auckland War Memorial Museum: AM 2016.26.1-3
– Canadian War Museum: George Metcalf Archival Collection, CWM 19940003-459, CWM 19920085-006, CWM 19920085-595, CWM 19920085-018, CWM 19940003-370, CWM 20040035-006

An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.

© Raging Beaver Publishing AB, 2019 – all rights reserved.

From the comments:

Sabaton History
1 day ago
Many of you have been analysing the tracklist for the upcoming Sabaton Album The Great War. While the subjects of some of the songs are quite easy to guess, the exact topic of “A Ghost in the Trenches” was a mystery for many – although some did predict it correctly. The song is about the Canadian (and indigenous First Nations) soldier Francis Pegahmagabow, the deadliest sniper of the First World War. Indy – having researched and hosted the The Great War YouTube channel for the duration of the war, knows as much as there is to know about the subject, and is the most suitable person to tell you the story behind the song.

Enjoy and Cheers!

June 6, 2019

QotD: Reviewing Saving Private Ryan

Filed under: History, Media, Military, Quotations, USA, WW2 — Tags: , , , — Nicholas @ 01:00

When Saving Private Ryan was released in America, I made a mild observation to the effect that its premise was a lot of hooey, and received in response several indignant letters pointing out that it was “based on a true story”, that of the Sullivan brothers. Er, not quite. The Sullivans’ story is stirringly told in The Fighting Sullivans (1942, directed by 42nd Street’s Lloyd Bacon): after Pearl Harbor, all five brothers enlist — and all five die aboard the [cruiser] Juneau at Guadalcanal. As a result, to avoid the recurrence of such a freakish tragedy, the United States changed its policy on family members serving together. Steven Spielberg’s film is not “based” on the Sullivans, except insofar as General George C. Marshall, the US Army’s chief of staff, mentions their fate to explain his decision.

Rather, the film is a kind of extension of the thinking behind the policy change: when three out of four Ryan brothers are killed in action, General Marshall orders a rescue mission to retrieve the sole surviving sibling, whose general whereabouts are somewhere behind enemy lines in Normandy — and all this a couple of days after D-Day. No such incident took place: no Allied commander would have thought it worth the risk in lives to assuage one distraught mother’s potential further bereavement.

Spielberg’s mistake is that, as one of the last remaining hardcore Clinton groupies, he’s thinking in Clintonian terms — about publicity, image, spin: the death of another Ryan brother would not “look good”. When Spielberg has General Marshall read out a letter from Lincoln to a mother whose sons all died in the Civil War, we’re certainly meant to find his consoling words — that they gave their lives in a great and noble cause — inadequate. It’s a measure of the gulf between 1944 and 1998 that The Fighting Sullivans was released during the war because it was thought the supreme sacrifice of one family would be inspiring. Alas, not to baby boomers.

So much has been written about the unprecedented “realism” of this film’s war scenes that the equally unprecedented unrealism of its thinking has passed virtually unnoticed. You’ve probably seen a zillion articles about the film’s prologue — a recreation of D-Day which lasts almost as long and doubtless cost a lot more — so I’ll say only this: yes, it’s impressive; yes, every shot of blood and tissue and body parts is underlined by adroit effects; yes, every moment is a testament to Spielberg’s command of cinematic technique; but that’s the problem — you react to it as technique, as showmanship. There’s one perfect shot after another: the silence underwater, with its dangerous illusion of respite; the pitterpatter of rain on leaves gradually blurring into rifle fire. The whole thing is oddly pointless: you’re not engaged by the predicament of the troops because you’re so busy admiring the great film-maker behind them. A film cannot really be “authentic” if all you notice is the authenticity.

Mark Steyn, The Spectator, 1998-09-12 (linked from SteynOnline).

June 5, 2019

Sensible proposals from the copyright review report

Filed under: Business, Cancon, Law, Liberty, Media, Technology — Tags: , , — Nicholas @ 06:00

Michael Geist summarizes the — seemingly quite sensible — recommendations from the copyright review process:

Assignments of copyrights photostat copies by mollyali (CC BY-NC 2.0) https://flic.kr/p/5JbsPE

In December 2017, the government launched its copyright review with a Parliamentary motion to send the review to the Standing Committee on Industry, Science and Technology. After months of study and hundreds of witnesses and briefs, the committee released the authoritative review with 36 recommendations [PDF] that include expanding fair dealing, a rejection of a site blocking system, and a rejection of proposals to exclude education from fair dealing where a licence is otherwise available. The report represents a near-total repudiation of the one-sided Canadian Heritage report that was tasked with studying remuneration models to assist the actual copyright review. While virtually all stakeholders will find aspects they agree or disagree with, that is the hallmark of a more balanced approach to copyright reform.

This post highlights some of the most notable recommendations in the report that are likely to serve as the starting point for any future copyright reform efforts. There is a lot here but the key takeaways on the committee recommendations:

  • expansion of fair dealing by making the current list of fair dealing purposes illustrative rather than exhaustive (the “such as” approach)
  • rejection of new limits on educational fair dealing with further study in three years
  • retention of existing Internet safe harbour rules
  • rejection of the FairPlay site blocking proposal with insistence that any blocking include court oversight
  • expansion of the anti-circumvention rules by permitting circumvention of digital locks for purposes that are lawful (ie. permit circumvention to exercise fair dealing rights)
  • extend the term of copyright only if ratifying the USCMA and include a registration requirement for the additional 20 years
  • implement a new informational analysis exception
  • further study of statutory damages for all copyright collectives along with greater transparency
  • adoption of an open licence rather than the abolition of crown copyright

My submission to the Industry committee can be found here. The submission and my appearance is cited multiple times in the report and I’m grateful that the committee took the submissions from all witnesses seriously.

June 3, 2019

The “Miss India” controversy

Filed under: History, India, Media — Tags: , , , — Nicholas @ 05:00

The Times of India published an image of the Miss India competition finalists that drew heavy condemnation on social media:

Tim Worstall explains at least some of the reasons why these young women don’t seem to resemble the majority of Indians:

To start with a question – doesn’t anyone read Jane Austen any more? For that is all that is needed to understand why all the finalists in this year’s Miss India contest seem to have the same rather pale and white complexion. Certainly, rather paler and whiter than the general run of the mill complexion seen across India.

We can also offer a Marxist interpretation – it’s a class thing, innit?

[…]

Yes, India does have that caste issue, it is true that higher castes are generally associated with lighter skins colours, lower with darker. There are even those who would insist that the caste system exists in order to maintain that dominance of the fairer skinned over the darker, something that has worked well in doing so for millennia.

And yet, Jane Austen. Apologies, the various heroines blur into a montage of Emma Thompson and Keira Knightley for me but then that’s just an expression of my masculinity, not bothering with chick flicks. But there is a scene where the sisters are fussing over their bonnets as they go out for a walk. Be careful – Lizzie? – or you might get freckles and then what man would want you? As one blessed with such melanin enhancement myself, finding it most attractive in others, why this obsession? Because a porcelain complexion was a signifier of social status.

Not because of the racial obsessions of the times – we are talking of an era when a thoroughly dark skin could make you a chattel slave, a white one not. But because a porcelain white skin was a signifier of social status therefore a porcelain white skin was a sign of social status.

70 to 80 percent of the population worked hard, outside. That meant being tanned. Only the rich did not need to do so. Thus only the rich were that pasty white which is the fate of the English gene pool when consistently out of the Sun. White was a symbol of social status not because it was white but because it meant “not farm labour”.

Of course, in the English and later European context, that dynamic started to change during the Industrial Revolution, as more and more “working class” work was done indoors and pale skin slowly declined as an indicator of wealth and privilege and instead tanned skin assumed that role (only the wealthy could waste time being outdoors, in the sun).

So, what will happen in India? Presently the country is what, still 50% of the people labouring in the fields? Something we know is declining as a portion and we expect to get to something like the English situation in a few decades, no? 6 to 8% compound GDP growth rates cause that sort of thing. 98% of all will be working under fluorescent strip lights, not under the Sun. Having both the leisure and the money to gain a tan will be a marker of social status and thus will be desired.

As to when this happens the switch really didn’t take that much time in England. Certainly in the 1930s that paleness was still highly desired. By the 1960s it was changing. Today tanning lotions sell in vast volumes, skin whiteners to the indigene English not a single drop.

When will we know the change is happening in India? It’ll not be airbrushed and photoshopped pictures of Miss India contestants that are that first marker. The day someone opens a tanning salon in an Indian urban centre and doesn’t immediately go bust will be that signifier that the great change is under way.

Rant: music lessons should be FUN

Filed under: Education, Media — Tags: , , — Nicholas @ 02:00

Lindybeige
Published on 30 Apr 2019

Thanks to several very bad music teachers, I do not play an instrument. Somehow they managed to annihilate all the potential fun.

Support me on Patreon: https://www.patreon.com/Lindybeige

Lindybeige: a channel of archaeology, ancient and medieval warfare, rants, swing dance, travelogues, evolution, and whatever else occurs to me to make.

▼ Follow me…

Twitter: https://twitter.com/Lindybeige I may have some drivel to contribute to the Twittersphere, plus you get notice of uploads.

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June 2, 2019

Andrew Heaton defends Basil Fawlty John Cleese

Filed under: Britain, Humour, Media — Tags: , , , — Nicholas @ 05:00

In his latest newsletter (subscribe here), Andrew Heaton takes up the cudgels to defend John Cleese against accusations of racism, sexism, white supremacy, homophobia, transphobia, Islamophobia, etc., etc. and suggests that the answer is that he’s “just old”:

First, “Some years ago I opined that London was not really an English city anymore.” Well, he’s right. London is geographically English, but other than its physical proximity to Surrey, it’s not English — it’s global. Its last census reports that 36.7% of its denizens are foreign-born. About 45% of the people who live there are White British (Welsh, Irish, English, Scottish). Which is to say, less than half of London is English [a lot less than half — the Welsh, Irish and “porridge wogs” don’t appreciate being called “English”, nearly as much as Canadians don’t like being called “Americans”]. The rest are a mélange of Europeans, non-Europeans, first and second generation immigrants, Klingons, Vulcans, Wookis, and folks from elsewhere in the Commonwealth and/or Narnia.

It’s a global city, like New York. It is richly diverse and cosmopolitan, which is a strength and draw to millions of people who live there. However I will argue that it’s difficult to be ethnically diverse and cosmopolitan while simultaneously being homogeneously English. Mutually exclusive, in fact.

Although to be fair, people aren’t mad at Cleese for observing that London isn’t English, they’re mad because he wishes it were. Cleese appears to prefer Englishness over multiculturalism. (Note the distinction between “culture” and “race.” Following the media storm, he tweeted, “… I prefer cultures that do not tolerate female genital mutilation. Will this will be considered racist by all those who hover, eagerly hoping that someone will offend them – on someone else’s behalf, naturally.” [Sic.])

My read on the situation is that Cleese is not racist, he’s old. What I mean by that is: life is always in flux, cities are by nature dynamic, society is fluid. People tend to want things to stay static, and they don’t, and that’s irksome for many, particularly as they grow elderly and nostalgic. I question when London was last really “English,” given that it was the imperial capital of half the globe well before he was born, and no doubt had several pockets of Indians and Jamaicans and Vulcans living there by the time he showed up.

All the same, is John Cleese allowed to prefer English over polyglot? Because I think that’s the root heresy at work here: saying that English culture might be superior to some others, and preferring it to them.

New York City is far, far more diverse and multicultural than, say, Portland, Oregon. Portland is so overwhelmingly white that it’s basically a giant bleach commercial with some craft breweries and street buskers thrown in. Ethnicity aside, can Portlanders prefer their cultural homogeneity over the vastly more polyglot city of Houston? So long as people agree that immigration is positive and we should be neighborly and welcoming to newcomers, I’m disinclined to hound people for their personal preferences.

I don’t know whether or not John Cleese meets that threshold. We know that he favored Brexit. I suspect, based on scattershot Cleese musings, that wants a Britain which is open and welcoming to foreigners, but that he would also like them to become polite, uptight, tea-drinking gardeners once they’ve moved there.

I could be wrong. I don’t know the depths of John Cleese’s heart, and whether or not his pro-Brexit stance comes from hatred of distant bureacurats (good) or dislike of foreigners and immigrants (bad). I suspect most of the people shouting at him on Twitter have no idea either.

Which is my main and final point. Maybe a single isolated tweet isn’t sufficient information to psychically intuit whether someone is a bigot or not? We’re all on the same page here: bigotry is bad. Don’t be a racist. Don’t be a homophobe. But if we’re going to champion the idea that the worst non-criminal thing you can be in our culture is a bigot, then we should also be at least a tad reserved about passing out scarlet letters just because there’s a slow news day and we spot a fun Twitter pile-on to get worked up about.

May 31, 2019

“Hearts of Iron” – The Battle of Berlin – Sabaton History 017 [Official]

Filed under: Germany, History, Media, Military, WW2 — Tags: , , , , — Nicholas @ 04:00

Sabaton History
Published on 30 May 2019

The Sabaton song “Hearts of Iron” (on the Heroes album) tells the story of a German commander who is ordered to relieve Berlin in face of an overwhelming attack from the east and the west. Berlin is almost fully surrounded, but instead of following orders from his superiors who have clearly lost touch with reality, he decides to use his men to get as many civilians as possible out of Berlin.

Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory

Check out the trailer for Sabaton’s new album The Great War right here: https://www.youtube.com/watch?v=HCZP1…

Listen to Sabaton on Spotify: http://smarturl.it/SabatonSpotify
Official Sabaton Merchandise Shop: http://bit.ly/SabatonOfficialShop

Hosted 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 Kaminski

Eastory YouTube Channel: https://www.youtube.com/channel/UCEly…
Archive by: Reuters/Screenocean https://www.screenocean.com
Music by Sabaton.

Source:
– Colorization by Ruffneck88, Phot-colorization

An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.

© Raging Beaver Publishing AB, 2019 – all rights reserved.

From the comments:

Sabaton History
1 day ago
This episode is one of the few which shows the humanity in the German army. As with all conflicts, this was not a binary where it was the “good guys” versus “the bad guys”. And before anyone else says it – some people will probably complain how we frame the Soviets as the bad guys. We chose to tell this story from a neutral perspective, but fact is that many German civilians feared what the Soviets would do to them, and preferred to live under American occupation. This might be considered anti-Soviet, but it simply is how many Germans viewed the Soviet army and one of the reasons why Wenck and his 12th created a corridor for the civilian refugees to escape into American occupied territories. We’re happy to have a reasonable and research-based discussion in the comments, but we won’t tolerate any extremism or revisionism.

Another note: while this episode is about a moment where the German army thought for humanity instead of against it, it nowhere near proves any sort of clean-Wehrmacht myth – and we won’t tolerate any comments of that sort either.

And with that, I will leave you. Enjoy the video!
Cheers!

History Buffs: Master and Commander

Filed under: Britain, France, History, Media, Military — Tags: , , , — Nicholas @ 02:00

History Buffs
Published on 18 Sep 2016

History Buffs is back! To thank you all for your patience while I’ve been away on holiday, I’m starting off with Master and Commander!

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Master and Commander: The Far Side of the World is a 2003 American epic historical drama film written, produced and directed by Peter Weir. The film stars Russell Crowe as Captain Jack Aubrey and Paul Bettany as Dr. Stephen Maturin. The film, which cost $150 million to make, was a co-production of 20th Century Fox, Miramax Films, Universal Pictures, and Samuel Goldwyn Films, and released on November 14, 2003 to critical acclaim. The film’s plot and characters are adapted from three novels in author Patrick O’Brian’s Aubrey–Maturin series, which includes 20 completed novels of Jack Aubrey’s naval career.

At the 76th Academy Awards, the film was nominated for 10 Oscars, including Best Picture. It won in two categories, Best Cinematography and Best Sound Editing and lost in all other categories to The Lord of the Rings: The Return of the King.

May 30, 2019

Moving the Overton window, illustrated

Filed under: Media, Politics, USA — Tags: , , — Nicholas @ 05:00

The Wikipedia entry for Overton window reads:

The Overton window is a term for the range of ideas tolerated in public discourse, also known as the window of discourse. The term is named after Joseph P. Overton, who stated that an idea’s political viability depends mainly on whether it falls within this range, rather than on politicians’ individual preferences. According to Overton, the window contains the range of policies that a politician can recommend without appearing too extreme to gain or keep public office in the current climate of public opinion.

Overton described a spectrum from “more free” to “less free” with regard to government intervention, oriented vertically on an axis, to avoid comparison with the left-right political spectrum. As the spectrum moves or expands, an idea at a given location may become more or less politically acceptable. Political commentator Joshua Treviño postulated that the degrees of acceptance of public ideas are roughly:

  • Unthinkable
  • Radical
  • Acceptable
  • Sensible
  • Popular
  • Policy

The Overton window is an approach to identifying which ideas define the domain of acceptability within a democracy’s possible governmental policies. Proponents of policies outside the window seek to convince or persuade the public in order to move and/or expand the window. Proponents of current policies, or similar ones, within the window seek to convince people that policies outside it should be deemed unacceptable.

There’s also a helpful illustration of the concept:

Diagram of the “Overton Window”, based on a concept promoted by Joseph P. Overton (1960–2003), former director of the Mackinac Center for Public Policy. The term “Overton Window” was coined by colleagues of Joe Overton after his death. In the political theory of the Overton Window, new ideas fall into a range of acceptability to the public, at the edges of which an elected official risks being voted out of office.
Illustration by Hydrargyrum via Wikimedia Commons

To move the Overton window is to shift how the public considers certain ideas, making once unthinkable things merely radical, then acceptable, and so on. Shifting the window is usually something that takes time and media preparation, as a series of tweets from Zach Goldberg handily illustrates:




The full thread can be viewed at this Thread Reader link.

Fahrenheit 451 – Dystopias and Apocalypses – Extra Sci Fi

Filed under: Books, Media — Tags: , , — Nicholas @ 04:00

Extra Credits
Published on 28 May 2019

Ray Bradbury not only cautions against censorship (the primary theme of Fahrenheit 451), but offers interesting commentary on who censors works at all, and why humans do it anyway.

Fahrenheit 451 is about many things. In Bradbury’s younger days, just coming out of the McCarthy era, he said the book was about censorship and book burning. Later in life, he said it was about the dangers of easy entertainment. Let’s analyze these viewpoints a little further.

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