The British - Chinese Opium wars - Foreign mud Part 1
(Note: the British "elite" made their fortunes with opium and still do 😉)
https://t.co/eeUUJU1hnG

Who is behind Moldova’s Twitter Revolution? (Prelude to all-out civil war 2009)
“A lot of what we [National Endowment for Democracy] do today was done covertly 25 years ago by the CIA.” -Allen 🕎 Weinstein #Transnistria
https://t.co/Y8uKJPgVF2

This week, 33 years ago, Thomas Sankara, the revolutionary leader of Burkina Faso, was assassinated in a French-backed coup. He aspired to an egalitarian, feminist society, and an economy built on self-sufficiency, ecological regeneration, and independence from Western powers.

As debt crises mount across Africa, his ideas are more vital now than ever. I wrote about Sankara's legacy in these two pages from The Divide:

Today, Sankara's legacy is inspiring a new generation of revolutionary thinkers and activists across the continent and beyond. As Sankara himself put it, with uncanny prescience, “You can assassinate revolutionaries, but you cannot kill ideas”.

Sankara knew his assassination was coming. Speaking to African leaders at the OAU, he said "I would like this conference to clearly declare that we will not repay the debt; we must do it together, to avoid being assassinated individually..."

"...If Burkina Faso is the only one to refuse, I will not be here at the next conference."

Paul Warburg attended as the American representative, at the Treaty of Versailles conference, where his brother Max was on the German side of the bargaining table…. Before World War II, Max Warburg served on the board of directors of I.G. Farben, the giant German chemical firm.

A Thanksgiving story to warm your pluralistic hearts:

It was the early 1990s, the days before Washington DC had meters in taxis. A famine was raging in Somalia. And I was working in my first job out of college: a brief stint working for an organization that focused on the Middle East peace process.

I was heading to my parents’ house. I was standing in front of a mailbox near my office. I was holding a stack of papers with Hebrew writing on them. I hailed a cab.

I was aware that on the mailbox behind me was a large sign from People for the Ethical Treatment of Animals with an image of a turkey and the words: “Thanksgiving is Murder on Turkeys.”

It was the period right around Thanksgiving.

A cab pulled up, and I got in the front seat—because in the days before metered cabs in DC, drivers were allowed to pick up more than one fare, and someone else was already occupying the back seat.

We will likely never be able to establish with certainty the identity of the two Black men painted by Rembrandt. There are no documents found, linking the painting to individuals. But we can make a reasoned guess. #BlackHistoryMonth #day20 #rembrandt #identification

First there is the problem of the date. The inventory with a reference to 'two Moors in one painting' was drawn up in 1656 in what is now the @Rembrandthuis; however, the painting that hangs in the @Mauritshuis bears not only Rembrandt’s signature but also the year 1661.

Was the painting made in 1656 while Rembrandt was still living and working in Jodenbreestraat, and not signed and sold until 1661, when he had moved to the Jordaan district? The 1656 estate inventory suggests this.

On the other hand, it is of course possible that Rembrandt painted several pictures featuring two black men. Nevertheless, supposing that it is one and the same
painting, then we can assume that the two men
were in the studio in Jodenbreestraat to be portrayed in or before 1656.

Of course there still are dozens of candidates, since there was a small Black community in the area. However, it is striking, and exceptional, that two men are portrayed instead of one, as was customary in this genre.

So. I loved #TheDig. Despite being set in the 30's it evoked a lot of my early fieldwork experience in the 80's and some of the things archaeologists were gushing about are still pay of the experience today. And it also evoked the fantasy that I became an archaeologist to chase>

If you just want to enjoy it, and bask in the glow of archaeologists being happy for once, stop reading here >

Because, being aware of that fantasy, I'm also aware of corrosive elements, things that structure how archaeology works, both practically & in the collective imagination which work against that other fantasy, that my work can 'make a difference' contribute to progressive change>

The primary driver of the story is class & it's connection to skill & to land. EP has the right to the land, the choice to dig, the ownership of the artefacts because she is the landowner. We are meant to cheer along when the coroner decides in her favour>

BB is a man of the land, he literally knows the soil of Suffolk by feel. His skill & sense are central to the story. And they are credited with the discovery, which is the most important part of the process, not the analysis, care or interpretation>