i am sick and reading about 19th century New Zealand, and it may be just that I'm a little hallucinatory right now but it seems like strategists and military historians should talk about the Musket Wars a lot more than they do?

like, it's basically the history of human warfare condensed into a few decades.
Hongi Hika, the war leader of the iwi (tribe) with the most European contact at first, and therefore the most muskets, travels to England, becomes a sensation, and meets George IV, who gives him a set of ceremonial armor, as one noble to another.
but in the context of a conflict that has gone from neolithic to early modern almost overnight, the armor is, in fact, a powerful asset itself, which Hongi Hika wears in battle
by the time that the Musket Wars end and the armed conflicts with Europeans begin, Maori are inventing forms of trench warfare so innovative that the British military engineers are studying them
also 'mana' and 'utu' seem like very useful terms to borrow to talk about some aspects of authority and power in pre-modern Europe that we don't have clear words for.
amid the rapid modernization of Maori warfare there continue to be Homeric feats of physical prowess and personal bravery, combined with images of gothic horror.
Te Waru of Ngaiterangi, after the fall of his home to the musket-armed Ngapuhi, sneaks into their encampment, ambushes and disarms a Ngapuhi leader, then hands his weapons to the guy he's just attacked and asks to be taken captive to speak for the lives of his people.
bear in mind that this takes place in a context where the torture and cannibalism of prisoners is common; the earth ovens containing the cooked bodies of some of Te Waru's relatives are still smoking around him.
His captors are so impressed by his bravery and speech that they free his whānau (extended family) and him and make peace, as well as gifting him a musket.
at one point Te Rauparaha, one of the most famous war leaders and a world-class strategist, is seeking utu (revenge/balance) against another leader for betraying and murdering his uncle
Te Rauparaha has forged alliances with European traders, including marrying a daughter to one, and pays an enormous amount of flax to get a trading brig to take him and his men to his enemy's town
his enemy, Te Maiharanui, and his family come abroad, thinking they're trading with the Europeans for muskets, and are ambushed. Te Rauparaha's cousin, Te Hiko, stares at the captive for half an hour before opening his lips and declaring 'These are the teeth that are my father'
Desecrating the dead, in particular, is a form of ritualized insult, and Te Hiko's father's bones have reportedly been taken to be carved into fish hooks. Te Maiharanui and his wife strangle their daughter on the voyage back as captives, to save her from revenge-torture.
But what's remarkable is that the killing, torture, and revenge - of a kind familiar to any Viking or Anglo-Saxon prince - *stops* as Maori political organization and state-making also rapidly evolve in the face of European power.

More from Culture

I just finished Eric Adler's The Battle of the Classics, and wanted to say something about Joel Christiansen's review linked below. I am not sure what motivates the review (I speculate a bit below), but it gives a very misleading impression of the book. 1/x


The meat of the criticism is that the history Adler gives is insufficiently critical. Adler describes a few figures who had a great influence on how the modern US university was formed. It's certainly critical: it focuses on the social Darwinism of these figures. 2/x

Other insinuations and suggestions in the review seem wildly off the mark, distorted, or inappropriate-- for example, that the book is clickbaity (it is scholarly) or conservative (hardly) or connected to the events at the Capitol (give me a break). 3/x

The core question: in what sense is classics inherently racist? Classics is old. On Adler's account, it begins in ancient Rome and is revived in the Renaissance. Slavery (Christiansen's primary concern) is also very old. Let's say classics is an education for slaveowners. 4/x

It's worth remembering that literacy itself is elite throughout most of this history. Literacy is, then, also the education of slaveowners. We can honor oral and musical traditions without denying that literacy is, generally, good. 5/x

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A brief analysis and comparison of the CSS for Twitter's PWA vs Twitter's legacy desktop website. The difference is dramatic and I'll touch on some reasons why.

Legacy site *downloads* ~630 KB CSS per theme and writing direction.

6,769 rules
9,252 selectors
16.7k declarations
3,370 unique declarations
44 media queries
36 unique colors
50 unique background colors
46 unique font sizes
39 unique z-indices

https://t.co/qyl4Bt1i5x


PWA *incrementally generates* ~30 KB CSS that handles all themes and writing directions.

735 rules
740 selectors
757 declarations
730 unique declarations
0 media queries
11 unique colors
32 unique background colors
15 unique font sizes
7 unique z-indices

https://t.co/w7oNG5KUkJ


The legacy site's CSS is what happens when hundreds of people directly write CSS over many years. Specificity wars, redundancy, a house of cards that can't be fixed. The result is extremely inefficient and error-prone styling that punishes users and developers.

The PWA's CSS is generated on-demand by a JS framework that manages styles and outputs "atomic CSS". The framework can enforce strict constraints and perform optimisations, which is why the CSS is so much smaller and safer. Style conflicts and unbounded CSS growth are avoided.