Hamilton: A Belated Discussion

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By Jonathan McQuarrie

It turns out rap is a perfect medium for history. Hamilton has become a touchstone musical, winning laurels from a range of audiences from musical aficionados to people (like me) who are never quite sure why everyone is singing. Its wide appeal has made it a notoriously difficult ticket to get—as of this writing, the tickets are “extremely limited” and ticket resale sites ask for $500 to $700. As the New York Times reviewer noted, “I am loath to tell people to mortgage their houses and lease their children to attend a hit Broadway show. Hamilton, directed by Thomas Kail and staring [Lin-Manuel] Miranda might just be worth it[.]” For those unwilling to resort to such extreme measures (including myself), the cast recording is widely available, and captures much of the energy and power of the work. It has the feel of being one of those generational musicals with the power to define how many people understand a historically significant figure, much as Les Misérables shaped understanding of the French revolutionary period.

Hamilton is a lasting success. So, we need to pay attention to this cultural moment. Here’s why.

  • One need not read a fully footnoted work to find some analytically rich and complex material. The creator, Lin-Manuel Miranda, demonstrated an impressive commitment to historical accuracy. He drew rigorously on Ron Chernow’s popular, but extensive, biography of Alexander Hamilton, and Chernow contributed as a consultant to the production. Other historians have largely praised the work’s portrayal, noting only minor omissions or confusions. Indeed, the approximately three hour work is remarkable for how much detail it does include, from Hamilton’s efforts to form a new financial system to an intricate detailing of the rules of dueling. The “Cabinet Battles” are must-listens.

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Who Teaches Digital History in Canada?

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By Sean Kheraj

Digital history is coming to York University in Fall 2016. That is to say, I finally got around to organizing and preparing to teach digital history. As I get ready to teach this course, I am surveying the landscape of digital history teaching in Canada, looking for ideas. Readers of this article, I hope, will help by posting suggestions and links to resources in the comments below.

For many years now, I have integrated digital history skills, assignments, and exercises into my history courses. Continue reading

Performing For War, Hoping For Peace: Canadian Actresses’ Transnational Engagements with World War I

By Cecilia Morgan

It opened with a number of trumpet calls, followed by the boom of cannons. Then the curtain rose and the central attraction of the 1917 vaudeville production Liberty Aflame was revealed: Julia Arthur, dressed as the Statue of Liberty. According to theatre reviewer Alan Dale, “Miss Arthur stood, as all stars love to stand, in the absolute centre of the stage, and on high. Flowing robes encircled her, her brow bore Liberty’s crown, and she had a torch in uplifted hand. No other star could have revelled in anything more stellar. The storm raged around her. Glimpses of Manhattan, illuminated, might be seen in the background, but Liberty on her pedestal, a loquacious and very chatty Liberty, confronted the audience.” As Arthur spoke, a stereopticon show was displayed on the statue’s base. Featuring patriotic actors from American history – the Minute Men, George Washington, and Abraham Lincoln – it then proceeded to show the audience the sinking of the Lusitania, described by Arthur as a “needless sacrifice.” The next photograph was that of Woodrow Wilson, who explained his aims in taking the United States into World War I and asked for his nation’s help, an appeal Arthur underscored with her call for the country’s young, strong, and healthy male citizens to represent liberty and win the battle. As she told readers, all of this was met with “great cheering” from the audience. After all, “Julia Arthur’s name means much to vaudeville, but her present vehicle means much to the country and its producers are doing a valuable service to Uncle Sam.”

Throughout the late winter and spring of 1917, Liberty Aflame played in vaudeville houses across the United States, where – judging from the many reviews – it was deemed a great success. While some reviewers felt it was unseemly to imitate the voices of the dying Lusitania passengers and crew on a vaudeville stage, they also recognized the “majestic dignity,” sincerity, and intensity with which Arthur endowed her character.

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Fig. 1 Theatre and Silent Screen Actress Florence La Badie Digging a Victory Garden, c. 1917. Tannhouser Studio Publicity Photograph. Courtesy New York Public Library, Billie Rose Theatre Division.

Liberty Aflame was a particularly spectacular example of actresses’ promotion of wartime patriotism. Yet it was by no means an isolated event. Continue reading

On Wreaths and Graffiti: Reading Defacement and Nostalgia at Ottawa Monuments

Active History is proud to present a video each week from New Directions in Active History. The conference took place at Huron University College on October 2-4, 2015 and brought together scholars, students, professionals and community members to discuss a wide range of topics pertaining to active history.

This week’s video marks the last video post from the 2015 Active History Conference. Tonya Davidson, a sociologist of public memory at Ryerson Univeristy, researches the ambivalent feelings Canadians have towards monuments. She explains that although monuments are often dismissed as being “ideological tools of the state”, when something happens at the monument, or to the monument, public attention tends to be “aroused”.  She explains that part of the reason for the public outcry is that we view monuments on the one hand as, “dynamic, live witnesses…to the past”, but we also see monuments as “very active” in the present as well. Davidson goes on to speak about the defacement done to two sculptures on the Parliament buildings by peace protesters in 1985 and explains how the restoration of the vandalism can make us think about the ways in which we can grapple with monuments and multiple histories. Davidson then analyzes two other monuments in Ottawa, the Samuel De Champlain statue at Nepean Point and the Human Rights Monument located at the corner of Lisgar and Elgin. Using these two examples, Davidson explains how monuments can serve as problematic representations of nostalgia and also how they can be political statements with contemporary resonance.

Cannabis Americana: The Past, Present, and Future of Marijuana in North America

By Adam Rathge

Marijuana-Cannabis-Weed-Bud-GramJudging from recent developments in Canada, Mexico, and the United States it seems we’re on the cusp of a monumental shift in North American drug policy. Indeed, the war on drugs paradigm and its requisite enforcement agencies appear under greater attack than perhaps ever before. This is especially true for marijuana prohibition. In Canada medical marijuana has been widely available for more than a decade, while new Prime Minister Justin Trudeau has repeatedly promised to move toward a system of recreational legalization. In Mexico the Supreme Court recently declared that individuals should have the right to grow and distribute marijuana for personal use, potentially paving the way for legal challenges to the nation’s current drug laws. In the United States nearly half the country now allows medical marijuana, with four states also providing a legal market for recreational marijuana and as many as six more primed to follow this year.

The road forward, however, is anything but clear. Indeed, if history is our guide, there’s a great deal of uncertainty ahead for both the medicalization and legalization of marijuana. Continue reading

Using the past to structure the future: Envisioning cannabis legalization through the lens of liquor control

By Dan Malleck

Marijuana-Cannabis-Weed-Bud-GramIt is the moment that scholars fear: the question you cannot answer, in a forum where you’re presented as an expert. Such a case happened at the recent Rise of Big Cannabis symposium held in Saskatoon in March 2016. A cannabis activist asked the panel on legalization which distribution system would be better: the “dispensary” model or the “licensed producer” model. He was looking straight at me, and I had no answer.

Pondering it on the flight home, I began to reconsider the cannabis question. In this essay I (finally) address his question and discuss how it introduces a new complexity to an already complicated issue.

Since I study the histories of alcohol regulation and drug prohibition, Continue reading

“Listen to Our Cannabis Constituency”: A View from South of the Border

By Phillip Smith

cannabis - images - NLM US - public domain

Source: NLM US, public domain.

I’m taking Prime Minister Justin Trudeau and the Liberals at their word that they are actually going to get around to legalizing marijuana, so my concern is not that they do it, but how they do it.

I can’t claim to be familiar with all the intricacies surrounding how legalization is going to work up there, but I can say that the way it is developing in some of the US states where it is now legal raises some caution flags. Don’t get me wrong—I support legalization—but I am just a little bit creeped out by the increasing commodification and commercialization of the weed.

Money has always been a factor in the marijuana business, of course, but in those golden days of yore, when people grew and smoked weed because they loved the plant and what it did to them (not to mention sticking it to the man and being rebelliously cool), making money off it was a sort of afterthought. And for those who risked growing commercially, sure, they wanted to make some money, but at least they loved their product.

Now, the scene is increasingly inhabited by men and women in business attire whose intentions are purely driven by the possibility of profit. They aren’t marijuana people; they’re business people. These days, it seems like half the news alerts I get about marijuana are not about busts or moves to legalize it, but about stock offerings, business opportunities, and industry growth profiles. Continue reading

Canadian Medical Cannabis: The Long and Winding Road

On February 26th, Brent Zettl (CEO of CanniMed) delivered a free and public lecture at the University of Saskatchewan. In a sweeping and candid address, Zettl traces the recent history of the nascent medical cannabis industry and positions the company he founded in a highly complex regulatory climate. Until recently, Zettl was the sole supplier of medical cannabis to all Canadians. With the enactment of the Marihuana for Medical Purposes Regulations (MMPR), however, he became one of 30 or so Licensed Producers (LPs). His talk blends policy and politics, and environmentalism with future developments in marijuana R&D. It adds to the ongoing conversation and evolving history of marijuana regulation in Canada and beyond.

 

https://youtu.be/qIoHPMagcxE

Diversity in dispensaries: Fostering innovation in new medical marihuana regulations

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Kathleen Thompson

In 2016, opportunities currently exist for eco-friendly, economic innovation to benefit historically disadvantaged citizens in the changing Canadian medical marihuana industry.

Various scholars and commentators in business, public policy, and the media have discussed how the Trudeau government’s marijuana legislation might look. This paper highlights the role of Indigenous communities, civil society, the business community and interested citizens in a process that includes co-developing medicinal marihuana dispensaries. The practical knowledge of dispensary owners and workers can help co-create an innovative, regulated and safe medicinal marihuana industry. An effectively regulated dispensary distribution model can positively impact provincial economies and local communities. Continue reading

Touring Tilray: Navigating Canada’s New Marketing and Selling of Medical Cannabis

Marijuana-Cannabis-Weed-Bud-GramBy Cynthia Belaskie and Lucas Richert

We weren’t left to wait in the B.C. rain. After presenting our IDs at the security station outside Tilray’s medical cannabis facility in Nanaimo, and once we were confirmed as being on the official “list,” it took less than a minute to enter the recently constructed $30 million, 65,000 square-foot facility.

There were four of us taking the tour of Tilray, one of Canada’s licensed producers of medical marijuana. We were part of a SSHRC-funded conference in the history of drugs and alcohol at Vancouver Island University, and this was one of the activities available to us as participants in the event.

Our guide was Philippe Lucas, Vice-President of Patient Services at Tilray. He walked us through the electric gate and led us into a cozy holding room filled with bottles of San Pellegrino, a weigh scale, and a flat screen TV flashing images of the building’s construction. A former city councilor in Victoria, an expert witness on marijuana in Canada, and one-time dispensary owner, Philippe was handsome. He spoke quickly, laughed easily, and possessed an air of mischief, too.

Over the past ten years, Philippe has published peer-reviewed articles on cannabis’s therapeutic effects on patients in top academic journals around the world. Continue reading