This Saturday evening’s Samsung playlist submission comes from the movie Oblivion. I never saw the movie at the theater but, caught it on HBO at my uncle’s house (I was dog-sitting). It is a fascinating movie and very sad. It is visually stunning with a unique cast and Tom Cruise loves to play the action hero. At the end of the movie, as the credits roll, this song kicks in. It immediately gave me chills and made me cry.
Jeannette Rankin was an American politician and women’s rights advocate and, the first woman to hold federal office in the United States. She was elected to the U.S. House of Representatives as a Republican from Montana in 1916 and, again, in 1940. As of 2022, Rankin is still the only woman ever elected to Congress from Montana.
A suffragist during the Progressive Era, Rankin organized and lobbied for legislation enfranchising women in several states including Montana, New York and North Dakota. While in Congress, she introduced legislation that eventually became the 19th Constitutional Amendment, granting unrestricted voting rights to women nationwide. She championed a multitude of diverse women’s rights and civil rights causes throughout a career that spanned more than six decades.
Rankin was born on June 11, 1880, to John and Olive Rankin at Grant Creek Ranch near Missoula, in what was then the Montana Territory. She was the first of seven children […] in a prosperous family. Her father […] was a rancher and builder who had come to Montana from Canada. Her mother […] had moved from New Hampshire to teach before marrying John Rankin and becoming a housewife. Jeannette attended Montana State University in Missoula (now the University of Montana) and graduated in 1902 with a degree in biology. [Her] career in politics began as a student volunteer with a local women’s suffrage campaign in Washington State, preparing for a referendum on voting rights. [In] February 1911, she became the first woman to address the Montana legislature when she testified in support of women’s suffrage.
Jeannette Rankin
History, Art & Archives
United States House of Representatives
Rankin held office in her first term from March 4, 1917, one-hundred and five years, ago, today, to March 3, 1919. Her second term was from January 3, 1941 to January 3, 1943. Powerful enemies made sure she could not get re-elected. Twenty-four years later, she reclaimed her seat. She never married and passed away May 18, 1973 at the age of 92. ~Vic
Hanspostcard has a song draft challenge. This is my Round Eight pick.
I remember when I heard Possession on the radio the first time. I was driving home from work and I was immediately in love. The music was stunning, her voice was stunning and I was captivated. Who is she, I thought to myself (I had no idea that Sarah McLachlan had two previous albums). I found the Fumbling Towards Ecstasy CD as fast as I could. It is a fantastic album. There is not a bad song on it.
When Surfacing came out in July 1997, I snatched it, too. It was released to coincide with the Lilith Fair. Though Fumbling Towards Ecstasy remains my favorite of her albums, Witness is my favorite single. The sixth track, it was never released as a single, has no chart information what-so-ever and it remains in the shadow of Building A Mystery, Sweet Surrender, Adia and, in particular, Angel. The album is one of two that reached #2 on the Billboard 200. It was the #1 album on Billboard’s Canadian Albums chart on August 2, 1997 and on Canada’s RPM Top Albums/CDs chart on July 28, 1997.
This song speaks to me on so many levels. It’s a beautiful piece with beautiful lyrics… ~Vic
Image Credit: YouTube
Make me a witness
Take me out
Out of darkness
Out of doubt
I won’t weigh you down
With good intention
Won’t make fire out of clay
Or other inventions
Will we burn in heaven
Like we do down here
Will the change come
While we’re waiting
Everyone is waiting
And, when we’re done
Soul searching
As we carried the weight
And died for the cause
Is misery made beautiful
Right before our eyes
Will mercy be revealed
Or blind us where we stand
Generations of reference books once included this term, including the first edition of the Encyclopaedia Britannica, dated 1771 […]
James Murray, the famous editor of the Oxford English Dictionary, found that the original word was bycoket, which was indeed a form of headgear, a cap or headdress with a peak both in front and behind, whose name he thought derived from an Old French term for a small castle crowning a hill. He declared abacot to be a ghost word and wrote in an article in [T]he Athenaeum in February 1882:
“There is not, never was, such a word.”
His entry for abacot in the first edition of the OED read in its entirity [sic] “a spurious word found in many dictionaries, originating in a misprint of bycoket.” In the bycoket entry, he told the story:
Through a remarkable series of blunders and ignorant reproductions of error, this word appears in modern dictionaries as abacot. In Hall’s Chronicles a bicocket appears to have been misprinted abococket, which was copied by Grafton, altered by Holinshed to abococke, and finally “improved” by Abraham Fleming to abacot (perhaps through an intermediate abacoc) […]
One may instead argue that since the word has — albeit rarely — been used, then it exists and ought to be treated as such. There is, after all, no shortage of words that have been grossly altered through popular error. The revision of its entry in the Oxford English Dictionary in December 2011 takes this view […]
According to Herodotus, the appearance of the eclipse was interpreted as an omen and, interrupted a battle in a long-standing war between the Medes and the Lydians. The fighting immediately stopped and they agreed to a truce. Because astronomers can calculate the dates of historical eclipses, Isaac Asimov described this battle as the earliest historical event whose date is known with precision to the day and described the prediction as the birth of science.
Photo Credit: Ancient Origins
The Mechanics of a Monumentally Difficult Prediction
The reason this astronomical event is thought of as being so important is that predicting a solar eclipse, compared with a lunar eclipse, is exceptionally difficult. The astronomer must not only calculate when it will occur but, where on Earth’s surface it will be visible […]. [In] a lunar eclipse, the moon passes through the Earth’s sun shadow and the phenomena is visible on the whole side of the Earth that is in night-time […]. [They] often last longer than an hour. In solar eclipses, however, the moon’s shadow falls across the Earth in a comparatively narrow path, with a maximum duration, at any given location, of about 7 1/2 minutes.
[What] makes Thales’ prediction [an] historical mystery is that historians know early Greeks, at large, didn’t have this essential lunar data and there are no other records of Greek astronomers in this period accurately predicting any other eclipses. Thus, it is thought by historians that the only place Thales’ advanced astronomical knowledge could have come from was Egypt. [It’s] known [that] Thales studied Egyptian techniques for measuring sections of land with rope […].
Returning [to] the war (mentioned above), after 15 years of fighting, on May 28, 585 BC, the armies of King Aylattes of Lydia were in battle with the forces of King Cyaxares of Medes (or, possibly, Astyages, his son), near the River Halys in what is, today, central Turkey. Chroniclers noted the heavens darkening and soldiers on both sides laying down their weapons in awe of the spectacle […]. [The] event ended both the battle and the war.
[A] Wired article says this famous astronomical event has been debated by hundreds of scholars for nearly two millennia and that some authorities believe Thales’ eclipse may have occurred 25 years earlier in 610 BC. But, the reason most agree with the 585 BC date is the record of the famous battle in Asia Minor ending when the day was suddenly turned to night.
The battle was a total and bloody defeat for the Jacobites which effectively marked the end of almost sixty years of the Jacobite struggle, as never again would an armed uprising be used in the attempt to return the Stuarts to the throne. The government victory also paved the way for a sustained programme to destroy the power base of the rebel clans.
Culloden (pronounced culawden, with the emphasis on ‘oden‘) is one of the most important battles in the history of the British Isles and has international significance. It is the final battle fought on the British mainland and brings to an end more than half a century […] of Jacobite conflict, itself played out against a background of wider international wars. Its aftermath transforms the Highlands, bringing to an end the traditional way of life of the area and contributing to the subsequent clearances. The battle also holds a prominent place within the Scottish cultural legacy, frequently depicted, and commemorated, in art, music, literature and film. The battlefield, itself, is one of the most visited tourist sites in the Highlands […]. [T]he site holds a particularly high significance, and emotional connection, to many within Scotland and to the ancestors of the Scottish Diaspora.
The official return for British Army casualties (government troops) was 50 officers, and men, killed and 259 wounded [with] one missing (a proportion of the wounded later died of their wounds). Jacobite fatalities have been estimated at between 1,200-1,500 with between 400 and 500 prisoners taken in the immediate aftermath and many more in the days which followed. Only the Irish and Scottish troops in French service were treated as bona fide prisoners of war, the rest as rebels.
Image Credit: britishbattles.com
The battle, which lasted only 40 minutes, resulted in bitter defeat for the heavily outnumbered Jacobites. Led by the Duke of Cumberland, son of King George II, [the] devastating slaughter of the Jacobites was the result of the opening British cannonade and, subsequent tactics of the Redcoats during the attack […] when each British soldier, instead of attacking the Highlander directly in front of him, bayoneted the exposed side of the man to his right. The Highlanders finally broke and fled […].
Hunted by troops and spies, Prince Charles wandered over Scotland for five months before escaping to France and final exile. The [battle] […] marked the end of any serious attempt by the Jacobites to restore the Stuart dynasty to the British throne.
A generation before, a previous Jacobite rebellion had been thwarted by the king’s officer, George Wade, who had “pacified” and “disarmed” the highland clans. So concerned was the English establishment, and relieved by Wade’s actions, that an additional verse to the National Anthem was penned: God grant the Marshal Wade
May be thy Mighty aid,
Victory bring;
May he sedition hush,
And like a torrent rush,
Rebellious Scots to crush,
God save the king
Addendum: “Culloden is viewed by the Scottish people as a war grave. To my fellow Americans, stepping onto the Culloden battlefield would be like visiting Gettysburg or Normandy. And, since Scotland views it as a grave, you could also liken it to Arlington Cemetery. You don’t simply walk onto any of these places with a light spirit.” ~Brit At Heart
After turning out a successful drama, young playwright Laurie Devon settles down to a life of idleness. Alarmed and disgusted, his friends make every effort to get him to work again but, he refuses. One evening, while glancing into his mirror, Laurie sees a beautiful girl in the apartment across the way, holding a revolver to her head. Dashing out of his apartment house, he prevents her from pulling the trigger. He learns that her name is Doris Williams and discovers that her plight is caused by a man named Shaw. Soon after, Shaw and his thugs abduct her, and Laurie comes to her rescue, shooting her tormentor. Returning home, he confesses his crime to his sister and friends, and learns that the whole incident was a trick to restore his interest in life. The plot succeeds and Laurie writes another hit play in which his new wife Doris is the star.
Laurie Devon (Mayo) is a New York playwright who, having had one success, refuses to work on another play. One night he sees a woman (Anderson) in an apartment across the street take out a gun and place it to her forehead. He reaches her in time to save her and she tells him that she is under some terrible evil influence, which she will not disclose. Devon attempts to untangle the mystery and is led on an adventure. The woman is taken to a house on Long Island, where Devon, after a fight, rescues her. He takes out the revolver and shoots one of the pursuers, who falls to the ground. On returning home, he is heartbroken and tells his sister Barbara (Fair) and his friends that he is a murderer. His sister, and two of his friends, then confess that the whole thing was a frame-up. [T]hey had hired some actors to stage everything and that it was an attempt to get the ambitionless [sic] author to write again. The revolver used in the suicide attempt by the woman, and in the later shooting, had blanks. Devon and the woman from the apartment melt into each other’s arms at the final fade-out.
Perhaps the most attractive feature of this picture is the reproduction of early Roman costumes and Roman surroundings. It is a story of political intrigue, with all the contests and disagreeable features, connected therewith in the ancient city. But, the reproduction of manners and customs and, the historically correct scenery and settings, add immensely to the interest and, insure attention when, perhaps, the mere political story would scarcely be considered. The greatest service the motion picture can do is in the direction of educating the people, and a film like this, which faithfully illustrates long past and, perhaps, partially forgotten life, is of vast importance and, deserves a cordial reception. The Selig players have brought enthusiasm to their work and, have put much ability and life into the interpretation of this play.
This film may have been based on the 1835 novel Rienzi, the Last of the Tribunes, by Edward Bulgar-Lytton [sic]. An advertisement in the [February] 19, 1910, Film Index billed Bosworth above the title, “Hobart Bosworth in The Roman,” and labeled the movie “Film De Art of the Classics,” declaring: “Its teachings are based upon the scriptures and traditions of the early history of the eternal city.” The advertisement also suggested that theater owners book The Roman as a “Special Lenten Picture.”
A young woman [orders] her girl slave to deposit in the waters of the Tiber a child which she has cause to be rid of. The infant is found by one of the aristocracy and adopted. In later years she is betrothed but, just before the wedding, the ruler of the land claims the young woman, on the ground that she was born in slavery. By military force, she is torn from the arms of her foster father and taken to the ruling house where she is held captive for only a few hours, as the father and young lover, have aroused a popular rebellion which overthrows the ruler, end[ing] in his death and the defeat of his defenders. (Variety February 19, 1910)
One Trivia Bit:
♦ Per [Hobart] Bosworth, first picture made at Selig’s (Studio at 1845 Allesandro Street, now Glendale Blvd.) in the Edendale (now Silver Lake) plant of Los Angeles.
[There was not much written about this film and no video clip(s). The image, above, doesn’t seem to jive with the TCM synopsis. But, that is all I could find.
Addendum: I continued to dig and found the, above, write-ups via the Internet Archive database and AFI. Turner Classic Movies synopsis was WAY off. ~Vic]
