Tag Archives: Marx Brothers

The author pulling a face at the camera.

On Writing

This week, some words about the art, and the craft, of writing.—Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane—Links in this episode:Patrick Kingsley, Ronen Bergman, and Natan Odenheimer, “How Netanyahu Prolonged the War in Gaza to Stay in Power,” The New York Times Magazine, (11 July 2025).John McWhorter, “It’s Time to Let Go of ‘African American’,” The New York Times, (10 July 2025).Bishop Mark J. Seitz, D.D., “The Living Vein of Compassion’: Immigration & the Catholic Church at this moment,” Commonweal Magazine, (June 2025), 26–32.“On Technology,” The Wednesday Blog 5.2.“Artificial Intelligence,” The Wednesday Blog 4.1.


This week, some words about the art, and the craft, of writing.


In the last week I’ve been hard at work on what I hope is the last great effort toward completing my dissertation and earning my doctorate. Yet unlike so much of that work which currently stands at 102,803 words across 295 U.S. Letter sized pages inclusive of footnotes, front matter, and the rolling credits of my bibliography I am now sat at my desk day in and day out not writing but reading intently and thoroughly books that I’ve read before yet now find the need for a refresher on their arguments as they pertain to the subject of my dissertation: that André Thevet’s use of the French word sauvage, which can be translated into English as either savage or wild, is characteristic of the manner in which the French understood Brazil as the site of its first American colony and the Americas overall within the broader context of French conceptions of civility in the middle decades of the sixteenth century. I know, it’s a long sentence. Those of you listening may want to rewind a few seconds to hear that again. Those of you reading can do what my eyes do so often, darting back and forth between lines.

As I’ve undertaken this last great measure, I’ve dedicated myself almost entirely to completing it, clearing my calendar as much as I see reasonable to finish this job and move on with my life to what I am sure will be better days ahead. Still, I remain committed to exercising, usually 5 km walks around the neighborhood for an hour each morning, and the occasional break for my mind to think about the things I’ve read while I distract myself with something else. That distraction has truly been found on YouTube since I started high school and had a laptop of my own. This week, I was planning on writing a blog post which compared the way that my generation embraced the innovation of school-issued laptops in the classroom and the way that starting next month schools and universities across this country will be introducing artificial intelligence tools to classrooms. I see the benefits, and I see tremendous risks as well, yet I will save that for a lofty second half of this particular essay.

I’ve fairly well trained the YouTube algorithm to show me the sorts of videos that I tend to enjoy most. Opening it now I see a segment from this past weekend’s broadcast of CBS Sunday Morning, several tracks from classical music albums, a clip from the Marx Brothers’ film A Night at the Opera, the source of my favorite Halloween joke, and a variety of comic videos from Conan O’Brien Needs a Friend to old Whose Line is it Anyway clips. Further down are the documentary videos I enjoy from history, language, urbanist, and transportation YouTubers. Yet in the last week or so I’ve been seeing more short videos of a minute or less with clips from Steven Spielberg’s 2012 film Lincoln. I loved this film when I saw it that Thanksgiving at my local cinema. As longtime readers of the Wednesday Blog know, I like to call Mr. Lincoln my patron saint within the American civic religion. As a young boy in Illinois in the ‘90s, he was the hero from our state who saved the Union and led the fight to abolish slavery during the Civil War 130 years before. Now, 30 years later and 160 years out from that most horrific of American wars I decided to watch that film again for the first time in a decade. In fact, I’m writing this just after watching it so some of the inspiration from Mr. Lincoln’s lofty words performed by the great Daniel Day-Lewis might rub off on my writing just enough to make something inspirational this week before I return in the morning to my historiography reading.

Mr. Lincoln knew what every writer has ever known, that putting words to paper preserves them for longer than uttering even the longest string of syllables can last. What I mean to say is they’ll remember what you had to say longer if you write it down. He knew for a fact that the oft quoted and oft mocked maxim that the pen is mightier than the sword is the truth. After all, a sword can take a life, as so many have done down our history and into our deepest past to the proverbial Cain, yet pens give life to ideas that outlive any flesh and bone. I believe writing is the greatest human invention because it is the key to immortality. Through our writing generations from now people will seek to learn more about us in our moment in the long human story. I admit a certain boldness in my thinking about this, after all I’ve seen how the readership and listener numbers for the Wednesday Blog ebb and flow, and I know full well that there’s a good chance no one in the week I publish this will read it. Yet I hold out hope that someday there’ll be some graduate student looking for something to build a career on who might just stumble across my name in a seminar on a sunny afternoon and think “that sounds curious,” only to then find some old book of my essays called The Wednesday Blog and then that student will be reading these words. 

I write because I want to be heard, yet I’ve lived long enough to know that it takes time for people to be willing to listen, that’s fair. I’ve got a growing stack of newspaper articles of the affairs of our time growing while my attention is drawn solely to my dissertation. I want, for instance, to read the work of New York Times reporters Patrick Kingsley, Ronen Bergman, and Natan Odenheimer in a lengthy and thorough piece on how Israeli Prime Minister Netanyahu “prolonged the War in Gaza to stay in power” which was published last Friday.[1] I also want to read John McWhorter’s latest opinion column “It’s Time to Let Go of ‘African American’”; I’m always curious to read about suggestions in the realm of language.[2] Likewise there are sure to be fascinating and thoughtful arguments in the June 2025 issue of Commonweal Magazine, like the article titled “’The Living Vein of Compassion’: Immigration & the Catholic Church at this moment” by Bishop Mark Seitz, DD of the Diocese of El Paso.[3] I’m always curious to read what others are writing because often I’ll get ideas from what I read. There was a good while there at the start of this year when I was combing through the pages of Commonweal looking for short takes and articles which I could respond to with my own expertise here in the Wednesday Blog. By writing we build a conversation that spans geography and time alike. That’s the whole purpose of historiography, it’s more than just a literature review, though that’s often how I describe what I’m doing now to family and friends outside of my profession who may not be familiar with the word historiography or staireagrafaíocht as it is in Irish. 

Historiography is writing about the history that’s already been written. It’s a required core introductory class for every graduate history program that I’m familiar with, I took that class four times between my undergraduate senior seminar (the Great Historians), our introductory Master’s seminar at UMKC (How to History I), and twice at Binghamton in courses titled Historiography and On History. The former at Binghamton was essentially the same as UMKC’s How to History I while the latter was taught by my first doctoral advisor and friend Dr. Richard Mackenney. He challenged us to read the older histories going back to Herodotus and consider what historians in the Middle Ages, Renaissance, Enlightenment, and Nineteenth Century had to say about our profession. Looking at it now, the final paper I wrote for On History was titled “Perspectives from Spain and Italy on the Discovery of the New World, 1492–1550.” I barely remember writing it because it was penned in March and April 2020 as our world collapsed under the awesome weight of the Coronavirus Pandemic. Looking through it, I see how the early stages of the pandemic limited what I could access for source material. For instance, rather than rely on an interlibrary loan copy of an English translation, perhaps even a more recent edition, of Edmundo O’Gorman’s The Invention of America, I instead was left working with the Spanish original that had been digitized at some point in the last couple decades. Likewise, I relied on books I had on hand in my Binghamton apartment, notably the three volumes of Fernand Braudel’s Civilization and Capitalism, in this case in their 1984 English translations. I wrote this paper and then forgot about it amid all the other things that were on my mind that Spring, only to now read it again. So, yes, I can say to the scared and lonely 27 year old who wrote this five years ago that someone did eventually read it after all.

What’s most delightful about reading this paper again is I’m reminded of when I first came across several names of fellow historians who I now know through professional conferences and have confided in for advice on my own career. The ideas first written in the isolation of lockdown have begun to bear fruit in the renewed interactions of my professional life half a decade later. What more will come of those same vines planted in solitude as this decade continues into its second half? Stretching that question further back in my life, I can marvel at the friendships I’ve cultivated with people I met in my first year of high school, now 18 years ago. That year, 2007, we began our education at St. James Academy where many of us were drawn to the promise of each student getting their own MacBook to work on. I wrote here in March 2024 about how having access to that technology changed my life forever.[4] So, in the last week when I read in one of my morning email newsletters from the papers about the soon-to-be introduction of artificial intelligence to classrooms across this country in much the same way that laptops in classrooms were heralded as the new great innovation in my youth I paused for a few moments longer before turning to my daily labor.

I remain committed to the belief that having access to a laptop was a benefit to my education; in many ways it played a significant role in shaping me into the person I am today. I wrote 14 plays on that laptop in my 4 years in high school, and many of my early essays to boot. I learned how to edit videos and audio and still use Apple products today because I was introduced to them at that early age. It helps that the Apple keyboard comes with easy ways to type accented characters like the fada in my name, Seán. Still, on a laptop I was able to write much the same that I had throughout my life to that point. I began learning to type when I was 3 years old and mastered the art in my middle school computer class. When I graduated onto my undergraduate studies though I found I could take notes far better that I could remember by hand than if I typed them. This is crucial to my story: the notes that I took in my Renaissance seminar at UMKC in Fall 2017 were written by hand, in French no less, and so when I was searching for a dissertation topic involving Renaissance natural history in August 2019, I remembered writing something about animals in that black notebook. Would I have remembered it so readily had I typed those notes out? After all, I couldn’t remember the title of that term paper I wrote for On History in April 2020 until I reopened the file just now.

Artificial intelligence is different than giving students access to laptops because unlike our MacBooks in 2007, A.I. can type for the student, not only through dictation but it can suggest a topic, a thesis, a structure, and supporting evidence all in one go. Such a mechanical suggestion is not inherently a suggestion of quality however, and here lies the problem. I’ve read a lot of student essays in the years I’ve been teaching, some good, some bad. Yet almost all of them were written in that student’s own voice. After a while the author’s voice becomes clear; with my current round of historiography reading, I’m delighting in finding that some of these historians who I know write in the same manner that they speak without different registers between the different formats. That authorial voice is more important than the thesis because it at least shows curiosity and the individual personality of the author can shine through the typeface’s uniformity. Artificial intelligence removes the sapiens from we Homo sapiens and leaves our pride in merely being the last survivor of our genus rather than being the ones who were thinkers who sought wisdom. Can an artificial intelligence develop wisdom? Certainly, it can read works of philosophy both illustrious and indescribably dull yet how well can it differentiate between those twin categories to give a fair and reasoned assessment of questions of wisdom?These are some of my concerns with artificial intelligence as it exists today in July 2025. I have equally pressing concerns that we’ve developed this wonderous new tool before addressing how it will impact our lived organic world through its environmental impact. With both of these concerns in mind I’ve chosen to refrain from using A.I. for the foreseeable future, a slight change in tone from the last time I wrote about it in theWednesday Blog on 7 June 2023.[5] I’m a historian first and foremost, yet I suspect based on the results when you search my name on Google or any other search engine that I am better known to the computer as a writer, and in that capacity I don’t want to see my voice as soft as it already is quieted further by the growing cacophony of computer-generated ideas that would make Aristophanes’ chorus of frogs croak. Today, that’s what I have to say.


[1] Patrick Kingsley, Ronen Bergman, and Natan Odenheimer, “How Netanyahu Prolonged the War in Gaza to Stay in Power,” The New York Times Magazine, (11 July 2025).

[2] John McWhorter, “It’s Time to Let Go of ‘African American’,” The New York Times, (10 July 2025).

[3] Bishop Mark J. Seitz, D.D., “The Living Vein of Compassion’: Immigration & the Catholic Church at this moment,” Commonweal Magazine, (June 2025), 26–32.

[4] “On Technology,” The Wednesday Blog 5.2.

[5] “Artificial Intelligence,” The Wednesday Blog 4.1.


Copyright

This week, a discussion of copyright expiration and what that means for this publication. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

This week, a discussion of copyright expiration and what that means for this publication.


I’m a relatively cautious writer when it comes to many of my friends. The Wednesday Blog reflects this caution in its simplicity and dearth of music or asides. Since day 1, I’ve been concerned about avoiding copyright infringements that could sink this entire project. This fear may not be justified, as some of you my audience have told me, because of how small an audience I have; I could well get away with using audio clips from songs that are still copyrighted interspersed in my work so long as the owners of those clips don’t notice. I gape at this perspective with an astonishment that characterizes the litigious world in which we live today.

So, it was a delight to read several weeks ago that a great deal of music, film, and stories would be entering the public domain on New Year’s Day, just earlier this week. Films like Mickey Mouse’s first appearance in Steamboat Willie, characters like Peter Pan and Tigger, and the Marx Brothers musical Animal Crackers saw their copyright expire at the end of 2023 and start of 2024. What this means for me is complicated. I could use song recordings that were created before 1928 here in the Wednesday Blog, especially in episodes that deal with timely topics to those tunes, though so many of those older recordings have fared so poorly that I’ve chosen to avoid including them.

I did consider writing this week about Walt Disney’s influence on Kansas City––the place where he got his start, and his old Laugh-o-Gram Studio which is today being slowly renovated––and building that story around the audio track from Steamboat Willie, yet by my best understanding while the silent film itself is now in the public domain, the music and sound effects that go along with it were copyrighted by Disney in 1930 and remain so until that copyright expires in 2026. That’s a story for another day, then.

For at least two years now I’ve planned a story that would express my appreciation for the music of George Gershwin, the great American composer of a century ago whose work blended the classical orchestra with jazz in clever ways that created a certain American voice. Yet again, while many of Gershwin’s works are now in the public domain their recordings aren’t. A good solution to all of this would be for me to reach out to my musician friends and see if we can make new recordings of these public domain scores.

Copyright is a tricky issue for me. On the one hand, I want all of my work to remain my own. I’ve had moments in the past where others have taken credit for things I’ve done, and that really doesn’t feel good. Still, it makes things difficult for me in this instance of crafting a podcast each week because my best solution is to do everything myself, text and score, and record all of it by myself so that I own all of my own copyrights. This problem is less pronounced when it comes to the text of the Wednesday Blog itself. There I know exactly what to do, after all in my day job I spend a good deal of time citing sources and filling out footnotes in my historical research, something that I do actually enjoy in spite of how time-consuming it can be. Yet plagiarism is a different matter from violating someone’s copyright, and the two only overlap in that I know better than to try and use audio in the podcast without permission.

My friends are right when they say I’m a small enough fish that if I skirt along the hem of copyright law by using the odd audio-clip here or there it won’t be much of a problem. Yet I don’t want my work to remain that of a small fish in a big pond forever, I want what I write to make an impact on our world. As boastful as it may sound, I want to help, and this is the best way I know how. I want to help advise and inspire our world with the stories I tell whether through my non-fiction writing in this outlet or in my research, or through the occasional stories that I tell. To do this well, I need to cover all of my bases so that if I am fortunate enough to be in a position of impact, I won’t have any early-career problems that could harm my credibility.

I hope this new year 2024 brings a brighter future than the present we find ourselves in. For now, I’ll leave you with the Victor Mixed Chorus’s 1928 performance of “Auld Lang Syne” from their record Songs of Scotland. Happy New Year everyone!


Audio scanned by Internet Archive Python library 3.5.0, scanner George Blood, L.P.

Dalí and the Surreal

Over the weekend I was in Chicago to see a special exhibit at the Art Institute called Salvador Dalí: The Image Disappears. It got me thinking about the appeal of the surreal. Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane

Over the weekend I was in Chicago to see a special exhibit at the Art Institute called Salvador Dalí: The Image Disappears. It got me thinking about the appeal of the surreal.

I for one really like Dalí’s art, it captures something of the subconscious possibility in the way it bends and transforms nature. Surrealism creates a mirror universe governed by its own laws, inhabited by a cast of characters that are just familiar enough to us to warrant closer inspection and intense curiosity. When developed to its fullest extent with sound and movement, the color and light of the surreal comes to life in a truly radiant and radical fashion. I’m talking of course of Dalí’s collaboration with Walt Disney, which became the short film Destino, a gorgeous film that is available today on Disney+. The Spanish guitar and drums, and singer’s voice pair well with Dalí’s images that find themselves unlocked from the monumental stone edifices they were built into upon their creation, the permanence of place and pose in painting.

The Dalí paintings at the Art Institute reflected the opposite of the great monuments of Destino, and more the impermanence and fragility of life itself. Crafted and devised throughout Dalí’s life, in particular during the troubled years of the Spanish Civil War, these images tell their own stories of paranoia and chaos. They show how Dalí expressed his emotions and innermost thoughts in his art. When world events on his doorstep forced him to contemplate horrors that pulled him from his passions, those horrors showed themselves in his work.

The Persistence of Memory

I’m drawn to Dalí’s most classic examples of surrealism, The Persistence of Memory being the type painting of these. They remind me with their distant hazy horizons of a book of labyrinths that I was given for Christmas one year in the early 2000s that had the same eternal yet present horizon line which stretched out from the central object echoing the idea of infinity yet not quite reaching that point itself. About a decade ago I was lucky enough to get to see another Dalí exhibit, this one in the Hallmark Headquarters at Crown Center here in Kansas City, where several Dalí images commissioned by Hallmark in the 1950s for a new line of greeting cards were on display for employees and their families. I remember Dalí’s interpretation of Santa for a Christmas card was fascinating, though not what Hallmark, the Norman Rockwell of American companies, necessarily wanted.

On Monday, I decided to compliment the Dalí exhibit with a visit to the Nelson-Atkins Museum of Art here in Kansas City to see Alberto Giacometti: Toward the Ultimate Figure, a collection of sketches, paintings, and sculptures by the Swiss master artist whose work spanned the first six decades of the twentieth century, and was in many ways Dalí’s contemporary. Yet where Dalí sought to interpret the human form through distortion imbued with a great sunny sense of Catalan romance, Giacometti’s works narrowed down their focus to the purest and ultimate human figure, which he crafted throughout his life’s work into sculptures notable for their roughness, slenderness, and height. I for one prefer Dalí’s vision over Giacometti’s, though I respect both artists for what they were trying to create.

The surreal appeals to me because it echoes the disorderly world of my own dreams, the images that dance through my mind when I sleep are best described as surreal. Dalí collaborated with one of my favorite comics of his day, Harpo Marx, to create a film which ultimately was dropped by MGM for being too strange and finally in the last decade adapted into a graphic novel called Giraffes on Horseback Salad. Neither man spoke each other’s language, yet they both knew how to approach the language of the surreal, and so crafted a story that is the definition of weird and silly, that proved to be too strange even for Harpo’s brother Groucho. It’s good for us to have this alternate to our own world to turn to, this dreamlike fantasy realm where things don’t quite add up to how we expect. We humans are too imaginative to really fully be the normal people we make ourselves out to be. We have dreams, all of us, and rarely do they turn out to meet our expectations of what is normal.

24 June 2014 – Comedy in the Morning

There is a special providence in the dawn of a morning.

What is to come on that day is yet to be known

What has passed is beyond recollection

What is present is perpetual yawning.

Yet that yawning, no matter how contagious

may be mended with the providence found

in laughter, joy, and humour.

Comedy awakens the mind

enlivens the spirits, brings laughter to the heart.

Comedy wakes you up

So you can stand on mountains

so long as you don’t suffer from altitude sickness

and are actually in a mountainous place.

Comedy is what makes you think

It questions the world,

challenges the collective understanding

You’ll soon find an elephant of laughter in your pyjamas

and won’t want to spend much more time in them

as by that point they’ll be rather tight.

It will get you up, and ready for the day

awaken your mind and enliven your heart

which is a good thing as an un-enlivened heart is dead.

Best of all,

you can be sure you’ll have a good day after.