I am pleased to share with you, dear readers, that in less than a month I will be using my blog to host a Guest Blog Series titled #PodcastingHistory. Inspired by a conversation during the American Historical Association's Annual Meeting (#aha18) about what it means and entails to create a well-researched history podcast, I decided to explore the topic. As such, I have invited some dedicated history podcasters from a variety of academic backgrounds, and with vastly different interests and approaches to history, to create posts explaining their process. The format is simple: the historians will choose an episode of their podcast and tell the world how they came to choose the topic, research it, and turn it into something you can listen to in your spare time. By reading one post you will gain entirely new insight into the many ways people can approach history and make valuable discoveries to share with you, our wonderful listeners. On February 19th I will kick off the series and it will be followed by posts from the hosts of history podcasts like: MythTake DIG: A History Podcast Human Circus Podcast Head on History The History of Ancient Greece and, of course, Footnoting History! I hope you will join us on this adventure! (Oh, and if you are an established history podcaster, and you'd like to contribute a post of your own to our series, drop me a line here. I would love to hear from you.) #PodcastingHistorySeries

In the 1920s, a memoir written over a hundred years earlier by Hortense de Beauharnais, Queen of Holland, was published. Hortense’s life was the sort of thing made for movie screens, but she has been vastly overshadowed by the flashier characters of her family circle, after all she was Napoleon I’s stepdaughter, Josephine Bonaparte’s daughter, Louis Bonaparte’s wife, and Napoleon III’s mother. Recently I re-read The Memoirs of Queen Hortense while writing a play called Happiness in Palaces for 365 Women a Year, a project promoting the creation and production of stage works inspired by historical women. Adapting a portion of Hortense’s life for the stage was exciting, and also enlightening. It never ceases to amaze me when a something written centuries ago is incredibly applicable to life today (this is one of the reasons I love memoirs so much), so I have decided to make this post all about Hortense’s words. Hortense was born in 1783, to Alexandre and Josephine de Beauharnais, lived through her mother’s arrest and father being guillotined during the French Revolution, had her stepfather become Emperor Napoleon I, endured a disagreeable marriage, wore a crown that she did not want, got tangled in a love affair, and spent the years following Napoleon’s fall living in exile until her death in 1837. It was during this exile that she wrote her memoirs, and here are some of the things she said: On Friendship “Friendship is noblest sentiment the human heart can conceive.” (Vol I, p. 261) "Anyone can be a lover, but how many people know how to remain friends? In other words, how many people can treat another human being with that frankness which admits one's own mistakes combined with that tolerance which accepts the weaknesses of others?" (Vol I, p. 261) “Where real friendship is concerned one wishes every feeling to be wholly spontaneous and dreads any sense of obligation.” (Vol II, p. 112) “...the most painful accusations that can be made against us are those of people we considered our friends.” (Vol II, p. 289) On Happiness “Happiness consists in a harmony between our tastes and our position in society.” (Vol I, p. 260) “…a single unfulfilled desire is enough to dampen too intense a joy.” (Vol II, p. 3) “...I was convinced that happiness was not the lot of those who dwell in palaces.” (Vol II, p. 150) On Hypocrisy “What a disappointment it is when we realize that the people about us are generally hypocrites.” (Vol I, p. 24) “People think you should be sad, see that you are happy, and conclude you are a hypocrite.” (Vol II, p. 32) On Independence “I felt that to be truly independent, one must first acquire those things that insure this independence, in other words, strength of character and a sound education.” (Vol I, p. 22-23) On Love and Relationships “...passion can neither foresee the future, nor remedy the past.” (Vol I, p. 126) “The more people seek to belittle the object of our affections, the more our pride increases our attachment to him.” (Vol I, p. 171) “When one’s sentimental interests are at stake it is astonishing how the smallest things become important.” (Vol I, p. 273) “Between married people who are unhappy together everything becomes a reason for quarrels and discussions.” (Vol I, p. 298) On Politics (and Men and Women) “It is the same thing everywhere; people love a change and expect what is new will be an improvement.” (Vol I, p. 185) “Only women know how to rise to the occasion, and when the fate of nations depends on men such as I have just seen one cannot be surprised if everything goes wrong, and if the most worthy causes are lost.” (Vol II, p. 77) “Human beings can act as they please, choose their own fate, but they should not try to decide the future of others.” (Vol II, p. 137) “The habit of considering oneself a great nation gives a country a haughty attitude, which it retains in spite of what may happen.” (Vol II, p. 254) “...what does all the reason in the world amount to if one judges in accordance with one’s political bias?” (Vol II, p. 274) “I have noticed that in general during political upheavals men have less moral resistance than women.” (Vol II, p. 287) “When political passions run as high as they do nowadays, the truth is of only minor importance.” (Vol II, p. 316) On Religion “...I could not understand how [Christianity] could be used in France as an excuse for that injustice and hatred of others which its teachings condemn.” (Vol II, p. 318) On Sadness and Misfortune “My ability to support all of life’s vicissitudes is principally due to the fact that my imagination magnifies the coming misfortunes which when they arrive appear less terrifying than the picture I conjure up in advance. Hence I find myself with more than enough courage to face all such perils and afflictions as may befall me.” (Vol I, p. 66) “Misfortune makes one superstitious.” (Vol I, p. 178) “Our inner sorrows instead of limiting the circle of our sympathies develop them and cause us to take a more active and compassionate interest in what goes on about it.” (Vol I, p. 224) “...our imagination frequently evokes misfortunes which never take place, while at the same time it does not foresee the other evils that Fate holes in store for us.” (Vol I, p. 272) Sources Hortense, Queen of Holland, The Memoirs of Queen Hortense, Translated by Arthur K. Griggs, 2 Vols., New York: Cosmopolitan Book Corporation, 1927. Anne Louis Girodet-Trioson, Portrait of Hortense de Beauharnais, Queen of Holland, c. 1806-c.1809, oil on canvas, Rijksmuseum. The Angels of France: The Queen Hortense, The Empress Josephine, and The Empress Eugenie, from Bibliothèque nationale de France. Queen Hortense Playing the Lyre, from Bibliothèque nationale de France. #Bonapartes #19thCentury #France #Quotes #QueenHortense

Every year when December 2nd rolls around I smile, because in the 19th century it was a very significant date for my favorite imperial family: the Bonapartes. This date saw several Very Big Moments of Triumph for both Napoleon I and Napoleon III, and if there is one thing the Napoleons loved, it was Very Big Moments of Triumph. I suppose I enjoy them, too, because I got excited when I realized the air date for my final Bonaparte-related Footnoting History episode of the year (Napoleon Bonaparte's Near-Fatal Christmas) fell in with this bevy of historical anniversaries. While that episode is about a December event in the life of Napoleon I, it is not about December 2nd itself, so I decided to use my blog to talk about the events that occurred on that date. Thus, I present to you four reasons you would celebrate December 2nd if you were a Bonaparte (or a Bonaparte supporter), in chronological order: On December 2, 1804, Napoleon Bonaparte and his first wife, Josephine, were crowned France's Emperor and Empress at Notre Dame Cathedral in Paris. In 1799, Napoleon had staged a coup that overthrew the Directorate (that's France's government following the end of the guillotine-filled Reign of Terror) and put himself into a position of power. Napoleon's government, the Consulate, was initially built around the idea that his role as First Consul would have an end point. This did not happen. Over the next several years Napoleon transitioned from First Consul for a specific term to First Consul for Life(!) and then ultimately turned the whole thing up a notch by becoming Emperor(!!). This event was no small thing, as Napoleon even had the Pope come in for the ceremony during which both he and his wife, Josephine, were to be crowned. However, the Pope himself did not crown Napoleon. Napoleon decided to crown himself, and then to also crown his wife. Now France officially had an Emperor Napoleon I and an Empress Josephine. A pretty good day if you're Napoleon I. [Fun fact: The famous painting of Napoleon crowning Josephine (by Jacques-Louis David, on display at the Louvre, and shown above) contains Napoleon's mother (known as "Madame Mère") sitting in a place of pride, at the center of the lower box. In reality, she and her son had a disagreement and she did not attend the ceremony.] On December 2, 1805, Emperor Napoleon I defeated an Austro-Russian army at the Battle of Austerlitz. It was a massive blow to the Third Coalition (which included among its participants Britain, Russia, and Austria), and resulted in an armistice being signed between France and Austria. The day following the victory, Napoleon reminded his soldiers of the coronation of the prior year and commended them for their work in defending it: "Soldiers, when the French people placed the imperial crown upon my head, I entrusted myself to you so as to keep that crown ever in that high state of glory which alone could give it value for me. However, at the same time, our enemies sought to destroy and dishonor it! And they wanted to force me to place that iron crown – won by the blood of so many Frenchmen – on the head of one of our cruelest enemies! These were indeed overweening and senseless schemes which, on the very anniversary day of the coronation of your emperor, you have nullified and confounded! You have taught them the lesson that it is easier to challenge and threaten us than to beat us." (Proclamation After Austerlitz, 3 December 1805) The Battle of Austerlitz was one of the most significant of Napoleon I's reign. His tomb at Les Invalides in Paris is surrounded by the image of a crown of laurels which names his biggest victories, and Austerlitz is among them. On December 2, 1851, the Bonapartes were ready for an imperial come back. The First Empire had ended in 1815, and for a period of time Bonapartes were completely banned from France. But things changed, Bonapartes were allowed in again, and eventually the future Emperor Napoleon III was at the forefront of French politics. But since he wasn't Emperor Napoleon III yet, in 1851 he was still known as Louis-Napoleon. He was not a direct descendant of Napoleon I but he was related to him in two separate ways. He was Napoleon I's nephew, because his father (Louis Bonaparte, one-time King of Holland) was Napoleon I's brother. He was also Napoleon I's step-grandson, because his mother (Hortense de Beauharnais Bonaparte, one-time Queen of Holland) was the daughter of Napoleon I's first wife, Josephine, and her first husband, Alexandre de Beauharnais. Louis-Napoleon was elected President of the Second French Republic in 1848. However, much like his late uncle, Louis-Napoleon didn't think that was good enough. So, purposely choosing a date that was special for the First Empire, Louis-Napoleon staged his own coup on December 2, 1851 and set France yet again on the road to Empire. On December 2, 1852, exactly a year later and still utilizing the auspicious family date, the Second Empire was officially proclaimed. Louis-Napoleon was Louis-Napoleon no more. He was Emperor Napoleon III. No, I did not skip over the rule of a Napoleon II. Although Napoleon I did have son with his second wife, Marie Louise, that son had never truly ruled and had passed away twenty years earlier. So when Louis-Napoleon took the name Napoleon III, he did so in recognition of his cousin, who would have ruled as Napoleon II. Napoleon III actually ruled for longer than Napoleon I, and they had some personal similarities. Just like his uncle, Napoleon III only had one legitimate son (who also never ruled), was eventually overthrown, and died in exile (though in England, while Napoleon I died on St. Helena). Of course they also shared one more thing, an appreciation of their family's history of success on December 2nd. Relevant Links All Footnoting History Podcast Episodes about the Bonapartes. Austerlitz, 2 December 1805: A Timeline, via Fondation Napoleon. A Close-Up on the Coronation of Napoleon I, via Fondation Napoleon. David, Jacques-Louis, "The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine on December 2, 1804", via the Louvre. "Écrasant un dragon sanglant, Napoléon III est, aux acclamations du peuple et de l'armée couronné par Napoléon I.er qui descend du ciel sur un aigle", via Bibliothèque nationale de France. The Life and Reign of Napoleon III, via Fondation Napoleon. "Proclamation de l'Empire. Vive Napoléon III ! Empereur des Français. Entrée de S. M. au palais des Tuileries Le 2 décembre 1852", via Bibliothèque nationale de France. #Bonapartes #France #19thCentury #History #NapoleonI #NapoleonIII

I considered calling this post “Everything I Need to Know about History I Learned from Musical Theatre” but that would be such a gross exaggeration that I could not do it, despite how great it looked on my screen. Still, one of the biggest influences on my life has always been musical theatre, and it played a significant role in cultivating my adoration of history. I grew up listening to and watching every musical possible. I would get sucked in by the beautiful scores and dramatic plots, unable to fathom that certain shows were based on things that actually happened. Naturally, the complex truth was not always depicted on the stage. My desire to know just how much of it was true caused me to develop a love of researching at a young age, while the music and lyrics combined to teach me that the past was not dead and gone, it was alive and I could connect to it because I understood the feelings of those who came before me. Entertainment is a powerful learning tool. Of course, these days, to mention history and musicals usually results in someone turning the conversation to Hamilton. While Hamilton is doing a great deal to foster a love of history in lovers of musical theatre (and perhaps a love of musicals in lovers of history), other historical musicals also have much to offer us, but in many cases they lacked the mega-hit power that launched Hamilton into mainstream awareness. As such, I’ve taken it upon myself to compile a list of musicals (other than Hamilton) that capture moments in history. It was admittedly a very long list, so I plan to break it down into ten musicals per blog post and do several installations. My criteria for building my list was simple: it is based on real events and features characters that represent people who really lived, be it by real name or inspiration. Every musical on this list has at least one released cast recording, and most of them also have librettos in print. These pieces vary in degree of historical accuracy, but often it is the things that are shown factually that seem the least believable- much like when studying history without musical accompaniment. I believe each one of these musicals has something to offer, and hope you feel similarly once you delve into them. But that’s enough from me, so without further blabbing, I present my first ten historical musicals, in chronological order by setting: 1776 (Late 18th century/American Revolution): Before Hamilton, there was 1776, and it was arguably the Most Famous American History musical. If you have not seen the stage production, you may have seen the 1972 film starring William Daniels as John Adams. There are reasons 1776 endures. It shows the Continental Congress in all its grumpy, complaining glory, depicts John Adams’ relationship with his wife Abigail, and does not shy away from the ugly. “Molasses to Rum”, sung by South Carolina Delegate Edward Rutledge, gives a vivid and disturbing image of the triangle trade, while “Momma Look Sharp” provides a haunting depiction of being a young man caught up in the war while older men argue about independence far away from the gunshots. Pacific Overtures (Mid-19th century/Opening of Japan): In the 1850s, Japan found itself confronted by a visitor from the west, Commodore Matthew Perry, there to open up trade relations between Japan and the United States whether Japan wanted it or not. What Stephen Sondheim gives the world is a version of this time from the Japanese perspective. If you have to select only one song from Pacific Overtures (and I suggest you listen to the whole score), go with “Bowler Hat”, which follows a Japanese man as he becomes increasingly westernized. The Civil War (Mid-19th century/US Civil War): This musical by Frank Wildhorn gives voices to pretty much everyone involved in the Civil War including slaves, people at home, Confederate soldiers, and Union soldiers. Particularly worth listening to are “By the Sword/Sons of Dixie” and “How Many Devils?” which provide a great contrast in the feelings of soldiers (on both sides) at different points of the war, as well as the beautiful “Freedom’s Child” which opens with the evocative phrase, ‘Look at these hands, I stole them from my master…’ (Listen to The Civil War: The Complete Work album so you can hear Darius Rucker on this song). Inspired by writings from Frederick Douglass, Abraham Lincoln and others, its music makes the Civil War come alive. Assassins (Mid-19th century through 20th century/US Civil War through 1980s): In my opinion this is not just Stephen Sondheim’s greatest musical, but it is the greatest musical ever written about American history. Here, Sondheim weaves a connection from the first assassination of an American President (John Wilkes Booth assassinating Abraham Lincoln) up to the attempted assassination of Ronald Reagan by John Hinckley Jr. in the 1980s. I cannot stress how fascinating this piece is as it moves in and out of reality, at points allowing the various assassins (and would-be assassins) to form a bizarre family of the disenfranchised and disgruntled. The show contains both primary source usage (“The Ballad of Guiteau” utilizes the actual writings of James Garfield’s assassin, Charles Guiteau) and completely imagined exchanges (one of the longest non-musical sequences involves both John Wilkes Booth and Lee Harvey Oswald). And, lest you think women are forgotten, Sara Jane Moore and Squeaky Fromme (who both targeted Gerald Ford) are also featured. Although there are multiple versions of the score available- and all are good- my suggestion is the 2004 Broadway Cast Recording. It not only contains a good deal of the dialogue, but it has a song that isn’t in every production, “Something Just Broke”, which turns the focus from the assassins to the American people. It would be ideal to open up a discussion about what the assassination of the President of the United States does to the psyche of the country. Titanic (Early 20th century/Ill-fated Titanic voyage): This 1997 musical may share a release period with the film of the same name, but the story line could not be more different. With a sprawling cast, Titanic covers all ranks of passengers and crew members over the course of the ill-fated journey. The score is achingly beautiful, including numbers like “Lady’s Maid” (in which third class passengers dream of occupations open to them in the United States), “Barrett’s Song” (where an Irish stoker expresses how he came to work on the ship), and “Mr. Andrews’ Vision” (in which Thomas Andrews, the ship’s designer, faces the fact that the ship he designed is not going to make it, and that almost everyone aboard will perish.)- And don't get me started on my love of "The Proposal/The Night Was Alive" where one character proposes to his girlfriend while another declares his love for Marconi's telegraph. It may not have Jack and Rose, but it does not lack for emotional punch and representation of multiple class levels. Parade (Early 20th century/Southern United States): In the 1910s, factory superintendent Leo Frank was accused of killing a teenage employee named Mary Phagan in Atlanta, Georgia. Though he was convicted, Frank’s innocence has long been proclaimed by many. Parade, Jason Robert Brown’s first Broadway musical, covers this dark, murderous scandal. The musical is good for more than just asking, “Did Leo Frank do it?” as it also explores a post-Civil War south and the relations of its people not only with the Jewish Leo Frank but also with each other. There are many themes here that will call to mind Arthur Miller’s The Crucible, but they are very much still themes worth exploring, and Parade offers a lesser-known historical event as its means of doing so. The Scottsboro Boys (Early 20th century/Southern United States): With music by Kander and Ebb, The Scottsboro Boys title refers to a group of African American boys who, in 1931, were accused of raping two white women on a train. Race relations in the United States in the 1930s are naturally the center of the plot, and by tying it to minstrel shows and, ultimately, to Rosa Parks, this musical draws attention to the treatment and experiences of black Americans in the early 20th century. (In addition to the song below, I suggest my personal favorite, the emotional “You Can’t Do Me”). Bonnie and Clyde (Early 20th century/Southern United States): This is exactly what it sounds like, a musical that tells the story of Bonnie and Clyde, the famous outlaws. It goes back to the source material instead of borrowing from the popular film, and follows the couple from meeting to ambush. Its portrayal of Clyde’s brother Buck and his wife Blanche (especially “You’re Goin’ Back to Jail”) was one of the reasons I did a Footnoting History episode called Buck and Blanche (and Bonnie and Clyde). Allegiance (Mid-20th century/World War II, United States): Based on the experiences of George Takei and his family, and featuring a score by Jay Kuo, this musical explores the experiences of Japanese Americans during and after World War II. From being forced into internment camps to coping with the effects of it that reverberated in families well after the war ended, it captures the essence of a complicated, conflicting time for Japanese Americans and does a wonderful job of showing how being put into the internment camps impacted each person differently and altered their feelings about the country that did not trust them. Come from Away (Early 21st century/Canada post-9/11): I was one of those people who thought it was bizarre to even entertain the idea of associating 9/11 with a musical, but this one does just that. Currently running on Broadway, Come from Away tells the story of what happened when planes bound had to be diverted due to the events of September 11, 2001. Thirty-Eight planes landed in Gander, a small town in Newfoundland, Canada. As the residents of Gander join together to accommodate these sudden, trapped visitors, passengers cope not only with being stranded, but also worry about their loved ones in other areas of the world, Irene Sankoff and David Hein’s score goes a long way to show the impact of 9/11 outside of the east coast of the United States. One of the most compelling moments includes Beverley, a pilot who knows her colleagues’ planes were commandeered and used for destruction (“Me and the Sky”). #Theatre #History #Musicals

2016 was not my best year. By the time fall rolled around I was in a pretty dark place: my writing was yielding less-than-stellar results, work was pathetically slow, my energy was lagging so my weight was rising, and most significantly I was not coping well with the disintegration of my closest friendship. I had more free time than I knew what to do with and instead of using it to my advantage, I had little desire to do anything. I was real joy to be around. On the night of October 3rd I was at a point where I knew I needed to change. I desperately wanted to create a shift toward the positive. I could not continue feeling so awful. Sitting with me was my stuffed elephant friend, Ganesha. He was a recent comforting gift from my mother- named for the titular elephant in Vaseem Kahn’s Baby Ganesh Detective Agency series- and a symbol of my lifelong enjoyment of those complex, stunning animals. I was looking Ganesha's eternally understanding face at some point after midnight when I realized it was time to put my money where my mouth was. I was well aware that the plight of elephants was dire, both in Africa and Asia, and that the cause of this was predominantly because humans can be terrible, killing them for their tusks. I knew my friend Alison (of MythTake) fostered an owl, so why could I not do for an elephant what she was doing for her favorite animal? It was about time I stepped up and did something, however small, to help the elephants. Alison was one of my great pillars of support during these awful months, and when I mentioned my interest in fostering an elephant, she knew what to do. She pointed me to the David Sheldrick Wildlife Trust, a tremendously big-hearted organization in Kenya. There, under the auspices of Dame Daphne Sheldrick, they not only protect wild elephants from poachers and other horrors but also hand-raise orphaned ones. The dedicated caregivers employed by DSWT ensure their charges grow up comfortable and loved, building a new family and learning the ways of elephant life until they reintegrate into wild herds of their own volition. I grew increasingly excited about their work, and the more I read, the more I knew I would become a foster parent (at only $50 a year, even my paltry income at that time could afford it)…that was, of course, assuming I could choose which elephant I wanted to take under my financial wing since I simply could not take on all of them. The decision was far simpler than I imagined. When I opened the list of nursery babies, sorted in order of when they entered the program, one entry near the top screamed out at me: Ambo, rescued at the start of my Very Bad Year, was listed as orphaned due to being “stuck in mud.” Call me ridiculous, I don’t mind, but in this moment I felt like the clouds parted and I could see the sky again. Getting stuck in the mud is unfortunately not an unusual cause of orphaning for elephants. Typically, once this happens the herd will do everything in its power to try and get the baby out, but if it cannot it must eventually move on- a traumatic event for all parties involved. In Ambo’s case, he was discovered and reported, and the DSWT set out to collect him. I ate up every word of his profile (and the accompanying video of his rescue), learning that this little fighter had actually freed himself from the mud by the time his rescuers arrived, but because he was alone, he needed all the help he could get- after all, he was an unprotected, milk-dependent, four-month-old baby. He was taken in by the DSWT and brought to their Nairobi nursery where he settled in and thrives to this day. If this baby elephant, all big ears and floppy trunk, could endure losing his whole family, and still pull himself out of the muck and integrate into a new family where he is quite happy, then surely I could stop wallowing in misery and feeling bad for myself. As Charlotte Bronte would say: Reader, I fostered him. Soon after, I received an e-mail thanking me that contained a link to the keepers’ journals where I could read about his progress. The e-mails have continued every month and I am not exaggerating it when I say I eagerly anticipate them. I know that Ambo has an adopted mother he basically worships (Mbegu), that sometimes he would prefer to hide instead of go out in the rain, and that he has lots of friends. I know he is generally considered to be a good boy but he has no problem defending himself, and has an ongoing love-hate relationship with a mischievous little lady elephant named Esampu. I see pictures of him on a regular basis, and they brighten my mood. I know I am one of many who chose Ambo to foster, but in my head (just as in the heads of his other foster parents) he is “mine”. I love knowing others feel the same way and that so many people care about him and his friends. It would be silly of me to say that from the moment I fostered him my life became perfect, it didn’t. It did, however, become more bearable, and I was much happier. The things I could change, I did, and those I couldn't, I slowly learned to handle better. In addition to feeling revitalized to attack my own life, I found that I enjoyed doing good things for elephants. Doing something for others, unsurprisingly, made me feel better about myself. Contributing is always more rewarding than taking. It is my belief that elephants are smarter and more compassionate than all of us. They deserve whatever assistance I can give them. Since I fostered Ambo I became generally more active and have done things like participate in the Enormous Elephant 10K in Central Park and attend the recent Ivory Crush done by the state of New York to protest the ivory trade. I also released a podcast for Footnoting History about Jumbo, the elephant who, in the late 1800s, had no choice but to become a celebrity at the hands of P.T. Barnum. It was my tribute to all the elephants whose lives were not spent with their families in the wild. I hope someday to take the trip to Kenya and meet Ambo. When I do, I guarantee I will get choked up, tell everyone there how much I admire the work they do, and consider it one of the happiest days of my life. Today marks the first anniversary of my fostering Ambo. I am in such a better state of mind than I was on October 3, 2016 that it seems a lot longer ago. I credit it largely to that moment of seeing Ambo’s profile and realizing if that little inspiration could dig himself out of the mud, I could do the same. Help the Elephants The David Sheldrick Wildlife Trust (Kenya) - Ambo's home! The Elephant Sanctuary in Tennessee (USA) Phuket Elephant Sanctuary (Thailand) Save the Elephants (Kenya) 96 Elephants Ivory Ella (Apparel- 10% of net profits go to Save the Elephants) The Elephant Pants (Apparel- 10% of net profits go to TUSK) Saving the Elephants 10K Run/Walk Suggested Elephant Reads Fiction Barbara Gowdy, The White Bone. Vaseem Khan, The Baby Ganesh Detective Agency Series. ---, (#1) The Unexpected Inheritance of Inspector Chopra. ---, (#2) The Perplexing Theft of the Jewel in the Crown. ---, (#3) The Strange Disappearance of a Bollywood Star. Jodi Picoult, Leaving Time. Non-Fiction Paul Chambers, Jumbo: This Being the True Story of the Greatest Elephant in the World. Daphne Sheldrick, Love, Life, and Elephants: An African Love Story. #Animals #Elephants #Ambo #Charity

The term “Writer’s Block” is one that gets tossed around quite often in writing communities, and understandably so…yet for me the problem is rarely being blocked, it is being exhausted or overwhelmed, a condition I call “Writer’s Fatigue”. It comes with the following symptoms: dread at sitting down at the computer, mastering the art of procrastination, getting a headache or the desire to nap when time for writing occurs, and an extreme heaviness between the shoulder blades. I can typically identify when it is coming too, because it always occurs at the same time as when my writing-related deadlines are looming. This August was no exception. Although I knew that if I just sat down and wrote All The Things, life would be easy, none of the Things wanted to be written. Then I saw Herman Melville’s chimney. I was in Pittsfield, Massachusetts with a friend to see the Barrington Stage production of Company (which, for the record, included a perfect performance from Aaron Tveit as Bobby) when we learned that near the theatre was Arrowhead, Herman Melville’s home when he wrote Moby-Dick. My friend, being a massive fan of the big ol’ book about the whale, desperately wanted to visit. I, on the other hand, wanted to go because I will do basically anything related to history, whether or not I have an affinity for the person involved. (Confession: I have never read Moby-Dick) Arrowhead is not a particularly imposing place, but it is peaceful. The home, parts of which date back to the 18th century, is a pleasant yellow, with a large barn and nature trail through the woods at its back and flower-filled fields to one side. Inside is where I found the cure for my Writer’s Fatigue. Our tour guide, Jeff, was as enthusiastic about discussing Melville’s life as I am talking about Hortense Bonaparte, which I enjoyed, but the real star of the first floor was the fireplace and chimney. Dominating the room, it was a wide structure that came up to about my shoulders. There was writing above it on the wall and down on the fireplace itself. The words were decorative and intentional, not the result of scribbling or graffiti. No, they were put there by Herman Melville’s brother, Allan, after Herman had moved out. What they were caused me great amusement: the opening to Herman Melville’s short story “I and My Chimney.” The story is about a man's stubborn refusal to let his wife remove the chimney in order to create a great central hallway in their home. [Spoiler Alert] As you can guess from the fact that I was able to see the chimney a few weeks ago, just as in the story, the chimney remains intact at Arrowhead, never surrendering to anyone’s desires for redesign. [/Spoiler Alert] It was bizarre and beautiful, this chimney and fireplace covered with Melville's prose. I wanted to run my fingers along it and sit and stare at it, not unlike the man in Melville's story. Words are a powerful thing, and once you send them out into the world, you never know where they will end up. I suddenly wished I could get back to work immediately, but it was not time for that yet, the tour had to continue. There were more gems for writers upstairs: a bedroom where Nathaniel Hawthorne stayed and Herman Melville’s study. I could not help but smile when I saw Hawthorne’s guest room was about half the size of Melville’s study. Melville’s brain apparently had a greater need for space than Hawthorne’s body. Imagining Hawthorne squished into that tiny room- which, according to our guide, he complained about in his journals- was a good deal of fun, especially since it opened directly into the giant study. I admit that I, too, would have written annoyed journal entries about that when comparing the sizes of the adjoining spaces. The most interesting feature of Melville’s study was not a piece of furniture or a book, it was the view. Here, we were told, Melville sat at his desk facing the window and looked at the mountains. To Melville, the shape of those mountains was reminiscent of a whale, and it was part of his inspiration for writing Moby-Dick. As Jeff told us about Melville’s publishing struggles, I found myself nodding and looking around Arrowhead thinking, “Yup, anyone who ever lifted a pen understands your frustration, sir.” This stayed with me upon leaving Melville’s home and for the drive back to New York. The following day I was still pondering Melville, his chimney, and the mountains and beginning to feel like I could actually do all the work I had been avoiding. It was as if, standing in the home of a world-famous author long gone, I was reminded that everyone who has ever hoped to write has reached a point of frustration or exhaustion from it. Don't get me wrong, I never intended to quit, that isn't me, especially given that writing is one of my biggest life loves, but sometimes you need a reminder that the war you are waging is the same one that has gone on for as long as there have been books to print. We are all connected in experiencing this. Thanks to Melville, my Writer's Fatigue had vanished. Then, with wonderful timing, I received feedback on a submission I made for Pitch Wars. Pitch Wars is a phenomenal event where writers with completed manuscripts submit to mentors who may or may not select them from the thousands of entries in order to help polish their piece for submission to agents. The most beautiful thing about it is that so many of the mentors are readily accessible and will offer a bit of feedback even to those who did not get selected. My feedback from Carrie Callaghan and Tracey Enerson Wood was kind and much-welcomed. They guided me to exactly where I needed to go in my editing. I owe them infinite thanks for generously responding to anyone who asked. Coming straight on the heels of the Melville visit, I felt uplifted and encouraged. So it was that with a chimney in my mind and feedback on my screen, I was able to work again without fighting off dread. My closing advice to you, dear reader, is when Writer’s Fatigue (or Writer's Block!) strikes- step outside. You never know what you will find there or what will await when you return, but most likely you will feel refreshed and inspired. And who knows, maybe one day you too will have your words on a chimney. Links "I and My Chimney", by Herman Melville The Berkshire Historical Society at Herman Melville's Arrowhead Pitch Wars Official Website Carrie Callaghan's Official Website Tracey Enerson Wood's Official Blog #HermanMelville #Writing #PitchWars

[Napoleon Bonaparte was born on August 15, 1769. This post is my way of marking it, so Happy Birthday, Napoleon!] When Napoleon Bonaparte ruled France he had many enemies, but did those enemies include a horde of unruly rabbits? That is what one enduring story proposes. In the almost two-hundred years since Napoleon’s death, the tale of his interesting encounter with a group of rabbits who didn’t respect his authority has morphed into something of an urban legend, with each version being more fantastic than the last. In 1810, when Napoleon was squarely in possession of the French throne, Lewis Goldsmith’s anti-Bonapartist book The Secret History of the Cabinet of Bonaparte, (which cited the Journal des Hommes Libres as its source) recounted the story. According to Goldsmith, the Journal used coded names for the individuals involved but it was clearly understood to be about Napoleon. In this humorous version Napoleon, fresh after becoming Consul (the position he held prior to his coronation as France’s Emperor in 1804), took up an interest in hunting. He asked Talleyrand, a fellow politician, if he had any good game for hunting near his estate. Hoping to oblige Napoleon, Talleyrand had his estate filled with ducks and rabbits, only instead of wild rabbits, he used tame ones. The result was not what Talleyrand intended. When Napoleon arrived, he was greeted not by an exciting hunting adventure, but by a collection of docile, happy rabbits that had no desire to run from his guns and allow him the pleasure of a kill. Instead, they approached Napoleon and had the audacity to lick his boots! The incident is said to have infuriated him. A far more dramatic spin on Napoleon’s thwarted attempt at hunting rabbits was published in the 1890s, some seventy years after his death. It came courtesy of The Memoirs of Baron Thiébault, the author of which, it should be noted, was also dead before the manuscript bearing his name was put to press by his family. Here, Napoleon is already Emperor and it is Louis-Alexandre Berthier- for many years Napoleon’s right-hand man- throwing him a hunt. He decided that it would revolve around rabbit shooting, though the place where he wanted to hold it contained no rabbits. Not seeing this as an unconquerable problem, Berthier arranged for a thousand rabbits to be deposited in the hunting park. When the moment came, it was quickly clear that the rabbits were not afraid of the hunters. Instead of the expected fleeing of the rabbits, much to the shock of those present, they began to collect into a large group. Then, as one, they threw themselves at an understandably shocked Napoleon. The melee that ensued involved Berthier calling for coachmen to help him free Napoleon from the fearsome furry bunnies. Once Napoleon was saved and the men were certain of victory, the rabbits returned! The Memoirs' colorful description says that they attacked Napoleon again, this time from the rear. The rabbits so surrounded him that he was made to stagger due to the sheer number of them around his legs. This onslaught was so relentless that he had to abandon the hunt, leaving the rabbits alone. When retreating in his carriage, Napoleon was just relieved that none of the rabbits followed him. The Memoirs offers its readers a more developed explanation than Goldsmith’s version, though in both cases it came down to using the wrong rabbits. In this second version, Berthier’s rabbits were taken from a hutch. These domestic rabbits, being very different from their wild counterparts, did not run because they were used to humans and hungry. Their attack on Napoleon was not out of malevolence but due to a desire for him to feed them. Even modern historians continue to relay this story, though not necessarily to confirm it as truth. To name but two, Andrew Roberts’ Napoleon and Wellington mentions Goldsmith's book (and this anecdote) as being in circulation, while Owen Connelly’s Blundering to Glory uses a version closer to that of the Memoirs. Naming Berthier as the procurer of the rabbits, he dates the event to 1807 (therefore after Goldsmith’s), and then goes one step farther, saying that much to Napoleon’s dismay, some of the rabbits actually did make it into his carriage. While the validity of any version of this bizarre tale must be approached with a high degree of skepticism, it is easy to understand why it has withstood the test of time: who would not smile at the thought of the great Napoleon Bonaparte, victor of many battles, being defeated by a cluster of cuddly rabbits? Sources Connelly, Owen. Blundering to Glory: Napoleon’s Military Campaigns. 3rd edition. Maryland: Rowman & Littlefield, 2006. Goldsmith, Lewis. The Secret History of the Cabinet of Bonaparte. 3rd edition. London: J. M. Richardson and J. Hatchard, 1810. Roberts, Andrew. Napoleon and Wellington: The Battle of Waterloo and the Great Commanders Who Fought It. New York: Simon & Schuster, 2001. Thiébault, Baron. The Memoirs of Baron Thiébault. Translated by Arthur John Butler. Vol. 2. London: Smith, Elder, & Co., 1896. "NAPOLEON AND RABBITS." The Carcoar Chronicle (NSW : 1878 - 1943) 12 April 1901: 2 (Supplement to The Carcoar Chronicle). . #NapoleonI #France #19thCentury #History #Bonapartes #Rabbits #Animals

"Pass the parcel. That's sometimes all you can do. Take it, feel it and pass it on. Not for me, not for you, but for someone, somewhere, one day." -The History Boys, by Alan Bennett When I decided to start a blog, I knew that my first post should be about Footnoting History. After all, it is probably the main reason anyone knows me. If someone contacts us via twitter (@historyfootnote) I am the person who receives it, and my name is attached to over 30 episodes. In addition to that, I hold a spot on the podcast's Administrative Team, with Elizabeth Keohane-Burbridge (Fearless Leader and Producer) and Nathan Melson (Audio Editor). Elizabeth once described our functioning rather aptly as "the Consulate", a reference to the three-headed government body that governed France before it became an Empire in 1804. Obviously Elizabeth gets to be Napoleon, but as to which of us is Cambacérès and which is LeBrun, I'll let you decide. Still, thinking about and working on something all the time, does not guarantee you can easily write about it. So I asked myself: what, really, is podcasting about for me? The answer came, as many things do in my life, in relation to the theater- in this case, through the quote from The History Boys at the start of this entry. Podcasting, for me, has become about exactly that- passing it on. You never know what is going to speak to someone, whether it makes them want to take up the study of history, inspires them to write a story, or simply serves to provide anecdotes they can share with friends. As "new media" (that is to say, internet-based media) has expanded, podcasting has become in some ways as influential as television, film, and music. When I choose an episode topic, I usually do it because (a) it interests me, and (b) I hope it will interest someone else. I love storytelling, and I love that podcasting allows me to tell stories to people who may not otherwise know them, but who want to hear them. Graduate school was a special experience because it was the first time I was able to sit in history classes with all people who wanted to be there. There was no longer a requirement that you take a history class when you would rather be in a lab or solving a math equation. The people in the room all wanted to learn more about history, just like I did, and the enthusiasm was often palpable (even if we were tired and/or overworked). Podcasting is the same. The people who make podcasts about history and the ones who listen to them have a common ground: a love of and appreciation for the past. If you are curious about a certain area of history, there's very likely going to be someone who offers it to you in podcast form. Not to mention, if there isn't a podcast about the area that interests you, and you are willing to put in the work (and indeed, it is a lot of work, even if it is enjoyable), you can create it yourself. After all, isn't that what we did when we started Footnoting History? No one gave us permission, we decided we wanted to do it, and so we did. That said, just because you can do something, doesn't mean you should do it. Eating is something I love to do, but I have no business in a kitchen (when I tell you I once managed to burn soup cooked from a packet, I am not exaggerating). That is, of course, a decision that only you can make for yourself, but in the spirit of 'passing it on', I am going to offer you something that may help if you are considering starting your own podcast: The Three Cs. I came up with The Three Cs when I was planning a panel presentation with Elizabeth last month. We shared it at Big Berks 2017, the conference held at Hofstra University, and run by the Berkshire Conference of Women Historians. The panel was called "We Launched History Podcasts- And You Can, Too!" (shout out to our wonderful fellow panelists, Averill Earls and Marissa Rhodes, of History Buffs/DIG Podcast!) so I wanted to develop something easy to remember that could also emphasize the work required while encouraging participation in the podcasting world. I feel like if you at least consider these, they will be helpful in finding success. Keep in mind, these are only suggestions based on my experience. The Three Cs Consistency Listeners want to know when they will be able to hear you- not unlike how people like to know what date and time their favorite television shows are released. They may not listen to you immediately, and creating constant content can be tiresome, but if you can develop and maintain a schedule, it will not only help you develop a process, but your listeners will always know when to expect new material from you. Consistency should also apply to tone and duration. Are you lighthearted? Are you serious? Is your podcast going to be fun or more in a lecture style? Do you want to people to listen to you on short drives or during longer, more involved sessions? There are a myriad of options, so as long as you choose one and stick with it, the people who like that style will be able to find you. Communication If you are part of a team podcast, like we are with Footnoting History, it is essential that the group you work with has open communication. You won't all agree on everything, and that's okay, but you need to have one thing in common: the goal of the podcast. If you can all agree on what you are trying to convey through your podcast, you will be headed in the right direction. Regardless of whether you are a solo or team effort, communication with your listeners is something you need to continually do. Facebook, Twitter, Tumblr (basically any social media) and a regular website are all good means for this. Be more than just a voice, be someone who is approachable and listens. You will meet some pretty fantastic people this way. (You will also inevitably be trolled, too. Don't let those get to you. It is not worth the stress or anger. Do not feed the trolls.) Creativity Before you enter the increasingly cluttered world of podcasting, take stock of why you are doing it. What do you have that is special compared to others? What angle can you capitalize on that others have not? Have you listened to other podcasts and thought of ways you can improve on what is already out there? The one downside to the fact that anyone who wants to create a podcast is able to do so, is that, well, everyone does. You have to earn your listeners by being different from everything else, because if you aren't, people will stay with what they already know. Never stop thinking of new ways to put your podcast in people's laps. There are many tried and true methods of gaining exposure (apps, social media, etc.) and you should definitely take advantage of those, but if you can do something no one else has done before, then you might be someone's first found podcast- and that is a great thing. Remember, you are your biggest publicist in independent podcasting. It is my hope that providing information like this, based on lessons I've learned, will help others who are considering the same path. I want to pass it on, as others have helped me by passing on their knowledge. In 2006, when The History Boys opened in New York, I did not know any of the people who are now my Footnoting History colleagues, because I was not yet a graduate student. I did not know that one day in the future I would be in a position where, after hundreds of hours clocked in researching and writing, the stories I told would be heard on multiple continents and I could write a blog post to help others. I am certain that if you told me this would happen back then, I would have laughed or made some sort of snarky reply, but then walked away mulling over the possibilities that hitherto had not occurred to me. At some point between then and now, I became not only just a podcaster, but a podcaster known for being a "History Girl", and few things make me happier. Thank you for finding my blog and reading my first post. I hope you'll continue this monthly adventure with me. #Podcasting #FootnotingHistory #TheHistoryBoys #TheThreeCs

Watch this space, starting in July it will be the site of my new blog. My hope is that it will be as interesting for you to read as I anticipate it will be for me to write.