Some Notes from the Yale Class of 1968

“Good my lord, will you see the players well bestowed? Do you hear, let them be well used, for they are the abstract and brief chronicles of the time. After your death you were better have a bad epitaph than their ill report while you live.”

Shakespeare, Hamlet, Act II, Scene 2

The events of 1968 and the actions of those in the Yale Class of 1968 have had a notable, enduring and indelible impact on the lives of many within the Yale community, the country as a whole and the wider world.

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Bill McKibben | How the Iconic 1968 Earthrise Photo Changed Our Relationship to the Planet

By Bill McKibben, Reader Supported News

8 December 18

Nineteen sixty-eight was a crazy year, its events moving at a horrific pace. The Tet Offensive. The My Lai Massacre. Bobby Kennedy announcing the news that the Rev. Martin Luther King Jr. had been assassinated. Bobby Kennedy’s assassination. Riots across urban America and outside the Democratic National Convention. The human drama seemed out of control in a way it hasn’t in the years since ― till now, of course.

Which is why it’s both heartening and sad to think of the event that brought 1968 to a close and opened a new set of possibilities. Apollo 8 was orbiting the moon, its astronauts busy photographing landing zones for future missions. On the fourth orbit, Commander Frank Borman needed a navigational fix and decided to roll the craft away from the moon, tilting its windows toward the horizon. The shift gave him a sudden view of the Earth rising.

“Oh, my God,” he said. “Here’s the Earth coming up.”

Crew member Bill Anders turned the camera away from its lunar chores and pointed it homeward, snapping what may be the most iconic image ever taken. Borman said later that it was “the most beautiful, heart-catching sight of my life, one that sent a torrent of nostalgia, of sheer homesickness, surging through me. It was the only thing in space that had any color to it. Everything else was simply black or white. But not the Earth.”

Back on Earth, the seeds of the modern environmental movement had already been planted. Rachel Carson had written Silent Spring earlier in the decade, beginning the process of wiping some of the shine off modernity. David Brower had led the Sierra Club through the great fight to save the Grand Canyon, turning it in the process into the first great green group. And soon there would be a major oil spill off the coast of Santa Barbara, and the Cuyahoga River would burst into flames. People were beginning to realize that there were limits to the abuse nature could take at the hands of growth.

But suddenly those limits were visible. Everything we had was there before us: a blue-and-white shimmering egg hanging in the monochrome void. You could see it aswirl with the motion of clouds, gloriously alive in the midst of the endless vacuum.

When we think of the Apollo missions, we often herald NASA’s accomplishments as technical. We put a man in orbit, and then we landed more on the moon. And yet one of the most important achievements of the decades of space exploration was artistic — this one photograph taken 50 years ago this month that showed us nothing about the rest of the galaxy and everything about our home.

It explained, I think, the tenor of the first Earth Day, which followed about 15 months later. Organized as a “national environmental teach-in” by Democratic Sen. Gaylord Nelson and Republican Rep. Pete McCloskey, the day used an image of Earth from space as its unofficial flag. The event drew 20 million Americans into the streets ― a tenth of the population at the time, probably the largest day of political action in American history.

Bill-McKibben

…(read more).

Eisenhower Farewell Address (Best Quality) – ‘Military Industrial Complex’ WARNING

Ewafa
Published on May 17, 2015

All other versions of this video that I have seen have scratchy audio or bad video, so I decided to put together this one with the best quality of both. Jump to Ike’s warning about the “unwarranted influence… by the Military-Industrial Complex”: 8:41 Speech date: January 17, 1961

Glory 1989 Trailer

Farming While Black: Leah Penniman

Glory

The Art and Archaeology of Venetian Ships and Boats (Studies in Nautical Archaeology, 5): Lillian Ray Martin, Marco Bonino

Throughout its existence as a bustling center of seafaring and trade, Venice has loomed large in maritime history. Its location, its governmental policies, and the skills of its citizens made Venice a dominant military power and a major player in international trade by the Middle Ages. Yet little is known of what made that military and trade prowess possible—the early seagoing vessels of Venice. Remains of its ships and boats are few, and written records are rare.

Artistic representations of Venetian ships and boats can offer distinctive clues unavailable in other forms of evidence. To gain a better understanding of the watercraft of Venice, nautical archaeologist Lillian Ray Martin has collected representations of ships and boats in medieval and early Renaissance art. To do so, Martin systematically surveyed the museums, churches, libraries, and public buildings of Venice and the surrounding region in search of watercraft depicted in art.

Drawing on material from several disciplines, The Art and Archaeology of Venetian Ships and Boats combines lively discussions of art and history with scientific scholarship. After outlining her method of study, Martin presents a brief history of Venetian art, inextricably linked to the history of the area. Martin then carefully catalogues each known piece of Venetian art that depicts watercraft. She includes such information as the

title, artist, date, location, types of watercraft depicted, and a comprehensive description of each piece.

Excavations in the region so far have revealed only a few small boats, two merchant ships, and a galley, a limited sample of the ships and boats of Venetia, but offering the base on which to build. Archaeological, documentary, and iconographic evidence are here combined to paint a more accurate picture of Venetian watercraft, making The Art and Archaeology of Venetian Ships and Boats the most complete compilation of the sources available today.

The book is enhanced by more than 150 illustrations, including representations of ships and boats from paintings, sculptures, frescoes, mosaics, engravings, manuscript illuminations, and more.

The Art and Archaeology of Venetian Ships and Boats reveals important facts about the construction, rigging, and sailing of Venetian watercraft, shedding new light on the history of Venetian seafaring and the resulting economic and political relations Venice had with the Byzantine and European worlds.