we now return to regular programming (10. 045)

Interrupting regularly scheduled, prime-time programming on this day in 1974—ironically as he regularly attacked the medium as an instrument of liberal bias and never stopped blaming TV for wrecking his first US presidential bid against JFK having not fared well on screen during televised debates—to address the nation and announce his imminent resignation in the face of the so called “smoking gun” recording that revealed what the president knew about the botched burglary in the Democratic National Committee headquarters and told he would face certain impeachment— Richard M Nixon offered, “I have concluded that because of the Watergate matter I might not have the support of the Congress that I would consider necessary to back the very difficult decisions and carry out the duties of this office in the way the interests of the nation would require.” Adding that he was contrite errors in judgment, Nixon failed to mention, however, any talk of congress leveling articles of impeachment against him. Tendering his resignation the following day, Nixon submitted a letter to Secretary of State Henry Kissinger and left office, effective noon 9 August.

sounded sad upon the radio, moved a million hearts in mono (10. 044)

Released as the lead single from the group’s second studio album—Too-Rye-Ay (which includes the eponymous refrain)—Dexys Midnight Runners’ (with credit to Emerald Express) “Come on Eileen” climbed to the top of UK charts on this day in 1982, holding number one for weeks, best-seller of the year and later ranked as one of the defining songs of the decade. The character “Eileen” on the single cover as well as in the music video is played by Márie Fahey, sister of Siobhan Fahey of the group Bananarama. The introductory fiddle solo is a riff on the melodic setting of Irish poet Thomas Moore’s “Believe Me, I All Those Endearing Young Charms”—already quite well established in popular culture as the so called “xylophone gag,” wherein a cartoon villain rigs up an instrument to detonate when the C bar is struck and presents the would-be victim sheet music (usually of the above title) who inevitably plays a discordant note at the crucial time, prompting the bad guy to show the other who it is supposed to be played, thus dispatching himself.

6x6 (10. 043)

blue plaque special: a curation of the City of London’s Blue Plaque scheme—via Nag on the Lake (see also)  

harry potter and the chamber of narcissism: McMansion Hell (previously) show a yassified property in the Atlanta suburbs  

warwolf: a closer look at Edward I’s siege machine—via Strange Company 

i² = -1: the fundamental realness of imaginary numbers 

pferd is the word: some AI-generated horse-hybrids from Janelle Shane (previously)  

delft on a shelf: a house on Fournier Street with some animated tiles

sacrum romanum imperium (10. 042)

Neither holy, Roman nor an empire in the cohesive sense yet in existence for more than a thousand years, the Heiliges Römisches Reiches was defacto dissolved on this day in 1806 as an outcome of the Napoleonic Wars and the abdication of Francis II (dispatch to the royal ambassadors pictured) the House of Hapsburg who repaired to Austria and released all tenets and subjects from their oath and obligation. Regarded as the successor state to Rome because its emperors were also legitimised through the papacy, the decentralised empire without a coherent monetary system and unusual government of elected monarchs rather than hereditary rulers was on the decline for centuries and experienced its finally death knells after interfering in Revolutionary France, fearful that republicanism might spread, and the success of Napoleon in recruiting more client states into the sphere of influence of the Empire of France. The Peace of Pressburg (Bratislava) geographically cordoned extraterritorial claims and allowed some pocket principalities and city-states to be absorbed, effectively dividing the old Holy Roman Empire into Germany and Austro-Hungary.

centuriation (10. 041)

We’ve always been a sucker for aesthetic city map generators (see previously here and here) this Pretty Mapp App—via Web Curios (lots more to explore there)—is no exception. Here is the city plan for Wiesbaden.  The palette and themes are fully customisable as well as the zoom and detail specifications for whipping up some quick and attractive cartographical renders. Try summoning up a bird’s eye survey of the town of your choice.

dasymetric (10. 040)

Via the always interesting Map Mania, we are directed towards a clever and potentially revealing visualisation from Engaging Data that allows one to watch a world atlas be assembled in ascending or descending order of a range of demographic parameters like population or the featured vignette of life expectancy.  More at the links above

the piper at the gates of dawn (10. 039)

Debut album title taken from the seventh chapter of the 1908 Kenneth Grahame novel The Wind in the Willows—a favourite of Syd Barrett’s and featuring the single, anomalous appearance of the god Pan—the first record from the band Pink Floyd (previously) was released on this day in 1967. Consistently ranked among the best and most influential albums of all time, there have been multiple reissues and features tracks including “Astronomy Dominé,” “Interstellar Overdrive” and “The Scarecrow.”

que sera, sera (10. 038)

On this day in 1956, Doris Day topped UK music charts with her rendition of “Whatever Will Be, Will Be” from the Alfred Hitchcock film The Man Who Knew Too Much (having premiered in Cannes in April of that year), featuring Day and Jimmy Stewart in the leading roles. A bit of cheerful fatalism, the song is not some traditional bit of folk music but made by the songwriting team of Jay Livingston and Ray Evans (the prolific duo responsible for over seven hundred standards for television and the cinema) for the movie—the couple having become unwittingly embroiled in an international assassination attempt, and foiling that find their son kidnapped and held for ransom. Day—who would come to adopt this piece as her signature tune—performs the song loudly as a cue to find their kidnapped son.