TimeGhost History
Published 30 Jun 2021Wilson won the Nobel Peace Prize for crafting the League of Nations at Versailles, but even he couldn’t bring America out of its isolationism. This season he pours out his disappointment in his first-ever radio address. Optimism still reigns in the world of popular culture though, this season the Charleston is born.
(more…)
July 1, 2021
Woodrow Wilson, Isolationism, and the Birth of the Charleston | B2W:ZEITGEIST! I E.20 Harvest 1923
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June 19, 2021
“Defence of Moscow” – Autumn 1941- Sabaton History 103
Sabaton History
Published 17 Jun 2021While it is legendary, there is a lot of confusion and a lot of myths about Operation Typhoon, the German drive on Moscow in the fall of 1941, and Operation Barbarossa, the invasion of the Soviet Union that summer. Today I talk about the first 5.5 months of Barbarossa, and then Joakim and I discuss covers and covers of covers.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to “Defence Of Moscow”: https://music.sabaton.net/DefenceOfMo…
Watch the Official Music Video of “Defence Of Moscow” here: https://www.youtube.com/watch?v=i7K4v…
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: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Karolina Dołęga
Sound Editor: Marek Kaminski
Maps by: Eastory – https://www.youtube.com/c/eastory
Archive: Reuters/Screenocean – https://www.screenocean.comColorizations by:
– Mikołaj Uchmann
– Julius Jääskeläinen – https://www.facebook.com/JJcolorization/Sources:
– National Archives Nara
– Narodowe Archiwum Cyfrowe NARA
– Bundesarchiv
– New York Public Library
– Train tracks icon by Danishicon from the Noun Project
– Picture of singer Loona courtesy of Sandstein https://commons.wikimedia.org/wiki/Ca…
– Imperial War Museums: HU 75543, PST 4712
– Australian War MemorialAll music by: Sabaton
RADIO TAPOK – Битва за Москву (В стиле Sabaton / ИзиРок / – Defence Of Moscow)An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2021 – all rights reserved.
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May 24, 2021
“The revolution will be defeated when people stop being scared”
Sean Gabb discusses some outrageous elements of the ongoing cultural revolution against freedom of speech in Britain, the United States and many other western nations:
David Hume Tower at the University of Edinburgh (listed building number 50189).
Photo by Enric via Wikimedia Commons.
If I am a self-employed plumber or electrician, I can speak my mind and laugh at the complaints. If, like the great majority in this country, I am a salaried employee — whether in the state or private sectors is unimportant: the pressures to conformity are the same in both sectors — I must be careful what I say. I am scared of the sack. I am scared of sudden redundancy. I am scared of missing out on promotions. I am scared of generally unfair treatment because of my opinions. I therefore hide my opinions. The Peter Tatchells among us then look round complacently, telling themselves and each other that silence equals agreement, and that the few squeaks of opposition are from “disreputable extremists.”
This explains the present unbalanced debates over slavery and colonialism. Take these examples:
- First, in September 2020, the David Hume Tower at Edinburgh University was “denamed”. Someone had bothered to read the 1748 essay “Of National Characters”, and found in one of its footnotes an unfashionable statement about race. It was at once set aside that Hume was a philosopher of at least considerable note. More important was the “non-overt disrespect, offence, and racism that Black students have to go through at the University of Edinburgh”.
- Second, the Music Department at Oxford is presently worried that its curriculum “structurally centres white European music”, and that this causes “students of colour great distress”. It therefore wants to change its focus from the European classical tradition to things like “Artists Demanding Trump Stop Using Their Songs”. It also wants to discourage students from studying musical notation, as this is a “colonialist representational system”.
I could give a third illustration, and a fourth. I could fill a pamphlet with more. Some would be more alarming, though few less absurd. But these two can stand well enough for all the others. What makes these debates so irritating is that they are not debates. One side can put its case just as it pleases. The other is reduced to accepting all the main charges and begging for mitigation: “What Hume said was evil and unpardonable — but he was important for other things.” Or: “I feel your pain, but Mozart owned no slaves, and everyone knows that Beethoven was really black.” Because it has been so humbly begged, full mitigation will, in both cases, be granted. Hume will continue to be studied in the universities. Music students at Oxford will continue to use the standard notation and to analyse the usual classics. But preventing these things was never part of the agenda. The agenda was and is to transform what were honoured or unquestioned parts of our civilisation into things useful but more or less suspect, things subject to a toleration that may be varied or withdrawn at any time without notice.
It should be plain that we are, in both England and America, living through a revolution. This is not a normal revolution as these things are considered. Unlike in France or Russia, there has been no overthrow of an established order, no burst of state violence, no establishment after that of an overtly new order. There are no secret police. There are no labour camps. No one is beaten to death in a police cell. All the same, we are living through a revolution. It is a revolution that has involved the gradual capture of education, the media, the administration, the charities and the more permeable religious institutions, and the recent aligning of the larger or more glamorous business concerns. I see no point in discussing its ultimate objects. I am not sure if these are wholly agreed. But its provisional object is the destruction of our traditional identity, and of our liberty so far as this stands in the way of that provisional object.
These two elements of the provisional object are equally important. Our civilisation is being pulled apart because doing so strips away the mass of associations that, left in place, might hold up the more alarming parts of the transformation. Opposition is so feeble not only because that is all that will be tolerated: feeble opposition is all that can be tolerated. This is a revolution in which opponents are not murdered, but only scared into silence. They are scared into silence chiefly by fear of destroyed or blighted careers. The revolution will be defeated when people stop being scared. Then, there will be vicious and unrelenting public mockery, and commercial boycotts, and shareholder rebellions, and lost elections, and the general feeling of solidarity and impunity still sometimes found in a football stadium.
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May 11, 2021
QotD: The (disappointing) sex lives of the rich and famous
I suspect […] one of the main reasons rock stars, who really can have the super hot model, always end up cheating on her — because it’s not really her. In their minds, they became rock stars specifically to get that kind of girl … but that’s the thing: That kind of girl doesn’t exist. She’s a 2D image, heavily photoshopped. Oh, I’m sure Supermodel X really IS hot in real life, but she’s also just a person, which means she farts and snores and wakes up with bed head and all that. Plus, rock stars really do live with the equivalent of their own personal Photoshop, in the form of a small army of flunkies who make all of life’s routine frustrations go away. So it must be even more maddening to find out that the Cover Girl really does have myriad small blemishes, because, you know, she’s a real person, and not the fantasy you signed up for when you signed that big record deal.
Severian, “Junkies”, Rotten Chestnuts, 2021-01-18.
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May 2, 2021
“Stairway To Heaven” – Medieval Style
Early Style
Published 29 Aug 2020Original theme from Led Zeppelin (1971) in medieval – renaissance instruments
#StairwayToHeaven #MedievalStyle #Bardcore
From the comments:
Christopher Merlot
2 months ago
Led Zeppelin did a really good cover of this.
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April 27, 2021
“I Love Rock ‘n Roll” [Bardcore]
Graywyck
Published 6 Jun 2020Original: Arrows/Joan Jett & the Blackhearts – “I Love Rock ‘n Roll”
From the comments:
1Ring 42
6 months agoBehold him merry by the musicians booth
I couldst see he was but a youth
The rhythm made me swoon
For they played my fav’rite tune
An I knew twould nay be long
Til he was wi’ me, aye me
An I knew twould nay be long
Til he was wi’ me, aye me, singingI crave bardic lute
Toss another coin to yon bard milady
I crave bardic lute
Come spend th’eventide and make merryHe grinn’d thus I approached to ask his name
‘It matters not’ he quipped,
“For tis all the same”
Asked “Couldst I take thee home, whither we shalt be alone?”
An lo we traveled on,
He was wi me aye me
An lo we traveled on
He was with me aye me singing
An I knew twould nay be long
Til he was wi’ me, aye me, singingI crave bardic lute
Toss another coin to yon bard milady
I crave bardic lute
Come spend th’eventide and make merryAsked “Couldst I take thee home, whither we shalt be alone?”
An lo we traveled on,
He was wi me aye me
An lo we traveled on
He was with me aye me singing
An I knew twould nay be long
Til he was wi’ me, aye me, singing(Repeat Chorus 5x)
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April 6, 2021
QotD: Rap music
Theodore Dalrymple, “Liars and Maligners”, Taki’s Magazine, 2020-11-13.
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April 3, 2021
Metallica – “Nothing Else Matters” – Medieval Style – Bardcore
Algal the Bard
Published 19 Jun 2020Song composed by James Hetfield & Lars Ulrich
Spotify: https://open.spotify.com/artist/6AU6D…
iTunes: https://music.apple.com/us/artist/alg…
Google Play: https://play.google.com/store/music/a…
Twitter: http://twitter.com/Alvariu
Instagram: https://www.instagram.com/alvariu360
Instruments: Lute-guitar, Irish bouzouki, Low whistle (D), Drums.
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March 16, 2021
Mumford & [REDACTED]
Jack Stacey on the group-mandated self-cancellation of Winston Marshall by his band mates in Mumford & Sons at the behest of a social media mob for the mortal sin of complimenting a book publicly:
As the band’s most famous lyric goes, he really fucked it up this time. For while the book in question does describe the left’s penchant for totalitarian control disguised as benevolence, it was not the above classic [Nineteen Eighty-Four] (yet to be deemed problematic), but Unmasked by journalist Andy Ngo, which gets Inside Antifa’s Radical Plan to Destroy Democracy in the name of social justice.
Following this transgression against the militant arm of wokery and pressure from the rest of the group for his “increasingly right-wing views”, Marshall the banjoist has pushed his entire Twitter feed down the memory hole leaving only a mea culpa pinned to the start. It states: “Over the past few days I have come to better understand the pain caused by the book I endorsed. I have offended not only a lot of people I don’t know, but also those closest to me, including my bandmates, and for that I am truly sorry.”
He adds in his adopted Newspeak that he will use his absence “to examine my blindspots”, and concludes: “For now, please know that I realise how my endorsements have the potential to be viewed as approvals of hateful, divisive behaviour. I apologise, as this was not at all my intention.”
You would have thought he’d had rats caged to his face to become so repentant. But no, it appears that, as ever, some people got angry on social media, after which his partners at the tweed and ‘tache firm he’d helped set up have made him genuinely believe he deserved it for mucking around in politically incorrect prole territory.
For don’t let the & Sons bit fool you. Like the band’s resulting output, their name was chosen to add an earthy patina to bely the fact that they were, as Bo’ Selecta!’s Mel B might have it, “posh as fook”, rather than as they would have you think: “common as mook”.
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March 14, 2021
Livgardet – 500 Years in Service of the King – Sabaton History 102 [Official]
Sabaton History
Published 13 Mar 2021In 1523, Swedish King Gustav I. Vasa gathered 16 of his bravest and most loyal soldiers around him and appointed them to be his royal bodyguards. From this day on, the Swedish Royal Guards were tasked to guard the King and the royal family in their palace in Stockholm with their lives. Throughout the centuries the Royal Guard took on many names, outfits, and weapons, yet their mission remained the same. They joined the King on his military campaigns, protected him from assassins, and policed the royal estate.
Support Sabaton History on Patreon: https://www.patreon.com/sabatonhistory
Listen to Livgardet: https://music.sabaton.net/Livgardet
Watch the Official Music Video of Livgardet here: https://www.youtube.com/watch?v=Um5R_…
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: Maria Kyhle
Executive Producers: Pär Sundström, Joakim Brodén, Tomas Sunmo, Indy Neidell, Astrid Deinhard, and Spartacus Olsson
Community Manager: Maria Kyhle
Post-Production Director: Wieke Kapteijns
Editor: Karolina Dołęga
Sound Editor: Marek KamińskiArchive: Reuters/Screenocean – https://www.screenocean.com
Sources:
– Försvarsmuseum Boden
– Sveriges militärhistoriska arv
– Armémuseum
– Pictures of modern Livgardet and Swedish castles courtesy of GI99pema, Manfred Werner (Tsui), Arild Vågen, Jakub Hałun, President’s Secretariat India, Holger.Ellgaard, Andreas Trepte, Jürgen Howaldt, Arild Vågen
– Photo of the changing of the guard at Stockholm Palace by CEphoto, Uwe Aranas
– Ministério da Defesa
– Gustaf II Adolf before Battle of Lützen by Nils Forsberg, courtesy of Gothenburg Museum of Art.
– Poltava History MuseumAll music by: Sabaton
An OnLion Entertainment GmbH and Raging Beaver Publishing AB co-Production.
© Raging Beaver Publishing AB, 2019 – all rights reserved.
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March 6, 2021
“Jolene” (Bardcore | Medieval Style)
Hildegard von Blingin’
Published 9 Jul 2020Jolene, By Dolly Parton (Bardcore/Medieval Style)
Good morrow! I have descended from my cloister once more with another offering for the ravenous rabble.
Silliness aside, I want to thank you all again for helping to make such a wholesome part of the internet. I live for your hilarious comments and witty imaginings, and only wish I had more time to devote to this. I’m back to work, so I can’t aspire to weekly videos, but I do endeavour to continue making these.
The art is a composite/partial paint over of three different sources, including: MS Bodley 264, and Lausanne, Bibliothèque Cantonale et Universitaire U 964 – Biblia Porta fol. 178r, and one other that I’ve had no luck tracking down.
Lyrics:
Jolene, Jolene, Jolene, Jolene
I beg of thee, pray take not my lord
Jolene, Jolene, Jolene, Jolene
I fear, from thee, ‘twould take naught but a word
Thy beauty is beyond compare
With flaming locks of auburn hair
With ivory skin and eyes of emerald green
Thy smile is like a breath of Spring
Thy voice is soft like Summer rain
And I cannot compete with thee
Jolene
He talketh of thee in his sleep
And alas, I cannot keep
From weeping when I hear thy name
Jolene
Although it is so plain to see
How little he doth mean to thee
My love for him is boundless as the sea
Jolene, Jolene, Jolene, Jolene
I beg of thee, oh please take not my lord
Jolene, Jolene, Jolene, Jolene
I fear, from you, ‘twould take naught but a word
Thou couldst have thy choice of men
But I could never love again
He is the only one for me
Jolene
I would risk both life and limb
To spend my only days with him
My happiness is at thy whim,
Jolene
Jolene, Jolene, Jolene, Jolene
I beg of thee, pray take not my lord
Jolene, Jolene, Jolene, Jolene
I fear, from thee, ‘twould take naught but a word
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February 21, 2021
“House Of The Rising Sun” 1270 A.D (cover in Old French 800-1400 A.D) Bardcore
the_miracle_aligner
Published 9 Jul 20201270 A.D was a bad year to be in Tunisia, nobody won 😢
Also, take me back to when the French used trilled R’s 😂Original song by @The Animals: https://www.youtube.com/watch?v=4-43l…
Apologies to all the French-speaking folk out there 😅 This was a really hard one and I know it’s not perfect but please let me know what you think ❤❤❤
Consider supporting the channel, I know what I do ain’t much but its honest work ❤: https://www.patreon.com/the_miracle_a…
Wanna follow me?
https://twitter.com/KholeJa
https://www.instagram.com/the_miracle…Big thanks to Ser @Graywyck now pls go check out his channel XD
https://www.youtube.com/channel/UCRBC…As always, big thanks to @ABAlphaBeta for all the help with the translations and training,
Please go check out his channel, its a treat for historical enthusiast XD
https://www.youtube.com/channel/UCoDe…Also while making this video, a friend of mine introduced me to a cover of the original song done by a French artist Johnny Hallyday called “Le Penitencier.” Its a damn nice cover too, (THANKS EMMAAA) Here’s the link: https://www.youtube.com/watch?v=F3wqO…
I have been procrastinating a lot after going on a break weeks ago but I’m back folks. Currently working on upgrading my hardware, I will be getting a better mic and also a camera as I want to start posting videos soon. Want nothing but the best for all you lovely folk. Thank you as always ya’ll kind folk for all the love and support. Let’s make Bardcore last a 1000 years yeah?
Also, Here be the lyrics. Courtesy of AB
Il y a une meson en Orleans
Qui se sousnomme le Soleil levant
Et ele fu la ruine de maint garsilleurs
Dont fui aussi partant …Ma mere estoit une taillieuse
Qui cousit mes braies de lin
Mon pere lui estoit un joueur et
D’Orleans un citadinE les seules choses qu’un joueur requiert
Sont une male et une botte
E le seul moment de repos pour lui
Est saül au fond d’un potO, mere, di le aus anfaz
De ne pas feire com moi
Pechiez tout au lonc de vos tristes vies
La ou le Soleil feict loyBien, j’ai un pié sur le pavement
L’autre est sur le char
Sui de retorn a Orleans
Ou l’air-mesme est une bare#TheAnimals #HouseOfTheRisingSun #Bardcore #OldFrench #Medieval
February 9, 2021
QotD: Nothing sounds like the Beatles
It’s a pertinent question because the Beatles were so acclaimed as musical innovators in their time and still so hugely popular. And yet, nobody sounds like them. Since not long after the chords of the “Let It Be” died away in 1969, every attempt to revive the Beatlesy sound of bright vocal-centered ensemble pop has lacked any staying power among rock fans. It gets tried every once in a while by a succession of bands running from Badfinger to the Smithereens, and goes nowhere. Why is this?
Another, related question is: Why does so very little in today’s rock music sound like Chuck Berry?
Inventor of rock and roll, they still call him. And yet outside of occasional tributes and moments of self-conscious museumizing, nobody writes rock music that sounds anything like “Johnny B. Goode” anymore. Modern tropes and timbre are vastly different. Only the rock beat – only the drum part – survives pretty much intact.
It’s odd, when you think about it. The sound that electrified the late Fifties and Sixties is still revered, but it’s gone. The basic rock beat remains, but everything above it has been flooded out, replaced by something harder and darker.
We all sort of know, even as casual listeners, that rock has evolved a lot. There’s even a tendency for the term “rock and roll” to nowadays be specifically confined to the older sound, with “rock” standing alone to refer to the more modern stuff.
[…]
The sea-change happened between 1969 and 1971. The moving figures were: Jimi Hendrix. British Invasion bands like the Rolling Stones and Led Zeppelin and the Who. American West Coast bluesmen like Mike Bloomfield and Al Cooper. The San Franciso acid-rock scene. And many lesser imitators.
What they did was raze old-school rock-and-roll to the ground, replacing it with a bastard child of LSD and Chicago-style hard electric blues. That angry, haunting, minor-key idiom is what buried the Beatles and put a stamp on rock music so final that today the sound of any modern arena rocker – like, say, Guns’n’Roses – is recognizably the same thing musicians began to record around 1970.
(Which it should be pointed out, is a very long run for a mass-market pop genre. It’s as though in 1970 our radios had still been full of pop in forms dating from 1925 …)
Eric S. Raymond, “The blues ate rock and roll!”, Armed and Dangerous, 2017-12-28.
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February 7, 2021
QotD: The greatest sin of the Baby Boomers
If that’s harsh on the Boomers, well, sorry, Moonbeam — History don’t care about your feelings. But “the Sixties” isn’t the gravest charge History can lay against you. This is: After all that, you gave the world us, Gen X, the Dumbest Generation of Narcissists in the History of the World. Yes, you guys are responsible for both “Rocky Raccoon” and “Smells Like Teen Spirit.”
Severian, “The Look”, Rotten Chestnuts, 2020-10-09.
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February 5, 2021
The 369th Infantry Regiment in WW1 – the “Harlem Hellfighters”
Lawrence W. Reed remembers the US regiment that spent the most days in combat during WW1 and was awarded the French Croix de Guerre for the unit’s incredible fighting efforts:
“Some of the colored men of the 369th (15th N.Y.) who won the Croix de Guerre for gallantry in action.” Left to right. Front row: Pvt. Ed Williams, Herbert Taylor, Pvt. Leon Fraitor, Pvt. Ralph Hawkins. Back Row: Sgt. H. D. Prinas, Sgt. Dan Strorms, Pvt. Joe Williams, Pvt. Alfred Hanley, and Cpl. T. W. Taylor.
Records of the War Department General and Special Staffs via Wikimedia Commons.
Formed from a New York National Guard unit, the men of the 369th learned basic military practices at Camp Whitman, New York, before being sent to Camp Wadsworth in Spartanburg, South Carolina, for combat training. They were not welcomed by many of the locals there, and some were subjected to discrimination and vile epithets for no more reason than their color. In December 1917, they were shipped to France where they expected to see action on the front lines.
Their high spirits were quickly dashed when it became apparent the Army did not want to deploy them for anything other than manual labor, far from the fighting. Even the rifles they brought with them were confiscated by US Army officials.
The commander of the American Expeditionary Force, General John J. Pershing, was reluctant to commit any US troops to the front until he felt he had assembled them in sufficient numbers to ensure victory. The French, meanwhile, were desperate for manpower. Finally bowing to French pressure, Pershing gave them the 369th. While some regarded black troops as expendable, they ultimately proved themselves indispensable.
Consider this amazing record of the Harlem Hellfighters: No American unit experienced more time in combat than they did — no less than 191 days under fire. They never lost an inch of ground. The enemy never captured a single of their number. They suffered the highest casualty rate of any US regiment. None deserted. The grateful French bestowed their highest military honor, the Croix de Guerre, upon the entire regiment. Many individuals of the regiment received the US Army’s second-highest award, the Distinguished Service Cross. Posthumously, Henry Johnson received America’s Medal of Honor in 2015. The 369th ended up as the most decorated US regiment of the war.
Another distinguishing feature of the Harlem Hellfighters was their band, the largest and best-known of any regiment. Its leader was James Reese Europe, whose enlistment in 1917 proved to be a boon for recruitment. He was one of America’s best-known black musicians and others like Noble Sissle, who became Europe’s lieutenant and lead vocalist, were eager to serve with him.
Europe’s band was extremely popular with the French, even when Europe introduced his own arrangement of La Marseillaise, France’s national anthem. The Hellfighters’ band brought both jazz and ragtime music to France, where nobody had heard either before.
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