Friday, 24 August 2018

What Am I Watching?


Since it went public in the ‘90’s, the internet has come to be a staple of twenty-first century culture.  With the use of this innovation we can now watch people from all over the world share their ideas through platforms like YouTube.  A while ago I made a post about stuff that I’m watching on the internet.  Today, I want to make an updated list and talk about why I enjoy them.

Suede’s Pokémon Journey
                Those of you who remember my past post on what I’m watching, may remember that I mentioned a series titled Suede’s Stream of Consciousness and Suede XS.  Suede has since concluded those series but has introduced a new series titled Suede’s Pokémon Journey, here Suede explores the Pokémon TV series, episode-by-episode, and reviews what has allowed for this series to continue while celebrating the series best moments and scrutinizing the questionable moments.  What makes Suede so enjoyable is his enthusiasm for the topic that is so contagious that you find yourself caught up in the excitement with him.  If you want to check it out, the best way would be to start at the beginning with the review of “Pokémon - I Choose You!”; if you like what you see, maybe support Suede’s Patreon.

To view Suede's Patreon click here

Atop The Fourth Wall
                From the mind of Lewis Lovehaug, comes Atop the Fourth Wall where bad comics burn!  Each week viewers watch the disgruntled host Linkara (played by Lovehaug) as he reviews another terrible comic.  What makes the series unique is how Lovehaug also includes a running story line where Linkara faces off against many of the crazy aspects from comics, ranging from robot copies, invasions from Lovecraftian beings, to nightmarish hauntings from horror franchises.  With his trusty magic gun (where'd her purchase that?) and his companions the robot Pollo, 90s Kid, Harvey Finevoice, Doctor Linksaino among others (including an insane yet endearing coked up DC villain named Snowflame), Linkara faces off against robot copies of himself, universe-eating entities and the dreaded Lord Vyce all from the comfort of his space ship Comicron 1.  Probably my favourite episodes have to be his review of Avengers #1 and Superman At Earth’s End.  The series success has also allowed for Lovehaug to produce a movie based around his character Linkara as he faces off against an old enemy, Mecha Linkara.

To watch more episodes of Atop the Fourth Wall, check out the website at atopthefourthwall.com 
Check out Lewis' Patreon here.

Game Grumps
                Hosted by Arin Hanson and Dan Avidan, Game Grumps is a Let’s Play series where Hanson plays the game while Avidan comments.  It’s a very straight forward concept, the major humour derives from the banter between the hosts, ranging from behind the scenes of Avidan’s band Ninja Sex Party, personal life, to criticisms on the gaming industry.

Check out Game Grumps on YouTube here

Cinema Snob
                Inspired from critics like Robert Ebert reviewing horror films, Brad Jones gives us the Cinema Snob, a film critic who reviews exploitation, horror, B-films, and porn parody films (mind you, I personally don’t watch the porn parody review episodes).  Each week Jones’ Snob, donned in all black and aviator glasses, appears with an air of pretention as he reviews that week’s movie.  I particularly enjoy is reviews of Christ-ploitation films, namely God’s Not Dead 1 and 2, ChristianMingle, and Kirk Camron’s Saving Christmas.  The series has developed a cult following that has allowed for Jones to produce a successful movie based around his character, encompassing elements of exploitation film, and is not working on a sequel for the Cinema Snob.

Check out Brad Jones' web site here or Patreon here.


Binging with Babish
                Ever wonder what Pumpkin Pasties from Harry Potter tastes like? Or how to make Flanders hotchocolate from The Simpsons Movie? Or even Rachael’s English Trifle from Friends?  Well look no further!  Binging with Babish is the series for you!  Hosted by Andrew Rea as the titular Babish, viewers are shown each week foods made in TV and Film.  While most episodes look at how to make the meal, Babish will in some cases try to reverse engineer what he’s made to something more palatable or to make its production simpler depending on what it is, like Homer’s Moon Waffles from The Simpsons or Freddy’s Ribs from the American version of House of Cards.

Check out Babish's website here.

Picture Sources
Atop the Fourth Wall: http://atopthefourthwall.com/
Suede’s Pokémon Journey: https://www.patreon.com/Suede/posts

Friday, 10 August 2018

The Gandalf Behind the Curtain: the Deus ex Machina in The Wizard of Oz and The Hobbit

The Deus ex Machina, or the God out of the Machine, is a concept that exists in children’s literature. It is the idea of the adult coming to the aid of the hero and has been seen in the forms of the Fairy Godmother of classic fairy tales, and the wise wizards like Merlin in Arthurian Legend. These figures are all knowing, being able to help the protagonist make it to the ball to meet their prince or find a way to defeat their enemy and has been changed and reimagined over the course of generations. Through examining the Wizard in L. Frank Baum's The Wizard of Oz and Gandalf in J. R. R. Tolkien's The Hobbit, one can see a change in this literary feature.

1. The Not-Quite-So Wonderful Wizard of Oz
L. Frank Baum’s novel The Wizard of Oz takes a different approach to the Deus ex Machina. When the reader is first told about the Wizard, it is when Dorothy first lands in Oz. She is told by the Witch of the North to travel to the Emerald City to see the Wizard if she wants to get home (Baum 14).
When Dorothy inquires into whether or not the Wizard is a “good man” (Baum, 14), the Witch of the North replies that the Wizard is good, but does not know what the Wizard looks like as she has never seen him (14). The mystery of the Wizard’s appearance is reinforced when Dorothy and her companions the Scarecrow, the Tin Woodman and the Cowardly Lion are told by people in the Land of Oz that the Wizard can “take any form he wishes” and that no person knows what the Wizard looks like (75). This is confirmed when the Wizard takes on a different form each time he is met by each character – an enormous floating head for Dorothy (85), a winged woman for the Scarecrow (88), a monstrous beast for the Tin Woodman (90), and a ball of fire for the Cowardly Lion (92) – and orders each one to kill the Witch of the West in order for them to get what they want (85-93). The Wizard’s true form is revealed after Dorothy and her companions return from facing the Witch of the West. At this point, Dorothy, the Scarecrow, the Tin Woodman and the Cowardly Lion are surprised that the Wizard of Oz, as great and terrible as he claims, is in reality a “little old man, with a bald head and a wrinkled face” (129).

The Wizard of Oz can clearly be seen as an opposition of the Deus ex Machina. In his article, “If I Ever Go Looking for My Heart’s Desire: ‘Home’ in Baum’s ‘Oz’ Books”, Joel D. Chaston points out that the Wizard is “a prisoner of his own palace” (Chaston 212), closeting “himself in a room so that none of his subjects can discover that he is a humbug” (Chaston 212). In this aspect, the Wizard can do nothing to help Dorothy along her journey except to assign her the mission of defeating the Witch of the West.
In addition, the Wizard, according to Osmond Beckworth’s article “The Oddness of Oz”, takes on a father-figure appearance but “[i]nstead consoling and comforting his daughter, he ridicules her fears” (Beckworth 83). The Wizard sends Dorothy off to face the Witch of the West in the hope that he will not have to fulfill the requests of Dorothy and her friends. The fact that he insists that the Witch of the West is evil and only wants her killed for the threat of what she might do to the Wizard, despite having done nothing to him at all, proves that the he is also a coward himself (Beckworth 83). Beckworth also points out that the Wizard’s actions not only humanize him but also serve to justify him through showing that “fear makes us do anything” (83). Seeing as the Wizard is in fear of his secret of revealed and the fear of the Witch of the West being a threat prompt the Wizard to send Dorothy and her companions to fight a supposed adversary in order to solve two problems at once. When noticing these traits, one can see that the Wizard of Oz is in fact a powerless figure.

2. Reimagining with Gandalf

While the Wizard in the Baum’s Wizard of the Oz is a distortion of the Deus ex Machina, J. R. R. Tolkien’s wizard Gandalf is a return to the motif but with a different approach in the novel The Hobbit. The reader is first introduced to Gandalf when he approaches Bilbo to go on an adventure (14-17). Tolkien has Gandalf take on a similar appearance as the Wizard of Oz as being the wise old man by describing the wizard as “an old man with a staff” and wearing “a pointed hat, a long grey cloak, a silver scarf over which his long white beard hung down past his waist, and immense black boots” (14).

In his book Tolkien: A look behind “The Lord of the Rings”, Lin Carter points out that Gandalf’s appearance is more than just an archetypical form of the “hero’s wise companion who can work a bit of hocus-pocus to get the hero out of a query” but is also a recreation of the Norse God Odin, who passes as “a magician among men” (Carter 192-194). This argument can be supported through scenes such as when the protagonist Bilbo and his dwarf companions are captured by the Great Goblin and his hoard for trespassing on their mountain (Tolkien 81-84). At this point Gandalf has disappeared from the group, conveniently before the goblins attack (81). Gandalf returns quite suddenly with the wizard’s sword appearing and cutting down the Great Goblin before casting the cavern into black (86). Before leading Bilbo and the dwarves through the Goblin caves, Gandalf uses his sword to cut through the “goblin-chains and setting all the prisoners free as quickly as possible” (87). Though he is able to save his companions from their captors, Bilbo falls behind and is lost as the end of the chapter (88). In this scene one sees that Gandalf does have to use his magic to distract the goblins and release the Bilbo and dwarves. He is more than a magician using magic to distract the goblins, Gandalf uses his skills as a fighter to protect himself and the others from the goblins and lead them out of the mountain. This does not make him a reuse of the Deus ex Machina, in losing Bilbo, Tolkien shows that Gandalf is not the all-knowing and fully capable figure associated with the motif. 



Though Gandalf can use magic, as discussed previously, he is able to use his mind to find a solution to a situation. In an earlier scene of The Hobbit, Bilbo and the dwarves are captured by trolls (Tolkien 53-57). With the hobbit and dwarves captured, the trolls begin to argue how to cook them, with suggestions ranging from mincing, turning their captives into jelly, to roasting or boiling (Tolkien 57-58). At the same time, Gandalf alters his voice to make the trolls continue their argument as the sun rises (Tolkien 58). As dawn breaks, a voice cries: “Dawn take you all, and be stone to you!” (Tolkien 58). The trolls, who only just become aware of the rising sun, are turned into stone, holding the positions they were in while feuding and remain in this state forever (Tolkien 58-59). Clyde B. Northrup discusses this in his article, “The Qualities of a Tolkenian Fairy-Story” by stating:
Tolkien recognizes that the touch of faërie can be overpowering, so once we have been “brushed” by its power, we are quickly returned to the “ordinary”; thus the wizard uses his superior intellect to outwit the trolls, causing them to forget, their constant arguing, their need to be underground before dawn – a thoroughly mundane and ordinary solution to the problem. (Northup 821)
In this excerpt, Northrup argues that Tolkien’s use of an ordinary solution to the conflict that Bilbo and the dwarves are facing is to control the amount of the supernatural. This proves well for Gandalf by showing that he not only uses neither magic nor fighting abilities to solve the situation, but also can use his mind.
By taking these points into account, Gandalf is more of a modified form of the Deus ex Machina than the Wizard of Oz. One can see that Gandalf, unlike Oz, is not contained in one place and is able to provide aid to the protagonists in the story. While the Wizard of Oz is limited to his mind, Gandalf is capable of using not only superior intellect, but also magic and his ability as a fighter. The use of these traits makes Gandalf a reliable aid to Bilbo and the dwarves by being able to not only outwit his opponents, but can also use magic and pugnacious force when the situation calls force it.

Closing
In conclusion, the Baum’s The Wizard of Oz and Tolkien’s The Hobbit have a unique approach to the Deus ex Machina. Oz’s wizard is confined to his room in the Emerald City and is has no real power. His cowardly character is seen in how he sends Dorothy and her companions to defeat the Witch of the West, a person who the Wizard fears of and has no real reason to have disposed of in the first place. Gandalf is much freer in The Hobbit. His mental superiority and his abilities in both magic and combat make him better able to help Bilbo and the dwarves in situations where the protagonists are unable to overcome. Though this is the case, Gandalf is still prone to failure and is still not fully able to protect the protagonists from dangers, such as the case of losing Bilbo when escaping the goblin’s caves. In examining The Wizard of Oz and The Hobbit one can see these characters take a different approach to the Deus ex Machina.

Tuesday, 24 July 2018

Running with the Elephants: A Review of Let the Elephants Run by David Usher


David Usher
Creativity is a strange beast. For some it is hard to come up up with the simplest ideas for some while others while for others these ideas can come easily. Because of this, there is there is a myth that those who are creative are born with that ability. In his book,
Let the Elephants Run: Unlock Your Creativity and Change Everything, singer and song writer David Usher takes a look at this myth and explores one can tap into their hidden creativity whether it comes naturally or not. This blog is going to see if this book has a memorable message or if it would be better for elephants to forget.

Let the Elephants Run: Unlock Your Creativity and Change Everything is Usher's first venture in writing (well, in nonfictional prose). He opens Let the Elephants Run with the example of his own childhood; how Usher can remember that his love of creating things stemmed from his childhood and that many of us start out like this as well.1 This love for creativity dwindles as life goes on and “layer upon layer of life begins to separate us from our child's mind.”2 Throughout Let the Elephants Run, Usher argues that curiosity and passion is still accessible, that creativity is not something inherent (or blessed by a fairy godmother) but something learn-able.3 To Usher, all it takes is to “take the time, make the commitment, and learn how.”4

One of the things that works in Let the Elephants Run is Usher's writing ability, particularly in his use of examples when discussing his points. An example of this is seen when Usher discusses a concept that he calls “Pink Elephant Thinking”, to allow your imagination to run on its own and utilize what ideas what it has to offer.5 Usher elaborates on this concept with how he uses the Pulse Sensor Open Source Heart-Rate Sensor to use an audience member's heart-rate to set up the beat for his shows. (See what I did there?) The process started with Usher wanting to take his and his band's usual method of them setting the tone and timbre of their shows and turn it around so that the audience could “power the band.”6 Because Usher wanted to make this happen, he searched the web until he found a Kickstarter for the Pulse Sensor Open Source Heart-Rate Sensor. The next step was programming the sensor, this was answered by Robert Brooks, who also had an interest in this endeavour.7 The lesson from this example is the benefits of Pink Elephant Thinking, if Usher hadn't acted on the curiosity, he would have lost out on something that has proven beneficial to his concerts.

Usher also uses a unique design in his book. Rather than using a regular layout where the reader would merely read on how to be creative, Usher has Let the Elephants Run, Usher formats his book to to make the reader more active in their creativity. Throughout the book, Usher presents his audience with different activities or actions ranging from just writing ideas down, forming an idea web (having a central concept that branches off to different topics), or examining your own abilities to determine if you are introverted or extroverted to allow readers to practice and hone their creative abilities. In the first activity, Usher explains that he wants his readers to write and take notes in the book because “learning to be creative is itself a creative act.”8 In this way, Usher wants to make his audience active in their learning experience because in doing so when reading Let the Elephants Run it lays a foundation in developing a person's creativity.

In closing, Let the Elephants Run: Unlock Your Creativity and Change Everything is the perfect book for someone wanting to improve their creativity or just wanting to tap into their unknown talent. Usher proves himself skilful in prose as he is in music. The best part is how Usher gives his book a unique edge by making his readers more active in their education with different activities to build a base in becoming creative. Much like the book title suggests, let the elephants run and let those creative juices flow!

Bibliography

"David Usher." Wikipedia. July 07, 2018. Accessed July 08, 2018. https://en.wikipedia.org/wiki/David_Usher.

"Let the Elephants Run." House of Anansi Press. Accessed July 08, 2018. https://houseofanansi.com/products/let-the-elephants-run-digital.

Usher, David. Let the Elephants Run: Unlock Your Creativity and Change Everything. Toronto: House of Anansi. 2015.

Notes:
1David Usher, Let the Elephants Run: Unlock Your Creativity and Change Everything, (Toronto:House of Anansi Press Inc., 2015), 7.
2Ibid.
3Ibid., 8.
4Ibid.
5Ibid., 91.
6Ibid., 93.
7Ibid., 94.
8Ibid., 12.

Tuesday, 3 July 2018

Canadian Beats 2: Electric Bugaloo

Image made with clip art found on Pintrest



Seeing as Canada Day is coming up, I figured it would be a great idea to continue the tend of last year and look at songs by Canadians about Canada. The rules are simple: (1) the artist must be from Canada in form, either born in Canada or immigrated to Canada; (2) the song must refer to Canada in some form or in reference; (3) the song must be longer than one minute.

“Canada Day, Up Canada way” by Stompin' Tom Connors
As I said in last year's list, there is nothing more quintessentially Canadian than music from Stompin' Tom Connors. While there are numerous songs that celebrate the Canadian spirit, but in light of Canada day I feel that “Canada Day, Up Canada Way” would be a good choice for the the list. A song that celebrates the very day of Confederation of Canada with a chorus that combines two of Canada's anthems “O Canada” and “Maple Leaf Forever”.



“Log Driver's Waltz” by Wade Hemsworth
One of Canada's many stereotypes is the image of the lumberjack. This image is celebrated in the “Log Driver's Waltz” by Wade Hemsworth, author of the ditty “Black Flies”. Inspired from watching log drivers “dance” from log to log as they herded the timber to the mills, Hemswoth tells the story of a young lady's love for dancing with log drivers as they are the lightest on their feet when dancing because of their light foot work from driving logs on the river. The song's catchy music and memorable lyrics has allowed for it to be another successful tune by Hemsworth. This song, just like “Black Flies”, was given it's own video by the Canadian National Film Board.

“Northern Lights” by The Jerry Cans Canadian author Robertson Davies once famously said “I see Canada as a country torn between a very northern, rather extraordinary, mystical spirit which it fears and its desire to present itself to the world as a Scotch banker.” That northern mystical spirit can be easily seen in the song “Northern Lights” (or “Ukiuq” in Inuktitut) by Nunavummiuq band The Jerry Cans (Inuktitut: Pai Gaalaqautikkut) in their album Inuusiq/Life. Northern Canada my have it's problems like drug abuse and high food prices but much like Canada, it is a land full of mystery and beauty that should be appreciated just as much as the rest of the country. This beauty is exemplifies in The Jerry Cans use of catchy rhythm, imagery, and utilization of Inuktitut throat singing; these elements paint the picture of a world far off and distant yet somehow familiar with images of traversing through the cold north underneath the Northern Lights. As The Jerry Cans mostly write their music in Inuktitut, Northern Lights is released in both an English and Inuktitut!

“St. Lawrence River” by David Usher
The St. Lawrence River is a place is synonymous with Canada. It has been the gateway into this great country since the time of Cartier and still has ships delivering or collecting goods for Canada. So it is no surprise that Canadian artist David Usher would use this icon as the base for a song in his album Little Songs, Usher's first venture after the disbanding his band Moist. In his song “St. Lawrence River”, Usher paints the story (in my opinion) of a relationship slowly falling apart in the shadow of the St. Lawrence River. In the beginning the relationship is free and alive like the river in the summer and by the end of the song the relationship becomes dead and frozen like the river in winter.

“Highway of Heroes” by The Trews
Inspired from the death of Capt. Nichola Goddard, the first Canadian female soldier killed in Afghanistan and fellow classmate of the Trews. The song tells the story of an unknown soldier who has died, listeners are given parts of this soldiers life, their motivations and role in war. The Highway of Heroes that is refereed to in the song is the section of the Highway 401 of that name that streaches from Toronto, Ontario, and CFB Trenton, Ontario.

“Old Apartment” by The Barenaked Ladies
The Barenaked Ladies (or BNL) are a Canadian staple. With hit songs like if “I had a $1,000,000”, “Brian Wilson”, and more, it was hard to pick one, much less one that met the rules outlined above. Enter “Old Apartment”, a song that tells the story of a young man breaking into his and his partner's old apartment and remembering the old times they shared there. “But Joey,” You ask in my head, “what does this have to do with Canada?” Well, first off: get out of my head. Second, “Old Apartment” is set in Toronto (the narrator mentioning that they now live in an old old house on the Danforth). Themes in the song of change and nostalgia are things we can all relate to; we all have that moment of “back in my day life was better, worse, and you couldn't find parking,” and we will someday find our selves pining for those old places and familiars.


Bibliography
Robertson Davies Quotes. BrainyQuote.com, Xplore Inc, 2018. https://www.brainyquote.com/quotes/robertson_davies_392936, accessed July 1, 2018.


Wednesday, 13 June 2018

I'm Watchin' Canadian Television - A Show Case of Canadian Television


Growing up in Canada was a unique experience. As a kid I can remember being bombarded with US programmes like Friends, Saved By the Bell, and anything from Disney and shows from Britain like Noddy, Thomas the Tank Engine, Are You Being Served?, Yes, Minister, and Keeping Up Appearances. While these classic programs will continue to have a place in my heart, there is something to be said for the wonderful programming from Canada. Today, I want to talk about the variety of Canadian shows that have graced Canadian TV.


The Friendly Giant (1958-1985)
Look up. Look wa----ay up! For 30 years, Canadian children were welcome into the castle of the Friendly Giant on CBC. It was the show that started the weekday block of children's programming later known as CBCKids. Each episode opened with the draw bridge of the castle opening and the Friendly Giant (played by Robert Homme) placing little model chairs for his guests. “One little chair for one of you, and a bigger chair for two more to curl up in, and for someone who likes to rock, a rocking chair in the middle.” The Giant would then be greeted by Rusty the Rooster and Jerome the Giraffe (puppeteer by Rod Coneybeare). The three would talk for a little bit before the Giant would tell a story. The episode would end with the Friendly Giant playing on his recorder and puting the model chairs while saying goodbye. “It's late. This little chair will be waiting for one of you, and a rocking chair for another who likes to rock, and a big armchair for two more to curl up in when you come again to our castle. I'll close the big front doors and pull up the drawbridge after you're gone. Goodbye. Goodbye.” 
 
The Littlest Hobo (1963-1985)
 Canada's answer to Lassie, The Littlest Hobo followed the adventures of a stray German Shepherd as it travels from town to town befriending and helping people, often played by well known actors in a guest appearance. These guests included John Ireland, Abe Vigoda, Vic Morrow, and Leslie Nielsen; even a young Mike Myers made an appearance in one of his first acting roles! All the dogs featured in both the original 1963-1965 and revived 1979-1985 run were trained by Charles (Chuck) P. Eisenmann who became famous for his unique training regime for his dogs, who were credited under the moniker “London”.

Misterogers (1963-1966)
 Before I start talking about Mr. Dressup, I have to talk about Mr. Rogers- uh, I mean Misterogers. When Fred Rogers (yes, that Fred Rogers) began what would begin what would become his 40 plus year career in children's programming, he moved to Toronto, Ontario, in 1961 to produce Misterogers, a early version of what would become Mr. Rogers' Neighbourhood. It had a very similar set up to Mr. Rogers' Neighbourhood; there was a trolley that would take viewers to the Neighbourhood of Make Believe where viewers would be met by characters like X the Owl, King Friday XIII, and Daniel Tiger, while Rogers would sing songs and send off with Tomorrow, a song that appeared in the earlier seasons of Mr. Rogers Neighbourhood before eventually being replaced by It's such a Good Feeling in 1972. Interesting enough, the first episodes of Mister Rogers' Neighbourhood featured the recorded segments of the Neighbourhood of Make-Believe from the CBC's Misterogers!

Mr. Dressup (1967-1996)
 When Fred Rogers arrived to Canada, he brought with him, Ernie Coombes, a friend and colleague who had worked with Rogers on NBC's The Children's Corner as an assistant puppeteer. Coombes remained in Canada after Rogers returned to the United States and began to appear on the CBC children's show Butternut Square as the character he would become most famous for, Mr. Dressup. When Butternut Square was cancelled in 1964 Coombes and Daniel McCarthy (producer of Butternut Square) developed Mr. Dressup as a replacement.
Mr. Dressup featured Mr. Dressup with his puppet friends Casey and Finnegan (puppeteered by Judith Lawrence) making drawings, making crafts, or telling a story before putting on costumes from the Tickle Trunk, a red trunk with flowers painted on it that would provide any costume needed the the episode. Later in the series, new characters were introduced after Judith Lawrence retired. While Casy and Finnegan were said to have gone off to Kindergarten, Mr. Dressup was visited by Chester the Crow (Karen Valleau), Truffles (Nina Keogh), Granny (Jani Lauzon), Annie (Ruth Danziger), Alex (Jim Parker), and Lorenzo the Raccoon (Bob Dermer).

Royal Canadian Air Farce (1970-Present)
 There are two important factors in any proper functioning society: (1) leaders must be elected by the public and (2) be held in continual contempt by the public. Founded in 1970 in Montreal, Quebec, by John Morgan, Martin Bronstein, Patrick Conlon, Gay Claitman, and Roger Abbott, the group began under the name The Jest Society, a play on then-Prime Minister Pierre Trudeau's goal of making Canada a “Just Society”. By the time the troupe made their first appearance on CBC Radio, several changes had been made. First, the line up at the time had changed, while Morgan, Abbott, and Bronstien remained, Claitman and Conlon were replaced with Don Ferguson, Luba Goy, and Dave Broadfoot.
 While Royal Canadian Air Farce found success on radio, it also made appearances on television throughout the 1980s before eventually receiving its own TV series on the CBC. Over the course Air Farce's time on radio and tv in the 1980s, the show went though further changes when Bronstein left the series in 1974 to return to journalism and Broadfoot retired in 1989 but continued to make guest appearances until his death in 2016. While the show no longer appears regularly on TV, Royal Canadian Air Farce continues yearly on the CBC for New Years. The current troup line up includes Don Ferguson, Luba Goy, Jessica Holmes, Creig Lauzon, Darryl Hinds, Aisha Alfa, Emma Hunter, Isabel Kanaan, Chris Wilson, and Lisa Gilroy

The Polka Dot Door (1971-1993)
 An adaption by TVO of the BBC children's show Play School, The Polka Dot Door was geared to educate and foster creativity with the television audience. Two hosts would explore a different motif for each day. Some of the activities on each included the stuffed toys Humpy (a modified version of the BBC stuffed toy in Play School), Dumpty, Bear, Marigold. What made the show unique from its British counterpart was Polkaroo, a polka-dotted kangaroo who would appear played by the male host and perform activities with the female host.

SCTV (1976-1984)
 The show that launched the careers of Catherine O'Hara, Eugene Levy, Joe Flarity, Dave Thomas, Rick Moranis, Martin Short, and the late John Candy. Each episode viewers watched the antics of a low budget TV station in the fictional town of Melonville. What made the show so memorable was the different characters like Johnny Larue, Guy Caballero, Ed Grimley, Edith Prickley, and Dave and Doug Mackenzie. While the original run ended in 1984, show has continued to be an institution, so much so that Martin Scorsese is directing a retrospective for Netflix.

Degrassi Franchise (1979-Present)
 Degrassi is more than a show, it's a Canadian institution! In almost 40 years of it being on TV, there have been 5 individual series with a total 621 episodes! Telling the story of the lives of teens living in the Riverside District of Toronto (the show's name coming from De Grassi Street in the district), the series began as four short after-school specials on CBC titled The Kids of Degrassi Street many of the actors of these specials went on to appear in the Degrassi Junior High in 1987 and Degrassi High in 1989. In 2001 the franchise received a revival by Stephen Stohn with Degrassi: The Next Generation, airing on CTV, Family, MuchMusic and MTV. This series has been considered to be the most successful series with its own cult following by teens and adults alike as the show dealt with topics like suicide, censorship, self-harm, rape, drinking, and more. Currently the newest incarnation produced by Netflix and Epitome, titled Degrassi: Next Class, continues where Next Generation left off with new and familiar faces walking De Grassi Street and facing the challenges life will throw their way.

The Kids in the Hall (1988-1995)
 An off the wall programme from the CBC and produced by SNL creator Lorne Micheals, Kids in the Hall was a sketch comedy show staring Dave Foley, Kevin McDonald, Bruce McMulloch, Mark McKinney and Scott Thompson. Each episode featured wacky characters like the Chicken Lady, Buddy Cole, and the Scissor Sisters.  While the initial series ended in 1995, the troupe never really broke up, producing a film called Brain Candy in 1996 and an eight part miniseries titled Death Comes to Town in 2010.

Anne of Green Gables (1985)
 Based on the famous novel by L. M. Montgomery, this two-part series followed the life of a orange-haired orphan Anne (played by Megan Follows) with an explosive imagination as she comes to the quite town of Avonlea, Prince Edward Island, to live with the elderly siblings Matthew and Marilla Cuthbert (played by Richard Farnsworth and Colleen Dewhurst respectively), who were expecting a boy from the orphange. Through the highs and lows of living in the small island town, including infamously breaking a slate over Gilbert Blythe's (Jonathan Crombie) head, Anne quickly proves her worth for Matthew and Marilla at Green Gables Farm. The success of the miniseries spurned two sequels, Anne of Avonlea (based on the novel of the same name), Anne of Green Gables: The Continuing Story and Anne of Green Gables: A New Beginning; the latter two being original stories with no connection to the novels by Montgomery. 

Road to Avonlea (1990-1996)
 After the success of Anne of Green Gables, the CBC produced a companion series titled Road to Avonlea, a show loosely based on a number of books by L. Montgomery, namely The Story Girl, The Golden Road – which featured characters Sarah Stanley, Felicity, Felix, and Cecily – and especially The Chronicles of Avonlea and Futher Chronicles of Avonlea. The series told the story of Sarah Stanley (Sarah Polley), who sent to Avonlea by her father to live with her two aunts, Hetty and Olivia King (played by Jackie Burroughs and Mag Ruffman respectively). Characters from the Anne of Green Gables and Anne of Avonlea reprised their roles for the series, namely Marilla Cuthbert (Colleen Dewhurst), Rachel Lynde (Patricia Hamilton), Davy Keith (Kyle Labine), and Dora Keith (Ashley Muscroft and Lindsay Murrell).

The Red Green Show (1991-2006)
 A parody of home improvment and outdoors shows, The Red Green Show was a strange beast as it crossed sketch comedy with elements of sitcoms. Staring Steve Smith as the titled Red Green and Patrick McKenna as his bumbling nerdy nephew Harold, television audiences would learn each week of the antics of the members of Possum Lodge Red Green teach unique projects in “Handyman Corner” (usually involving the handyman secret weapon: Duct tape!). The series also included other segments like “Adventure with Bill”, featuring different slapstick sketches with Red Green and Bill (Rick Green). The series also included characters like Dalton Humphrey (Bob Bainborough) of Humphry's Everything Store, career criminal Mike Hamar (Wayne Robson), entrepreneur of sewage sucking Winston Rothschild III (Jeff Lumby), tall tale teller and ferryman Hap Shaughnessy (Gordon Pinsent), eccentric forest ranger Ranger Gord (Peter Keleghan), and the deafened explosives expert Edgar K. B. Monstrose (Graham Greene). The success of the programme led to a movie titled Duct Tape Forever.

Theodore Tugboat (1993-2001)
 Theodore is a tug boat. He has black haul, a yellow body and a tall funnel... wait... doesn't this sound like Thomas and Friends? Well, it should, surprisingly this show did have several producers from the British series including Robert Cardona, producer of Thomas and Friends and Tugs. Each episode of Theodore Tugboat opened with Denny Doherty of The Mamas & the Papas fame as the Harbourmaster, who would set the theme of each episode before narrating that episode. Characters that lived in the great Great Big Harbour (based off of Halifax) include Theodore, Hank, George, Emily, Forduck, and the Fat Controller-esc Dispatcher.

Redwall (1999-2002)
 Based on the Redwall novels by Brian Jacques, this Canadian produced (see the connection?) series told the story of the mice of Redwall Abby as they defend their home from Cluny the Scourge and his Rat Army. The series mainly follows Matthias, a young mouse who dreams of becoming a heroic warrior like the abby's founder Martin. Mathias set out on a quest to find the lost sward of Martin the Warrior and save Redwall Abby from the clutches of Clunny. The success of the series spurned two more seasons, the second following the events of the novel Mattimeo and the third based from the prequel novel Martin the Warrior.

Corner Gas (2004-2009)
 Created and starting comedian Brent Butt, Corner Gas tells the antics of the people of Dog River, Saskatchewan. Plots often show cased the interactions between Brent LeRoy (Brent Butt) his business neighbour Lacey Burrows (Gabriell Miller) with the residents of Dog River, whether it be Bent snarky employee Wanda (Nancy Robinson), his curmudgeon father Oscar, his loving but no nonsense mother Emma (Janet Wright) or the local police officers – and entire plice force – Karen and Davis (Tara Spencer and Lorne Cardinal respectively). The series had a successful run with six seasons and a movie. Over the course of the series' run, numerous Canadian guest stars have appeared including Kevin McDonald, Mike Wilmont, Colin Mochrie, Ben Mulroney, and then-prime minister Stephen Harper.

Murdoch Mysteries (2008-Present)
 Inspired from the novels by Maureen Jennings, Murdoch Mysteries follows the escapades of Roman Catholic detective William Murdoch (Yannick Bisson) – I only mention it as it does serve as a plot device throughout the series in Protestant Toronto – as he uses unconventional methods to solve cases in turn of the century Toronto. Set in Post-Confederation Canada (particularly the late 1890s), the series touches upon events in Canadian history like the Boar War and introduces well known people from the people from the period like Nikola Tesla, Jack London, Sir Arthur Conan Doyle, Henry Ford, a young and just as brash Sir Winston Churchill, and then-Canadian Prime Minister Sir Wilfred Laurier. The show originally started on Citytv but now continues on the CBC.

Kim's Convenience (2016-Present)
 Based on the Toronto Theature Critics award winning play of the same name by Ins Choi, Kim's Convenience tells the story of the Kims, a Korean family who run a convenience store in Toronto's Moss Park neighbourhood. The series focuses on the relationship between the Janet (Andrea Bang), Appa (Paul Sun-Hyung Lee), Umma (Jean Yoon), and their estranged son Jung (Simu Liu) as they show the highs and lows of family and life in Toronto.

Tuesday, 24 April 2018

The Difficulty of Life: A Review of Herding Cats by Sarah Andersen


            Adulthood is a voyage fraught with highs that make you believe that you could touch the sun and lows that drag you lower than you ever thought possible.  The very challenges become very much like trying to herd cats, somehow finding a way to become nearly impossible to overcome.  To tackle this conundrum, Sarah Andersen returns with an all new collection of comics titled Herding Cats, continuing with her theme of adjusting to the world with the ever anxious and ever loved character Sarah.  Readers continue to laugh, cry, cry while laughing, and relate to Andersen’s entertaining comics in this latest anthology.

            Herding Cats is the continuation of Andersen’s character, Sarah.  In this new volume we see Sarah face life with the same level of excitement and anxiety as she counts the days to Hallowe’en, meeting deadlines, and that delayed pain that hits after stubbing your baby toe.  Along with these entertaining comics, Andersen shares with her readers how she was able to accomplish her success via the world of the internet and how to navigate this brave new world where everyone has a megaphone and will proclaim their opinions and discern from the constructive and delusional.

            One of the things that works in Andersen’s advantage is this continued theme of adjusting.  Her first anthology Adulthood is a Myth looks at adjusting to the new work of adulthood and the idea of what defines adulthood; A Big Mushy Happy Lump can be seen as adjusting to limitations life puts on you and coming to acceptance with those limits.  Herding Cats continues this trend with the theme of adjusting and accepting the uncontrollable situations and problems life throws your way.  One example of this can be seen in her comic “Taking Care Of…”; here we see in the first three panels showing Sarah being loving to her pets, friends, and boyfriend but when we see Sarah taking care of herself, we see Sarah throwing a copy of herself in to a trash can (5).  This is an easy thing we all do, we put people before ourselves and end up leaving our personal needs to the side or being harder on ourselves when things go wrong.  Because we are busy putting others first, we end up leaving our own needs behind.

            In addition, Andersen’s comics continue their relatability between the reader and Sarah.  In the comic “Me + Me: A Great Time!”, we see Sarah finding enjoyment in talking to herself, having a fashion show with herself, and dancing with herself (78).  The relatability is seen in how the comic shows the joy one can get with solitude or alone time.  Being around does have its benefits and I’m sure there are benefits to social interaction and there are probably stacks of articles by leading scientists and psychologists that back those... But let’s be honest sometimes it’s better have alone time and play on the phone (shut up about how the very fabric of society is being ripped apart by people being on their phones!) and not everyone actually benefits from being about people, like introverts where the opposite can be true in some cases.

            Another example is in the comic “Comfort Zone”, here Andersen opens with the line “life begins at the end of your comfort zone” and shows Sarah, wrapped in a blanket, stepping out of a small circle with the work “progress” appearing overhead after the first step (80).  I’ve always been of the opinion that life is not easy but it is fair.  We are born with nothing and life promises us nothing, so we therefore have to reach out for what we want.  Because of life’s difficulty, we tend to stick with what’s comfort able or good enough and forget what we want.  Stepping out of out of our comfort zone is never the easy choice but is necessary.  Sometimes what is acceptable isn’t healthy like an unhealthy relationship, poor health choices, living somewhere that isn’t safe.  Because of that the comfort zone isn’t necessarily the best place.  That isn’t to say you should always be running out of the comfort zone, sometimes little steps make better progress and are more realistic some instances. 

            In conclusion, Herding Cats by Sarah Andersen is a book worth reading.  The book’s themes and comics are still as relatable as it’s predecessors and are just as enjoyable as ever.  Therefore, I highly recommend picking up a copy of Herding Cats at your nearest book store.




Illustrative Work: http://www.sarahandersenart.com/

**All art used in this post are the property of Sarah Andersen and her respected associates.**


Bibiliography

Andersen, Sarah. Herding Cats. Kansas City, Andrew McKeel Publishing. 2018

Thursday, 12 April 2018

Of Fire and Brimstone: A study on German memory of the air raids from the Second World War


On October 22, 2003, the British ambassador to Germany, Sir Peter Torry, visited the city of Kassel.1 The purpose of his arrival in the German community was to attend the sixtieth anniversary of the bombing of Kassel by British warplanes on 22 October 1943, where 10,000 people were killed by a firestorm that was created from the bombings.2 In his address at the ceremony, Sir Peter’s speech spoke before a public who have had a different experience from that of the British. Where Britain remembers the Second World War as a time of hiding in shelters from air raids by the German Luftwaffe, Winston Churchill’s war speeches, and posters calling on their people to keep calm and carry on; Germany recalls a time of oppression under Adolf Hitler and chaos from the bombings by the Allies. Germany’s conception of its time in the Second World War has also been shaped from its time in the Cold War as the Federal Republic of Germany in the west and the German Democratic Republic in the east. In studying the German recollection of the bombings of German cities by Britain and the United States, it can be seen that Germany has a complex memory of the Second World War.

Thunderclap
The bombing of German cities such as Dresden and Hamburg have a part in the memory of the war for Germany. The British had considered launching air raids on the German capital of Berlin in July 1944 under the codename “Thunderclap” with the intention of using large scale casualties to break morale among the German public, particularly in the city of Berlin.3 According to historian Bill Niven, the choice to bomb other German cities were “a prelude to the development of plans for Operation ‘Thunderclap’,”4 meaning that the air raids conducted by British planes over Germany served as a practice that could also help in affecting the determination of the German people and cause them to put pressure upon their leaders. Niven also points out that the plan of attack was not solely a British plan, citing that discussions on targeting German cities had been conducted by Britain, the United States and Russia during the Yalta Conference in early February 1945.5

Hamburg after a bombing
The city of Hamburg had seen several air attacks before the Allies had begun plans for “Thunderclap”. Between 1940 and 1941, the city was the site of one hundred twelve attacks with seven hundred fifty one casualties as a result.6 A second series of sixty-five raids between 1944 and 1945 killed five thousand six hundred ninety residents.7 Though these two periods of air raids were horrific to the people of Hamburg, the summer bombings of 1943 are considered to be the most devastating with forty thousand deaths in July of 1943 alone.8 In most cases, citizens died not in the streets but from hiding in shelters and cellars as a way to protect themselves from the bombs.9 As the attacks would go on, cellars would start “absorbing the external heat… or they [would] imperceptibly filled with combustion gases,” making gas poisoning contribute seventy to eighty percent of all causes of death in the air raids during the summer of 1943.10 The air raids also caused firestorms that first ravaged Hamburg’s working-class districts of Hammerbrook, Hamm, and Borgfeld.11 The city center of Hamburg survived the raids for the most part until July 18, 1944, where eight hundred Americans heading to the Blohm and Voss shipyards miscalculated their targets and resulted in their bombs landing in areas such as Gänsemarkt Square.12


In February 1945, Dresden boasted approximately eight hundred thousand to a million people; of this number roughly six hundred forty thousand were permanent residents while the remainder were refugees.
13 In the air raids that occurred on February 13 and 14, 1945, forty thousand people were killed.14 The raids also created firestorms within half an hour after ally planes had departed from the city, killing an estimated seventy thousand people.15 As mentioned before, the point of these attacks
Dresden after a bombing
was to weaken the morale of the German people in order to force Germany into surrendering. The bombings by the allies resulted in around six hundred thousand deaths and 3.37 million homes destroyed.
16 The Nazi Party even expected this result from the attacks.17 In a meeting with Adolf Hitler on August 1, 1944, Field Marshal Erhard Milch, inspector general of the Luftwaffe, stated: “We have lost the war! Finally lost the war!”18 It is clear from this that even before the attack on Dresden, the German military was beginning to see their demise.

Remembering the war - F.R.G.
The memory of the Second World War for German was shaped during its time of separation as West and East Germany. The memory of the war by both sides was influenced by the Cold War, which pushed both states into a “bitter competition over which state had learned the appropriate lessons from history.”19 First, the Federal Republic of Germany (F.R.G.) had a certain framework in remembering the events of the war. On the whole, West Germany viewed the Nazi regime that dominated the formally united Germany during the Second World War as strictly totalitarian and believed that its eastern counterpart was trapped in a totalitarian government under the Soviet Union.20 In this anti-totalitarian framework, the F.R.G. “played down the specifically German nature of Nazism” and instead emphasised the fact that Germans had suffered under Hitler’s Nazi regime and drew parallels to that of the Jews in the Holocaust.21 The anti-communist sentiment in the west led the F.R.G. to focus on the suffering of Germans by Communist soldiers near the end of the war.22 The images of the “killings, rape and pilfering carried out by soldiers of the Red Army” served as a warning of the dangers of Communism in East Germany and the rest of Eastern Europe.23

With regards to the bombings, West Germans took on an image of being “double victims.”24 As they were under the dictatorship of Adolf Hitler and his Nazi Party, Germans were forced into the war. The air raids by the British and United States over German cities made Germans victims in another dimension by showing them as innocents in a war against their dictator. This image of double victimhood was enhanced through works of memory literature by historians like Malte Thieβen, which went on to shape the memorial culture of the bombings in German cities such as Hamburg.25
The German Democratic Republic (G.D.R.) created a different post-war legacy. In this situation, the east took a stanch anti-fascist view to Nazism.26 The Communist Party (S.E.D.) followed their western counterparts and removed the German context from its understanding Nazism but they also placed it as a “class-based phenomenon, minimalizing its nationalist and racial dimensions.”27 The S.E.D. also concentrated their vision of the Second World War to be about the “glorious struggle of the Soviet Union and German Communists” against Hitler and Nazism.28 This meant that the treatment of Germans by Red Army soldiers went without criticism or question.29

Remembering the War - GDR
The G.D.R. government aimed to play on the image of the bombing of German cities to strengthen their view of the war and the anti-Western rhetoric of the Soviet Union, which can be seen in their approach to the memory of the bombing of Dresden. In this image, the Germans of Dresden were cast as the sufferers of “British-American aggression.”30 Since the fifth anniversary of the bombings in 1950, the S.E.D. used the event to twist it into an incident caused by “Anglo-American warmongers,”31 while the Soviets were seen as liberators rather than rapists and plunderers like in the west.32 This imagery of the Dresden was reinforced through yearly ceremonies to mark the anniversary of the bombings and through “corresponding interpretations in official school text books.”33 Speeches presented at these ceremonies were used to strengthen the anti-western sentiment in East Germany with updated statements to match what was seen as the latest “Western – particularly American and West German – threat to world peace.”34 In 1952, the G.R.D.’s German Peace Committee (Deutsches Friedenskomitee) designed a tribute to the city by making it appear as the symbol of the “will to rebuild” and served as an example during the rebuilding of East Berlin.35 The German Peace Committee argued that the resolve to revitalize Germany was under threat by the west and Germans, especially those in the east, were “in danger of becoming victims again.”36 The overall view of the bombings in Dresden was clear: Germany were victims both fascism and western imperialism during the war. The Soviets came to save Germany from this violent behaviour and have allowed East Germany the chance to rebuild itself despite the threat of the west. Throughout the fifties, the S.E.D. tried to spread this concept to West Germany, hoping that the latter would support the “idea of peaceful German unification under socialist auspices.”37

Revising Memories - Post-unification
Since reunification, Germany has had to come to terms with several parts of its past, this ranging from understanding not only the victims of Nazism but also those involved in supporting the Nazi regime in Germany.38 It has made both the Eastern and Western halves of Germany come to realize that both communism and Nazism were “but variants of totalitarian barbarity.”39 This development discredited G.D.R.’s anti-fascist understanding of the war and strengthened the F.R.G.’s anti-totalitarian framework.40 An example of this change in perception can be seen in the G.D.R.’s memorial dedication against fascism – “To the victims of fascism and militarism” – was replaced to read: “To the victims of war and the rule of violence.”41 In this example, the original phrase only sees Germans being only being the victims of fascism but the change in phrasing changes this frame of mind by broadening what the Germans were victims of , in the west’s view, totalitarianism and not fascism.

Echos of the Past
People walking through the ruins of the city of Peja, Kosovo.
Pictures like this bought back memories of Allied bombings
in Germany.
Since the reunification, the memory of the bombings became less a part of German memory of the Second World War.42 However, participation in N.A.T.O. (North Atlantic Treaty Organization) conflicts such as the Kosovo conflict in 1999 have caused the public to reopen the debate on civilian bombings.43 The Kosovo crisis spoke volumes for Germans as televisions showed images of “dishevelled refugees and victims of ethnic cleansing arriving en masse [to] Albania” brought back memories of the Holocaust and the Second World War.44 The 2003 Iraq conflict also reminded Germans of civilian bombings with images of the massive damage to cities and towns in Afghanistan and Iraq ushering back the memory of the attacks that occurred in cities like Dresden and Hamburg.45 German youth, some even in elementary school, united together under the phrase “We know what it’s like to be bombed.”46 To the German public, the bombing of Iraqi cities like Baghdad was the same as the bombings of German cities. This attitude toward Baghdad could be traced back to the eastern view of Germans being victims of western aggression. To Germany, the 2003 conflict could have easily have been viewed as another example of this aggression by the United States just as the bombings on German cities was a form of western hostility.

Conclusions
In closing, the memory of the allied bombings of German cities during the Second World War has changed in the second half of the twentieth century. During the Cold War period, the F.R.G. and the G.D.R.’s understanding of German victimhood during Second World War, and particularly the bombings, were shaped by their situations. The F.R.G.’s experience as a democratic state made it view the war as a product of totalitarianism and that Germans were both victims of the allies and of Hitler’s regime; while the G.D.R. saw the bombings as further evidence of the dangers of Western imperialism and that Germans were victims of this aggression during the war. Though the F.R.G.’s anti-totalitarian approach won out after reunification, the G.D.R.’s elements of the west as a threat still shine through in German society as seen in the German reaction to the Iraq conflict in 2003. Therefore, as Germany continues to come to terms with its past, its view of the victimhood of its people will continuously change and will be shaped by the current events that occur in world affairs.

Bibliography
Beattie, Andrew H. “The Victims of Totalitarianism and the Centrality of Nazi Genocide: Continuity and the Change in German Commemorative Politics”. In Germans as Victims, edited by Bill Niven, 147-163. New York: Palgrave Macmillan, 2006.

Berger, Stefan. “On Taboos, Traumas and Other Myths: Why the Debate about German Victims of the Second World War is not a Historians’ Controversy”. In Germans as Victims, edited by Bill Niven, 210-224. New York: Palgrave Macmillan, 2006.

Di Scala, Spencer M. Europe’s Long History: Society Politics, and Culture, 1900-1945. New York: Oxford University Press, 2013.

Friedrich, Jörg. The Fire: The Bombing of Germany, 1940-1945. Translated by Allison Brown. New York: Columba University Press, 2006.

Harding, Luke. “Germany's forgotten victims”. The Guardian, October 22, 2003. http://www.theguardian.com/world/2003/oct/22/worlddispatch.germany.

Huyssen, Andreas. “Air War Legacies: From Dresden to Bagdad”. In Germans as Victims, edited by Bill Niven, 181-193. New York: Palgrave Macmillan, 2006.

Kitchen, Mark. A History of Modern Germany: 1800 to the Present. Oxford: Wiley-Blackwell, 2012.

Niven, Bill. “GDR and Memory of the Bombing of Dresden”. In Germans as Victims, edited by Bill Niven, 109-129. New York: Palgrave Macmillan, 2006.

Notes:
1 Luke Harding, “Germany's forgotten victims”, The Guardian, October 22, 2003, http://www.theguardian.com/world/2003/oct/22/worlddispatch.germany.
2 Ibid.
3 Bill Niven, “GDR and Memory of the Bombing of Dresden”, in Germans as Victims, edited by Bill Niven, 109-129, (New York: Palgrave Macmillan, 2006), 110.
4 Ibid.
5 Niven, “The GDR and the Memory of the bombing of Dresden”, 111.
6 Jörg Friedrich, The Fire: The Bombing of Germany, 1940-1945, translated by Allison Brown, (New York: Columba University Press, 2006), 165.
7 Ibid.
8 Ibid., 166.
9 Ibid., 167.
10 Ibid.
11 Ibid.
12 Friedrich, 167.
13 Ibid., 310.
14 Ibid.
15 Jörg Friedrich, The Fire: The Bombing of Germany, 1940-1945, translated by Allison Brown, (New York: Columba University Press, 2006), 313; Spencer M. Di Scala, Europe’s Long History: Society Politics, and Culture, 1900-1945, (New York: Oxford University Press, 2013), 446.
16 Mark Kitchen, A History of Modern Germany: 1800 to the Present, (Oxford: Wiley-Blackwell, 2012), 299.
17 Friedrich, 98.
18 Ibid.
19 Andrew H. Beattie, “The Victims of Totalitarianism and the Centrality of Nazi Genocide: Continuity and the Change in German Commemorative Politics”, in Germans as Victims, edited by Bill Niven, 147-163, (New York: Palgrave Macmillan, 2006), 151.
20 Ibid.
21 Ibid., 152.
22 Stefan Berger, “On Taboos, Traumas and Other Myths: Why the Debate about German Victims of the Second World War is not a Historians’ Controversy”, in Germans as Victims, edited by Bill Niven, 210-224, (New York: Palgrave Macmillan, 2006), 213.
23 Ibid.
24 Ibid.
25 Berger, 213.
26 Beattie, 151.
27 Ibid.
28 Ibid.
29 Berger, 215.
30 Niven, “The GDR and the Memory of the bombing of Dresden”, 114.
31 Ibid.
32 Ibid., 115.
33 Niven, “The GDR and the Memory of the bombing of Dresden”, 115.
34 Ibid.
35 Ibid.
36 Ibid., 115-116.
37 Ibid., 116.
38 Beattie, 155.
39 Ibid.
40 Beattie, 155.
41 Ibid.
42 Andreas Huyssen, “Air War Legacies: From Dresden to Bagdad”, in Germans as Victims, edited by Bill Niven, 181-193, (New York: Palgrave Macmillan, 2006), 183.
43 Ibid.
44 Ibid.
45 Ibid.
46 Ibid.