No, no, no, clearly you still don't get, you liberal communist elitist: it's not the pro-slavery OR the anti-slavery side, it's the OTHER side, the one that is objectively pro-slavery but SOUNDS objectively anti-slavery. How do you not get that?
It's been over a year since the Trump administration began its attempt to bring the National Museum of African American History and Culture under its control. I still believe NMAAHC is one of the greatest museums in the country and deserves a defense-to-the-death: www.fractalpast.com/blog/april-2...
You've heard it before, but perhaps never really thought very much about it:
Just why SHOULD writers avoid use of the passive voice?
It's never not a good time to review the fundamentals at my editing desk: www.fractalpast.com/blog/from-th...
but an extensive campaign of public goods along a broad front (health care, environment, public health, science, financial regulation, political corruption, good governance, etc.) will be a good start. Mamdani's potholes and trash bin focus is a good model and a place to start.
I believe and hope Rauchway is right. In my view a refocus on public goods would do much to heal the fractures in the Democratic party, attract independent and swing voters, and best of all, be restorative to the nation. It will take decades to dig out of the hole we're in, . . .
Rights, I believe. The key question is not what is essential, but to what do we have a RIGHT. Those should be non-profit. Consumers in markets can decide whether the rest is essential for them.
If ZM is referencing the New Deal--and he clearly is--then workers' protections, public goods, and a robust regulatory state seem to comprise the "clear vision" around which Dems might rally: www.fractalpast.com/blog
Not the first time the Biennale has faced American opposition. My edited volume on US public diplomacy in the 1970s contains a fascinating account of a similar moment. Self-inflicted and unnecessary, these attacks always tarnish American interests: manchesteruniversitypress.co.uk/9781784993313/
The New Deal, public goods, and the benefits of civic infrastructure: www.fractalpast.com/blog/public-...
#publicgoods
#NewDeal
@dougglanville.bsky.social Thought you might be interested in this post from a few days ago:
I just did a quick Google search and found many instances of this exact phrase: government agencies, health and social institutions, and advocacy/research foundations all use it as a matter of course. Far from being esoteric, the phrase appears to have fully entered into public discourse.
I wonder what it means when people around the world stop imagining America to be a source of liberation.
research.annefrank.org/en/onderwerp...
that the US held a special place in her imagination. Elsewhere her father Otto pinned a map to keep track of Allied progress from Normandy. But the Americans did not arrive in time for the Franks.
One cannot help but notice the émigré beauties who had found their own kind of liberation in America. We’ll never know exactly what hopes Anne pinned on an American-led liberation. But the photos she affixed to the wall and the stories she wrote in hiding suggest . . .
She exchanged the photos as her tastes matured. But she had a soft spot for Hollywood stars like the Lane sisters, Ginger Rogers, Deanna Durbin, Ray Milland, Norma Shearer, Anna May Wong, Greta Garbo, and Sonja Heine. Many of her photos remain on the wall to this day, preserved in tragic posterity.
Anne Frank kept photos and postcards affixed to her wall in the Secret Annex. Portraits figured prominently. She displayed photos of the Dutch and English royal families, and other models and celebrities. One wonders how she imagined those lives intersecting with her own, there in cramped hiding.
This is a great thread. I've written one academic monograph, but am trying to transition to a more literary and public-facing posture with a new biography project that I think has a lot of popular appeal. One of the reasons I follow your feed so closely is for nuggets like this! So thanks!
Strange phenomenon in play: the more that the Trump administration clearly lies, and thereby unsettles political realities, the more some players double-down on Trump administration pronouncements as stable anchors within a sea of mounting instability.
Wendell Smith was portrayed by Andre Holland in the film "42," alongside the great Chadwick Boseman.
For those who may not be aware, Jackie Robinson's widow, the luminous Rachel Robinson, is still alive and with us at the age of 103. The past isn't over, it's not even past, someone once said . . .
What connection Daisy may have had to Smith's campaign to get Robinson onto the Dodgers is unclear, and she may not have been directly involved. But she was present, as she was at so many pivotal events and campaigns throughout the period. . . .
Daisy was at this time the vice-president of the Courier, enjoying a very close working relationship with the owner/publisher of the Courier, her friend Jesse Vann (Jesse and Daisy flanking a gentleman at a promotional event).
The Courier maintained an active sports department, which enjoyed connections throughout the black sporting world (Courier sports editor Bill Nunn meets with Smith [back to camera], Gus Greenlee, owner of the Negro League's Pittsburgh Crawfords, and Satchell Paige. Fifth man unidentified). . . .
Robinson had been recommended to the Dodgers as part of an ongoing campaign by a sportswriter for the Pittsburgh Courier, Wendell Smith. . . .
Here, probably sometime in the early 1950s, Daisy meets with Jackie Robinson:
🧵Today is the anniversary of Jackie Robinson breaking the color barrier in major league baseball, 1947.
One of the great joys in my Daisy Lampkin project is the discovery of fascinating linkages she maintained throughout black America, some direct and many indirect. . . .
Now THAT is the funniest thing I've read on Al Gore's internet all day . . .
lol. noice
Is it telling that I don't know if you're gasping because that number is so low or so high?
Not quite the same thing as hanging Robert E. for treason, but it'll have to do . . .
